Welcome!



Hello, I'm
Matthew Romo (1660) from Group 2. The other embers of my group are Harry Kettenis (0390), Josh Stevenson (0796) and Ysabel Hudson-Searle (0331).

Hopefully navigation should not be an issue on my blog; 'labels' on the right hand side near the top will direct you to groups of posts from specific areas. Research and Planning, Production, and Evaluation work should all be available to see under their respective A2 labels. The other labels will direct you to work from my AS level and preliminary activities for A2.

Also, by clicking on the "Latymer Music Video Blog" link above the labels, you can go back to Latymer's main music video blog where all other blogs from my class can be accessed.

Finally, I hope you enjoy observing and assessing my work as much as I did creating it.


Our Digipak Cover

Our Digipak Cover
Our Digipak Cover

Our Website

Our Website (Text)

Our Website - Click on the branding above to enter

Our Music Video

Our Music Video (Text)

Our Music Video

Sunday 30 November 2014

Early Ideas & Inspirations


As a group we have decided to incorporate a mixture of performance, concept, and narrative, with a strong sense of the latter two.


Lighting, Grading and Colours

We agreed that we could envisage low key lighting or/and black and white grading like Waiting Game by Banks with the style of music we wanted to use, as well as a mixture of techniques such as strobe lighting like in Papi Pacify by FKA Twigs. This could contrast with bold, strong colours similar to in the video for Quintana by Travi$ Scott where a silhouetted man dances in front of a red background.



Camera

Lots of powerful, intense closeups similar to early in Raleigh Ritchie's video for Stronger Than Ever with a slow reveal of characters.


Editing

We all were keen to explore a use of slow motion and incorporating reverse/replay editing also like in the video for Papi Pacify. Double vision effects like in Quintana would also enhance the use of visuals that could anchor the video.


Musical Influences

After discussing what we liked as a group we decided we were fairly broad and open as a whole but liked the idea of the following elements

  • Slow paced trap
  • Alternative R&B
  • Minimalist dubstep
  • Work with gradual buildup of suspense and power
  • Must have a sense of emotion and intensity

Saturday 29 November 2014

Friday 28 November 2014

Our Record Label


Our logo: intertwining the two 'R's to form
and S inbetween to make 'RSR'
We named our record label Raw Sound Records. It has similarities in terms of model with other labels, particularly Mercury Records and Relentless Records in that they are independent, London-based but still operating under a larger company with Universal Music Group.

PBR&B, soul, dubstep, hip hop, and house will be our genres of focus as many of these intertwine in musical influences e.g. PBR&B being made up of multiple genres, mixing of the genres in songs such as soul/R&B artists singing on hip hop tracks (Jamie Foxx on 50 Cent and Kanye West tracks for example), and the overlap in audience culture.

We would take pride in discovering and signing up and coming artists to bring out their potential to a more lucrative mainstream market where popularity and profitability are attainable. We believe a market exists for everyone and in getting the best out of every artist.

Here are some notes from our group meetings laying out our process:

Here are some 
examples of the type of artists that would feature on our label:

Here are some pictures to show some of the design process of our label's creation:



Thursday 27 November 2014

Our Artist


Artist name: Roza
Nationality: British
Gender: Female
Age: 20



Name

In naming our artist we decided we wanted a short, single name that was both simple and not so common. It had to be a name that stuck in our minds, so when 'Roza' came up on a random name generator we used in which we put in details of gender, age, and genre, as a group we agreed that it sounded quite cool and catchy.

During a free period, Yssy and I were browsing dafont.com for font ideas to use with our branding, which would be synergistic across our website, album cover, social media, etc.
We decided on _____, which was uncomplicated but quite striking and stylish:








The Market

Within PBR&B there is a gap in the market for a female artist as it appears to contain more male artists such as The Weeknd, Frank Ocean, How To Dress Well, Miguel, and JMSN being successful to name some prominent ones. 
It is not so dominated by males that there is no potential for female artists, as BANKS, Jhené Aiko, Kelela and FKA Twigs have also proven successful, meaning there is ample opportunity to create a strong female identity.

Another way to establish ourselves differently from others would be to present ourselves
as Britain's answer to PBR&B, (FKA Twigs being the only other major British artist in this genre), as it is a North American phenomenon, most prominently in California with BANKS, Frank Ocean, Miguel, Jhen
é Aiko all from there.

