charts for where blank boxes are
BRIEF- To create a music video, digi pac and magazine advert for the song ‘The Ugly Bug Ball’ which is suited to the age group 3-7 year olds, by using appropriate colours, shots, compositions etc.
Feedback questionnaire- music video
© Do you find this music video entertaining? YES/NO
© Do you think the footage works well with the song choice? YES/NO
© Are the effects relevant and exciting? YES/NO
© Which age group do you think it is aimed at, please circle;
*3-7 year olds
*7-13 year olds
*13-21 year olds
*21-40 year olds
*40+
5. What is your general reaction to the piece? Please fill bellow
………………………………............................................................………………………………............................................................………………………………............................................................………………………………............................................................
6. Is there anything which you did not like about our video, and why?
………………………………............................................................………………………………............................................................………………………………............................................................………………………………............................................................
7. Does our Video, seem overall professional? YES/NO
Seven people took the questionnaire after viewing our music video
| QUESTION | ANSWER |
| 1. Do you find this music video entertaining? | 6-YES, 1-NO |
| 2. Do you think the footage works well with the song choice? | 7-YES |
| 3. Are the effects relevant and exciting? | 5-YES, 2-NO |
| 4. Which age group do you think it is aimed at? | 5- *3-7 year olds, 2- *40+ |
| 6. Is there anything which you did not like about our video, and why? | BLANK |
| 7. Does our Video, seem overall professional? | 5-YES, 2-NO |
5. What is your general reaction to the piece?
“Not to fond of the song but creative and exciting video”
“Really good, especially the part where the screen cuts off into 4 parts, great idea!”
“I can see how kids would enjoy it and would be dancing along with the people in the video”
“Apart from a few jumps here and there on the stop motion, a fab video”
“I like the caterpillar and the silly dancing”- 4 year old
“Very good”
“Interesting concept but would be better if the cross over when the stop motion goes into filming was more fluid”
FEEDBACK QUESTIONAIRE- DIGI PAC
© Do you think the digi pac matches the music video and song? YES/NO
© Is it presented in a imaginative but pleasant way? YES/NO
© How would you rate this design? Poor/OK/Good/Excellent
© Would it interest you in purchasing the album? YES/NO
© Are there any areas you dislike about the work and why?
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| QUESTION | ANSWER |
| 1. Do you think the digi pac matches the music video and song? | 7- YES |
| 2. Is it presented in a imaginative but pleasant way? | 6-YES, 1-NO |
| 3. How would you rate this design? | 2-OK, 4-Good, 1-Excellent |
| 4. Would it interest you in purchasing the album? | 5-YES, 2-NO |
5. Are there any areas you dislike about the work and why?
“the colours are very bright, perhaps to much so”
Magazine advert feedback questionnaire-
- How would you rate this design? Poor/OK/Good/Excellent
- Does it appeal to you and make you want to find our more about the product being advertised? YES/NO if no please state why
...................................................................................................................
- Is its design in keeping with the digi pac and video? YES/NO
- What do you like about this piece?
.....................................................................................................................
| QUESTION | ANSWER |
| 1.How would you rate this design? | 1-OK, 5-Good, 1-Excellent |
| 2. Does it appeal to you and make you want to find our more about the product being advertised? | 6-YES, 1-NO |
| 3. Is its design in keeping with the digi pac and video? | 7-YES |
Question 2- NO; “too childish, not my cup of tea”
- What do you like about this piece?
“the caterpillar and the difference of colour between this part and the image around it”
“the general feel of it, its got charm”
“the caterpillar is sad which is shown by the effects around it and the expression”
Brief
To create a music video, a Digi pac and a magazine advert to promote your product.
The filming for the music video will be set between me and my work partner and good friend, Maura Murphy, this indispensable grouping helps divide the work load equally, establishing assigned roles based on each of our strengths creating a stable and efficient base to work from. All decisions will be made with both of our inputs, getting a generalized outlook on which ideas are best and how achievable they are.
Music video
The TV era, where the majority of peoples past time is spent immersed in an ever widening expanse of channels, all of which trying to get the audiences attention and entertain in what ever means. Providing another output for musicians to promote themselves and the way they do this is very important in what they portray and how this either captivate viewers or makes them reach for the remote. It is a strong device for luring custom as if done well can influence viewers into purchasing the song even if the track is lacking.
