The document summarizes the process of editing a music video. It describes how the editors gathered footage and created a checklist to plan shots. Transitions like fading and changes in opacity were used to blend clips. Special effects like blurring and transforming clip sizes created intriguing visuals. Shots of the singer rotating and driving were incorporated, and different techniques like zooming and flashbacks told the narrative. Harry and Tyler helped guide the editing process using their Photoshop knowledge.

1. Editing our music
video
By Isaac eze

2. We started the process of editing at the end of the music whereby
we had gathered all of the footage we needed. We managed to produce
a checklist in which we knew which shots we wee using, when we were
using them and the type of editing in which shall be applied to them. To
allow this ending we used two different clips, these were then cut in
sections where if every other section was deleted Harry would jump
forwards. These cuts were in sync with audio in the background. We
then merged this into a ‘compound clip’, which allow you to group any
combination of clips in the Timeline or the Browser and nest clips
within other clips. These were the final effects applied and I personally
felt the refocused over the shoulder shot of Harry was an visually
pleasing as well intriguing end to the visual narrative tied up the ending
of the song.

3. For the first shot of our Music Video, for this we used a GoPro shot of
Harry driving over the camera which was placed on the floor. Because
the camera was facing the opposing way of the car was approaching
which suggested the idea of applying the music as the car passes of over
the car. This process had some complexities because no effects were
added to this shot as we were trying to keep it realistic and simple,
whilst also ensuring the audio and visuals match perfectly to create an
aesthetcailly pleasing start to the video.

4. Fading transition to black was also used in order to transition between
the three clips applied. We then overlayed The ‘Duke Dumont’ title over
the top of our footage. We had gained this inspiration from the music
video ‘Pizza guy’ by Touch Sensitive. Another transition technique was
used to fade in and the opacity settings were enhanced which gradually
increased the opacity allowing the secondary clip to become primary.

5. The video then progresses then fades in and out of both clips, thereby
creating an effective fluent transition. Tyler managed to film the street
light using a 50mm lens whilst manually focusing it so that the lights
were out of focus. We had decided to reapply this feature throughout
our music video as a way of portraying a euphoric feel which is relevant
to the genre and concept of our music video, thereby appealing to our
target audience. These clips were lowered in opacity in order to make
the overlayers more visible. We then used to stabilisation tool to leave
section to the left raw, whereas the next clip had been there so there is a
link between the baseline dropping and lights becoming still.

6. We felt that filming the vocalist was a fairly simplistic concept whilst
also being an extremely intimate and intriguing technique for a music
video, and to develop this technique we ensured our vocalist ‘Tyler’
as being filmed singing the lyrics whilst sitting on a chair being rotated
as this not only applied a sense of fluency to the visuals, but also
emphasised a running metaphor of the main character s life spiraling in
circles. Adjustments in opacity again aided the fluency of the shot. This
screenshot demonstrates the use of three different clips all with differing
opacities allowing for this overlaying result.

7. We incorporated the Gaussian blur, In image processing, a Gaussian
blur (also known as Gaussian smoothing) is the result of blurring an
image by a Gaussian function. It is a widely used effect in graphics
software, typically to reduce image noise and reduce detail, and this
allows for a blurred image which reinforced the lights and enhanced the
fluency of the shot transition.
The screenshot below shoes how we have ghosted different clips of
vocalist over the top each other. This was effective because we had the
rotational under clip of the vocalist with the overplayed time lapse, but
then also the rotating clip. Transform settings allowed us to increase the
size of one of the clips in order to create a distorted aswell as intriguing
visuals in which again provide a metaphor for the main character’s life.

8. We used a shot of an extreme close up of the rear view mirror of the car
so that the audience were able to observe the drivers facial
expression. Then by manipulating the fade effect, we are able to show
him procrastinating on the happier times that he was remembering with
his partner of them driving and laughing together. The dream effect was
then added in order to reinforce the idea that this is a day dream or
flashback.
Finally, we incorporated the Ken Burns crop to zoom in on one clip
thereby allowing us to transition from the last. Overall, we felt this shot
is incredibly different and therefore giving our music video is an
alternative feature that carries more uniqueness than other music videos.

9. Finally, we incorporated the Ken Burns crop to zoom in on one clip
thereby allowing us to transition from the last. Overall, we felt this shot
is incredibly different and therefore giving our music video is an
alternative feature that carries more uniqueness than other music videos.

10. I would like to state that Harry and Tyler were mainly
involved within the process of editing our music video due
to there previous knowledge of Photoshop. Therefore many
of the media editing concepts/techniques stated, were taught
to me and incorporated into our music video by either Harry
and/or Tyler throughout the editing process.