EDITING

After the shoot day, we began post production in the Editing Suite; we had three weeks until the final fine cut needed to be completed, therefore we started editing straight away. At first, our editing began just by looking over footage and seeing how it all looked. To make the editing easier, we renamed some of the shots, and decided which shot was best; therefore renaming it so later on we were able to look back and find the exact shot needed. After the initial stages of getting to grips with the pop video, we began our editing. We spent the entire three weeks editing, staying evenings and afternoons in order to finish it to the best degree. By having a reasonable amount of time to edit, it meant we were able to keep coming back to it with fresh eyes and therefore seeing what looked good, and also what needed to be cut, or edited slightly differently.

We used ‘Final Cut Pro’ for editing, and ‘Adobe After Effects’ along with ‘Color’ for after effects and brightening the entire video. In order to get a rough cut, we just used ‘final cut pro’ and only after completing the first assembly, did we start to add after effects to make it look better and more professional.

We began building our pop video by first looking at the storyboard. However, whilst putting the storyboard shots in play, it became apparent that some of the shots did not work; therefore we followed the storyboard loosely, whilst adding different shots that we think worked or shots that weren’t even on the storyboard that we decided to film on the day. When we decided that we wanted to use a clip, or piece of action that the singer did, we got the clip in wide, from the camera that remained in the same place all day, and then added in close ups, tilts, pans etc. This was a very efficient way of editing because it meant we had an idea of how the entire scene would look, and only added what we think looked good; therefore we were seeing it visually, not on paper.

In the opening of the pop video, a clapping sound is heard, which we thought would look good if each clap provoked a change of shot to one of Lukas, then jump cutting back to one of Ruby. Although deciding the shots was relatively easy, trying to get each shot change perfect to the beat was something a bit harder; therefore we spent time working out the beat, and getting the cut exactly in time with it. That way, the final pop video would have fluency to it, because it was imitating one of Negus’ conventions. Much of editing was experimental, therefore our first cut was slightly rough, however, that meant that we could improve it largely, as we could see the pop video as a whole, and therefore know where to improve and precisely do it to get a good final cut.

In order to get the final cut, we looked over our whole pop video with Matt and Luke, and they looked at areas which needed to improve. Something that needed improvement was the cutting to the beat, especially in the drumming part. When Lukas hit the drums, it needed to coincide with the sound from the song, but in our first cut it didn’t go exactly in time. Therefore we put markers in the areas of the song which had the sound of the splatting, and furthermore put markers in the area of the video clip where Lukas would be hitting the drum, or paint would splat onto the walls. After doing this, we would match up the markers and that way the sound would match the action. This was a very efficient way of doing this section of editing.

Another thing that we did in order to get the final cut was add the green screen layer to make it look like the film concept we were trying to achieve. We went through out rushes and found the best layer, as there was only one take that went successfully. We then matched up when the music started in the green screen clip with the music of the pop video, and added the layer. We did some after effects in order to blend the two layers together.

The image of our artist which we were trying to sell was that the singer, along with her devious band member, were crazy, fun, mischievous, but also slightly mysterious and confusing. This image was provoked due to the lyrics of the song, and what she was saying. It is about a girl trying to make herself happy, which we realise at the end is in fact herself. Therefore the image was a positive one, and we tried to show this through composition rules, such as, rule of thirds, colour, shapes, lines and editing.

To initially sell the band, we through visually, as Kuleshov stated that “70% of meaning is in the visuals.” Therefore we through of how the stage should look. In order to show the filmic concept, the room needed to be relatively plain and simple; therefore we decided to have an empty room. This meant that much of the enjoyment and meaning from the video came from the band’s performance, and the editing style, along with props; this is an element that we wanted to sell, that the band was unique and crazy all on their own.

Something that helped sell the image was the use of colour. An obvious element that we needed to consider was the fact that the song was French; therefore we wanted the staging to look slightly French. We did this with the use of blue and yellow colours, which we painted the walls and the door; these colours are quite neutral, but also created a base to which the band members can play with, and therefore make whatever they want to, in reference to design, with the use of props. After the first 30 seconds paint then gets splattered all over the wall, which was effective in showing the image of the band, this is shown in the image above.

