Color code: purple applies to the clips that we chose to use in our music

video, blue applies to the clips we chose to discard.

These shots were our first experience at collecting footage for our
music video. We worked together to try a variety of angles and
shot types and found the most effective to be our tracking shot
taken from behind where I periodically turn back towards the
camera and a selection of medium close ups. We chose to explore
this technique from a few different angles, cutting and splicing
these clips together in our final product to inspire a moment of
reflection. The clips not chosen weren’t effective in terms of our
angles, the birds eye view shot, for example, decreased my
intended appearance of strength, which is vital in this scene where
I reject stereotypes and hegemonic ideals (Hall) through my
unconventional, typically masculine outfit choice.
These shot examples were a continuation of
our initial trial and error practice of
beginning to film our video. The medium
shots outlined in blue were effective in
terms of scene setting and layout, but our
use of lighting reduced the visual quality.
We chose to use a clip which employed
clear handheld camera movement,
providing a code of realism that cues the
independent genre

Moving on to our shower scene, we

began filming at a low angle, aka a
shot taken from below the eyeline.
During our refinement process we
decided to use medium close-up
clips instead, aligning the audience
with my eyeline and allowing them
to feel more personally connected
and directly spoken to by me.
During the filming of these clips we tried a variety of different locations,
use of props, lighting styles and camera angles. Eventually we decided
upon the use of a birds eye view angle, adding a degree of vulnerability
that works in direct contrast with the connotations of my red clothing and
use of a prop (The Handmaid’s Tale, a feminist warning against the
dangers of female oppression). We decided to use close up shots,
demanding the audience’s focus to be on my expressions, outfit and use
of props as we wished to make a powerful feminist statement with these
shots with no frivolous background distractions. During my editing
process, I decided to employ a jarring 90 degree portrait spin modified
from landscape, parodying the use of portrait on social media and
therefore challenging and subverting mainstream audiences’ (Y&R)
obsessive social media use.
In these clips we chose to use pops of red to
symbolise the root chakra and my connection to
the earth, and blue to signify the throat chakra and
the sky and higher realms. During a testing trial
and error process we eventually found the use of
panel lights to be an effective way of exacting this
aim. We used close up shots to highlight our use
of colour.
This scene was the most challenging in terms of
finding the most effective ways of using lighting,
mise en scene and camera shots/angling. These
clips outlined in blue were decidedly not effective
mainly due to our lighting and composition
choices. We wanted the table setting to be visible
alongside obvious visibility of myself. We tried
using a canted/dutch angle to suggest a sense of
imbalance (disequilibrium – Todorov) but found it
to detract focus from the desired impact of this
scene in which we make a point about the
superficiality of rich, banquet events where food is
used merely for sign value (Baudrillard).
This photo depicts one of our chosen, more effective
clips. In order to add emphasis we smeared the lens of
our camera to create a slight starburst, vintage effect,
causing the candles around me to shine like
spotlights.

Our discarded clips contained footage of me

running towards and away from the camera,
which was held in a rigid, motionless position.
In our final product we chose to use a tracking
shot instead where I walk towards the camera,
once again employing handheld camera
movement that adds a sense of the genuine. The
tracking shot was also more effective in regards
to the way in which I am able to assert
dominance. I employed the technique of direct
address, rather than using a shy, false veneer of
power this scene is ironic and postmodern (self-
reflexivity), a strong feminist show of strength
and confidence – highlighting my mission
statement about the importance of rejecting
stereotypes and hegemonic ideals (Hall).
During our refinement process, this
clip that was originally much longer
was hugely cut to leave me opening
the shutters of a window. We agreed
that this part of the clip was the most
effective and worked best/ most
impactfully on its own. This
technique was used to symbolise new
opportunities and beginnings whilst
creating an atmosphere of positivity.
We thought that this symbolism was
vital and needed to be kept simple, so
we filmed a medium close up from
behind and cut this clip before I
turned around.