Creating the animatic

To create our animatic storyboard we used Adobe Premier Pro the same software we will use to edit our music video on. 
We treated the animatic storyboard as if it was the actual video because we used every frame as a clip for the video.

To use the software we had to import the image files individually.

Once all of the files were imported we were then able to position them on the timeline. 

Instead of using actual camera movements we used the effect which is known as the 'Ken Burns effect' named after the famous documentary maker Ken Burns. We found that this method worked well as a substitute for actual camera movements.

We also experimented with different transitions such as fade, and wipe.

We treated the timeline as a standard timeline for a video, first inserting the soundtrack and editing to the beat around that, just like in the lipsync which we did before.  

Props inspiration

 
We got our inspiration from broken and assorted electronics.
We were visualizing a hackers work space, but giving it a industrial twist that would give it a sense of surrealism. 
The technological aspect would really adhere to the target audiences age because they are aged in the ~23 age group and most are fixated with technology as it is embedded into there lifestyle.
The props also make the artist seem more organic because she is not directly shown to the audience. 
We felt that these aesthetics would relate to Dyers star theory because the audience can connect with the conventions that are being used.

Costume inspiration

We wanted our music video to be very abstract and modern and in order to create this look we had to carefully design each of the actors costumes for the shoots. We had 8 actors so this was a large job and without this the music video would be dull and not aesthetically pleasing. 

Inspiration for lead artist:

We were looking at costumes with strong sense of shape so that it would more powerful on screen and so that it was clear to the audience that she was the lead artist. Her costume was also designed so that it showed that she was dominant and in charge, whilst still making her appear relatable to the audience, adhering with Dyers theory.

Inspiration for Male in school dancer:

We wanted to go for a hippy look with would adhere to the stereotype of a dancer who can do flips and other crazy stunts. 

Inspiration for first Female dancer:

In order to connote the dancer as being free and wild, as as well as having a sex appeal  we had to look at having modern clothing with an inspiration from the modern club scene, with a crop top and other aspects which help to build the image for this dancer.

Inspiration for second Female dancer:

For this we looked at a similar style than we are going to use for the first dancer, but we want the style to be slightly more dated with baggier clothing.

Hair inspiration

For our lead artist we were looking at having very modern hair which would adhere to our target audience because they are a fairly young one who are interested in futurism. A futuristic hairstyle would also connote that the artist is powerful and help to construct her star image.

I first did a basic search for futuristic hair styling but the results were far too broad, so I refined the search.

We liked this hair style but the artist had long hair so we continued our search.

















This greased and brushed hairstyle seems dot suit the music video and would be aesthetically pleasing and add interest to the video.
We also checked that it would work in all of our scenarios; the television and paint, this does work and it would be especially easy to achieve in the paint shoot when we are doing severe takes and the artist would have to wash the paint out of her hair.

Studio Dates Confirmation

Animatic storyboard

We created our animatic story board so that we could get a clear and concise idea of what our music video would look like in reality.

Prop organising list

We created the following prop organizing list so that we all knew who was individually responsible for organizing the individual parts.

Hair organising list

 
We created the following hair organizing list so that we all knew who was individually responsible for organizing the individual parts.

Makeup check list

 
We created the following mak-up organizing list so that we all knew who was individually responsible for organizing the individual parts.

Costume check list

How has a animatic storyboard helped us?

The animatic storyboard has allowed us to realize in what order what shots were to be positioned and allowed us to treat it as a actual video and to experiment with what worked best and what didn't work so well.
We realized that we would need more shots and it is important to use more camera movements within the television shots.
Though the use of an animation storyboard we have learned that we needed to use more tracking shots because it was essential to captivate and to keep user engagement. We also leaned that panning shots were rrequired on the televisions in order to keep the action in frame.
We also found that we would have to shoot the paint shots in 4k and then use 4 separate frames in 1080p frames to use as different shots because we need to maximize the efficiency of this shot. This would work because 4k fits in it 4 1080p frames because it is ultra high resolution.
 

What is a animatic storyboard

A animatic storyboard is when you gather all of the shots from a storyboard and put them into a piece of editing software like Adobe Premier Pro and treat each frame as a shot. This means that you can get a clear and concise idea of what your end result will look like.

Creating our storyboard

To create our storyboard we went onto Photoshop and loaded images that were available on google images.
  
The image was loaded into a blank document that was preset with rulers and a black background.













We then selected the part we needed. 











