Unit 327 - Music Video Production
1.1 Pre-Production
This unit is based around Daniel Edozie and his life. We are going to make six five minute videos around different experiences that he has been through, like being abandoned on Skid Row, going into foster care, etc.
This is our production schedule for the project. It consists of the dates we would like to film on and what we will be filming. It also shows the equipment we will need on the day.
This is the A/V script for episode 1 of the mini series. This episode is based around life before America, the trip to America and everything up until he is abandoned.
This is the A/V script for episode 3. This episode is focussed on his move into foster care and how he had to still move around even in care. This episode is him settling in to his new life
These are the legal, ethical and permissions that are needed to be able to film. This document goes over all the possible legal and ethical issues we could have whilst making the episodes and the permission we need to be able to film in certain locations. For example, a legal issue we could have is copyright. An ethical issue we could have is offending religions. Finally, we would need permission to film in the Bristol Flyers Arena to get some footage of Daniel Training.
This is the location recce for our episodes, which is at Portishead. We will be going to the basketball court outside the leisure centre, the train tracks that go under an overpass/bridge.
We would like some scenic b-roll shots around the nature reserve of Daniel enjoying his surroundings and clearing his mind.
This is the cast and crew call sheet for episodes 1 and 3. This document shows the different roles each team member has on the day of shooting. For example, I would be the director and camera operator.
This is the kit list for the production part of this project. It shows the kit we would like, the amount of it we would like and the reason why.
This is the set design planning we have for the Daniel Edozie interview and the Flyers Arena shooting day. For the interview set design, we have 1 camera, 1 light, 1 mic and a black backdrop. So the idea for the set design is pretty basic and will give off a dramatic shot for the motivational video.
This is the risk assessment document for the motivational mini series, which assesses the potential risk we could have when filming. For example, there is a risk of the kit getting damaged from the crew tripping, slipping or falling. What we could do to avoid this from happening is making sure the set is clear from wires and anything that could be seen as a risk.
This is the shooting schedule for Tuesday 1st February. Daniel Edozie will arrive at around 9:15 and we will start recording the audio needed from interviews starting from episode 1 and finishing on episode 6.
This is the location recce for the B-roll shoot at the HarbourSide and Clifton Suspension Bridge. This will happen on Monday 31st January and we are filming shots of the busy areas to show the sense of abandonment and loneliness Dan felt when he was by himself surrounded be everyone. We are also getting this to show how Dan likes it here in Bristol
This is our Shooting Schedule for Tuesday 8th with Daniel Edozie. We have planned that it will take an hour to collect all the footage needed and we will need 2 cameras and a phone stabiliser.
This is the location recce for the B-roll shoot on Tuesday 8th with Daniel Edozie.
We will be meeting him at the Cricket Grounds at 9:00AM, after collecting the kit we will need for the shoot. We will need 2 cameras and a phone stabiliser for the kit. The only thing that can be a problem for this shoot is the weather, however this can be resolved by rescheduling the shoot date.
Episode 1 Story Board
First Production Day Evaluation 2.1
For the first day of production, it went as expected. We tried to plan the timing for each episode, however Dan was very keen on getting his point of view across that the time dwindled and we could only film one episode each. Although this wasn't the greatest it was still a good and productive shoot and we have lots of pull quotes and teasers we can make for him to share on his socials. Any problems we had during production, we handled and will improve in the future but our production team had a small amount of time to get what we needed and it went fine.
2.1 Raw Footage and Rushes Log
This is the Raw Footage for episode 1 of the Dan Edozie mini series. The footage here is the audio from the shotgun mic, the main front camera and the side camera. This is only 3 minutes of the 20 minutes that we recorded for, but this was just to show the style of interview we would like for the mini series and how we would record it.
This is the episode 3 raw footage which was filmed in the Bristol City players changing room as it has a colour changing LED strip around the top of the room. We used this to add a blue tone to the shot which you can see on the right of his body. The reason we used the colour blue is because he's telling quite a sad part of his story, so we wanted to get those connotations across of sadness and coldness.
This is some raw B-roll we filmed with Daniel Edozie which is us waling around Ashton talking with Dan as we just wanted him walking and us following him with the cameras. We had him walk through a tunnel with graffiti all around him and he did some running at the Cricket Club around the corner. The reason we made him do all this was to get some cinematic shot to help transition the episode so it isn't just him talking to camera the whole time.
Logged Footage
This is the folder I have for the Daniel Edozie project. This is what you first see when you open the folder, however in each other folder there are more folders where the footage is kept neatly and organised. This is where the Premiere files, exported footage and music tracks are imported without being put in another folder as they are most important. In each of the other folders, like episode 1 voice over, there is a folder for camera 1, camera 2 and the audio files. All of the Premiere folders are just autosaves made by Premiere and me when editing Episode 3.