The bright colours of the props and costumes was effective in showing the characteristics of the band members, and the image that we wanted to create for the band. Due to us jump cutting, it looked more effective if the singer would appear in different costumes, therefore our costume wardrobe was quite big, and full of extravagant and unique dresses, hats, tops etc. We tried to use lots of bright colours, which meant the band members were seen as positive and fun people, as well as placing Ruby in black sexy dresses, which made her more appealing to a wider audience. In the image to the right, you can see the brightly coloured costumes Ruby would wear:

We subverted the picture composition rules in reference to shape. The shape of the stage was very harsh, with hard edge; due to it being a box room, the walls were straight, along with the door and framing. Furthermore, the trapezium was hard edged. The band is quite abstract and different, and slightly rebellish. Therefore, the shapes of the design did not match this, however, this meant that the band’s performance was crucial in showing their image and personality, along with the editing of jump cuts, to show their individuality.

As we used discontinuity editing, which meant that Ruby appeared all round the stage, we did not follow the rule of thirds. Usually, a good character appears on hot spot one, which is on the left hand side; however, Ruby and Lukas were all over the hot spots. Therefore, this meant that the audience are slightly confused to the character of the band members; we did this in order to show their individuality, therefore reinforcing their image of unique.

A convention that we imitated was holding 2-3 second shots, however, we slightly subverted this because sometimes our shots were much shorter, and occasionally slightly longer. We did this in our editing process, and by cutting to the beat, the shots were usually 2-3 seconds long. We tried to keep to the conventions but subverted slightly to show that the band was unique and therefore it would not follow all the conventions.

A shot that was useful in selling the band was a tilt shot. When Ruby was sitting on the trapezium, and swinging back and forth, the camera tilted up her body. We stayed of this shot slightly longer to show its significance. By tilting up her body, it showed her as an aesthetically pleasing object, which is part of the image that we were trying to sell. This image on the right: We tiled up from her feet to her face.

Much of the pop video was in a wide, to show the film concept; but we also had lots of close ups. In our editing process, we did quick cuts between wide shots and close ups, which we hoped would slightly shock the audience, but in a pleasing way, therefore agreeing with Bathes theory of ‘jouissance.’ Going from shots seen on the left, straight to shots seen on the right.

SHOOT DAY

The shoot involved half a day building the set in the room we were to use as a TV studio. We also rigged the lights then. The actual shoot was one whole day with two hours at the end to strike the set. We completed all our shooting in that time period, in one day in November 2010.

In the morning of our shoot day, our only two cast members and a member of the crew was in a maths exam, therefore our first two hours were spent painting the set, sorting our shots, getting paint, and finally putting up the trapezium. Our set was quite simple, a room with 3 walls, the 4th being where the camera films from, with two doors. We decided to paint our set pale baby blue, which is a neutral colour, therefore creating a relaxed and easy atmosphere to begin with. We painted the doors yellow, to stand out against the blue, but also because they are complimentary of eachother. The colours are also quite French 50’s style which is the atmosphere we were trying to put across. One of our cast members is a talented gymnast and knows how to work on a trapezium, so we hung up the trapezium ready for the later shots. Another thing which we did which was necessary for the believability of the pop video, was to have a camera is a fixed position. We measure the distinct that the camera should be away from the back door and the front of the set, and we locked the tripod and position and left it there so al of our shots could be filmed in wide.

Once the cast members were back from their exam, we began filming. Following our call sheet, we did the shots which were of the singer around the room. We picked out the first costume for the singer, and placed her in the set. We then filmed in wide and had another camera, getting close ups and different angels in order to have a range of shots. She performed the whole song, dancing and singing around the set, we did this initially to gain a feel for what we wanted to accomplish. After doing this, the singer performed in different areas of the stage, going from the left to right, front to back etc. We did this in order to create the material needed for jump shots. After performing the song in one costume in different areas of the stage, we then changed her costume again, and we did this throughout the day: performing necessary bits of the song in a costume, then doing similar in another.