Male PBR&B artists lyrically use more lustrous, sexual lyrics, and less emotion in their music whereas the female artists tend to write more about feelings. With Roza we're somewhere in between, with poetic lyrics about a relationship, but the video hopefully showing a numb, emotionless side as well as a passionate, fiery side too.


LYRICAL EXAMPLES OF OTHER ARTISTS GENDER COMPARISON



Styling

Elements of Roza's style would be influenced by a mixture of our genre inspirations. Roza's style would not be limited to a certain type of clothing, but in fact identifiable







Wednesday 26 November 2014

Our Track


After a lot of discussion, contemplating, and listening, we chose 'Teen Spirit' by SZA.

   



Key points about the song and why we chose it:

  • It fit our shared desire to make a video for a slow tempo but powerful track containing emotion - we could envisage creating a video for it
  • Slow but intense beat, soulful vocals, ambient, atmospheric sound, and artistic lyrics fit our idea of a style heavy on concept with loose narrative
  • It is of the R&B subgenre known as 'PBR&B', containing elements of R&B, hip-hop, soul, and aspects of dubstep, which we felt was what we wanted for our track
  • We felt there was a gap in the market for a British PBR&B release (see 'Our Artist' post)
  • Potential for strong female identity and vocal performance, working to a strength of our group, having Yssy as an aspiring actor who is capable in front of camera 
  • The track has sections of building up, breaking down to only vocals and ambient sounds, and dropping into its beat, lifting the track and providing us with scope to work with, allowing for changes in mood and narrative without becoming repetitive

In relation to the actual task:

  • We were able to edit the censored, clean radio version over the split second where the song's only profanity is
  • Teen Spirit is a non album single song with no chart performance
  • It is contemporary and within a popular alternative genre, and of a marketable culture (see 'Our Audience' post)
  • Hiphop, alternative R&B, dubstep and soul, the genres it breaks down into interlink with what would feature on our record label (see Record Label post)
  • Long intro and outro that do not vary much make it easy to cut slightly into the beginning and fade out into the end to keep within 3 minutes



Lyrics (taken from RapGenius, where the meanings are broken down):

Verse 1:

Ice under my heels, I hear it breaking

Under my heels, I hear it cracking

Foolish of me to think I had it
Emmanuel, how foolish of me!
To think I had it..
I hear your voice behind me
Moving up my neck
I hear you talking
Creeping on my shoulder
I hear you breathing
In my head I hear you screaming
Just do it..

Hook
Yeah yeah, I feel you talking
Yeah yeah I feel you moving
Yeah yeah let's do it already
Yeah yeah..

Verse 2
Chipping away at boulders
I conquer fire
40 days 40 nights
No New Star
Fuck your Third Eye!
I be the One
Neo of the Sun
Give me simplicity
To lonely seems like real fun
I feel you
Creeping up my leg I hear you talking
Moving on my shoulder I hear you breathing
In my head I hear you screaming
Just do it

Bridge
Don't come close
Don't come close
You don't even know me, know me
Don't come close
Don't come close

Pre-Hook
You don't even know me
You think you know me
Yeah yeah, I feel ya talking
Yeah yeah, I feel ya moving
Lets do it already
Mmhmm yeah yeah
Yeah yeah, I feel ya talking
Yeah yeah, I feel ya moving
Lets do it already
Mmhmm, yeah yeah

Dont come close
Dont come close
You dont even know me, know
Come close, Dont come close
You dont even know me
You think you know me, yeah
You dont even know me
You think you know me, yeah
You dont even know me, know me
You think you know me
Yeah yeah
Yeah yeah
Yeah yeah
Aww yeah



Our choice became dictated slightly by the choice of artist, but not to our detriment. One of our original song ideas was The Weeknd's cover version of Michael Jackson's 'Dirty Diana', however despite the fact it was a cover, the stardom-type nature of the song made it slightly inappropriate for the task, especially since the artist had vocals at times indistinguishable from the original version. We were led by our decision to find a track sung by a female artist, and our group had a strong consensus over Teen Spirit.


Copyright



The artist SZA technically has ownership of the track, as it was released prior to her signing to Top Dawg Entertainment, rather than after this. Josh took the initiative to attempt contact SZA asking for permission to use the track, for the sake of the task's rules:




This was attempted on Facebook also. So far we have received no reply.