Episode 1 Rushes Log
This is the Rushes Log which is made to help with the editing of episode 1. This document keeps track of all the important content in the Daniel Edozie interview and when it is said. It also tells us what is said and how it can be used in the episode.
Production Day 2 at Bedminster Cricket Club
What went well about this production day. We gathered a lot of B-roll shots for each of our episodes and the areas we filmed in fitted the genre of our episodes well. Something that we could've improved is the shot list we had planned the day before, as we didn't really have one and thought we could just get some running and panoramic shots. Luckily we had Rob with us to help guide us towards what we wanted to film and we were finished in time for the next group to start recording with Dan.
Episode 3 Rushes Log
This is the Rushes Log for the episode 3 interview in the players changing room. I have logged all the time stamps for each question and what is the main premise for each answer he gave. We have also filmed some B-roll with him at the Bedminster Cricket Club and he said a good quote about train tracks and how they aren't always staring and you can't see around the corner, like life. After making this Rushes Log, I will make a skeleton timeline for the episode and start getting the best parts and editing them together with music.
Episode 3 Synced Screen Recording
This is the screen recording of me Syncing up the interview for episode 3 of Daniel Edozies' Story.
I initially tried to use the synchronise feature when selecting multiple clips and right clicking, however this wouldn't sync the clips at all so I had to listen out for key parts where you can see what dan I saying without the audio, then try and piece it together. For one of the clips, we can see Dan clapping to help us sync the audio, unfortunately this was on visible in one of the clip and the other 4 were harder to sync. Although this was an issue, the interview is now fully synced and ready to be cut down into the best parts and made into episode 3.
This is the Premiere Pro timeline for episode 3.
Here you can see the captions layer, the visual layer and the audio and music layers. You can also see that the audio and visuals are synced up from the screen recording. I had to auto transcribe the captions and change all the words that it picked up wrong. Finally I used the rate stretch tool to fit the music to the length of the video.
To make this episode formatted to suit other platforms like Instagram, Twitter and Facebook I had to select the sequence tab at the top of Premiere and go down to "Auto Reframe Sequence". What this did was change the current frame size of 16:9 (Width:Length) to 9:16. This made it so it was in the orientation of a phone which most people might view the episodes on.
Another technique I used was to help make captions for the video. To do this, I first selected the "Captions and Graphics" tab at the top of the screen on Premiere Pro, once I did this a tab opened with the option to auto transcribe sequence. What this did was listen to the audio and lay out everything it heard in the transcript tab. It isn't perfect as I had to change the spelling on some words, however, after this, I clicked create captions and it made captions on the whole sequence.
2.2 Offline Edit Episode 3
This is the Offline Edit for Episode 3 of Daniel Edozies' Story. The structure of this episode has stayed the same throughout editing, however I had to change a few things for the final edit. For example, the caption colour had to change too white to keep it consistent throughout the episodes. Also, some of the B-roll shot were a bit too long and some didn't make any sense, so I had to change the length and go and find better B-roll from Pexels.
2.2 Finished Episode 3 Formats
These are the first exports of Episode 3. I had to auto reframe the sequence so that the frame suited other platforms like Instagram, Twitter and Facebook as the majority of viewer will be watching this on their phones. I had to export these in H.264 high bit rate, however for other platforms, I will have to change this so it is suited to the platform as Premiere has multiple different formats for exporting videos. For example, there is a 720P export for Twitter as that is all they handle.
This is a 9x16 export of episode 3. This has been exported in the format for Twitter 720P. The way I changed the export format was when the export tab pops up with options, under the H.264 tab there is a pull down with different export options for different social media platforms, This episode is exported to suit Twitter, however there are options for Youtube, Facebook, etc.
2.3 Project Evaluation
For CDM 327 Music Video Production there was a lot of pre production work that went into it. For example, looking at the project brief, we needed to make a production schedule, location recce, risk assessment, etc. Although the pre-production is a lot of writing, there were many issues as we needed to make a pitch for each episode and the way we planned the project, it could have been revised and improved a bit as not everyone knew the idea fully. To help prevent this from happening again, we can make sure everyone knows the plan by going around one by one asking them different questions about different parts of the pitch. For production, we needed to plan 3 days where we could shoot with Dan, luckily he was quite flexible, however we still needed to plan a shot list and a location recce. We decided to film at Bedminster Cricket Club and would end up walking around Ashton for a bit as we had more time to film with Dan. We ended up filming in the tunnels that link parts of Ashton as they have graffiti in them. Something that we could have improved with this part of the project is the planning side as when Dan ended up arriving and it was time to film, we were a bit lost and still needed guidance from Rob and Reece. Finally, with the post production, there were a lot less issues as I had to make an offline edit for the episode anyway so all the problems found in that, I left and just changed on another timeline. The issues we had with the offline edit were the captions and the length of the b-roll, these problems have been changed in the final episode and it has been exported in 16:9 and 9:16.
In conclusion, I think that my progress on this project has been quite good and all the mistakes that were made have been learnt from and improved.