We got the material needed in the first 40 seconds of the song, and then we needed to get the painted splattered across the wall. We did this by getting metallic buckets upside and wrapping it in cling film, in order to get a bounce, and then putting the paint on top. We also covered the drum sticks in cling film aswell so we did not stain them. We chose bright colours like: pink, yellow, purple and green which would reinforce the abstract and crazy mood. The band member were a bright orange jump suit, and sunglasses, and began hitting the buckets with the paint on. We filmed all the different buckets being hit in close up, and after used a wider shot. We had to get the timings just right in order for Lukas to hit the drum, and someone out of sight from the camera to splash paint across the wall, and therefore the timing was crucial for it to be realistic. After each bucket was done, we then splattered paint across all the walls, without filming, and left it there to dry.

After lunch, we did a few more shots of Ruby, the singer, in different costumes performing around the set, and then decided to get the trapezium out. We did a range of shots in order to have plenty of material to play with in post production. We filmed Lukas, who was talented on the trapezium, doing different positions and swinging round, and then we decided to put Ruby in the frame aswell. She sat on the trapezium like a swing lip sinking, whilst Lukas moved around her. After performing the song in this position, we realised that Lukas being in the frame aswell did not work, so we decided to do a few shots where only Ruby was sitting on the trapezium singing the song. We attempted a quite difficult position on the trapezium, where Ruby had to hang from Lukas’ feet, this was hard to pull off due to Ruby being in mid air and considering the factor that she could fall and hurt herself. Therefore we filmed a few close ups of her hanging, and then we filming the wide, removed a crash mat from under her for a few seconds so it would not be seen.

There were a few shots which we wanted to get to incorporate into our piece. We decided to get a ladder where Lukas would climb up, and then Ruby would climb down, therefore in jump cuts it would seem strange to the audience. We filmed this mainly in wide. We also got a group of people to enter the room wearing strange hats and jackets and to walk out again, which would add to the quirky concept.

Finally, what we needed to do was film the first layer to act as the cinema seats. We did this in front of a green screen, therefore we needed to move the cinema seats facing the green screen, up on a platform. We moved the camera facing it in a wide shot to look as though it is in a cinema. This part of the layer was relatively hard as it all had to be done in one shot. We played the music and got a few extra people to walk in as members of the cinema audience. We had to film this a few times until the timing was perfect, because we needed to sort out when people could be entering, and at what point Ruby, the singer, comes out into the seats to sing to herself.

In order to explore each job on the production team, our group changed roles regularly throughout the day. However, most of my day was spent sorting out the costumes for Ruby, and directing the action on set, whilst Felix and Victor did the camera work. I did much of the directing because I had an idea of how the video should look. We filmed on the Sony NX5 camera, one which stayed in a fixed position and another which we captured different angles on. We used the spotlights from the ceiling pointing towards the stage; we did this because we wanted the lights to create a neutral atmosphere, and the performance of the band so subvert that. We also used the Arri 2000, Park Hand and Fresnel lights, along with red heads and 1 blonde.

There were a few problems that we encountered throughout the day. One of these was the paint scene where we had to splatter paint across the wall in time with the bucket being hit. This was a problem because it took us a while to get enough paint to splash, the buckets to work for the bouncing, and get the camera angles needed so it looked good. Also, after splattering the paint, we had to wait for it to dry, and therefore this wasted valuable time that could have been spent filming.

Another problem that we confronted, was the generally performance of Ruby, the singer. Although we knew through the storyboard where she was going to be on set, and when to be lip sinking, we were unsure of some of the movements to coincide with the music, due to us not being dancers. However, the problem was lessened by Ruby, who was a dancer, and therefore knew how to improvise with the music.

A major difficulty in the day was timing. Due to the first two hours being spent getting ready and not filming; the rest of the day was on a tight schedule. This meant that some of our shots are not as precise as we’d hoped because we had to slightly rush.