In expanding our knowledge and outlining the key conventions of music videos, we were shown as a class the making of the music video ‘Don’t Cry’ which is a rock ballad by Guns ‘n’ roses, which was rather plentiful in all aspects. It gave us a backstage look on how a music video where money isn’t an issue can be phenomenal if thought through with every last detail taken into consideration. The video (directed by Andrew Morahan) incorporated quality and dramatic narrative in which approximately 10 different locations are utilized, interspersed with a live performance at the top of a sky scraper. The shots and on screen action was tied in with the rhythm of the song, but also on the climaxes of the track where cymbals crashed things such as explosions and crashes occurred but in keeping with the plot. It uses some stunning cinematography and costly for example, the aerial shots of the sky scraper performance which uses helicopters, all devices to make for a compelling music video, promoting the song to it best abilities but also giving an insight into the meaning of the song.
Song options
Consulting with my work mate we sat and deliberated about possible ways we could obtain a track for our music video to be based around. This sectioned off to two paths, either to create our own or use an existing song from available sources of which; a signed band/artist or a local band/artist. Taking into consideration about time restrictions and the level of skill needed to create a new song that would match the expectations of the video itself, we decided it would be best to use an already existing track. Then more specifically, which song and where we would sample it from. As a group we wanted something aimed at the youngsters, as this would give us a lot of leeway in terms of ideas as other audiences, such as the middle age bracket would prefer something more sensible and dull (being prejudiced). We then brainstormed of which that was fitting this criterion, straightforward in getting copy right but also match the unique and creative ideas we had in store. My colleague came across an interesting song from an old Disney movie Summer Magic released in the year of 1963 which sparked are interest and we were bursting with ideas. Still, the foremost problem with using an existing song is that majority, if not all, will have copyright protection. This is when a piece of work is protected from use by anyone who does not have certified permission of usage. Consecutively, to use an existing soundtrack you would have to obtain the right to use it by getting permission from the owner (record company) agreeing to let you use their material. They would also indicate the terms under which we may use it.
Below is some information about copyright that we found to assist us in understanding more about the law and conditions for the protection on various forms of media.
Copyright Information:
© Copyright protects creative works and enables composers, literary authors and other creators to be paid for their work. Copyright is the means by which those who create and own works (e.g. music and lyrics) can control who makes use of each work and the circumstances in which it is used, to ensure that the integrity and value of the work is respected.
© © This is the symbol stating that something is copyrighted and protected from use other than what is permitted.
© Document granting exclusive right to publish and sell literary or musical or artistic work - Google Definitions
© Copyright is the exclusive right granted to the author of an original work, including the right to authorize or ban the publication, distribution and adaptation of that work. Copyright only lasts for a certain time period after which the work is said to enter the public domain. Copyright applies to any expressible form of an idea or information that is substantive and discrete and fixed in a medium. Some jurisdictions also recognize "moral rights" of the creator of a work, such as the right to be credited for the work. Copyright is described under the umbrella term intellectual property along with patents and trademarks. – Wikipedia
Obtaining Copyright:
The usual procedure is to request permission via the publisher of the work. The publisher will commonly have a permissions department to deal with such requests, or may use the services of a copyright clearance or licensing service. If the publisher cannot give permission directly, they will certainly know who you should contact, (as they will have obtained permission themselves in order to use the work in the first place). If for example, the copyright holder is known by me, it may be possible to obtain permission via a personal agreement. In such cases you should ensure you get an agreement in writing to avoid any possible discrepancies.
For website content, it is normal to contact the webmaster of the site. The webmaster may either give permission directly or refer your request to someone in the company who can deal with your request.
For photographs, (i.e. wedding pictures), it is normally to contact the photographer, (or company), that took the images. As they will normally control the rights to the photos, and will have their own reproduction or duplication charges.' -Copyright service
Result: We thought about each aspect thoroughly and after researching all about copyright and protection of music records. After all this research into copyright legislations we were delighting in finding a clause which made the entire copyright issue child’s play; “Copyright law recognizes the problematic nature of this situation which is unique to sound recordings, and gives sound recordings distinct protection in their own right that is separate from that in the underlying work. The copyright in the sound recording will run for 50 years from the year of recording, or 50 years from date of release if released in that time.” Which in state meant (as the chosen track was recorded 1963) we did not have to bother with the hassle of retrieving copyright permission we could get straight to it. Also the soundtrack is use for only educational purposes and so, will not ever be freely presented or used for any profitable functioning.
