Deleted Scenes

The following video contains an array of scenes that we filmed but did not use in the final video. Many of them were garden or locstion shots that were too shaky or not needed, some were extra footage between the couple that we felt was not acted to an appropriate standard and looked too static. Other shots were the original street shots that were re-filmed because of the poor white balance. This demonstrates the range and amount of extra footage that we filmed in our sessions but how we have to cut out parts or use better quality versions of the shots. One of the shots where Sophie is performing by the wall with movement and agressive performance leaning closed to the camera- as if it was her boyfriend is a really good shot. However when we refilmed she did not wear jeans, so unfortunately we had to cut it out to avoid continuity errors.

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Final Filming Sessions (16th/17th November)

Location: Suffolk Lodge- Bedroom, Garden and Streets
Sequence: Shots for all the different sections of our video

Today and yesterday the team completed our final sessions of filming for our music video. This included some new footage from a new idea I created during last week and re-filming of the cage, wall and street sequences from the second filming session. We decided to re-film these sections because we were not happy with the quality and white balance of the original shots and want everything to be of the highest quality in the finished product. Josh was absent from both of these filmings sessions for unknown reasons and unfortunately was not involved in the filming of the new shots or re-filmed sections, but although we were one member down the group worked well and achieved everything we had aimed to do.

Bedroom and Transformation Sequence During editing last week we realised the transition the girl makes from vulnerable to stronger and confidient was too quick with no explanation to how it was done. Therefore the audience would not notice what we intend them to, which is the girls journey and changing character- the main narrative throughout our video. To rectify this I came up with the idea of the audience seeing her get fed up and then changing into her new persona and costume. To start with we filmed some shots of her looking out of the window and looking through a photo album of her and her boyfriend to deepen the narrative of the song and the relationship with her boyfriend. These will be placed in the opening instrumental after the arguement sequence. We then filmed some shots of her singing the section before the first chorus on her bed, which showed her getting fed up of being mistreated by her boyfriend (linking to the lyrics Here goes another night, I sit and hold on tight). We chose the setting of her bedroom because it deepens her initial vulnerability and how she has lived a sheltered life with her big, colourful bedroom. Singing on her bed is also a symbol of intimacy and where someone feels safe. In addition it is a domestic item that everyone can relate to and reinforces how the girl is normal- before she changes to become stronger. I filmed her using a high angle shot and bird's eye view shot to represent vulnerability and so she could look at the camera and further make a connection with the audience. To film the bird's eye view I placed the camera on the bed, and pointed it down to look over Sophie. This was tricky because the bed was unstable and bouncy but I managed to keep it still to capture a steady shot. We tried to film Sophie getting off the bed singing as the girl gets fed up and starts to become stronger however it was difficult for Sophie to get off the bed whilst performing so we decided to not include this shot. We then filmed a series of shots that act as the girls transformation from vulnerable to strong, confidient and sexy. We film a close up of her hand snatching the corset out of the wardrobe, a shot that looks into a mirror reflecting her putting the corset on, a shot looking into the mirror which reflects her putting her make up on and a close up of her zipping her heels up. Each shot introduces a new part of her new persona- the costume, the look and the shoes and we intend for these to flash up and down to the beat of the fast section before the chorus before revealing the new image as the first chorus starts. We chose to film into a mirror because it reflects the audience looking into her life, creates an interesting visual image of seeing the back of her in the corner of the screen and the front of her in the mirror and it literally links to her looking in the mirror putting her clothes and make-up on. In the shot of her putting the corset on the audience will see part of the artist's back, this will futher create sex appeal that a male audience will enjoy and mimic what many female artists portray in their videos.

Re-filming of Cage Sequence The original footage of the cage sequence was really good and we were happy with the quality of the shots but the reason we re-filmed this section was because we felt that we needed more of it to place throughout the music video. Therefore Sophie sung the section before the second chorus and the second chorus in this setting to add to the footage we had of her singing the first chorus here. We also filmed outside of the 'cage' section against the fence a little further on for a new sequence where Sophie climbed onto the fence and lent towards the camera to show the artist's growing agression and to match the song becoming more upbeat. This shot when put to the music and the lyrics 'For being so, for being so twisted!' will look really effective.