A shot that really worked was when Ruby was sitting on the trapezium, and we tilted up her body. This imitated a composition rule because the tilt meant that Ruby’s face was last to be seen, and therefore the audience was anticipating her expression, and also it was good in advertising her aesthetically pleasing body. Another shot that worked was when we placed the camera on the floor, and had Ruby crawling towards it. This was good because the camera was at the same level as Ruby, therefore creating intimacy for the audience. It also effectively separated the two layers of the video, making that shot seem like it was the film being watched, thus confusing the audience slightly.

However, there were plenty of shots that were unsuccessful. One of these was the filming of the paint splattering. This was very difficult because the timing was crucial, and it became apparent that the paint would not realistically spread far across the walls after being hit, therefore this shot was not as good as hoped. Another shot that didn’t work was when Lukas was performing on the trapezium, and he stood up, he was taller than the set. This meant we had to limit his movement otherwise it would not look good on camera, however shots like this, shown right, where he is below the trapezium worked very well.

The day as whole was relatively successful. We effectively created the quirky atmosphere of the pop video, through the abstract and random costumes and the performance of the band. However, I felt we did not get as many shots as we’d hoped, and therefore this proposes a slight problem in post production and editing.

CALL SHEET

The call sheet is the bible for the day of the shoot. We will refer to this whenever a question arises. The call sheet needs to be done in specific detail, so it includes everything necessary to know about the pop video. It is essential that the production team's details are shown just in case a member is missing on the day and we therefore need to get hold of them immediately. Other aspects are also vital for the shoot day to go smoothly.



I have attached the call sheet below:
CONTENTS

Section Detail
1. Production Team
2. cast list
3. studio set plan
4. lighting plan
5. props and wardrobe
6. schedule
7. storyboard
8. words of song
9. shooting order


CALL SHEET
Ta Douleur

16th November 2010-11-02

Production Group:
Felix Klinkhammer 00491726496363
Victor Stromberg
07769790244
Tess Lomas
07721733251
CAST LIST
Ruby Kammer - singer
Alistair Toovey – band member
Lukas Dressler – band member
Oscar Jackson - drummer

STUDIO SET PLAN
Coloured room/theatre with doors either side + cinema seats

LIGHTING PLAN
Warm/vibrant lights. + Projector light in FX.



PROPS AND WARDROBE
Clothes from costume studio at Radnor
Suitcase
Paint
Tool Box
Confetti
Frog
Ladder
Trapezium
Bike
Juggling balls
Cardboard box

SCHEDULE
Monday 15th – 3pm onwards Studio set up
Tuesday 16th – 9-11 Shots of band members
11-1 Studio first layer and performance
1-1.20 – LUNCH
1.20-3.00 – Studio Performance

WORDS OF SONG
Lève toi c'est décidé
laisse moi te remplacer
je vais prendre ta douleur

Doucement sans faire de bruit
comme on réveille la pluie
je vais prendre ta douleur

Elle lutte elle se débat
mais ne résistera pas
je vais bloquer l'ascenseur...
saboter l'interrupteur

Mais c'est qui cette incrustée
cet orage avant l'été
sale chipie de petite soeur ?

Je vais tout lui confisquer
ses fléchettes et son sifflet
j'vais lui donner la fessée...
la virer de la récré

Mais c'est qui cette héritière
qui se baigne qui se terre
dans l'eau tiède de tes reins ?

J'vais la priver de dessert
lui faire mordre la poussière
de tous ceux qui n'ont plus faim...
de tous ceux qui n'ont plus rien

Dites moi que fout la science
à quand ce pont entre nos panses ?
si tu as mal là où t'as peur
tu n'as pas mal là où je pense !

Qu'est-ce-qu?elle veut cette conasse
le beurre ou l'argent du beurre
que tu vives ou que tu meurs ?

