Music Video Analysis - Take On Me, A-ha

Take On Me - A-ha

This is a classic music video from the 80's and I love it, I think the concept's great and, like the other videos I've looked at, I like how it has a defining feature, something that makes it stand out; in this case, that feature is the production's use of rotoscoping to create the lifelike animation used when she enters the comic strip. This is possibly something I could create myself or I could use the idea of having two people from separate worlds interacting, possibly using effects on one and not the other such as having one world in black and white and the other in colour. I think this is an interesting idea to explore and this is a great video to take inspiration from.
This is also a narrative video which follows a clear plot and therefore follows a similar structure, introducing the characters first before launching into the story. I believe this is very effective.

The video begins with lots of still, hand-drawn images cutting to each other in time with the drum beat.

We immediately see the face of the man, with the camera zooming in on his picture which connotes that he's our protagonist.

Although they are static frames, they are structured a lot like a camera would be, using a selection of close-ups to begin building the story, just like in the music video 'Wishing Girl'. I really like this way of introducing information as it makes the video more interesting to watch as we're not just spoon-fed the story from the start.

Interestingly, they use a lot of zooms, both in and out, at the start of the video. I'm not sure if I like this effect, I don't really like zooms on camera as I feel they can sometimes make it look amateurish and clumsy.

They have played the images together to create a stop-motion animation of a motorbike race however, they do not run quickly, instead each image stays on screen for marginally too long for it to be a smooth animation.

However, I like this effect as it makes it feel more authentic and connotes that it's part of a comic book, not a TV animation.

When the lyrics start we cut to a high angle shot looking down on the comic book, denoting that the images we'd seen were from the same story.

Then we see a low angle shot looking up at a girl and her turning a page, denoting that she's the one reading the book.

We then get a two-shot of the girl and a waitress delivering coffee, denoting that she's in a café.

The girl is dressed all in white which contrasts to the dark clothes of the waitress, connoting that she's the good character and the one who we should connect with as white has connotations of innocence and purity. It also links her to the black and white comic book she's reading as the overriding white colour of the book matches her white outfit. This foreshadows the later events in the story, her entering the comic.

It then cuts to a master shot of the café, further denoting the location of the girl, however, our view of her is obscured by the net curtains across the window, separating her from the rest of the people in the café.

This connotes her role as the protagonist and the white of the curtain also connects with her clothes and the white of the comic book.

The close-up of her face connects us to her by allowing us to read her emotions more clearly and the fact that we can't see anything other than her connotes her fascination with the book.

They then use structuralism to connote the connection between the man in the comic and the girl in the café by using a close-up of his face then cutting to an extreme close-up of her eyes and then back again.

This makes it very clear that the narrative is going to involve the relationship between these two characters.
Immediately after we get an extreme close-up of the man's eyes before he winks - something we know a comic shouldn't do.

The extreme close-up puts emphasis on the importance of this action, connoting that this idea is going to be the basis of the video.

Then we have a mid-shot of her at the table with an animated hand reaching out of the comic towards her.

The use of the mid-shot gives us more of a view of the setting, effectively contrasting real life with the world of the comic, connoting that the hand is not only inviting her to explore the comic, but also to escape her own reality.
This is further emphasised through the wide shot of the rest of the café which is composed of mostly dull, muted colours, except for a man in a red shirt in the mid-ground, just off the centre of the shot.

Red connotes love, foreshadowing the future relationship of the two characters and the shot of excitement this offers to her otherwise boring life, connoted by the shot of colour the shirt offers on the muted background.

After a final extreme close-up of him and her, reaffirming their potential relationship, there is a close-up of her taking his hand in the centre of the composition, connoting the significance of the moment.

There is a fade transition to a two-shot of them both in the comic, denoting that she's just entered the world of the book she was reading. The two shot connotes their budding relationship and foreshadows their future love, also linking to the lyrics of the song.

There is a wide shot of him leading her through the white comic, setting the scene to confirm that they have left the world of the café.

He leads her to a window where, when stood behind it, he becomes real.

The background of this is clearly shot in a studio against a backdrop designed to look like the comic world.
He then begins to lip-synch the song to the girl, leaning in and out of the frame so part of his body's cartoon and part of it's real, emphasising the effect.

This is intercut with shots of the band playing on the same background, giving an image to the audience of what they're listening to, all with close-ups to fit with the pacing of the song.

