Construction of mise en-scene
- 1. CONSTRUCTION OF MISE- EN-SCENE Why Won’t They Talk To Me?
- 2. INITIAL PLANS To craft the perfect Mise-En- Scene and establish a link between the song itself and the surrounding settings, we will be trying to depict an isolated area, both in the girl’s home life and outside surrounded by others. To do this, we will be using carefully picked locations that can illustrate the theme of isolation but also allow us to create a psychedelic aesthetic to the video, thus establishing the genre to the audience without the need for the lyrics.
- 3. THE ‘WORKING DESK’ LOCATION One of our prime locations is the ‘working’ area in the home of the girl. To transform this scene into what we wanted, we had to move out the existing furniture, such as the sofa’s and tables, to create a well lit area as well as not leave in objects that would distract the audience from what was happening within the scene. We then carefully positioned the desk so that it was in the place that was the most well lit and would 'illuminate’ our character - which will help us establish the uplifting part of the Music Video. By doing this, Joss is positioned central and the most important aspect of what is happening within the room, leaving the audience to focus on her and not necessarily on what is happening within her surroundings. E.g. the increase of paper and work as well as the faint animations Gabes has created. Before After
- 4. GETTING THE RIGHT LIGHTING FOR THE DESK SHOTS Getting the lighting right was a crucial part of filming within the Elephant Room (in Gabes’ House). To do this, we set up the camera and looked the levels and exposure within the frame, altering the curtain in the backdrop accordingly to block out as much of the ‘unwanted’ light as we could. Doing this meant that the room became slightly darker and allowed less of our ideal daylight in, leading us to bring in an artificial light with an orange/daylight filter so that we could properly light Joss within the scene, as well as all of her needed workings and objects.
- 5. THE ‘DARK ROOM’ LEADING TO THE MAPFor another part of the production, we also have to create the illusion of a small, dark room that reveals the map. To do this, we had to use some large black sheets and hold them together against the wall to block out the background. We also removed the existing furniture so that there wouldn’t be any 'unusual’ items in this unusual room. We ran into some initial errors when we’d scheduled in to film this shot as the sheets were unavailable, however we managed to find a suitable alternative and get the frames that we wanted. We also used this room to film two of our three shots of the chest as it was dark enough for us to film and have the only light emanating from the chest itself and only Joss.
- 6. THE SCHOOL’S PATH – ‘THE EXTRA’S MAIN LOCATION’ Another area we had to manipulate slightly was the school’s path by the Music Block area. With this setting, we wanted to make it appear as ‘un-school’ like as possible so we removed the bins and made some mock-up framing shots to learn if the location was suitable for shooting. With this we were also careful to avoid getting any of the incredibly obvious signs within the shot. To intensify the scene, we also made all of our extras wear black to further convey the odd world and differ from the schools uniform of green jumpers. Besides is the before (two above and dry) and after (3 below and wet).
- 7. CAREFUL PLANNING POINTS WITHIN PRODUCTION AND POST- PRODUCTIONTo make the most attractive and eye-catching Mise-En-Scene that we can, we will be making our video in colour and then colour correcting it in post-production. We will also be carefully framing each shot so that the background always looks like it belongs in a psychedelic video, for e.g. including areas that have bright colours and are well lit. To couple this we will be trying to use natural lighting so we will be aiming to film early in the day or in areas that incorporate the light to its full effect - e.g. inside with lots of windows. To create a mood and atmosphere we will be using the 50mm lens to create a shallow focus and enhance the isolation as it will give our main character the full attention and block out her surroundings. This will also be incredibly useful for the dream-esque appearance of our sequence as everything in the background will be blurry. It also allows us to bring certain objects or people into frame at the times that we want and play around with the message in particular scenes. To represent our artist we will be constructing the 'trippy’ mise-en-scene through use of blue fairy lights in the chest and the animation on the door and map in a similar format to the video Let It Happen.