Tuesday 25 November 2014

Steal-O-Matic




This our group's steal-o-matic; a montage of parts of music videos that have inspired our project. It is effectively a video mood-board including lighting, artist image, interactions between characters, use of editing like reverse and slow motion shots, and themes. Some of the specific parts of our inspirations are highlighted with text to clarify what we liked about them. We downloaded the individual videos using youtubeinmp4.com and inserted them onto a timeline on Adobe Premiere Pro to cut these parts into the steal-o-matic.

It does not represent our project in terms of structure but more in the sense of shot types, techniques, editing; essentially things that we like, whereas many of the more specific ideas for shots we would like to achieve, as well as their actual structure in a video, will be presented later in the animatic.

Monday 24 November 2014

Animatic


This is our group's animatic. Similar to the steal-o-matic in that it is a series of images and short video clips, but this is more developed as it is ordered into the plan for our music video. The shots are more specific as opposed to being simply things we may consider doing something like them; the shots in the animatic represent what we would like to have, and a more developed idea of their order.




The narrative is to remain loose; reflecting on a flawed past relationship with both good and bad times contrasting eachother, and often acting as a facade to the outside world. This is anchored by conceptual content featuring an elemental theme (eg fire & ice) to at times explicitly reference the lyrics, as well as represent the fragility and volatility of the relationship.

Sunday 23 November 2014

Group Meetings: Working up to Shoot Day + Promotion UNFINISHED

Casting and Concept


From early on we had planned to use as few people as possible for reasons of practicality. Apart from three scenes, only members of our own group are used. We had copies of eachother's timetables to plan around are availability, which was much easier within the group than it would be outside as we shared lesson time and free periods in which we could shoot in the studio.


Roza (Lead role)


As mentioned in the 'Artist' post, Yssy from our group is an aspiring actor who performs well in front of camera, and therefore was the best option for the lead role. The sound of the vocals on the track is feasible with her image, and a believable lipsynch performance of the song is vitally important in realistically creating a music video that looks as professional as possible. 

Boyfriend
Harry, also from our group,
was decided as the (ex) boyfriend for the video, to feature in our narrative shots. This was because he is quite confident in nature, fitting the personality idea for his character. He proved a good combination with Yssy during screen testing (see below) and seemed to have more natural chemistry on camera, making the narrative look more believable. Having all group members for most of the important roles is also better from a practical and organisational perspective. 

We tested who would work best with Yssy for the boyfriend role by filming the two spontaneously interacting. Ama, another student at the school in our year, was in contention with Harry for this.



Arguments showed good potential, plus our cast got on well.


The 'Good Times' showed some chemistry that came across effectively on camera.


Despite Ama being an able actor, the relationship seemed less natural.



The 'sweet' shots looked good, but not to the extent that it would be much greater value to look outside our group for casting, which is more practically difficult, when Harry seemed to work great with Yssy. 


Concept
Seeing as one of my stronger attributes is creativity, I felt I could be of better use on the ideas side rather than acting a lot. By contributing more on ideas and directing I could put these into practice. However I also put myself forward for some of the shots I thought up, like the shots of my back where I felt I could best benefit the group by acting in the way I imagined it, as I thought directing from the outside could be more difficult on some shots to convey what I had in mind. My enthusiasm for the more abstract and creative side of media were the main reasons for being more heavily involved in this. I also took on the drumming performance shots out of being musical.




Despite being experienced in acting, Josh somewhat stepped back from acting to hone and make best use of his directing ability. Since he understands acting and performance well, he used this to coach and instruct Yssy and Harry (and me a little) to get the acting looking best on screen. He acts in the silhouette shot with Yssy as it required some choreography that he understood well. His height also helped to create the imposing effect intended for the silhouette.  





We enlisted in former student Tasha's help, knowing of her dancing and performance abilities from her assisting our class on the 1975 remake shoot and also from her being lead role in the previous yeargroup's Jessie J remake. She features in the dancing concept shots.


We chose Olivia, another former student, to perform in our fire poi concept shots as she was keen to have a role in the video. She helped with the 1975 remake also, for makeup, and when coming into school to give tutorials on makeup for the music video groups to use on their shoots, she put forward the idea of fire poi, which she knew how to do. This tied in well with our use of elements as symbolism. 




Saturday 22 November 2014

Props



Once we had a good idea of all the shots we wanted, we made a list of all the props we would need for our shoot, so we could identify who was to bring what, what we did not have, how much it would cost and where we could it. As is policy in the department, we obtained approval from our teachers before purchasing anything, and evidenced our purchases once this had been done so costs could be reimbursed.




