The video is only 23 seconds long as we don't have all the footage, and that is the clear disadvantage for us. All of the feedback we got was good feedback apart from some improvements that could be made to the fine-tuning of the editing. We have already set out to tweak this before we start filming and editing all of the other scenes just so that we don't have to go back to it after (only if it fails to collaborate with the other scenes sufficiently).
From this feedback we definitely know that there will be a rough cut No.2 when the music video is all together and edited. The main thing for us isn't so much specific camera angles and editing etc. because we have researched so vastly into that, but it is more how they work all together and what they mean when they do so. The narrative itself and what it shows is extremely important for us and holds the key to the integrity of the overall music video; and this is why it is so important to get right. There are so many different locations and two different things going on at the same time (band and narrative) that we have to try and make the work collaboratively brilliant in order to represent a whole theme and story within many other sub-themes also. The problem with ours is that although our ambitions for the narrative follow the emotion shown in the 'Float on' lyrics, the lyrics and actions don't semantically cooperate. This is when the camera angles, editing, lighting and the mise-en-scène come in to produce that feeling and emotion and when clarity of the story is (fingers-crossed) achieved.
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