There's then an 8 second clip of them on either side of the mirror whilst the camera pans around on a 180 degree curve to show both of their real forms.

This is very effective and symbolic of how they're worlds keep them apart by physically putting a barrier between them, keeping them both in separate forms.

We then get a very interesting effect on the musicians where a part of their body is real and part is cartoon.

This is a clever way of experimenting with the effect to make the music video more interesting for viewers whilst still getting screen time for the band.

We continue to get interactions between the cartoon girl and boy with cutaways to the band for a further 10 seconds before the story cuts back to real life and we see the waitress in the café looking at the empty seat the girl was in. This shows us the real world and serves as a somber reminder about the finite nature of the fantasy - the comic story must reach an end.

This shot is composed so the waitress, who is the main focus of the shot, is actually in the background connoting how no-one had previously noticed the girl's absence. However, she is also completely central, linking to how she's the main focus of the shot but also to how the girl's disappearance has now been noticed by the real world, connoting that the fantasy is coming to an end.

They have done a mid-shot on the waitress when she screws up the comic book, connoting the significance of this action, further foreshadowing the end of the cartoon relationship and causing a significant change of tone in the video.

There's then a tracking shot of her walking through the café to the bin with the screwed up book which is intercut with clips of the musicians.

The use of the band helps build tension as the music builds as we can see the more intense playing, making the viewer more aware of the change in the music. The waitress does an over-exaggerated throw of the comic into the bin to connote the turning point in the love story when everything must end.

This is further connoted by the close-up shot of the bin.

Immediately after this, inside the cartoon world, the couple get attacked by men and are forced to run.  The attacker runs into the foreground of the shot, stopping in the centre, connoting that he's the immediate source of danger that the viewer should be concerned with.

He then smashes the window between the two characters, shattering the illusion that they could ever exist in each others worlds.

This is shown in a mid-shot, slightly closer in than before to connote the significance of the symbolism.

The couple then run down a long corridor cutting between camera angles to increase the pace and build tension.We feel as though we're between the couple and the chasers as we see the couple from behind but the men from the front.

This puts us right in the middle of the action, effectively engaging the viewer in the video.

This effect is increased by a low camera angle used as they turn a corner, elevating the couple in the viewers eyes, connoting their status as the 'heroes' whilst also making the viewer feel small and therefore vulnerable in the situation, emotionally engaging them in the situation.

When the couple reach a dead end, the camera zooms in towards the chasers, ending in a two shot which contrasts with the following shot which is simply a close-up of the women.

This makes them appear outnumbered or, at least, lacking in power and connotes an imminent danger.
They continue to be shown in separate shots, connoting their vulnerability, until a few seconds later where they're shown in a two shot.

However, the camera is quite far away, making them appear small and they're in the centre of the shot, causing them to appear overwhelmed by the wide background which surrounds them. All this builds sympathy in the viewers towards the characters.

When she climbs out of the painting, we get another low angle shot, further connoting their status as the protagonists and their potential as a couple, hinting that it might not be the end of their relationship.

We then get a close-up of the man with the wrench in the foreground and in the centre of the shot, connoting that the attackers hurt, and possibly kill him.

This cuts instantly to a ceiling fan, a very mundane object which denotes that we're back in the real world.

We then get a point of view shot from the woman with all the café customers and waitress looking at her, connoting something's wrong.

This cuts to a high angle shot of her on the floor, connoting she's come out of the bin where the waitress threw the comic book.

Her white dress is stained which denotes she's been physically hurt by what happened in the comic however, it also connotes that she's been emotionally hurt by having to leave the man in what she knows was a dangerous situation.
There's a close-up of the waitress, then one of the girl, connoting their equal surprise in the situation. It cuts to a close-up of the girl reaching to get the comic out of the bin, again, using this camera angle to connote the significance of this action.

There's then a low angle shot of her running out of the café which mimics the angle used when her and the man were running through the comic.

This could connote that their relationship isn't over or, at least, that she's been deeply effected by what happened and these events will influence her real life.

There's a panning shot as she runs into her room, keeping up the tension built by her swift exit from the café by not stunting the flow of the video.

We then see a series of still images that denote the rest of the comic story which are intercut with close-ups of the girl's face, allowing us to see her emotion and therefore connect and sympathise with her.