We made all purchases in good time of when we would need them so that we could guarantee having everything and so that if there was a problem there would be enough time to rectify it.



Friday 21 November 2014

Kit List


Here is a typed up full list of all the technical kit we had available to use in our shoots.

Due to it being the most valuable, the 5D Mark II was not permitted by the department for use outside the studio so we made the slight compromise on picture quality of using the Canon HF G30 when we shot in London and at Harry's house.

The Canon 550D was used to photograph our promo shots for our website and Twitter page, and also for some of the evidence shots we took.



Lighting and Set Design


For our first shoot, in central London, we relied exclusively on natural light (see post for first shoot day). This had its challenges but we were fairly fortunate in that it did not rain that day, or have particularly poor lighting from heavy cloud cover. Despite the decent weather, the main problem we had was at night - even though the colours looked good, eg the coloured lighting from the London eye and surrounding areas, the poorly-lit areas without this lighting picked up heavy grain from our camera.




At Harry's house where we shot some of our 'couple' narrative shots we used the school's Arri portable lighting equipment. Some shots at Harry's house were difficult to light due to
natural light coming in through windows, giving us more limited control of lighting than one might normally have indoors. The bedroom shots required more time to light because of the large floor to ceiling window on one of the walls which did not have curtains, which shined in quite a heavy amount of grey/blue light, which looked unprofessional without quite significant work using the Arri kit. We planned the shot to appear as if it happened at night, as Roza was going out, but we could not wait until too late to get the shots as we had to shoot within reasonable hours.

The location recce shows how the heavy natural light comes in through the windows:


                      


A similar problem with the kitchen shot was a ceiling window above the worktop, but this was less of an issue because Roza and her boyfriend were making breakfast and we shot the scene during late morning, so it didn't look particularly unrealistic.


Studio Intro


In the studio, we used the Leapfrog lighting board and computers upstairs to create lighting setups for our shots. Other groups of media students in our year also had setups saved but it was easy to toggle between them as each would be named after being saved.
From the control desk upstairs we had control of the ceiling lights installed into the studio, with which you could change the colour and brightness of every studio light for the setups. 




Meanwhile other group members downstairs manually adjust the lights using the lighting rod to change their horizontal and vertical aim, and how spot lit or wide the lighting should be. Group members downstairs also had the portable Arri kits, and stronger, moveable turret lights, like the one used in the hair flick shot.



Lighting set up sketches for the studio shots

We made a written plan for some but not all of our lighting setups, because often we knew the composition and framing, etc, but not how the technicalities might play out as lighting can sometimes be challenging; it took some time to optimise our lighting for the silhouette shot. Our planning was more hands on and usually involved a slight element of trial and error that we could afford since early in a session, cast members would be doing makeup.



Performance


Our two main lipsynch performance shots were the 'wet' look MCU and the fire shot, which had a variety of distances. 
The wet shot was inspired by shots from at the start and end Beyonce's If I Were A Boy music video. We used an infinity-white backdrop, which features in other shots also. We sprayed Yssy with water from a spray bottle in order for light to reflect off her with a slight glint like in some of the shots from Papi Pacify's video (FKA Twigs) but without glitter. It would also adhere to our theme of using the elements for symbolism.


For the fire performance we took inspiration from Rhianna and Calvin Harris - We Found Love music video. 




We were keen to emulate something similar but were often told that the school's projectors would likely not be strong enough but we were adamant to try. Because it had not been done before in the school, the idea of lighting a shot solely with a projector was met with an understandable degree of skepticism.

            

We found a good YouTube video of fire that we could use as it went on for 4 hours and had the right type of orange colour we wanted. We then borrowed one of the school's projectors, plugged it into a laptop, and played the video after aiming the projection and blacking out the studio by turning off all lights and closing the blinds. Projecting onto the infinity-white backdrop in a dark colour meant that even though white surrounded the area projected on, the studio was kept very dark due to the strength of the projection - as opposed to reflecting the light back and lighting the room too light like with a standard white light.

The colour actually looked really good and came up well on camera. We first shot it on the HF G30 camera but although we liked the shot it seemed slightly flat and looked better off camera and in real life than the result we got from the footage. After a group meeting and talks with the school's media technician we decided it would look even better if shot on the 5D, which it did.