Faut qu'elle crève de bonheur
ou qu'elle change de godasses
faut qu'elle croule sous les fleurs
change de couleur...
je vais jouer au docteur

Dites moi que fout la science
à quand ce pont entre nos panses ?
si tu as mal là où t'as peur
tu n'as pas mal là où je chante !

SHOOTING ORDER
CAMERA POS 1(when she’s in the room) – 1,2,3,4,5,11,13,15,20,21,22,23,24,25,26,27,28,31,34,36,38,39,44,45,46

CAMERA POS 2(film) – 7,8,9,10,12,14,16,17,29,30,32,33,35,37,(41), 42,(43), 47,48

CAMERA POS 3 (chairs) – 6,18,19,40,41,43

CAMERA POS 4 (towards chairs) – 44,50

SET BUILD AND LIGHTING DESIGN

The set and lighting design is crucial for the pop video, as Kuleshov says that 70% of meaning is displayed through images, therefore the pop video needs to be visually stunning which will lend to the pop video being successful.

When we first met with Dan, the set builder and lighting director, we explained the main concept to him therefore he would have an understanding of what we were trying to achieve, in reference to the audience reaction. As we are not shooting on location all the focus was on the set inside the studio. We explained how we wanted to create a performance stage on which the main singer could perform; this was our first hurdle to overcome because he, as with others, was slightly confused to what is being shown on which layer, and how we were going to portray the difference of perspectives.

After thoroughly explaining this, we moved on to talking about the set and how this would represent the concept, we explained how we wanted a simple room with doors either side, and he agreed that this would successfully differentiate between the perspectives. A problem that we came to was the decision of the colour of the room. Due to the use of the blue/green screen it would not good if the characters wore those colours, or if the back walls were green or blue. We still have to decide what the colour of the walls are going to be, at the moment we are leaning towards maybe a red/purple which are bright colours, but also very rich which helps for the audience’s attention. We came to the conclusion after talking about the use of the blue screen, that we would film the first layer, of the cinema chairs, with the blue screen in front, and then behind would be the set already build, this would therefore save time on the shoot day.

We then began to discuss the lighting. Our lighting would be quite simple, as we want to portray a simple room, and therefore a normal bright light would be sufficient. We want the light to be warm which would therefore give a positive outlook of the entire pop video, and also reinforce the concept that we are trying to make the girl happy again. The only difficulty we had is the decision of whether to put in the projection light in filming, so it is live, or in after effects. We came to the conclusion that doing it in after effects is better because it cannot look wrong or be unsuccessful because we can make it look exactly how we want it.

Finally we explained the cast to him, which is a main singer, and three band members. Our cast were specifically chosen for their abililities that are useful for the pop video. For example, Ruby Kammer, is going to be the main singer because she is a talented dancer who speaks fluent french, and above all is not shy of the camera and loves to perform.

Our group are constantly developing the pre production aspects to the pop video, which should be beneficial for a successful pop video.

Below, I have attached the lighting plan and the studio design plan for our shoot day:

CAMERA TEST

A camera test is essential in order to work out whether the cast members will work well on camera, and if the concept of the pop video is going to work. The camera test needs to film shots which will be happening in the pop video, therefore the filmcrew and decide if it looks good or not, prior to the shoot day.


When doing the camera test we wanted to see how Ruby, the main singer, would look on camera and if she was suitable for the part. We set up a simple version of the design which we plan to make for the actual shoot day; we did this by putting a row of chairs in front of the camera, with someone sitting in one seat, and then got Ruby to perform in front of them. We asked her to be ‘entertaining’ and made her use all the space, this way we got to see how she performs, and if the video would be successful.

We got Ruby to stand and perform in different areas of the ‘stage,’ this way in the editing process we can use the jump cut which we plan to use, and therefore see if it looks good or not. A shot which we attempted to do was if Ruby went off stage, therefore not seen by the camera, and then to pop up right in front of the camera, in the camera test this wasn’t so successful because Ruby was slightly confused with our directions, therefore this shows us that we need to fully prepare her for the real day so she can perform to the best of her ability, to make the video look good.