Re-filming of Wall Sequence After this we went back to the streets we used for filming before and re-filmed the shots with Sophie at the side of the wall, leaning against the wall and moving around with the wall behind for the second verse and chorus sections of the song. We re-filmed these shots because we were not happy with the quality of the original shots. It seemed when Josh put the white balance setting to 'auto' the camera did not seem to adjust well automatically to each setting like it should and as a result the shots were very bright, particularly round Sophie's face and so they were not very clear. This time I made sure I manually set the white balance every time we changed the setting and the angle of the shots to make sure the quality of the shots was a lot better. Looking back on them now it seemed to work. (For a full description on these shots and how they were filmed see the second filming session post where we originally filmed them)

Instrumental and Bridge Sequence After I filmed all the shots mentioned so far Andrew took over as cameraman for the next shots. He first re-filmed the handheld walking sequence for the final chorus Josh filmed in the second filming session as again we were not happy with the quality of the white balance or clarity of the shot. Like before I aided Andrew by reminding him to move back at the same time as Sophie stepped forward so the shot remained as a mid-shot and did not get futher away. Whilst filming this shot the wind was blowing the leaves on the ground which looked effective, in an effort by me to make the leaves more obviously blowing so they could be seen by the audience I threw some in the show however when watching it back it looked very artificial so we filmed the shot again without me doing it. After this Sophie and Andrew had the idea of Sophie walking through the leaves that were on the ground and kicking them at the camera to be used in the lead up to the end of the song as the agression of the artist comes to a climax as the song becomes more upbeat before it ends, so Andrew filmed this shot. With the leaves flying toward the camera it will look exciting and effective- almost like a 3D effect but without it coming out the screen! They also had the idea of Sophie sitting on the curb in the leaves not singing (the setting can be seen in the third of the pictures above)<> and filming this at several angles to be placed in the intstrumental. We also filmed her singing the bridge section of the song before the final chorus in this position. We filmed the shots using a side on (camera on the right looking to the left towards Sophie) mid-shot and a low angle shot to reflect how the artist is now in a more powerful position to the vulnerable state before. The wind was blowing whilst these shots were being filmed and gave a great effect of Sophie's hair blowing in the wind, this will look really effective in the final video. We chose the sitting in the leaves position because it conveys the journey the artist goes on through the video- as she goes from vulnerable to strong she moves from the safety of her big house, bedroom and green garden to a murky street with brown leaves.

Preparation for the Final Filming Session

In preparation for the final filming session tomorrow I have created a task sheet and check list with all the shots we need to complete and the sections and lyrics they correspond to. Hopefully this will make the session run smoother and more effeciently which should ensure we achieve everything we aim to and be ready to complete the video. Below is a copy of the Shot List Sheet I made for the team:

Shot List for Final Filming Session- 16th November 2010

Opening Instrumental Film some shots to be placed here?

Section One
Here goes another night, I sit and hold on tight.
Listening to my half circle preach.
Can never get it right, they stay or leave in fright.
Maybe I'm just not made for this.

Because I'm not designed for this,
I wasn't made for this.
I'm not designed for this,
For being so twisted, yeah.

‘Transforming Shots’ (Possible shots do not have to use all)
• Mid- Long Shot- Sophie on bed looking annoyed, she gets up after having enough
• Close up- Hand reaches into wardrobe removes corset
• Mid-shot- Through mirror see Sophie apply makeup
• Extreme close up- Puts a heel on her foot
• Long shot and Mid- shot- Re-film dance sequence in the cage X2
• Long shot- grabs coat off a fence hanging up and walks onto street


Section Two
Look at me, and see what you can achieve.
Don't, doubt your insecurities.
Money is power, and I have everything.
But I think you forgot the meaning of happy.