            

Colour comparison between the HF G30 and 5D shows an obvious improvement




For our club scene, where the boyfriend gets into conflict with Roza for flirting with another girl, we blacked out the studio like with the fire projection shots but lit using a mixture of colours from the studio lights above, mainly reds and blues to give it the atmosphere of a club.


Thursday 20 November 2014

Costume and Makeup


Coming up to our early shoots, we typed out rough ideas of what our cast would wear, discussing what we owned that could be used in group meetings. Below are examples, including shots of Roza with her dog in London, (update: not used in final cut) and some of the shots to be taken at Harry's house for the narrative scenes.



SENSE OF STYLE, LOOK, IDENTITY OF ARTIST



We had a decent idea what Yssy would wear for most shots, but instead of more rigid planning so early into shooting we used the week or few days coming up to each shoot day to discuss costume for the next one. We did this in lesson time and also while at home using Whatsapp, where we could send images of items of clothing mentioned at school, and suggest new ideas with what we could find in our wardrobes.

WHATSAPP SCREENSHOTS!!!

MAKEUP TUTORIAL

MAKEUP PICTURES


Shoot Day 1 - 28/10/14 - London


We began shooting as early as possible, utilising half term to make early progress.
For these first two shoot days, the focus was getting most of our narrative footage. On the 28th we met at Leicester Square, London to capture 'relationship' shots of Roza and her (ex) boyfriend for the video, as well as iconi
c shots to strengthen the British identity of our artist, as it is part of her niche/USP.


I took the initiative to arrive an hour early in order  to scout nearby locations such as Oxford Street, China Town, Soho Square This meant the group could have a good idea of how the natural lighting and density of people might look prior to shooting. These factors can be very unpredictable, so we found this useful.


Some of the photographs I took while scouting before the shoot, which I sent to the group through Whatsapp



Road closures, accidents and crime/investigation were also potential issues, but fortunately this was not an issue for us when carrying out our shots. I confirmed the availability of our locations and we proceeded as soon as everyone arrived. Strong sunlight that day provided opportunity for attractive shots, but was a challenge because shooting in late Autumn meant full daylight would last a small time frame of just a few precious hours. Another issue we took into account was the heavy shadows that the natural light would cast on tall buildings, so we had to wait for the right moments and use the right angles to obtain good lighting, which would be far less of an issue in a more open environment like a park or field.




Above is an initial shoot board for the Tuesday (London) shoot. Much of it changed more closely to the shoot, during Whatsapp conversations earlier in the holiday, as too much time travelling would have meant too little left to shoot.




Here is a map I created of the locations we actually ended up shooting at, all within around half an hour by walking or public transport. This demonstrates the more 'on the spot' thinking as we shot the more Northwesterly locations and then the South East of the nearby areas, before coming back up to Trafalgar square to finish and get the train home from there. We knew that if we planned locations too strictly in London, it would be to our detriment if an area was unavailable, so we planned the rough areas we wanted to shoot at, all within a reasonable radius of where we met.





At the end of the shoot, we recorded ourselves talking about the day. I speak about the many sources of light at the Trafalgar Square setting where one of our relationship shots was taken, which applied to all of central London, especially at night




The light sensitivity of the HF G30 made it difficult to shoot because when the lights changed, which many did, the footage can change significantly as the camera tried to adjust. We did not gain permission to use the more effective 
Canon 5D Mark II DSLR camera due to us shooting outside the school so the footage quality varied in lighting quality - we had to take into consideration that something might look good in our eyesight but this does not always translate onto camera.




One of my personal favourite shots that did not make it to the final music video was shot on London Bridge with the London eye in the background. The lighting was effective in terms of contrast but we felt the high levels of grain could compromise the quality of the video. Above you can see our attempts at rectifying this, however in the end we left the shot out as we decided to have a consistent performance bed of the fire projection, 'wet' infinity white and blue jacket and rose shots, and that it would not make perfect sense to use London for both performance and narrative.

Wednesday 19 November 2014

Shoot Day 2 - 29/10/14 - Harry's House


The second shoot day was at Harry's house, again focusing on acquiring footage to use for narrative; both positive and negative relationship shots were key in providing a story for our video.

Some of our shoot board for shoot day 2 at Harry's house

                               
A location recce of Harry's taken before we came  gave a us a good idea what the setting was like as well as its lighting, before we actually shot there. We could get a rough idea where to set up the lighting kits and what issues could potentially occur.


