R+Post 33: Reflections on my role and contribution during Research and Planning

Finding a song

Due to the fact that we could utilise Olamide's acting ability for our music video, it felt only right that we could get a song that had a leading female vocalist. The song 'Blue Lights' by Jorja Smith is a powerful song that I felt could appeal to a target audience that I would fit into as a teenager, who tries to be both aware of the latest fashion as well as being politically literate and socially aware. As well as being a song with sampling from classic Dizzee Rascal, who appeals to our target audience and having the beautiful voice of the up-in-coming artist Jorja Smith, who has a very raspy London singing voice, the song also contains very current subject matter on the topic of black young men feeling afraid of the police. This topic seemed to resonate with the artist we built behind  Layla Obi, who we felt would strongly agree with the message this song promotes.

Finding a suitable male actor

We wanted to find a young man of black ethnicity in our age group, who would therefore fit into the demographic that the subject matter of the song is talking about. We tried to find a reliable friend of ours, who would fit into this description. Andy is a close friend of mine, who has had experience acting and modelling. He was the perfect candidate that I had available to brief about the task and see if he would be willing to participate for the male narrative. As well as giving him direction on set and making sure he arrived for shooting, I realised that another friend of mine Louis could also act in it for the small role of bumping into and passing judgement to Andy in the dream sequence. I previously had to play this role in the test shoot. Due to being a close friend of Andy, I had a good knowledge of the clothes that he could wear and told him the outfit that he should bring. He was great on camera and was highly sociable, enthusiastic and easy to manage on set. All in all, the group was lucky that I had him as a contact to bring to Shoreditch for the shooting.

Coming up with our album cover idea

I used to be a great fan of the music artist Pell, who had an album cover that I always felt looked interesting of his silhouette jumping mid air, looking as if he was floating with an image layer filling his silhouette space. I felt that the album needed to display the London vibe that the artist tries to emulate. Therefore, I knew graffiti would effectively connote the urban, London aesthetic. The graffiti is originally behind where she is jumping on the front cover and then using photoshop I knew that I could then take certain bits of graffiti from a separate picture of graffiti I had taken and use that for the editing of the inside of the silhouette that was covered in graffiti. This graffiti would run through, therefore as an effective visual motif in the album cover. I, therefore knew that I could later edit the cover well and I knew that my iPhone 7 camera would be perfect for me to take a photo of Layla Obi mid air wearing a street wear jacket of mine.

Naming the artist

I thought the name Layla Ade carried a certain resonance. The name Layla seemed quite exotic yet relatable, as popularized in the famous Eric Clapton song 'Layla'. The surname was short and simple. This allowed it to roll of the tongue yet still show the Nigerian identity of our music artist. However, we were told by our teacher that this surname didn't work, for it wasn't easily able for people to know how to pronounciate. People might think the name Layla Ade was too similar to Lucozade or Lemonade. Therefore, I came up with the Nigerian surname Musa, which I thought was also short and simple, but after hearing Olamide's suggestion of Obi, I decided Obi would be a better name to use, as it is even simpler and easier to know how to pronounciate.

Devising shots for our storyboard

The process of devising shots and drawing them was less long and arduous, as I thought it would be, which I think is due to the firm knowledge I had of the certain shots that would match for our planning of the music video. After learning from the failures of some of the less imaginative shots from our test shoot, I thought it upon myself to draw for a new male narrative storyboard of more handheld shot ideas for the introduction of the character as well as the running shots of me running in front of and behind Andy.

Creating a shootboard and call sheet

After greatly being involved in the storyboarding of the music video, I took it upon myself to make the shootboard for our shooting for the location shots as well as creating the call sheet we needed for health and safety and organisation purposes for the Seward Studio shooting. Both of these were vital bits of paperwork, the group needed for shooting on set and on location. I used previous templates of the shootboard and call sheet we needed from my previous film opening 'Algorithm 404' as well as from the Seward Studio shooting for the Taylor Swift music video remake.

R+P Post 32: Test shoot and rough edit

Test Shoot Schedule

During our test shoot, we learnt a lot for our shooting inside the Seward Studio and the outside location shooting. The organisation was important for both projects, as we soon learnt that organizing a set time where everyone was available was a difficult task. When directing, I realised it was of vital importance to give those acting clear, quick and simple direction rather than long-winded advice on how they should perform on camera.

