The aim of this meeting was to go through my project proposal to make sure Harrison understood the film's meaning and synopsis, as well as the storyboard to work out when to film each section and the content.
My main concern with Harrison was when he would be available to film as I knew he was filming his work at the beginning of March; however we agreed to film the scenes with the powder paint on Sunday 12th March and the first and second scenes on Saturday 1st April. This will then give me a month to edit all the clips together ready for the deadline in May.
We arranged to do a test shoot with the powder paint next Thursday (9th) to experiment with angles, lighting and the use of powder paint. I will find examples of footage I would like to include in these scenes to show Harrison and he said he will research some inspiration too. We will use a studio as Harrison said he had shot dance scenes before and a studio gave a more editorial, abstract feel.
After watching and discussing Harrison's previous work, we decided to include slow motion clips of the dance scene to emphasise the dancer's beautiful movement. I assumed this would be done in post production; however Harrison said there was a specific slow motion mode on the camera which increases the clips per second and he suggested he used that as if I did it in post production then the footage would look blurry and unnatural, losing some detail and quality. Another technique he suggested was focusing on closeups of each scene to make each scene more ambiguous. I have lots of closeups in the opening scene and scene introducing She which he thought would keep the audience guessing; however he suggested I continued this into the dance scene to capture detailed shots of the styling, facial expressions and also ambiguous shots where it isn't clear what is being show. This is something I will watch out for when looking for inspiration clips.
Harrison suggested that I spread the flash back footage throughout the film to muddle up the storyline, to make it seem less like a music video and more like an abstract art piece. As soon as he said "music video" I instantly knew what he meant, as music videos usually have a slight storyline and are usually a compilation of scenes in order; however Harrison suggested not being so strict about where each scene had to be as he said fashion films are unique in their ambiguity and creativity so thought I should take advantage of the freedom.
I voiced my concerns regarding Sabastiane's comment about my dance scene being cliche and so we discussed some possible adjustments. I suggested using a coloured smoke grenade instead of powder paint; however Harrison said they are very unpredictable to work with as they are so reliant on the wind's breeze. He also said they smelt very bad and so wouldn't be ideal in a small location or inside. He showed me the AnomolousVisuals (n.a.) music video he had shot using smoke and coloured light to surround and engulf the dancer, mirroring their slow motion movement (link below). This is something we could experiment with; however we were both still excited by the use of powder paint so will focus on this in out test shoot.
When Harrison asked for information about my music choice, location and model styling it emphasised to me the volume of work I still have to do, motivating me to organise and plan my film with a time plan to make sure I hit all my deadlines and keep my team on track.
References:
ANOMOLOUSVISUALS, n.a. Promotional Music Video Gaika Machine [viewed 4th February 2017]. Available from: http://anomalousvisuals.co.uk/portfolio-posts/machine-ep/#2
No comments:
Post a Comment