Petr took the lead in this stage of the process. He did most of the final touches of the 10-hour long process of editing our music video. We used 15-20 layers overall in order to have a well-organised outline in which we could easily alter our choices thanks to the fact that we knew exactly what we had located in each layer.
We followed the conventions of indie music videos to recreate a model that the audience would recognise and accept, maybe cherishing the quality of the brand new release. We always followed the pace of the song, editing the cuts on the beats to mirror the music. We also included a variety of shots of the singer, using his performance as the foundation of the video, as presenting the artist to the audience is the main objective. Going back to the pace, towards the end we made the decision of not including the four faces cutting quickly when in bed because it didn't match rhythm. Moreover, we did not use the storyboard much. In music video editing, I think it all comes down to the footage you get on the day which can vary incredibly, and also adjusting yourself to the song almost instinctively.

The video had been filmed with different lenses and speed according to the type of shot. All the narrative ones were zoomed in so that we could choose the scale of the shot later on as well as take full advantage of the image detail. Also, they had been filmed in half the usual speed so that, when processed in Premiere Pro, we could adjust it to 100% speed and as a consequence get some slow-motion shots, and with more footage because we saved time. The shot composition, because part of the footage was so close-up, lacked sense. Many frames were incomplete and the figures uncentred. We arranged them with the help of Matt (we had to go to the window of "edit shot", and then move the arrow to move the frame up and down). Other arrangements were to include a template which had to be the exact measurements: 2:40:1.
By using it, we covered the part of the shot in which we could see more than the box in which the artists interact, we limited the frame and made the format wider. For the colour grading, we decided to use the same colour for the dancing and the singer, and different for the room shots.
Overall, we utilised Premiere Pro for editing and Final Cut for colour grading final touches. We didn't need to include any special effects or CGI because our video was intended to give out a very organic image as if it was quite low-budget and almost home-made by the artist and a small crew.
The star image was supported throughout, mainly thanks to:
- The choice of clothing. The outfit was designed to give out a careless but polished look for a modern and youthful singer who has grown up in suburban London.
- The personality of the actor, who through his hand moves and facial expressions, very striking, conveyed that he had been actively involved in the creation of the lyrics.
- The look of the video, the colour scheme, and the symmetrical element, which clearly transmit an artsy side of the music star, who is interested in film and other disciplines.
The video is intended for a niche audience who would appreciate the detail to which the video is narrowed down, with very original shots (e.g. the circular frame in which we see Mel's eye peeking through the pipe) and a reference to Wes Anderson. The audience would potentially be young and aware of the current aesthetic trends, thus they would appreciate the choices made by the artsist himself.
Personally, I wish we had included some more narrative shots because the video gets a bit repetitive after a while, and there was some lovely performance detail we lost along the process of taking out in the end. However, my colleagues thought that it made more sense to rely on the singer's performance almost all the way through to keep the audience engaged.