When watching the music video test shoot, our group had a lot of constructive criticism given to us from both our target audience and teachers. It was clear that some things definitely worked really well in the music video. However, the male narrative was quite unclear, as we were not able to show clearly that the shots in Shoreditch were all part of a dream sequence. As well as this we edited the music video by showing a lot of shots that would start and finish to the ends of lines in the music video. These studio shots needed to have more variety in shot type with more interesting camera movement that could adapt to the nature of the lyrics that the song included. As well as this the movement of the camera during the running shots in the male narrative needed to have greater variety with more handheld shots in front and behind our actor Andy. In order to achieve this, I realised that I would have to play a big part in the filming of these shots, running with the tripod in hand. The shot of Jerom and I closing towards Andy on the tube to show the paranoid mindset that dominated our male narrative did not look smooth and actually confused the male narrative. As well as this we needed to establish more of a direct relationship between Layla Obi and the male narrative, showing more camera tricks and editing tricks, for example doing a pan that blended from the studio to the location of both people in the music video itself.

R+P Post 31: My call sheet

Our Call Sheet

The call sheet is fundamental for shooting, for it tells every crew member where they should be and what time they should be there. It gives information about the filming site of the Seward Studio and any health and safety information. It allows for every crew member to be aware of their responsibilities on set as well as providing the necessary health and safety information for members of the group to have at their disposal.

We were fortunate that there was only one perfomance roll on set, as this meant sure that they could be clear of their role as a performer and so those not performing, i.e. myself and Jerom, could set up the studio for the shooting incolving our performer Olamide and we could, therefore use our time efficiently for setting up rather than worrying about the make up and outfit changing for more than one person to be filmed.

R+P Post 30: My shoot-board

Part of our shootboard for the locations shots

Part of our shootboard for the studio shots

The shoot-board is a very useful visual reference showing not only the shots in order from our shoot-board, but a more accurate description of what is in those shots as well as props and the timing of the shots in the day of shooting and how long these shots will be. This gives us clear ordered direction as to when and how we will conduct our shooting, so while shooting it is very useful to reference back to the shoot-board for knowing definitely what shots we will be doing and the order of these shots in the music video. The props needed for each shot is also an important feature of the shoot-board, as it gives clear direction as to what can be seen and used for each shot we are filming.

R+P Post 29: Rehearsals

Olamide practicing lip-syncing for her performance as Layla Ade

Olamide had practice beforehand for the music video shoot, lip syncing the lyrics of the song 'Blue Lights' for the music video and rehearsing for her characterisation of the character Layla Ade. As a group, we also had a technical rehearsal in the Seward Studio learning how to operate all our technology with our media technician Emma, who showed us how to change the lighting and camera set up. This helped us to know exactly how we were going to shoot for our test shoot and the type of lighting we needed. It also gave us time to question how we were going to be able to set up our strobe lights and projection for the shoot. Of course we all had prior experience at filming in the studio, but this technical rehearsal and explanation from Emma was more of a personal experience, for we could ask questions about our own performance and have a brief rehearsal on how we were going to shoot the music video. I feel this experience was especially valuable for giving us that knowledge we needed for shooting our performance.

R+P Post 28: My kit list

Canon Legaria HD

On location

• Canon Legaria HD Camera
• Shotgun microphone
• 64 GB SD card
• Two batteries
• Tripod

On set

Canon 5D MKII Camera

• Canon 5D MK II Camera
• 650 ARRI Turret Lights
• Leap Frog Lighting Desk
• ARRI Studio Lights
• Projector
• Strobe Lights
• Fairy Lights
• 3 Samsung Monitors
• Cyclorama
• Mac and Studio Control Tablet

We had less equipment for the location shots, but the equipment was very handily able to fit into a backpack and separate bag for the tripod, allowing us to easily carry the equipment around. The technical training sessions we had with our media technician allowed us to have greater insight into how to operate all the equipment on set. Our group had the addition of a projector, strobe lights and fairy lights for the studio shooting, as strobe lights and fairy lights were mentioned in the lyrics of the song, so it seemed only fitting to show that matching aesthetic in the music video. The projector allowed us to show clips of police, Dizzee Rascal's 'Sirens' music video clips, and Mobb Deep, who are all referenced in the song. There was greater freedom with the camera set up and lighting affects in the studio to create more professional, slick filming.