Research:
Questionnaire analysis
To make our music video highly popular we had to investigate the needs of our audience. We did this by creating a questionnaire which queried people on different aspects of the music video area so we could generate a clear idea of what they would enjoy. With a range of age groups taking part to give non-biased results.
Q1
The result from this question tells us the public prefer a mixture of shots of the chosen band/musician and a story with it crossing between these too. But also the lesser majority which favored the individual styles of music video were split evenly, so it would please both groups to have the mix anyway. This was our original idea to have cutaways from band to story as it is more interesting for viewers as more than one thing is going on.
Q2
This shows, with less of a margin, the public prefer extravagant effects in the video. I believe the majority chose this as it is more entertaining than for example just black and white, even though this is a classic and sophisticated type of edit. We will try to cater to this by using a range of colour tints to some parts of our filming but try to do so without being garish. Perhaps on the shots of the group dancing we could have a rainbow effect which is split into sections, with colours matching the character. Such as green
Q3
This is a basic question, which answer is quite obvious. I am glad this was the outcome as I find it annoying when there is no relation to the video what so ever as is pointless.
Q4
Clearly the most popular song genre was dance music, i believe this to be so as the genre of 'dance' branches of into many other forms of music which could be complete different in composition, like pop too drum and base. It would be quite easy to create another cliché dance video, ranging from shot of dancing and dj's but as a group we are looking into doing something a bit more unusual to challenge us and make our audience laugh. So we are more likely to venture with one of the 3 at joint second.
Q5
The audience is quite extreme with their choices, wanting extravagant effects, mainly mixes of two elements and more than one setting. This shows me the kind of media they thrive off, being exciting and overflowing with action.
Q6
The big two, which came out on top where stop motion and realism (footage of actors/people). I am quite shocked at these results as I wouldn't have thought stop motion was that popular as you don't see it around much nowadays, as new technology has brought us the same three dimensional appearances but with half the hassle for creators. I am intrigued by the idea of stop motion as part of our video because it has character in that it isn't perfect, for example when the producers move the models they leave small imprints in conjunction to CGI which i feel can be quite clinical (not so much in present as technology has furthered giving realistic effects such as the film Avatar).
Q7
The range of shots used can have a defiant effect on the audience, from having them on the edge of their seats to feeling nauseous. The flowing shots creates dimensions for the viewer seeing the same shot but from different angles making it easier to know whats going on and each aspect of the action.
Q8
Looking at these results the most preferred colour theme standing strongly is the vivid UV/fluorescent pallet. This would defiantly grab the viewers attention i feel, but it would have to be matched with the storyline, not just having random splodges of fluorescence here and there.
Q9
Sharp cuts came out on top with this particular question, i believe this to be as if the transitions are too OTT it would draw from the action and the story also adding pointless transition's for example 'star wipe' it creates a unprofessional and messy. While as using plain sharp shots for getting different angles of one scene is appropriate, then using some more flamboyant transitions when either something dramatic happens or there is a
change in location.
Q10
I feel our project is going to be quite upbeat and gaudy if we where to go entirely on these questoinare results as all point in one direction. With nobody wanting a bland atmosphere to be composed and half the people wanting excitement, we shall have to use many techniques to adapt our initial ideas to benefit overall and keep our audience well entertained.
Q11
This question was derived from question 10 which furthers the creation of this atmosphere. It seems all aspects are needed, some more than others, but all add to the mood. We will take into consideration each of these, perfecting them so they relate and give off a general impression.
Q12
Fast pace cuts which correlate with the track is what we will be aiming for as is the highest rated and is the type of cuts which would be most effective for this style of video media. The timing and speed of the cuts is dependent on the tempo of the song which we choose so this could be the deciding factor. As if we stuck with fast pace cuts for a slow slushy song it would look silly, but obviously we wouldn't overkill on the rapid cuts as this makes the action not as visible unless done to perfection.
This questionnaire has given us a rough idea of what the consumer needs are, and which we will take into consideration when tweaking our primary ideas to develop and enhance the music video to suit our target audience (being the age group 4-16 year olds).
Camera Angles
1. Extreme long shot: This can be taken from as much as a quarter of a mile away, and is generally used as a scene-setting, establishing shot. It normally shows an exterior, e.g. the outside of a building, or a landscape, and is often used to show scenes of thrilling action e.g. in a war film or disaster movie. There will be very little detail visible in the shot, it's meant to give a general impression rather than specific information.
