Firstly, we decided to artificially adjust the aspect ratio of our video in order to create the impression that the footage was filmed in widescreen (at approximately 1.85:1). We decided that this would be necessary in order to create a more cinematic feel to our music video, which we felt would aid in creating an immersive atmosphere, which was one of our main initial goals. We created this widescreen impression by implementing two black bars above and below the central image, as would be seen if watching a film shot with a cinema aspect ratio on a home video system for example.
Next, after considering feedback provided from our focus group, we considered it imperative that we carry out a colour grading and correction process. We did this in order to give the video a seamless feel, improving the flow, and making it fit together in its entirety, aiding to create the impression of a product as a whole rather than a series of individual shots or scenes. Furthermore, this gave us the opportunity to use colour to create mood and tone. For example, we desaturated much of the footage in order to give many shots a bleak and moody feel, this aided us in creating a desolate atmosphere increasing the sympathy that is felt for the character. We did this by using a variety of the colour correction tools within Premiere Pro, such as the Three-Way Colour Wheel, the Colour Balance Tool, the Shadows/Highlights tool and the Brightness and Contrast Effect.
Following this, we noticed that some of our footage was not particularly steady or stable, which not only was a distraction for those watching our product, but it also appeared to reduce the professionalism and credibility of the video. In addition, it reduced the smooth and sombre aesthetic that we were looking to create. We found that one way to reduce this was by using the Warp Stabiliser Effect. However, we had to utilise this cautiously, as it had the tendency to warp some footage disproportionately. In order to counter this, we had to choose clips that were not overly unsteady, and shots that showed a clear subject and background, so that any warping was not obvious.
Another area for improvement mentioned in the focus group was the use of static shots following handheld shots, particularly in the performance-based final scene. After reviewing this criticism, we found this to be true, and fixed shots appeared to be hindering the flow and energy of some sequences, which is what we wanted to capture, as the movement in this scene expressed the character's release and sense of relief. Rather than removing these shots from the edit as suggested, we decided that we would incorporate movement into the mentioned shots, making them fit in within the scene better. We used timescaled, progressive movements such as zooms and pans using the motion effects also found within the software.
After this, we attempted to create a smooth transition/distinction between the narrative and performance scenes, as we found that in our rough cut, the drum performance did not create the impact and surprise that we initially attempted to create. We considered the best way to do this was to simply cut to black, leaving a black screen for a few seconds as the music stops. We then cut straight back into the scene, at the same time as the music in order to create impact. Also to create impact and a feeling of a build in tension, we edited the pacing of the sequence prior to the emergence of the smoke. We did this by using a greater number of clips in the sequence each for shorter durations. We feel like this has improved the cut significantly, and increases the dramatic effect and suspense a great deal.