650 ARRI Turret Lights

Leap Frog Lighting Desk

R+P Post 27: Casting

Olamide seemed to be a perfect fit for the role of Layla Ade for the studio shooting. She is an aspiring actress who, as a member of the group, would be very reliable for turning up and giving it her all in the shooting at school. Her character and upbringing is very similar to that of the character of Layla Ade that she is performing as, i.e. a London centric, Nigerian, bold, young woman.

Andy likewise was a great fit for the role in the male narrative. He is a very reliable, trustworthy friend of mine, who has had experience of modelling and acting on camera before. As a young black man growing up in London, he can personally empathise with the message that we are focusing on from the lyrics of the song about the fearful mindset that black men have towards the police due to widespread racial prejudice and brutality shown by many of Britain's police officers.

R+P Post 26: Set design, locations and props

We knew that for location shooting, we needed to find an urban area that was quintessentially London. I decided that the perfect location would be Shoreditch, as it had so many vibrant graffiti spots that we could utilise for the male narrative. People who live in London would be able to understand the area, as they would probably be familiar with Brick Lane and Shoreditch High Street, especially the trendy, teenage target audience we were aiming to appeal to.

Shoredich Graffiti

Shoreditch Graffiti

For the studio shooting our main focus was to create a powerful atmosphere. In order to do so we only used four props: the mic, the stool, the candle and fake blood. The latter two were used simply for dramatic affect corresponding to the lyrics of the song itself, e.g. 'You've got blood on your hands and you don't know where it's from' was mimed by Layla Obi, whilst she had blood on her hands. The candle would be used for a motif that corresponded to the start of the male narrative and the end, i.e. Layla Obi blowing out the candle flame and the flame reappearing at the start and end of the male narrative. These two props, therefore manage to ease the flow of the relationship between the male narrative and the studio shots.

WhiteCandle

Fake Blood

The main tool for creating atmosphere for the studio shots would be the lighting itself and apart from the studio stage lighting and floor lighting available to us. The lighting props we decided to bring for the studio were: a projector, a blue strobe light and blue fairy lights. The projector allowed us to use intertextual referencing to the hip hop group Mobb Deep referenced in the song lyrics 'Now this really is part two cos you're the shook one'. The fairy lighting would build a certain sense of intrigue, voyeurism and mystery to the shots, as they would look elegant and minimalist, so as to allow space for Layla Obi's silhouette to dance in relative darkness yet still be lit. The blue strobe light is appropriate for the lyrics of the song referring to 'flashing lights' and 'strobe lights', so it is appropriate and it would also create an effective atmosphere on camera to make shots more tense and interesting for the audience. 

R+P Post 25: Costumes, props and make-up

The look of music artists is vital for how appealing they are to their audience. As our target audience comprises of trendy young Londoners, we can aim to make our artist look fashionable and unique in order to appeal to them. Wearing brands such as Tommy Hillfiger and Moschino will help the artist do just that wearing brands that are renowned by young, fashion-minded people.  The frizzy hair of the artist looks unique and extrovert, so it will help with differentiating our artists with a clear, visual motif that we can utilise to gain recognition for the artist through their look.

Outfit no. 1

This outfit consists of a camouflage military jacket, a Tommy Hillfiger sports bra and black leggings. The outfit itself is modest, but not too sexualised. The camo jacket is very trendy nowadays shown by brands such as Yeezy and 10 Deep utilising the camo look. It seems very 'old-school' Hip Hop with the baggy camo jacket. The sports bra shows the tremdy Tommy Hillfiger brand and so the two items go well together to target a trendy, fashionable audience. We didn't need the artist to wear shoes, as they would not feature in the shots we had planned with this outfit on.

Outfit no. 2

This outfit including an MA-1 green bomber jacket with a very heavily branded Ellesse turtle neck crop-top, a classy black skirt and a pair of funky adidas superstars trainers. The outfit shows the casual outfit that our artist would normally wear in real life, which is branded yet again to appeal to our trendy target audience. The jacket makes the look stand out compared to the other outfits and the accentuated blue eye shadow draws attention to the artist's face, which is always the most important voyeuristic detailing in a music video.

Outfit no. 3

This shirt seems more artsy and so stands out compared to the aesthetic of the other outfits with a very unique Moschino shirt that looks very vintage and out there. There is plenty of colour with the child-like illustrations of clothes that run along the heavily branded Moschino black writing on a plain white background. This allows this shirt to stand out heavily and say that this artist is very much into their fashion.