• Re-film Close up of Sophie at the side of the wall in widescreen and correct white balance
• Film another scenario that could be cut to in this section?- Looking at pictures, upset etc:
• Re-film the mannequin shot that goes in this section on another day if possible

Section Three- Important

I need a break from this, cause I just can't process it.
It wasn't like that from the start.
Can never get it right, they this I’m dull or bright.
Maybe I'm just not made for this.

• Re-film singing of this section- back against the wall(movement to beat, aggression)
• Sing this section in the cage as well- to add extra shot in (dance/movement)
• Another scenario to cut to in this section?
• Re-film singing this section with mannequin if possible?

Because I'm not designed for this,
No I wasn't made for this.
No I’m not designed for this
For being so, for being so, twisted!

• Re-film singing this section back against the wall- widescreen and white balance correct (More movement and aggression)
• Re-film- walking towards camera- handheld shot with correct white balance
• Narrative- arguing, aggression between couple

Instrumental
• Film some shots for this- need some ideas!

*Section Four-Most Important*
No I'm not, cause I'm not, no I'm not made for this.
No I'm not, cause I'm not, no I'm not...

I'm not designed for this,
No I wasn’t made for this.
I’m not designed for this,
For being so twisted.

No I’m not designed for this,
No I wasn’t made for this.
I’m not designed for this,
For being so twisted.

No I’m not designed for this
I wasn’t made for thi-ehhhhhhhhhhh-is!

• Re-film running section
• Climax to story- revenge on boyfriend, show him stronger, fighting, smashing...
• Another scenario
• Movement and aggression- coming to a climax so needs to be BIGGER than other choruses!

Filming Session Three (9th November)

Location: Drama Room
Sequence: Shots with Mannequin to be placed throughout each section of the song

Location, Mannequin and Costume Choices After the half term holiday and a week of initial editing we carried out our third session of filming. We filmed in College after the end of the day in our drama room. We chose to film there because of the room's blank black walls and stage light which could be used to create various lighting effects. In addition it supplied a studio like setting to film in as only the floor and walls were needed, with no surroundings in the mise-en-scene that could distract from the artist and mannequin. It also created a dark, atmospheric and mysterious setting which with an unknown feeling it contrasts with the other locations in the video. These shots are seperate from the main narrative of the girl's journey between personalities but offer a seperate section of narrative in which the girl sings to a mannequin and moulds and moves him.

The mannequin symbolises the perfect or model boyfriend and the idea the girl would like to design her boyfriend to be better than he is to suit her (linking to the lyrics 'designed for this'). The mannequin can also represent the boyfriend himself as the girl sings to him. In addition it creates an intriguing and mysterious theatrical aspect to our video that links to the darker and rockier side to the song. We chose to have the mannequin bare and naked in all the shots because it makes it look vulnerable and powerless and gives the impression that the girl is now in the stronger position and is controlling/manipulaing him whereas before she was controlled by her boyfriend. This prop was chosen so that Sophie could physically move it around and because is easily breakable, therefore as the song progresses she can become more agressive and remove parts of the mannequin to symbolise taking him apart and hurting him for revenge. Sophie had three costume changes during these shots to create different looks and enhance the variety of appearances and add to the voyeurism of the artist. Moreover, a range of costumes is evident in all female music videos as they portray different emotions and characters of the artist and enhance the visual appearance of the video. To make the lighting more atmospheric in these sections we used the strong lights from Media and re-adjusted them in every shot to create shadow effects and avoid it being too bright on certain areas within the shot.

Bird's Eye View- Mannequin Sequence To start with we cleared the room so we had as much space as possible and to avoid seeing anything you are not suppose to in the shot. A blank room creates the effect that the setting is nowhere and perhaps within the girl's mind or a mysterious setting unknown to the audience. We then placed a black sheet across the floor (so there would be a blank black background rather than the blue carpet) and placed the mannequin lying down on top of it with Sophie next to it. We filmed this sequence using a bird's eye view shot to clearly show her laying down on the floor and it adds further variety to the shot types in the video. To create the bird's eye view we placed the camera on wooden block from drama that was large enough and heavy enough to hold the camera which we then pointed towards Sophie laying on the floor. We precisely lined Sophie up within the shot and showed her how much she could move without leaving the shot. I filmed her looking at and hugging the mannequin without singing to start with. This was to fill the instrumentals throughout the song and to portray more of her emotions and character to the audience. I then filmed her singing the first verse from this position so when we edit it can be placed with the bench shots we filmed in the first session. For this sequence Sophie was dressed in a black dress with a cream coloured bow at the chest. This costume is more sophisticated and adds another image alongside the vulnerable and confident/ sexy styles. As Sophie could move easily in this dress we only used it for this sequence as she was laying down and little movement was involved.