In one shot, the girl looks up as the camera zooms in on her face, connoting that something of significance is building.

On the next close-up of the comic book a special effect starts on the cartoon man and he appears in the hallway.

The next montage of shots are all very short and cut between him and her, creating a hectic feel denoted by the man's behaviour - flinging himself against the walls as he changes out of cartoon form.

The hectic tone is also created by the fast paced cuts between a high range of shot types used - close-ups (mostly of the girl), mid-shots and long-shots.

When he breaks free from his cartoon form the shots stay for longer on each of the character's faces, connoting that they've made it through the challenges of the story and are free to be together.

The video ends with her walking out of the frame towards him in a very romantic manner.

It then cuts to an image of them on a magazine cover overlaid with a cartoon version of them kissing, creating a little ambiguity over whether he's joined her world or she's joined his.

Overall this video is really good, I love the effects put on the comic book parts which make it look jumpy and authentic. It's very distinctive and memorable, with the cartoon element as its defining feature making it stand out amongst the sea of other 80s videos.

Music Video Analysis - Wishing Girl, Lola Marsh

Wishing Girl - Lola Marsh

I love this music video, I think it's really interesting with the use of the shape matching of the circle throughout the video. I also like the fact that it carries a narrative because it makes it more engaging.
It's made up of a series of very short, often close-up shots which could make it feel quite chaotic but actually create a fast paced, compelling storyline which the viewer is able to follow.
Also, everything isn't served to us on a plate e.g. we're not given any information about where or who they are other than several close-ups which we have to piece together to work out what's happening. This makes it more engaging as the viewer has to really concentrate on what their seeing and consequently comes are invested and involved in the story. It also keeps it interesting and makes it much less likely that the viewer will zone out and just listen to the music, something that I often do with music videos.

It begins with a shot of the pink planet, immediately capturing the viewer's attention because it's something so out of the ordinary and it foreshadows the later supernatural 'nod' in the plot.

Then the circle begins with a close-up shot of an eye - I think this is a really good way to start this theme because the iris is the only really round thing on the human body and eyes are very symbolic of the soul and a depth of character. This instantly connotes that the story is going to be an emotional one.

I also find it interesting and effective how they immediately contrast the pink planet (something so unnatural and out of the ordinary with the eye - a connotation of humanity and what viewers would perceive as normal and natural. This links to the odd, ambiguity of the supernatural storyline and makes us question whether it's even happening at all.

It then cuts to two glasses, one of juice, one presumably of coffee, both very mundane things, further distancing us from the alternative, supernatural plot which was connoted at the beginning.

We then get a view of the circle on the guitar whilst it's playing, this is really effective and I love the imaginative use of the shape matching.

Then we start to develop out plot. They've used circles to start establishing the characters which I think is really clever. First we meet the girl through the hoop earring, cigarette and afro hairstyle.

The earring connotes youth, fun and fashion; the cigarette connotes a rebelliousness to the character and her hairstyle denotes her looks and ethnicity.

We then get a master shot of a round café table where we see the two drinks we had close-ups of before creating a cohesion and familiarity, as if we've always known the character.

It also denotes that she's having drinks with someone, we don't know who this is yet so it creates a feeling of mystery and intrigue therefore engaging the viewer in the story.

This is where we get our first shot of the singer lip-synching the song. I think this is effective in this video, although I do find that cutting back to the singer can sometimes distract from the storyline. However, to combat this, they've created a sense of continuity by continuing the circle shape into this  section too making us feel like she's integrally involved in the story, thus effectively incorporating the artist into a narrative music video - something that isn't always easy to do as a link has to be generated between them and the story.

However, the camera zooms in towards her face at a low angle giving her more power and authority in the story, raising her above the characters, almost like she's controlling the narrative.

The camera is steady but also panning around her which creates a movement which makes the transition between the action and the stationary singing smoother and better fits with the upbeat pacing of the song.
She never looks into the camera but keeps the fourth wall firmly established making the viewer feel more comfortable engaging with the video and keeping them enthralled in the story rather than reminding them that they're watching a music video.

They then set the scene of the club, still using circles such as the speaker, spinning record, disco ball and a shot looking down on the girl's hair.