2. Long Shot: This is the most difficult to categories precisely, but is generally one which shows the image as approximately "life" size i.e. corresponding to the real distance between the audience and the screen in a cinema (the figure of a man would appear as six feet tall).
3. Medium Shot: Contains a figure from the knees/waist up and is normally used for dialogue scenes, or to show some detail of action. Variations on this include the two shot (containing two figures from the waist up) and the three shot (contains 3 figures). Another variation in this category is the over the shoulder shot, which positions the camera behind one figure, revealing the other figure, and part of the first figure's back, head and shoulders.
4. Close-Up: This shows very little background, and concentrates on either a face, or a specific detail of mise en scène. Everything else is just a blur in the background. This shot magnifies the object and shows the importance of things, be it words written on paper, or the expression on someone's face. The close-up takes us into the mind of a character. A film-maker may use this to make us feel extra comfortable or extremely uncomfortable about a character.
5. Extreme Close-Up: As its name suggests, an extreme version of the close up, generally magnifying beyond what the human eye would experience in reality. An extreme close-up of a face, for instance, would show only the mouth or eyes, with no background detail whatsoever. This is a very artificial shot, and can be used for dramatic effect. The tight focus required means that extra care must be taken when setting up and lighting the shot - the slightest camera shake or error in focal length is very noticeable.
6. The Bird's-Eye view: This shows a scene from directly overhead, a very unnatural and strange angle. This shot does, however, put the audience in a godlike position, looking down on the action. People can be made to look insignificant, ant-like, part of a wider scheme of things.
7. High Angle: Not so extreme as a bird's eye view. The camera is elevated above the action using a crane to give a general overview. High angles make the object photographed seem smaller, and less significant (or scary).
3. Eye Level: A fairly neutral shot; the camera is positioned as though it is a human actually observing a scene, so that eg actors' heads are on a level with the focus.
8. Low Angle: These increase height and give a sense of speeded motion. Low angles help give a sense of confusion to a viewer, of powerlessness within the action of a scene. The background of a low angle shot will tend to be just sky or ceiling, the lack of detail about the setting adding to the disorientation of the viewer. The added height of the object may make it inspire fear and insecurity in the viewer, who is psychologically dominated by the figure on the screen.
9. Oblique/Canted Angle: Sometimes the camera is tilted (ie is not placed horizontal to floor level), to suggest imbalance, transition and instability (very popular in horror movies). This technique is used to suggest POINT-OF-View shots (ie when the camera becomes the 'eyes' of one particular character, seeing what they see — a hand held camera is often used for this.
Camera Movement
A director may choose to move action along by telling the story as a series of cuts, going from one shot to another, or they may decide to move the camera with the action. Moving the camera often takes a great deal of time, and makes the action seem slower, as it takes several second for a moving camera shot to be effective, when the same information may be placed on screen in a series of fast cuts. Not only must the style of movement be chosen, but the method of actually moving the camera must be selected too. There are seven basic methods:
1. Pans: A movement which scans a scene horizontally. The camera is placed on a tripod, which operates as a stationary axis point as the camera is turned, often to follow a moving object which is kept in the middle of the frame.
2. Tilts: A movement which scans a scene vertically, otherwise similar to a pan.
3. Dolly Shots: Sometimes called TRUCKING or TRACKING shots. The camera is placed on a moving vehicle and moves alongside the action, generally following a moving figure or object.
4. Hand-held shots: this produces a "fly-on-the-wall" effect as it gives a jerky, ragged effect. Hand held cameras denote a certain kind of gritty realism, and they can make the audience feel as though they are part of a scene, rather than viewing it from a detached, frozen position.
5. The Aerial Shot: An exciting variation of a crane shot, usually taken from a helicopter. This is often used at the beginning of a film, in order to establish setting and movement.
Filming
Initial ideas:
© Fusion of stop motion and real footage
© Intro- stop motion, matching story being told through song
© Bugs- made from modeling clay. Experimented with a variety of different materials to make sure we had the most profitable for this style of media, such as play doh, which was not sturdy enough (didn’t keep in chosen position) so modeling clay was most suited to our needs.
© Vibrantly coloured characters in contrast with arty/stylistic monochrome backdrop, drawn in biro and scanned onto computer ready to use.
