Month: January 2024

Overall I have enjoyed the process of creating my FMP. I have found that the challenges of having a short amount of footage to work with constrained the video but also pushed me to ensure that the 3D elements were intricately placed into to the video whilst still feeling confounded to the themes. I would argue that without hitting the extensive 3D elements of cars elevators and other assets the video would have become largely a lot less exciting. although this is also true of the additional compositions I created. bringing life to this video was important and I feel that the run-and-gun style of filming may have faulted the cinematic elements of the video but largely encouraged the more surreal and psychedelic elements and compositions. 

if I were to repeat this process I believe I would aim to have more integrated 3D elements planned, I believe that if this was filmed to transition into 3D at specific points in the song it would have allowed for more seamless transitions that were more visually pleasing and potentially more creative. 

I feel that the drawbacks of this video are easily spotted. whilst the compositions and 3D are strong I certainly think elements like the city could have been more detailed and realistic. 

this music video suffers from a lack of depth in the planning of the shoot and therefore makes up for it in a visual regurgitation of many ideas. it certainly feels that the video could have held a stronger narrative within its concept. arguably the song holds a narrative of its own but the video doesn’t complement this element, shots are repeated and placed within the video as well as they can be but there’s a clear lack of footage meaning the shots that were

in focus 

well-framed 

steady 

exposed properly 

and synced to music 

we’re going to be a priority, this resulted in a bit of a random sequence to be followed but it is something I have learned to try and overcome in my future endeavours as a director. 

my strongest moments within the video I believe are the introduction 

use of CRT scanning 

3D assets 

use of slow motion

endless zooms 

and time management on the overall project.

This was a learning curve for me as whilst I have used 3D elements before within music videos it gave me a very good insight into the process of blending them in with real-life footage efficiently.

RESULTS

References

This scene was relatively simple, because using the camera movement withe car rotating meant that it didnt really have to move very far allowwing for the keying to be straight forward.

Results

This scene was created in blender and features a close-up of an elevator going down.

RESULT

Created in Photoshop

Font : Ingrid.ttf

Photshop

Fonts

assador.ttf

mellin.ttf

mouseclick.png

Concept

I wanted to add to the `video by incorporating some 3D blender scenes, here is the concept mood board for the assets

Throughout the Process of editing this video finding the very best shots and aligning them into the sequence takes a lot of time. With hundreds of cuts made it can be very difficult to follow an orderly timeline.

Here is the final Sequence.

• Footage Backup

all footage and Broll backed up into an organized folder on my hard drive and on google drive in contingency of hard drive failure.

I began by creating a new project within Premier and setting the sequence settings to 4:3 to get an aesthetic film look.

Dimensions 2880 x 2160

I then synchronized all footage to the song.

right-click + highlight footage and song + synchronize audio track + track 1

Once all performance shots are synced with song

• remove camera audio
• apply “SL BLUE ICE” LUT

SL BLUE ICE

From this point, I adjusted all the colours of each different performance and ensured that any over or underexposure was accounted for and fixed the most consistent point possible.

Although I was also aware that some shots would later be turned black and white for the aesthetic.