This instantly denotes where they are and connotes a freedom and excitement that comes with nights out, dancing and music. Within 3 seconds they have a location, mood and the characters there already established - its a very quick and effective method of telling a story which, again, fits with the fast pace of the song.
Furthermore, the lighting is very different in these shots, it's much more coloured, especially with blues and reds.

This further denotes their location in a nightclub and also connotes the mood of magic and something 'out of the ordinary' that is often associated with love. This also relates back to the usual colouring of the planet at the start, creating that recurring sense of something usual and supernatural throughout the video.

We then go into one of the longest shots in the video - an 8 second stationary shot of fertilisation.

This draws all our attention to this process and emphasises the importance of this moment in the narrative. It also slows the pace right down, further connoting it's significance and making the moment feel special, increasing the catharsis at the end of the video.

This is then immediately contrasted with a shot of the earth with a spaceship flying towards it, a supernatural occurrence that is in huge conflict with the clip of a very natural phenomenon we just saw.

 It is also 8 seconds long, connoting that this moment is as important to the narrative as the previous one.

On the next cut back to the artist, this feeling of the unusual is continued as she stretches her arms outside the circle which, up to this point, everything had been contained inside.

This is very effective at catching the audience's attention and adding to the air of intrigue created in the video, all of which links to the superstitious title - Wishing Girl - which has supernatural connotations and links to 'greater powers', here symbolised by the aliens.
This is continued throughout the section very effectively with most of the frame being within the circle but with certain elements breaking out such as the guitar neck and the hand playing the tambourine.

I love the symbolism of 'breaking the mould' which this creates as well as it's simple, very interesting and unusual effect.

This is used frequently through the rest of the video, breaking the wall between the story and the screen, creating the effect that this is a small part of something bigger than itself, possibly giving it more of a universality and appealing to it's audience.

This is further symbolised through the use of the wider universe being outside the circle but the hole being within it, it makes it feel like we're observing a single spot in a huge array of stories adding a whole new dimension to the story and connoting that our planet is tiny and insignificant in the face of the universe - I love it.

We then get some diegetic sound of hospital beeping with more mundane images of a baby scan and a hospital bed.

This brings us back into the story and focuses us on the natural elements by creating more verisimilitude.

Even in the static shots of the cigarettes and soup, the camera is spinning which keeps the pacing up and makes them flow together more fluidly by creating more of an action match.

The camera is always moving, either forwards or backwards or rotating whilst remaining steady, not handheld. The constant spinning means the camera is almost always at some degree of a canted angle connoting that something isn't right through the whole video - linking to the supernatural elements peppered throughout it.

It also creates an almost dizzying effect, like Alice falling down the rabbit hole, which could link to the implications of drug use connoted by the man smoking and the use of vibrant green and blue lights which clearly contrast with the balanced colours used in the 'everyday' shots.

We then reach the climax of the video where the man is driving the woman to hospital when he sees the spaceship.

However, rather than this directly harming them, it simply distracts him, causing him to crash the car - a natural rather than supernatural accident. This effect is also added to by the diegetic sound of the tyres screeching on the road, again achieving verisimilitude in this particular section emphasising the human error over the supernatural occurrence.

This is interesting as it makes us question whether the ship was even real or simply a hallucination induced by the drugs connoted in the previous frames, was the spaceship ever there at all?

I love the use of the circle when the girl's thrown through the windscreen and the glass is coming out of the circle, this makes it feel almost 3D, like the glass is coming towards us and isn't contained within the story.

The narrative is then continued through the circles once again, with the camera movement and rotations remaining present through the whole thing.

The canted angle is especially emphasised when the man is sat in the waiting room, connoting that something's wrong, therefore foreshadowing the death of the girl.

We then enter a really odd part of the video, almost like we're being sucked into the black hole we saw earlier in the video.

It's very strange and may be a nod to the drug use of the man.

I'm not overly keen on the effect, I think the rest of the video has balanced on the line between natural and supernatural very effectively but this tips it over the edge, completely losing the realism that has been created throughout the rest of the video.

When we return back to the singers they're no longer contained within the circle, almost as if they've broken free and are not in the narrative any more.

Has he stopped taking the drugs after the accident causing the supernatural elements of the video to stop? Is he no longer trapped in the circle of addiction?

The lack of the circle allows us to get a better view of the location of the artist - it's inside a very unique structure that echoes the winding tunnel we have just been through in a more realistic way therefore creating a sense of cohesion and continuing the sense of the unusual.

