Filming 'Home' - Day 6

Filming 'Home' - Day 6

Time Lapse

We aimed to film the time lapse when we filmed the sinking flower shots however we were not satisfied with the results - it was too short and slightly unstable and so we took another shot of the sun setting over the bridge (which is significant because that is where the couple reunite).

Below is a video of all of the time lapses we took on the sixth day of filming.

The time lapse we have decided to use is an extract from the one where the sun shines in the sky, and four rays become prominent, before clouds make the screen darker again. We chose this shot because it shows the sunset well and so reflects the couple growing apart before they come together again - which would be symbolised by a new day.

This clip is one of the ones that we shot on the day we filmed the flower sink, however it is in the stage before we speed up the frames and so it is not yet a time lapse - in the locations/settings video on my blog, in a post titled 'Locations', this clip can be seen as a time lapse in amongst other setting shots.

Filming 'Home' - Day 5

Filming 'Home' - Day 5

The flower (which symbolises the couple's love) dead/sinking/floating down the river

The shot above is one that we thought we would originally use, however we have decide against. It is the actual flower used in Fin and Lottie's scenes, and in Jess in Teo's scene and because we filmed this part a month or so later (so that the weather would not be a sunny), the flower has wilted, dried-up and shrivelled. This is good because we wanted to shot the dead flower being carried away by the current of the river - symbolising that over time (this would be shown after the fading shots that show the couple have aged) the couple grew apart. The shot below is the on we decided to use.

This shot shows the flower when it was more alive, so keeps the continuity of the flower being bright and holds the idea that the couple's love is still alive. However, it also shows the flower sink, representing that the couple are separated and have grown apart but that their is hope that their love may resurface. 

I used a hair clip to, with a metal clip part on the back of the flower ornament, to make the flower sink. Yasmin and I think that this shot will be good in slow motion, and will be effective if it starts in colour and ends in a completely greyscale treatment, to visually express the metaphor of a lost love through the drowning/sinking of the flower.

Filming 'Home' - Day 4

Filming 'Home' - Day 4

Filming with Fin and Lottie (the couple when they are children)

In this shot you can hear me and Yasmin directing the young actors, by telling them; where too look, what facial expressions to use, what to say, and when to laugh. When filming it was slightly awkward for our young actors but they did laugh a lot due to this and when put into the music video we are confident that it will look natural, adorable and realistic.

This shot has depth, it shows Fin's character running to Lottie's character, and handing her a lone sunflower that he found; this scene is important because the sunflower represents their love. In this scene the flower is seen for the first time - therefore their love is just beginning.

Filming 'Home' - Day 3

Filming 'Home' - Day 3

All shots with the teenage couple in

This day of shooting included taking all of the shots of the couple when they are in their late teens - this meant that we had to get all of the individual shots of Jess and Teo, and then the shots where they are together. It took approximately 3 hours to film these sections of the music video.

Below are a few of the shots that we took: -

This is one of the shots where Jess is alone (below is one of the shots where Teo is alone). Here Jess' character sees the flower, like the one Teo's character gave to her when they were little near the beginning of the music video. Jess handles the flower carefully and stares at it longingly, remembering Teo's character. The flower symbolises their love.

You can hear me directing in this video - telling Teo to keep his hands where they were in the previous shot in order to keep continuity. 

This is a birds eye view shot showing Teo's hands in the foreground and his feet in the background. Teo is looking at his hands, fidgeting with them and embracing Jess' character - his character's love, they have been apart due to the mishaps of life. Teo's hands are the focus of the shot, in the foreground, showing that he is thinking of Jess and that makes him happy, however his blue shoes in the background suggests that he is emotionally hurting without her. The greyscale treatment that we plan to put on this shot will reinforce this.

In this close-up shot of the flower, Teo and Jess' characters embrace on the bridge - they have found each other again - the flower is discarded by Jess in the previous shot that will be seen in the video because they no longer need it, they have each other. However, the fact that the flower is in focus in the foreground while the couple embrace, blurred in the background is significant - the flower is a warm, bright symbol of their love, and it has seemingly bright them together again, we almost see them meet and hug from the flower's perspective on the ground, hence the low angle shot.

Here the couple embrace on the bridge, we plan to put this in slow motion; they are reunited - the treatment will be warm again like it was in their childhood memories when they were friends. 

Here is another low angle shot, that I took - we deiced to make this our ending shot and cross-fade the music video into white after this, doing so makes he sun look likes it's shone brightly over the couple. The white represents their happiness, and pure, innocent love.

Filming 'Home' - Day 2

Filming 'Home' - Day 2

Practice shots and close-up facial shots with Fin (the younger version of the teenage boy in our video)

We recorded a few different shots of Fin laughing and cloud watching - one of which we have decided to put into the flashback montage near the end of our music video. In addition, we videoed close-ups of Fin staring into the camera lens with a sincere look on his face. Here he breaks the fourth wall and directly addresses viewers - forcing them to see and face his emotions - he seems to be serious about growing-up; this is good because in the music video we will over-lap/fade Teo's face staring into the camera lens in order to show that the male character has become a teenager.  We plan to then do the same with Lottie and Jess (the girl character) - to visually speed up the ageing process and allow our viewers to see and understand that the Teo and Jess are the same characters as Fin and Lottie, just at a later stage in their life.

Below is the shot of Fin that we will use in the music video that will fade into a similar close-up of Teo. Fin is central in the shot in order to focus the viewers attention on the fade that will transpire the aging of the character.

Locations

Locations


This is a short video of some clips that show the setting of our music video. We took a variety of shots, including: stationary low angle shots, a high angle shot of the clouds, some pans, tilting shots, a zooming out establishing shot of some pheasants flying across a harvested barley field, and experimented with speeding up some sunset river shots in order to make a couple of short time lapses. We also experimented with framing; for example I took a shot which looked straight across the bridge, from one gate to the other - it showed the wooden beams of the bridge seemingly angle in towards the opposing gate, which centered in the shot - this essentially flouted the rule of thirds. In contrast, Yasmin took a close-up, canted, low angle shot of raindrops trickling down a window in order to create a melancholic mood, we were thinking of putting this in the part of the video where the couple are apart.

We incorporated the opening verse of our chosen song into this clip in order to enhance the tranquility of the setting, and reflect the melodic rush of the river and the romantic atmosphere that we hope to create.