And then we inverted the image so that it focused more on the graphical design than the actual image, and so that it adhered to the conventions of a storyboard more.
 
 









This resulted in a basic outline but it did not contain the colors that we needed.
 
Then we copied the selection.












We then used Photoshop's color changing tool to change the colors to the ones that we wanted to use in our music video.

Storyboard

The storyboard was created on adobe photoshop and gives a clear visual representation of the whole music video.
The storyboard contains key information and images that allow us to get everyone on the same page and to be able to fully understand the idea and its components. 

Timeline

We created the timeline so that we could get get the timings and the events pin pointed to the exact time.
Creating the time line proved essential in getting the key foundations of our music video and allowed us to share what was happening and when, it shows the key timings and duration for each component.

Writing for permission for the track

What is a storyboard

A storyboard is the first time that a filmmaker is able to physically visualize there ideas in real life and to get it out of there head. It is a graphic representation of how the video will unfold shot by shot.
 A storyboard consists of many frames and shot information below it (often even the part of the script) and also a reference number so that people can refer to it later on.
With a storyboard you are able to share your ideas to others so that everyone is on the same page.
It will actually save you time because it will ensure that you do not miss out on shots, so that you do not need to make revisions later on.
It also solidifies your idea onto paper. 
Overall storyboarding is a integral part of film making because it allows everyone to understand exactly what you are trying to deliver and how, it is almost like a cartoon that allows everyone in the team to be able to execute your vision.

Tackling issues

One of our group members spent time researching how to overcome the problems that were presented to us from the heads of media.
 

Inspirations for lighting

We were looking online for lighting inspirations and we decided that we wanted a very basic and simple looking lighting because there will be enough going on withing the frame that we don't need to over complicate it with confusing lighting.
We wanted to flood the area with light so that we have a very even lighting coverage and it should over expose the background so that it appears white.

Lead singer casting

We have been searching though many possible candidates in the school and we found some good options but we decided to look further afield and one of our group members Matt has a outside contact that would perfectly fit the match.
Also the girl has a large internet presence meaning that our music campaign has a large probability of going viral which just like in the real media industry is essential in order to raise awareness of the artist because that is the one of the main objectives of a music campaign.

Set design meeting

We had our set design meeting today in which we talked to two industry professionals and pitched our ideas and told them about how our television idea was going to work, they were initially confused but later on we described the technical issues and workarounds that we have developed and they understood it.
We also told them about the black and white infinity back grounds we are going to require.
We asked them how we could shoot the paint shot because of both the logistical and location problems, they recommended using a paint balling range because they are designed for this purpose and the cleanup is not necessary, this fixes a huge problem and we will most likely peruse this.

Set Design- Sketches

As a group we created a series of set designs. 

The first image shows our infinity screen shots and the dimensions that we are using.

The second image shows a 3D drawing of how the televisions will be organized and laid out.

The last image depicts both a birds eye view angle and a front on shot that shows the surrounding and the set.

Change of idea- Consider removing the paint!

We had a long meeting with Luke and he said that logistically there are too many variables when shooting paint in slow motion being thrown, so we considered the decision that we should not use this shot. 
But there are ways that we can overcome this problem with proper planning and by evaluating everything that could go wrong and by creating comprehensive precautions to ensure a smooth shoot day.

Rehersals

Today we did a rehearsal, we will not know the result until it is edited but it seemed promising.
We noticed that the lighting was difficult and on the Black Magic URSA mini that we required a lot of light to properly expose the image.
We also found that the top frame rate was only 60fps, this means that we can only slow the footage down by 2.3 times without the frame rate from slowing down beyond 35fps which is the optimal frame rate.
We found that you have to really focus on framing because with the dancer is always moving meaning that the camera person must know the movements of the dancer.

Lighting Meeting

We had a lighting meeting with a lighting professional, below are the points we touched upon. 
Using UV paint is not like in photography because it will only expose the parts with UV paint and the other parts will be just a silhouette.
We will be using infinity screens for all elements, a black one for the performer and white for other aspects. When showing the guy a image of how we envisioned our lighting we were told that we should consider how a photograph is different from a video because in video because if you have 'delicate' lighting then you will have the lighting changing as the character is moving.
When using ultra high frame rates for slow motion the flicker from the AC lighting will be apparent. 
 We were alto told that the colour of the clohes that the characters are wearing have to be almost the opposite that that of the background in order to create depth and definition.