After the shots of the artist we get a 5 second long shot of the pink planet we saw at the beginning, again creating a sense of cohesion and bringing the supernatural element of the video back round again. However, this time there's someone falling towards the planet, this is very effective and maybe connotes the leaving of our natural world and entering that of the supernatural.

Upon closer inspection I've decided that it's the male character falling towards the planet, perhaps connoting a relapse into the drugs.

However, the shot of him at the end with the baby connotes that he's recovered and returned to the natural world, perhaps saying that that part of himself has been discarded as he has grown to love and look after the baby. This is a very moving shot as it reveals that the woman is dead and shows the connection between the father and son. This shot breaks the rules of the whole video; previously everything has been central, adding the videos uniqueness and unusual feel, but here we see him in the 1st third of the screen and I think the camera is handheld, making it ever so slightly less steady than in the rest of the video.

This makes it feel more human, adding to the 'naturalness' of childbirth which is hinted through the whole video.
However, right at the end, just when we think he's broken free, the circe reappears around him, creating even more ambiguity in the ending and completing the cohesion of the video.

Is he still trapped in the endless cycle?

I really like this video! I think it's really clever in it's technical elements and cinematography as well as in the narrative and mise en scene. I love the colours in it, they're all very vibrant and lovely to look at, almost enhanced, hinting to the supernatural elements yet again. I find it very pleasing to look at and would be really interested in looking at creating a similar effect in my video.
The use of the circle makes it stand out and very memorable, this has been the most interesting video I've watched.
I also love the ambiguity of the messages and concepts, how every viewer may interpret it differently and see a new side to the story. All in all it's one of my favourite videos I've watched.

Group Prelim - Justine Bieber

Creative Arts Evening was last week and we managed to successfully set up a table with the chalk pens and get the visitors to fill in lots of the frames, although we did end up doing a few hundred ourselves. We finished the leftover pictures in class and then began the very long process of putting them in order, using the frame numbers we had in the top corner of each one.

Once we'd done this we scanned them back onto the computer and loaded them onto each person's mac. In the first section there are around 240 frames which works out at about 40 each, therefore we split up the section and began cropping the scans so we could have each picture individually. We saved each frame into a folder and named it as it's frame number, making it much easier when we have to put them all back together in Premier.
We then did this with all three sections, with people starting at the beginning of the section and some people starting at the end with both cropping the images until they met in the middle. We then put all the cropped images in order within their files so they could be uploaded into Premier easily and run together to create the look of the original video.

We reviewed the GoPro footage to see if our time lapse had worked and we were very happy with the shot we'd managed to capture. I, personally, was very happy with it because I'd wanted to get one slightly more close-up shot of our table and the other as a wide shot to capture the other group's projects as well so we could switch between them and keep the shots interesting. We had to keep our eyes on them because we knew they'd run out of battery and/or storage at some point in the evening. They did end up full so we had to remove the memory card and upload the footage onto a mac to clear it.

The last thing to do was to add the time lapse into the video in the same place it appears in the original version. We cut between the two shots at separate points to break up the video and make it more interesting.

The final video is made up of our original footage, edited to look like the Justin Bieber one, our rotoscope style animation (with the original video still underneath) and the time lapse we captured on the night. We collected all these sections separately then brought them together at the end to create the final product.

Group Prelim - Justin Bieber

Where Are Ü Now - Skrillex and Diplo with Justin Bieber

To begin with recreating this music video we did a preliminary test, filming a student in our class, Rob, just swaying in time to the music. We then printed out each individual frame and coloured over them in class.
We chose to shoot the video at 12 frames per second as this was the least frames we could use (to reduce the amount of colouring needed) without the video appearing jumpy.
However, even with this reduction we still needed a huge number of frames to be printed out. This raised the problem of the amount of printing we needed to do, so we printed the frames as 4 per A4 page and in black and white.
Once coloured, we scanned them back in and uploaded them to final cut to edit them back together.

We were very happy to find that this was exceptionally effective, filling us with the hope that maybe we could get the whole video done in creative arts evening. However, it did throw up some problems which we can improve upon.