We also wanted to see how Ruby would converse with the ‘other self’ of her sitting in the chair, therefore we asked her dance and perform right in front of the girl sitting down, and sit on the chairs with her. On the camera it looked really good, because the girl sitting remained reserved whilst Ruby was hyper and energetic beside her, this is something we want to really push for the shoot day.

Our other cast members were picked due to them being advantageous for the quirky style we want to put across. Alistair Toovey is a very good dancer and performer, who will not shy away from the camera; therefore he will be interesting to watch on stage with Ruby. Similarly, Lukas Dressler is a talented gymnast and this will be beneficial for the shoot. Finally, Oscar Jackson is a skilled drummer, and we wanted this for the part in the song where the band member plays the cardboard boxes as drums whilst paint flies everywhere.

Unfortunately, the school computer system failed and lost our camera test that we had previously filmed, otherwise it would be shown here.

STUDIO AND LIGHTING PLAN

The set and lighting designs are done in order for the designer to know what is needed for the pop video. They need to be detailed in order for the specifics to be done properly and therefore the set will look as good as possible.

We tried to draw the plan is as much detail as possible, for a 'birds eye view' perspective. The set design of the pop video is relatively simple because the main attraction lies with the performance element. Therefore, there are going to be a few rows of red velvet cinema seats, and also a white/blue/red room which they are in, the room will be quite vibrant and bright in order to represent the quirkiness of the video, and also contrast to the darkness of the seats. There will be a blue/green screen in front of the seats that way when just the layer of the seats is being filmed, nothing else is seen. On the stage part of the set, there will be doors on either side of the set, this way characters can enter and leave the room, which will give the perspective of the girl being in the same room as the performer: Ruby. Nothing is going to be inside the room apart from what Ruby or the band members bring in, therefore Ruby will have a lot of space in which to perform in.





The lighting of the set is going to be quite bright on the stage area and darker by the seats, therefore representing the girl watching a film. Although the colours will be bright, in order to suggest excitement and enthusiasm, the lights will also be warm so that Ruby and the band members look friendly and comfortable within the frame. In the after effects we plan to put a bright light, almost slightly flickering, above the camera to represent a projector being shone onto the stage, again showing that it is a film being shown, and not that Ruby is within the frame. This contrasts aspects to film and real performance, fiction and reality, and are done in order to play with the minds of the audience, and mess around with perspectives.

STORYBOARD

Storyboards are used to visual the images that will appear on the screen. You work out the types of shot, the angles, the camera movements, the mise en scene, the colours and shapes, anything and everything.

Storyboards are where the real work happens. Storyboards are much cheaper to experiment with, to try things out than messing about on the day of filming. A piece of paper and a pencil and a storyboard artist cost a lot less per day than the million pound a day that will be spent on movie.

Pop Videos are just the same. You work out all the shots on the storyboard before you even begin to think of filming. You spot the mistakes, the things that don’t work, and put them right in the storyboard before you film. It is a bit like creating a puzzle or a plan, which you shoot to, and then you put the puzzle together afterwards.

The storyboard was done in reference to the timeline. We tried to do the timeline in as much detail as possible, that way the storyboard would be easier. It is done to visualise the shot and work out the type of shot to use and why, whether tracking or craning will be used, and why. The details of the storyboard were quite difficult because in each shot Ruby is constantly moving and performing, therefore when drawing an arrow to show the direction which she is moving; it may change depending on how it looks on the day. Much of our camera movement is quite static because we want to represent the performance element of the piece, apart from the complex tracking shot to finish the song.

To help me get into the world of storyboard I decided to look at the storyboard for 'The Lion King.' http://www.youtube.com/watch?v=gO49iR0HguE&feature=related

Our piece has 3 layers to it, one is a close up of the seats, therefore only the girl watching is seen, and Ruby if she comes out, 2nd layer is filmed as though the girl is sitting in the room with Ruby being performed to, and the 3rd is meant to represent that she is watching a film with the girl in it, therefore not in the same room. These aspects were taken into consideration when doing the storyboard, due to the drawings having to represent which layer they were on.