R+P Post 24: Planning my digipak panels

The digipak panel design

The focal image for the album on the front cover will be our artist jumping in the air in front of a wall of graffiti. The back cover will cover this aesthetic of graffiti inside the same silhouette of the artist's jump of the ground and the background for the back cover will be black with white song names written in white writing on either side of her. On the back cover there will be the typical barcode as well as the artist's website name and the title for the album will also be appearing at the top of the front cover. On the inside left of the digipak panels, there'll be a side shot of our artist with her writing on either side of her face, which shows her political views and show some of her personality with the messaging around her face. The inside right panel will be a candid photo in an urban London environment.

Pell album front and back cover inspiration

The album on the left is the main inspiration for the front and back cover of the album of putting the back image in the silhouette of the person in front of it. The graffiti aesthetic will be very london and show a visual continuity from the front to the back cover that I feel will look very effective.                                                                                                                                                                                   

Erykah Badu album inside left cover inspiration

Eykah Badu's worldwide underground album is likewise the fundamental album cover inspiration for the inside left panel of our digipak album. We will allow space to show the personality of our artist with slogans such as 'BLM' as well as quirky feminine slogans to show more of her playful personality as well as her political views that will most likely appeal to a young, liberal, London, politically literate target audience.

London-look candid photography inspiration

On the inside right panel of the album, where the CD will go, there will be a candid photo of our artist in a London location similar to this Ella Eyre album cover on the left except we will aim for more of an urban look than the fancy Georgian houses behind Ella Eyre that look like she may be in Chelsea.

R+P Post 23: Planning my web pages

The Layla Ade Website Menu Page Plan

I wanted the website menu page layout to be simple, slick and easy to use. There will be instant artist content from the music video snippets behind the artist's name and features for the latest content, tour dates, news, videos, music and photos of Layla Ade below her name.

Menu layout inspiration from MNEK website

One of the group's inspirational websites was the website for the artist MNEK. There is a simple analog style of symbols for each key aspect of an artists website in six simple boxes, looking similarly to symbols you'd see on an old-fashioned tamagotchi. The style seemed effortlessly cool and will become an integral part to the simple functionality of our website plan.

Background music video snippet inspiration from Izzy Bizu website

This instantly gave content to fans that will help them understand the music video artistry behind the artist and let them already feel personally involved in the artist's musical progress. We will make sure that at no point the sign for our artist's name will ever block and go in front of the face of Layla Ade in the background, as this could stop this personal affect that having clips of the artist in the background would present.

Screen sized photos for the photos from artist's Instagram page

After clicking on the photos function on the website, the website user will be overwhelmed with high quality screen sized photography similar to that of the Beyonce website as well as a link to the artist's Instagram page, which will host the same photos but in a smaller size in comparison. This is an overwhelmingly personal interactive part of the website, which will be exciting for fans of the artist, who are looking for more content.

Similar layout for the tour section of the website from the website for Kehlani

Once clicking the tour button of the website, one will jump to the gigs the artist is scheduled to play and will have the power to see where the gigs are and reserve tickets for the events. The clean nature of this section on the Kehlani website helped influenced our ideas on how this section should look in order to be simple for fans to use.

Similar album cover selling section of website to that of Rebecca Ferguson's website

On the news section of the website as well as 'the latest' content section we will try to create a similar box to the one you see from Rebecca Ferguson that allows the website user to know how to legally buy the album for personal listening and the main album cover of ours will be visible from our digipak album design.

R+P Post 22: Planning my promo shots

A selection of inspirational album promo shots

An album promo shot is the first shot one sees when looking at an album. It has to embody the style and spirit of an artist, as it is the first thing a consumer can see when owning the artist's album. 

There has to be a visual representation of an artist on an album and promo shots must show a representation of that artist with a focal image on them. We took inspiration from the candid photography style of the Ella Eyre and Amy Winehouse album covers. We wanted a graffiti aesthetic for the front and back of the album cover with a focal image of Layla Ade on the front. The Album cover must display a London and I want the background to make the artist stand out more in the image. We will shoot a variety of shot types, so there are more to choose from and for Layla Ade to be looking directly into the camera lens to create a personal address with the album consumer. As well as this when doing the promo shoot, we will try to do as many behind-the-scenes shots as possible, so that there are many shots we can put on the website.