Another shot we filmed was of Sophie singing the chorus as she turned over onto her side whilst laying on the floor, this shot was at ground level and showed her shoulder quite provocatively therefore increasing the voyeurism of the artist in the video and again adding to the range of angles the action is seen from. In addition we also filmed Sophie sitting up against the mannequin with camera to the right of her using a long shot from a high angle . Here she sung the parts of the second verse and chorus and manipulated parts of the mannequin. However on reflection we will not use this shot because it highlighted too much attention to the groin area of the mannequin so people may be distracted by it and you see the end of the black sheet and some of the carpet which revealed the look of the filming location.

'Dance' Sequence with Mannequin The next sequence we filmed we moved the mannequin to a standing position against one of the walls of the drama room. This was all black which again created the plain and dark background that creates the mysterious and darker setting for this section of the music video. The mannequin did not stand freely so we had to lean it against the wall for support. For this section Sophie wore a shorter black dress with a lacy pattern/ material at her neck and chest. This costume looks sophisticated like the longer dress she wore in the bird's eye view sequence but gives her much more freedom to walk around in. She also wore the classic black slip on heels here which further create a more sophisticated image to contrast with the vulnerable and sexy costumes in the other parts of the video and create another voyeurism angle. I filmed this sequence using a long shot so you could see most of Sophie and the mannequin and her moving around it to the beat of the music and moving its arm around. This sequence will be used for the section before the second chorus, the second chorus itself and parts of the final chorus. I also filmed Sophie looking away from the camera and manipulating the mannequin for a shot that will be placed in the instrumental. Sophie performed well in this sequence, we told her to really go for it with the singing and performance. We said to improvise moves that would fit with the music and interaction with the mannequin such as singing to it and holding it to convey a connection between them and symbolise her relationship with her boyfriend. Andrew also played around with the stage lights in the drama room, pointing them at the mannequin and trying a blue colour to add variety to the colours and lighting effects in our video (however we intend to screen the video in black and white).

Sitting and Singing with Microphone The final sequence we filmed in this session was of Sophie sitting on a block (which we covered in a black cloth to maintain the darker feel from the rest of the shots) singing with a microphone while parts of the mannequin were placed around her dismantled (implying she has broken him apart). Shots of the artist singing with a microphone are often used in music videos to create a performance of the song within the video and this is something we have tried to recreate here. For this sequence Sophie wore a long pink dress with flowers on it. Although the pink will not show up once in black and white, this type of dress highlights a change in mood for the girl in the video. This shot will be used in during the final section of the song leading up to the final chorus where she is perhaps becoming happier after getting revenge on her boyfriend- symbolised by the pink and flowers. The colour and flowers also contrast with the act of revenge, dismantled mannequin and darker surroundings, so therefore an interesting juxtaposition is creat visually created. I filmed this sequence using a long shot- so the audience is introduced to the new surroundings, props and costumes and a close up for more intimate moments where you can see the artist's expressions as she sings with the microphone. This perhaps recreates the feel and style from the start of the music video with the close ups on the bench but now she is in a stronger position- illustrating the journey she has come on throughout the video. Overall, another great filming session with lots of interesting shots filmed, including new angles and costumes that add varitey to the music video. I think the mannequin is a strong idea as it brings symbolism/ representation to our music video. In addition it allows our video to have the repeatability factor because it has a sense of mystery around it, therefore the audience may have to watch it several times to understand its purpose and what it symbolises.