© Stop motion filmed using blue screen; this was chosen in place of the more typical green screen as the main character (caterpillar) is green so green screen not appropriate, as the caterpillar would merge when chroma key applied.
© Blue screen- influenced the colour code for the bugs so they would appear clear and whole
© Compassioning and angles for our video will be plentiful, but still fitting with the storyline
© The original plot is to be based around the lyrics of the song we have chose, in that there will be a lonely caterpillar who is invited to a ball (in our case, we have brought it up to date with a party/rave being more relevant to current), where by two sections of filming method will be used; stop motion of model characters for the introduction which fuses with the actors footage. This changeover in scene and media will be formed by a gradual change in shot where the caterpillar is crawling off screen as a character (in real life) is doing the worm dance in unison as the shot is split in two (as if the worm transforms into a person dressed as a bug) Following this the 3 other bugs from the stop motion enter the party, where we will film four areas of the hall which link together into one shot of each character walking into their area, when they have all got to their shot area, they start dancing. This then goes on to various shots of dancing, other character's in costume (bug inspired), moving onto the entrance of the princess ugly bug. They both take an interest in each other (whilst cutaways of other dancing and musicians miming), they talk then dance and leave together. Finishing with stop motion of a chrysalis and the butterfly emerging from it.
Stages of filming:
© Blue screen set up in an empty room, plenty of space for us to work
© Industrial lighting to provide sharp and detailed viewing
© Fuji digital camera used in level with action/models (front on view)
© Shots used in stop motion- mid shot, close up, 2 shot, camera tacking and group shots
Lighting decisions
© Type of lighting, positioning of lighting, use of flash or not; when using the camera flash we found large shadowing surrounding the models but also these shadows would change each time another photo was taken causing the characters to be distorted and movement to be messy and unprofessional. So to overcome this we decided to look for other lighting outlets.
© Permanent lighting which focused on the models was the solution so we searched for a light which lit up the characters with an acceptable level. Firstly we tried a standard indoor lamp with 60 watt bulb, but this did not provide the lighting we wished to achieve as the light was to focused on one initial area leaving large areas unlit, which would cause issues when chroma keying.
© We then moved onto more substantial lighting- industrial lighting which fulfilled its duty well, all we had to do was prop it up, clamping it onto a chair (lighting stationary) directly on the filming area which left the models with the least shadowing possible, and making the characters distinctive from the blue screen.
© For the actual real live footage lighting, we went on using straightforward indoor lighting as best balance of lowlight as possible which didn’t leave the footage and action unnoticeable.
Models
© Constant movement of models made cracks and fingerprints/dents, to decrease this we tried to do as less and be as gentle with handling the models, with re-fixing if needed e.g. caterpillar neck loosening.
© Also we fitted the caterpillar with wiring at its centre to make the positioning easier and more consistent.
© The balance of the characters, mainly the caterpillar toppling over when back arched was on issue as the placement and photo were messed up by this so to tackle this we had to be rapid with taking the shot.
© Creases in the blue screen was another issues, we did smooth out the whole screen primarily but with having to be active around the set the screen wrinkled in areas so had to be on constant watch for any as needed one tone all round for the background.
Editing
PREMIER ELEMENTS PRO- you can drag clips backwards or forwards along the timeline or sceneline to rearrange them - or you can delete them, or drag more clips in to any point in the production. The timeline offers more detailed information, and is better for fine editing, adding effects and audio. As you work, you can see the results instantly by hitting the play button, but when we came to do this the film was very jerky and it work better for us to use the side arrows on the keyboard.
Locations prop listing and costume
Mise en scene is a french term which translates into 'put in the scene' which means everything that goes in to the composition of the shot, as well as the framing of the camera, lighting in the shot, set design, props and costume (basically all that is on screen).The mise en scene is a key factor of ‘creating the atmosphere’ as it where in that it is the scaffolding of the media, backing up the on the screen action making the media more realistic and believable for audiences. “to give an impression of the characters or situation without vocally articulating it through the framework of spoken dialogue, and typically does not represent a realistic setting. The common example is that of a cluttered, disorganized apartment being used to reflect the disorganization in a character's life in general, or a spartanly decorated apartment to convey a character with an "empty soul", in both cases specifically and intentionally ignoring any practicality in the setting.” -wiki
Furthermore, prior to filming, great deliberation needs to occur. On what props we shall include and where they should be gathered from, look at scope locations which are in keeping with the media. Alongside these significant decisions is the foremost important decision of the characters individual attire and the connotations that the uniform hold.