We knew which shots we would obtain more so than in the previous shoot but again planned loosely for time, meeting at mid day and shooting until the evening. This left us the flexibility to see what worked best in terms of angles, composition, and shot distances.
Me giving direction on the kitchen shots

Since almost every shot from this day included both Yssy and Harry acting, Josh and I had more of a role in directing and lighting the shots. However, due to the rotatable monitor screen on the HF G30 camera, Yssy and Harry could see what shots looked like. This enabled them to provide valuable input in composition and lighting. 

Harry checking lighting quality and framing


We shot the fire poi later in the day once it had gotten dark so that the fire compelling lit the shot and contrasted with the lack of light from other sources. Olivia being the subject on camera, Harry and Yssy took much of the footage we recorded of her. Essentially, everybody was able to contribute to everything in different amounts but we all took a healthy responsibility in engaging with this shoot day.

Tuesday 18 November 2014

Call Sheet


Using the format of the 'Girls' remake, we made a call sheet for our first studio shoot. As seen, it includes starting time, health and safety risks, and some relevant details of staff.


It was kept in the studio to refer to, since all that would really change were the scenes and their call times. For this reason, and for the heavy unpredictability of how long shooting and setup duration could be for some scenes, we did not make a call sheet for every shoot but knew what we were to shoot on what day and in what order.

Monday 17 November 2014

Studio Schedule


Since the school assures maximum use of the studio, we had to plan and arrange times to book it around 2 weeks in advance to avoid clashing with existing plans by the school to use it outside media studies. This was aided by the department in order to make sure every group had sufficient slots to use the studio - this includes within school time (media lessons and free periods) and some weekend slots. Here is the very rigid schedule we used as a yeargroup, with our slots (group 2's) highlighted in yellow.





Sunday 16 November 2014

Shoot Day 3 - 3/11/14


Our group all had a few free periods on the first day back from half term, making it a good day to book the school's studio. During school-time we were not all available together for most of it apart from the double lesson of media we had, spent in the studio, plus shooting at lunchtime, but our free periods were compatible in the sense that were would always be at least two of us there. Still, any studio time we got in school was quite broken up by lessons so progress was fairly slow. However if cast members were not present, the group members in the studio remained productive; setting up the next shot, planning the use of time for the rest of the day, and looking back over acquired footage.


This shot featuring in the final video showcases the stark contrast 
between light and shadow, further brought out by successful grading

The first shot we acquired was the silhouette shot with Yssy lipsynching in front of the ominous shadow played by Josh. The idea was that it represented her past and her inner demons and negative feelings following her. Josh and Yssy worked to choreograph the interactions and movement and with a few practices created a routine, and I directed the shot moving, in front and behind the sheet which we clipped up to a frame to create the effect.


Footage we didn't quite get right (Part 1)
and Part 2











On the left you can see Yssy responding to my direction to move into the centre to be in line with Josh as was desired. After this in the routine Josh lowers himself down out of the shot as if he has been 'fought away' by Roza after succumbing to the silhouette's implied torture of her on the inside. This took a few takes to get right as seen above, as one one take Josh didn't quite get out smoothly, however after a few more takes we got it right and achieved some powerful footage.



Next came the fire projection shots. We had to test these first to get an idea as to whether they would work so we rehearsed it on a smaller scale inside our media classroom with a projector and the lights off and curtains closed. We could not cancel out as much light as we would be able to in the studio but the result looked like it might be able to work, so we went ahead with it.
  
            


The fire looked far better in the studio where we had far more space to play with distance and create quite a spectacular shadow behind Yssy but when we looked back on the footage the colour didn't quite translate to the screen, as we had used the Canon HF G30 which struggles to pick up colour in a dark environment without parts appearing dull and grainy. The moving colours of the fire also affected its ability to focus.

HF G30 footage did not appear vibrant and sharp enough



We were still quite adamant to get the shot to work as we were really fond of the idea. We knew we did not have great finance or resource to make it perfect like our inspiration for the shot in Rihanna's we found love, where Rihanna





































Thursday 13 November 2014

Shoot Day 6 - 19/11/14


Most of our studio time on this day was used for promo shots, however we spent the remaining few hours shooting the lipsynch closeups of Roza. Since Yssy was performing during this time, Josh and I paired up to work on lighting and camerawork, both offering direction.