A shot that we needed to see whether it would work was the opening 8 seconds where we have a wide shot of the singer jump into the air in slow motion. Our initial worry was that the shot would be too long and therefore tedius, but due to it being in slow motion and the opening shot, therefore setting the scene, we realised that a wide/long establishing shot would be successful, I show this in the storyboard below:

One shot that we decided to use was in the ending sequence of the song, where a tracking in the round shot will be used. This is done in order to show the singer performing, then tracking round and revealing that the girl watching her is in fact herself. This is the main concept of the song that she is performing to herself because internally she is trying to make herself happy. I show this below through the storyboard:
Alot of our editing will be jump cuts, this is shown in the storyboard. This is done in order to give the performance element to the video. By jump cutting the video becomes fictional, because the singer moving round the stage would not be possible, this is therefore playing with perspectives and slightly confuses the audience, which will hopefully lead to their enjoyment of the video. Below I show a few shots where jump cutting will be used:


Our storyboard was a real test of how shots would work together. So we storyboarded – SEE THE EXAMPLES ATTACHED – and then filmed them. We could then edit them together in an animatic style and see how the whole thing flowed or did not flow. This led us to see a lot of shots that worked and a lot that did not.

TIMELINE

The timeline is done in order to link the words and the images together. Therefore when this is written down ,we can see what works and what does not, which can consequently lead us to adapt the timeline to make sure it is successful for the shoot day. In order to begin the timeline we wrote out the words, and separated them into different sections which could represent different shots. For example, each line for the chorus is a separate shot.

The timeline was tricky to begin with due to the concept on our pop video being slightly confusing. We wanted to produce a quirky video, with lots of jump cuts and for the perform element of the piece to be the main attraction. Therefore, when writing the timeline, our main focus was on what Ruby and the band members did to gain the girl’s attention. Another difficult aspect to the timeline was that the song is in French; therefore we needed to get it translated and find out what each word actually means.

Once we had done this, we tried to make some of the performance things that she does to be related to what she is saying, for example, she says “les fleurs change de couleur” which means in English “the flowers change colour,” therefore we decided that she either has flowers which she performs with, or her costume keeps changing colour between the jump cuts.





Another example of a shot that we needed to see whether it would work was the opening 8 seconds where we have a wide shot of the singer jump into the air in slow motion. Our initial worry was that the shot would be too long and therefore tedius, but due to it being in slow motion and the opening shot, therefore setting the scene, we realised that a wide/long establishing shot would be successful.