Props
© Wiggle (stick with fury tail)
© Party poppers
© Sound system
© Bubbles
© Tripod
© Video camera- we had to use my Samsung HD video camera as all cameras where taken when we started filming. This meant getting the same shot at a different angle was much harder to perfect as every detail had to be recognized.
Costumes
© Caterpillar (ugly bug): in keeping with the model caterpillar colours- green top, plain trousers, quite understated/boring, geek glasses, blue jacket. Stereotypical boyish colours- young audience can easily relate and realize the gender (block colours matching sex). Also this simple not overly thought clothing is one of which links to this genre of audience as appearance isn’t at the forefront of there qualms.
© Ugly bugs love interest: pink top, sparkly jacket, plain trousers, and tiara; pretty, glitzy, girly, reminisce of wanting to be a princess as a child.
© Grass hoppers (*2): waist coats, top, trousers, incorporating green (grasshopper colour)
© Spider: black colour code, black shades, grungy rocker look. Adding elements of the specific bug characteristics to relate, but also refining these to link with the ‘clicks’ of today’s society (e.g. spider would be in the gothic group)
© Beetle- leather jacket, jeans and antennas
© Additional character's: party wear, vibrant, playful and antennas
© All of which convey obvious connotations, which gives the audience clear ideas of what is happening and what the character's are like (represented in what they wear may reveal aspects of their personality)
Setting-
We will be filming at a our local village hall, as has the sufficient space needed to pull off the party ambiance. The availability of this hall means we will have to pull it off in one filming session so to complete all areas to standard, strict planning will take place and communication between me and my work mate will be crucial.
Problems
© Our prime issue was concerning persuading people into staring in the party scene, as majority were not keen on making twits of themselves (having to wear silly costumes and dance). To proceed in filming and to overcome this hurdle we tried to lightly bribe people with goodies. But even after this we found many willing volunteers were busy when the hall we were using was available. Consequently, as time was steadily running out, we had to press on and do the best we could considering lack of helpers. Adapting ideas and having to be cleverer with camera angles and countless costume changes.
© Funding- or absence of, meant we were not able to forward our ideas at the high standard we had in mind; set, costume, props etc using what we had to hand and our artistic flair.
© First filming session, completed entire shot’s, all went to plan until uploading the rushes discovering the quality was appalling. As the video resolution on the Samsung HD (1920*1080) was set at the lowest possible- 720/30p, making the whole footage very grainy and amateur (as if was filmed on a old video camera phone). Meaning we were back at stage one having to re-film it, making sure the same mistake didn’t happen twice (correcting mistake putting camera on highest resolution-1080/30p HD and kept on guard- constantly overlooking these settings). Fortunately, all went like clockwork 2nd round and we came up with some more unique and inspired ideas being a positive to the annoyance of the first shooting.
© We changed the second half of the real footage as the location on the initial storyboard was set at a house party- the two go upstairs, which we altered to having the male lead the girl out of the hall. Also the idea of them going to bed in a sleeping bag which transformed into a (stop motion) chrysalis, this changed into just a fade into a stop motion of the chrysalis hanging from the tree (used in intro stop motion) which then burst open and a beautiful butterfly flutters off. Symbolizing the changeover in tone for the ugly bug, from sad and miserable to stunning and happy butterfly. Creating the stereotypical 'and they all lived happily ever after' finale.
Shot list (party scene):
© Mid shot of characters entering through door, cutting one after the other at the exact same angle and shot (camera on tripod, stationary)
© Following with an arrangement of 4 shots with screen split into individual areas- each of the character has an individual part which they walk too. Spider being the furthest left, dragonfly after, caterpillar next and finally the beetle. This order links with the order in which the models leave for the ball in the stop motion sequence. When they have all reach their spot they start dancing (dances relate to the character e.g. Spider is a rocker so head banging)
© This then goes into mid shots and wide shots of dancing and people such as entrance of , stationary camera for all (as problems with casting, we had to multi task and moving the camera would reveal the lack of people)
© Two shots of musicians throughout
© Extreme close up of the two characters expression’s
© Over the shoulder shot of conversation between girl and boy
© Mid shots and wide shots of dancing and people
© Close up of hand leading to mid shot of couple exiting