We timed how many seconds of the video are spent with the 'coloured in' images of the artist; this came to around 90 seconds. We then worked out how many frames would be required if we shot the video at 12 frames per second; this came to 1080. Somehow, we'd have to print out 1080 frames for people to colour in which is going to use a lot of paper. The 4 frames per A4 were s bit small so we need to decide whether we print 2 frames per A4 or 4 frames per A3 by weighing up the quality of the image with how much paper we can afford to use.
Furthermore, we decided that the video looked better when the images were printed in colour so, for our real video, the frames won't be printed in black and white.

We also found that the pens we used went through the paper, therefore we've bought chalk pens which are more vibrant and clear and we're not going to print the pages double sided to avoid them showing through.
Additionally, with 1080 frames printed out and members of the public coming and drawing on them, there's a great chance of them getting mixed and and out of order, consequently ruining the whole video. Therefore we're going to print the frames with a number in the bottom corner of the picture so we can keep tabs on who's got which frame and the order in which they need to be scanned in on the night.

Then we began shooting the real thing. We filmed the whole video in an afternoon using a green screen and studio lights to ensure that it would be as effective as possible (as green screens need to be well lit). We shot most of the video in 4K to allow us to zoom in in post production and not lose too much quality. We had the original video playing as we shot it so Rob was able to replicate some of the movements of Justin Bieber.
Once this was filmed we uploaded the footage to Final Cut Pro and distributed a different section to each group in the class to edit. I was given the first 'graffiti' section with the time lapse in the middle. Me and my partner worked together to edit this to look as much like the original video as possible.
The first section was relatively easy as he's just stood swaying for about 13 seconds which required no real editing or cuts. Therefore we just changed the green screen to make it white and used masks to cover up imperfections caused by shadows on the green screen.

The next section was more challenging. First we had to choose parts of our footage which matched the movement in the original video as closely as possible. We cut these together in time with the music so it looked like he was purposefully doing the movements we'd selected from across the shoot in time with the song. This was actually more challenging than I'd anticipated as I hadn't realised how the speed of Rob's movement complemented or clashed with the pace of the music at a given point so early. Once we had our final cut we made all the green screens white to match the first section. This threw up a whole host of problems of it's own - there we imperfections on the green screen but Rob was moving so, when we used a stationary mask, parts of his body would disappear and reappear as he moved in and out of it. Therefore we had to use keyframes to animate the masks so they moved with Rob, allowing us to hide marks in the white background whilst also not removing any of his body.
We also had to increase the orange colour tones in the video to make the footage appear slightly warmer to match the tone of the original video, rather than our quite harsh, cold light which the raw footage had.
When we made the green screen white it also created 'dancing pixels' in Rob's jacket which we then had to fix using a fill holes tool on Final Cut to make him appear as a solid figure, rather than pixilated.

Then we started adjusting the effects on the footage to create a similar sequence to that of the original. On the second to last frame we noticed that the camera tilts and moves upwards so we used Final Cut to edit our footage and do the same. We also added transitions between some of the shots to match the look of the original video.
Next we moved onto the most obvious effect, the duplicate frames of Justin Bieber layered up to create a 'sliding' look. To do this we replicated some footage of Rob and layered each one on top of the others, slightly displacing each one so they move out of time. This created the effect used in the video and we were very happy with the way it looked.

We then exported our section so it could be combined with the rest of the class's work to create a completed video. We will print out all the frames and, on creative arts evening, have a 'station' where people can come and colour in the pictures. We will create a production line where the pictures are then systematically scanned in and uploaded to a computer. They will then be cropped and edited together to produce the final video.

On creative arts evening we also need to film the time lapse and footage of people colouring in the pictures to go in the space between the three 'graffiti' sections we edited. I am one of the people working on collecting this footage and we will do it by using a GoPro to shoot a time lapse from two spots in the room, one looking at the 'colouring table' and one with a view of the whole room. We can cut between these pieces of footage to create an effect as close to the original as we can get. We cannot fully replicate it because they had a moving time lapse, using a machine to programme the movement of the camera between each picture being taken, creating the effect of the camera moving during the time lapse. As we don't have these facilities, the closest we can get is switching between two different time lapse cameras. Before the evening we practiced with the GoPros to see what the time interval between each picture in the time lapse should be. We experimented using a 0.5 second time interval compared with a 5 second time interval and decided that the most effective one to use is going to be around a 1 second one.

We will then edit this time lapse into the rest of the footage in post production to complete the video.