R+P Post 21: My key shots storyboard

Our Storyboard

The storyboard allowed us to visualise the type of shots we were planning on filming and the order of shots with much greater clarity. Using post-it notes was useful as it allowed us to have flexibility over the drawing and reordering of the shots we were designing. We only drew the shots that we felt were most important to display for the music video.

Colour key for post-it notes:

• Blue - Long Shot
• Yellow - Mid Shot
• Pink - Close Up

One shot transition idea

Above is an example of one such key shot showing a transition between the studio close up of Layla Ade's eye and that of the young man in the male narrative on the right of the two. This shot as well as having voyeuristic qualities allows us to show an understanding the singer has for the story being shown outside of the studio relating to the lyrics of the song.

R+P Post 20: My Music Video timeline

Our timeline

The timeline allowed us to visualise the structure of our ideas for the music video. This helped us see clearer how to build atmosphere most effectively with our studio shots and, therefore showed us that it would be a better idea to do quick close-up shots at the start to introduce Layla Obi rather than slow long shots. One of the most vital uses of the timeline was giving us the ability to visualise the interactivity between the studio shots and the male narrative. We split the timeline up into the different verses of the song, so as to show the progression of time more clearly and show when we would correspond specific shots with specific lyrics as well as offering us an effective estimate of the lengths of shots for each segment of the song itself.

R+P Post 19: My Influences and vision for the project

Below is a display of the influences and shot ideas we have for the male narrative and the studio shots for our music video. This is a Steal o Matic that shows these inspirations and influences on our video.

The References in our steal o matic in chronological order of appearance:

• Skepta - Man = The police car aesthetic has an urban, London feel to it that we are trying to find, especially due to the song being about the affect of the police on the mentality of teenage Londoners.

• Lorde - Tennis Court = The shot has a similar studio lighting effect that we want to achieve for our studio shots.

• NAO - Fool To Love = It is a music video showing literally the message of a man fighting his own demons. This idea is similar to the idea from our male narrative of a man running from and being afraid of his own psyche as well as of the police themselves.

• Seinabo Sey - Hard Time = This music video is successful in depicting female strength and vulnerability with the contrasting close ups they use of the singer looking up or down at the camera. The voyeurism of the shots of the lights on her face in a dark room is also something we want to use for the studio shots.  

• Jorja Smith - Blue Lights = The strobe effect for the studio shots work well despite the fact that we have decided for our video not to be black and white, a strobe light effect behind Layla Ade, will look very good.

• James Blake - Overgrown = The idea of a music video being centering itself over a dream sequence was an attractive concept due to the psychological male narrative that cannot be truly expressed as literally taking place in real life. The music video has a good shot of a man waking up from both a side-on and front-on perspective.

• Jaden Smith - Scarface = This music video has good shadow shots as well as a nice male journey narrative walking in street settings.

• The Place Beyond The Pines (Film) = The shots from behind a male perspective was inspired greatly from the first shot of this film.

• Rihanna - American Oxygen  Live on SNL = The political messaging from the projection in this live performance was very inspirational, as I felt it would look even more effective in a music video and we could show intertextual referencing to Mobb Deep and Dizzee Rascal that are drawn inspiration from for the lyrics of the song itself.

• Creed (Film) = The running scene from this film was inspirational for the running shots we want to achieve in the male narrative.

• Ed Sheeran - You need me, I don't need you - Effective use of sign language for our studio shots.

• Rejjie Snow - All Around the World - Powerful shots for the male narrative for the teenager looking at London.

• Top Boy (TV Show) - An effective London, urban look for our male narrative.

R+P Post 18: Analysis of my track's lyrics and instrumentation

The lyrics of "Gun crime into your right ear" shows the lyrics are about a young man surrounded by crime. The lyrics of the song are very political and share the message of a young black males being scared of the police even if they are guilty. The chorus is the same as that from Dizzee Rascal's song 'Sirens', which 'Blue Lights'  was sampled from and, therefore appeals to a similar young London audience that the lyrics of the song may appeal to. The imagery of "Tall black shadow as you're getting off the bus" set the brooding atmosphere of the song as well as displaying the London location of the imagistic narrative it tells being set in London. There is also a reference to Mobb Deep where it says, "Now it's really part two, cause you're the shook ones." This reference to the acclaimed 90s Hip-hop album 'Shook Ones Pt.2' will also appeal to the target audience of trendy, cultured youth.

