You haven't published the perf cut yet; this comment is aimed at that, copied from James' Good work overall James. My points below are aimed more at the final cut than a revised perf cut, though you might use the perf cut to experiment with some FX. As a group you should now be using lyric timing sheets to sketch out where you think the narr footage would come in (including clear info of any cross-cutting or returning to scenes), + highlight any perf shots/aspects you want to make sure you retain. Make sure all your social media pushes this perf cut (+ the rushes vid) as part of the teaser campaign, building up to the full promo + digipak design 1: 'skin on skin' line; SOME sense of physical intimacy needed? 2: 058 where the drop kicks in, needs to be high impact. IF it was this shot you'd need to think about interesting layering in addition - and/or the white stripes concept you're looking at for digipak? 3: 1:25 such cutaways are v important, but just not so long (takes), especially when the foot tap is so slow! 4: The contrast between cams, eg 131/132 - rather than colour correcting to bring up/equalize colour, maybe look at B+W (poss with just 1 col highlighted (yellow)) as we'd discussed? The contrast is quite effective. Look at Sweet Child O Mine (all B+W, Pixies have done this too, but also washed out with blue pushed up) + Paradise City (mix of B+W/colour) 5: 140 Clearly struggling for good drummer footage, but any low-res shots like this need to be disguised through VFX. The layering that follows is the right idea, but the pace is off (too slow to add/transition each, some of the takes need speeding up). Its not really clear that there is drumming at that point in the track? 6: 237 V grainy again + HUGE shake in this take - always cut away just before any such shake, + come back to it after if you wish, but avoid including the shake. ALTERNATIVELY, you can make a virtue of bad cinematography: use the shake as a whip pan, and match it with another moving the opposite direction, adds good dynamism to live peformance. 7: 242 The 1st hand movement is a nice emphasis, but then with the prolonged take you see more of the unrealistic 'strumming' style 8: There's a lengthy guitar focus (matching the track - Goodwin!), but be v careful with what you show of the odd strum style. Also think in terms of AT LEAST 2 steps up/down the shot scale (ECU/CU/MCU...) between cuts; the only way similar sized/framed shots work at all is through reduced opacity cross-layering. Some of the FX Christian did with his GCSE video might be an idea here (tho could be too rock/metal-styled) 9: 2:57 long take of a v blurred shot 10: 300 because you switch shots during that single line (oh i cant break free) the keyframed zoom into mouth is lost. This would be higher impact if the following shot built on/played on this effect/idea. At the very least think about matching big movements (including zooms) with another 11: 313 frustrating its a bit blurry, but otherwise I love this shot - you lose the impact by continuing past the 'oooohhhhh' though (316). That silhouette shot is superb too, you could always cut back from it to that CU. 12: haven't mentioned lipsynching yet; it can get quite unconvincing on some longer takes (324, 332), although this maybe reflects you spending less time as you neared the end?! As a rule, it'll be easier to cut to single phrases with a pause/breath in between (eg 331, cut 336) 13: 349 there's a bit of a tonal mismatch between the smiling girls + serious Simon, BUT its important to feature some shots like this. Again, look back at those GnR vids as classic archetypes featuring 'behind-the-scenes' or informal shots like this 14: Multiple focus shifts in that final take, but not a bad idea, even layered with graveyard? You could have an outro extending a few secs beyond the track. The track ends VERY abruptly, check you haven't trimmed the last second or so + lost the audio fade out.
You haven't published the perf cut yet; this comment is aimed at that, copied from James'
ReplyDeleteGood work overall James. My points below are aimed more at the final cut than a revised perf cut, though you might use the perf cut to experiment with some FX. As a group you should now be using lyric timing sheets to sketch out where you think the narr footage would come in (including clear info of any cross-cutting or returning to scenes), + highlight any perf shots/aspects you want to make sure you retain. Make sure all your social media pushes this perf cut (+ the rushes vid) as part of the teaser campaign, building up to the full promo + digipak design
1: 'skin on skin' line; SOME sense of physical intimacy needed?
2: 058 where the drop kicks in, needs to be high impact. IF it was this shot you'd need to think about interesting layering in addition - and/or the white stripes concept you're looking at for digipak?
3: 1:25 such cutaways are v important, but just not so long (takes), especially when the foot tap is so slow!
4: The contrast between cams, eg 131/132 - rather than colour correcting to bring up/equalize colour, maybe look at B+W (poss with just 1 col highlighted (yellow)) as we'd discussed? The contrast is quite effective. Look at Sweet Child O Mine (all B+W, Pixies have done this too, but also washed out with blue pushed up) + Paradise City (mix of B+W/colour)
5: 140 Clearly struggling for good drummer footage, but any low-res shots like this need to be disguised through VFX. The layering that follows is the right idea, but the pace is off (too slow to add/transition each, some of the takes need speeding up). Its not really clear that there is drumming at that point in the track?
6: 237 V grainy again + HUGE shake in this take - always cut away just before any such shake, + come back to it after if you wish, but avoid including the shake. ALTERNATIVELY, you can make a virtue of bad cinematography: use the shake as a whip pan, and match it with another moving the opposite direction, adds good dynamism to live peformance.
7: 242 The 1st hand movement is a nice emphasis, but then with the prolonged take you see more of the unrealistic 'strumming' style
8: There's a lengthy guitar focus (matching the track - Goodwin!), but be v careful with what you show of the odd strum style. Also think in terms of AT LEAST 2 steps up/down the shot scale (ECU/CU/MCU...) between cuts; the only way similar sized/framed shots work at all is through reduced opacity cross-layering. Some of the FX Christian did with his GCSE video might be an idea here (tho could be too rock/metal-styled)
9: 2:57 long take of a v blurred shot
10: 300 because you switch shots during that single line (oh i cant break free) the keyframed zoom into mouth is lost. This would be higher impact if the following shot built on/played on this effect/idea. At the very least think about matching big movements (including zooms) with another
11: 313 frustrating its a bit blurry, but otherwise I love this shot - you lose the impact by continuing past the 'oooohhhhh' though (316). That silhouette shot is superb too, you could always cut back from it to that CU.
12: haven't mentioned lipsynching yet; it can get quite unconvincing on some longer takes (324, 332), although this maybe reflects you spending less time as you neared the end?! As a rule, it'll be easier to cut to single phrases with a pause/breath in between (eg 331, cut 336)
13: 349 there's a bit of a tonal mismatch between the smiling girls + serious Simon, BUT its important to feature some shots like this. Again, look back at those GnR vids as classic archetypes featuring 'behind-the-scenes' or informal shots like this
14: Multiple focus shifts in that final take, but not a bad idea, even layered with graveyard? You could have an outro extending a few secs beyond the track. The track ends VERY abruptly, check you haven't trimmed the last second or so + lost the audio fade out.