POP VIDEO : TITLE Ta Douleur YOUR GROUP: Felix, Victor + Tess PAGE NO.1

WORDS or MUSIC …………………..	TIME	PERFORMANCE …..	NARRATIVE……………	IMAGES
Leve toi, c’est decide Laisse-moi te remplacer, je vais prendre ta douleur.	0-8	A wide shot of the singer jumping in slow motion so it looks like she is flying with the character watching in the frame
Doucement sans faire de bruit, comme on reveille la pluie, je vais prendre ta douleur.	8-13	Backup singers appear on the beat 1 at a time – jump cut.
Prendre, ta douelur, je vais prendre ta douelur	13-18	Mid shot of all the backup singers confused to why they are there.
Elle lute, elle se debat, mais ne resistera pas, je vais bloquer l’ascenseur.	19-25	A wide shot of character walking in and sitting watching, getting comfortable etc.
Je vais prendre ta douleur (repeat by BUS)	26-30	Lip Sink close up of singer Link Sink close up of BUS or shots of band dragging the drum set on.
Saboter l’interrupteur	30-33	Lip Sink close up of singer or shots of band dragging the drum set on.
Je vais prendre ta douleur	34-38	Mid shot of singer with hand out “taking the pain” and then a look up to the camera – close up of her face with wide eyes – dolly zoom	Snippets of CU of frog face.
Clapping, noises etc.	39-53	Mixture of shots (ECU,CU,MS etc) of cardboard boxes with paint on them, and the band member hitting the boxes and the paint splatting everywhere.
Clapping, noises etc.	39-53	Mixture of ECUs/CUs of singer and band making the noises with their mouths.
Mais c’est qui cette incrustee? Cet orage avant l’ete Sale chipir de petite seour.	53-1.00	Mixture of shots of her putting make up on, eye, blusher and then puts lipstick all over her face.
Je vais tout lui confisquie ses flechettes et son sifflet je vais lui donner la fessee	1.00-1.07	Close up of frog jumping, then mid shot of her frog jumping over the other band members.	Snippets of CU of frog face then CU of her face
(Je vais prendre ta douleur) by backup singers	1.07-1.09	BUS lip sink and Mid shot Lip sink of singer and her arm.
Je vais prendre ta douleur	1.09-1.11	Cut to CU of her tensing up and it is a massive muscle of someone else
La virer de la recre	1.12-1.14	Mid shot of the cinema seats with the girl and others sitting down, moving round etc
Je vais prendre ta douleur	1.14-1.19	Mid shot of the cinema seats with the girl and others sitting down, moving round etc
Mais c’est qui cette heritiere, qui se baigne, qui se terre, dans l’eau tiede de tes reins?	1.19-1.26	Mixture of shots of her in different costumes – afro’s, big black glasses etc mixed with shots of BUS making the noises
Je vais la priver de dessert lui faire mordre la poussiere de tous ceux qui n’ont plus faim	1.27-1.33	Singer wearing massive over-all which is too big trying to dance
Je vais prendre ta douleur (BUS)	1.33-1.35	Singer see’s a box with ‘pain’ written on it.
Je vais prendre ta douleur	1.35-1.37	Box with ‘pain’ written on and singer destroying it with bat.
De tous ceux qui n’ont plus rein	1.38-1.41	Box with ‘pain’ written on and singer destroying it with bat.
Je vais prendre ta douleur (BUS)	1.41-1.43	Shots of singer in straight jacket trying to get out, Band help her, she runs around the stage.
Je vais prendre ta douleur	1.43-1.45	Mid shot her throwing the straight jacket off at the climax
Dites moi que fout la science A quand ce pont entre nos panses?	1.46-1.54	Bird’s eye view of singer lying on ground singing, mixed with shots from side angle and then at the end she gets up and appears in front of the camera.
Si tu as mal la out t’as peur tu n’as pas mal la ou je pense!	1.54-2.01	Wide shot from behind the character with the singer right in front of her.
Qu’est-ce qu elle veut cette conasse? Le beurre ou l’argent du beurre? Que tu vives ou que tu meures?	2.01-2.07	Suddenly she’s back on the stage with swords fighting off the other band members. OR kart wheeling and flipping etc (Ruby can do this!)
Faut qu’elle creve de Bonheur ou qu’elle change de godasses faut qu’elle cruole sous les fleurs change de couleur	2.09-2.16	Jump cut in different colours whilst throwing flowers, shoes and cake jumping around the stage.
Je vais prendre ta douleur	2.16-19	Lip Sink of singer and BUS
Je vais jouer au docteur	2.19-2.22	Lip Sink of singer and BUS
Je vais prendre ta douleur	2.23-2.27	CU Over the shoulder shot of singer right in front of girl.
Dites moi que fout la science a quand ce pont entre nos panses?	2.28-2.35	Wide shot over the shoulder standing in the rain. (Girl’s head moves showing she is shocked BUT audience don’t actually see her face.)
Si tu as mal la ou t’as peur tu n’as pas mal la ou je chante!	2.35-2.43	Then wide shot over the shoulder of them standing in the rain.
Ah la, Leve-toi (repeat) mixed with noises from band	2.43-3.03	Wide shot of big suitcase and she is chucking everything out trying to find more things to entertain her with, Mid Shot of her almost giving up.	Last 5 secs – Wide Shot -she’s finishing her song, stands still, wide shot of the audience leaving because its finished. Then a ‘tracking in the round’ shot from her back to show the front of the girl watching (who is the same person)