R+P Post 17: My Chosen Track

Jorja Smith

Our chosen track was 'Blue Lights' by Jorja Smith. We realised that we had the privilege of utilising Olamide's performance abilities and so going forth with a strong, female vocalist was a good idea. 'Blue Lights' is the debut song of the artist Jorja Smith and was first released on the Soundcloud platform, which appeals to a young teenage audience, who are quickly able to find appreciate more underground, local music. The song became popular on Soundcloud and that should come as no surprise as it is a brilliant neo-soul song showing Jorja Smith's beautiful voice with themes of being fearful of the police that would most likely appeal to a young, London audience.

The song itself is sampled and draws influence from Dizzee Rascal's 'Sirens'. This is another feature that could allow us to appeal to our London centric youth, who can appreciate Grime music. The song itself is fashionable, soulful and urban, therefore it is no surprise that we chose it, for these are all qualities that can appeal to our target audience.

R+P Post 16: My Band or Artist

R+P Post 15: My Record Label

My chosen record label for our artist is Virgin EMI Records. It hosts multiple artists that can appeal to a teenage, London audience, e.g. Loyle Carner and Lethal Bizzle. The neo-soul and house singer MNEK also is a member of the record label as well as mainstream international stars, therefore, making the record label seem attractive as it allows space for our artist to grow and develop by being owned by them. As well as this the artist Ella Eyre is another performer from Virgin EMI Records, who as a young London woman has been really successful in growing as an artist under the record label and most likely would attract a similar target audience to our own. Therefore, Layla Obi would most likely be able to strive under the same label, as she as an artist is similar to Ella Eyre.

MNEK

R+P Post 14: My Target Audience

As a group we decided we wanted to target to an audience similar to ourselves as individuals. We targeted for a British audience of both sexes between the ages of 16-25.

Our artist would hope to appeal to a politically interested group in this age ramge by utilising social media as a platform to share fashionable photos as well as posts on political matters. In fact the fundamental message of our music video is raising awareness for police brutality and the effect the police have on the mentality of the youth. As well as this the song choice also allows us to appeal to this same audience, as it has reference to grime and 90s hip hop even in its lyrics. However, after showing this song to a few adults of mostly women, I have learnt that the song also can appeal to n older audience too, for even my media teacher could notice the beauty of the song and the powerful resonance it holds.

The music video itself, as well as being a political statement, will have much voyeurism as well as trendy settings for the second narrative that is to be shot in Shoreditch. The second narrative having a male character will help appeal to both sexes as well.

R+P Post 13: Influences and inspiration from art, fashion and culture

I felt greatly inspired by the artist Kehinde Wiley, who managed to display a dialogue between the traditional African designs in the background that add meaning to the image of black identity in modern times and shows an appreciation to displaying the beauty of one's African heritage. There is a great level of vibrancy to his realistic portraits that I want to achieve with the graffiti backdrop aesthetic in some of the shots in Brick Lane. Some of his works can be viewed below.

                   

I also felt inspired by the gritty, urban aesthetic of the TV show 'Top Boy', displaying the lifestyle of the harsh realities of street life for a group of aspiring drug dealers growing up in a council estate. The TV show was critically acclaimed and helped to depict the injustice of cultural upbringing that inspired people to start getting caught up in crime. Even characters that were not caught up in that lifestyle, grew up with a similar disillusionment with the power of the police, as it does show how easy it is for one's surrounding to affect the likelihood of themselves becoming vulnerable to a life of crime.

In terms of fashion influences, I felt inspired by the street aesthetic of brands such as 424 and Off-White, who are constantly adding to the high-fashion reinvention of the street look, keeping the sharp aesthetic principles of what can be viewed as intimidating street clothing.

My influences and inspirations have helped me gain greater knowledge of the challenges faced to black identity and representation. I have also gained greater knowledge of how to present the desired urban look for our male narrative. I've started to appreciate more the urban aesthetic and am now trying to conceive how we will depict the bitter sweet symphony of the hustling mentality present in much of London's youth as well as showing a beautiful vibrancy and uniqueness of London as a location for shooting. It will be important to accurately present this setting in order to make the male narrative feel as gritty and realistic as possible.