Production

 Filming

After months of planning and negotiating ideas with each other about the execution of the project. It was finally time for us to shoot. Which seems like eternity because of multiple delays. We planned our shoot on 9th January 2026. It was a Friday, and everyone gathered in a parking lot near our college campus. The time planned to reach the college was 8.30 and apparently, everyone was an hour late.

This was me in the car, supposedly on my way to college. This year, we had the experience from our As project, and everything was much more organised with the shoot locations. The timings and the props, everything was perfectly aligned.

Our first location was a public park nearby.We needed establishing shots revealing the settings and the character in nature.

Everyone at the park is figuring out the shots that we need. Going through the screenplay so we won't miss out on any part.

This is the very first clip that we shot, in the park.

For our next shot, we were going to an abandoned place. We were driving around in DHA phase 9 until we found a suitable place and decided to film there.

After all these clips outside, we finally drove to our main location and started shooting. Our shoot took around 12 hours to complete because we only had the location for a single day. It was chaotic, even a little nerve-wracking, and as the main lead i barely had time in between shots. I remember taking 5-minutete nap before the final scene, and here is an edit made out of bts. Which can make a person comprehend our story in mere seconds.

Acting

The essence of this song played an important part. This was a music video, and there were no additional dialogues that we could work with. Our genre is dream pop, which is about setting a mood and atmosphere through the acting, which keeps the audience hooked. Making the video soulful, making it connect to the characters, their storyline, and everything happening around them.

As mentioned in pre-production, my character is the one the story is about; it is merely based on her married life with the complications she faces and the mistakes she made. While Abu Bakar's character plays a huge part in her life as her husband.While the appearance of our cinematographer Bilal changes everything in their happily married life.

Hizzats Main Outfit

Abu Bakar's Main Outfit

Bilal's Main Outfit

Direction

It is directed by Abu Bakar, who, as a music video director, is the creative lead for the entire video. Think of them as the person who turns a song into a visual story or experience. They guide everything from the first idea to the final edit.

Cinematography 

It was handled precisely by Bilal, the shots and angles. Helping us by turning a vision we had into reality, helping the story come to life.

We tried our best to make the music video seem cinematic; therefore, Bilal shot the video using a Sony A7 Mark III, a full-frame mirrorless camera known for its 693-point hybrid autofocus, 10 fps burst shooting, and 4K video capabilities. It contains features such as body image stabilisation and an ideal battery life. The video was shot in HID resolution (1920 x 1080) with a frame rate of 60 fps using the H.264 codec and a bit rate of 71.8 Mbps. These settings come in handy for low-motion playback when it's edited at a lower frame rate. The shutter speed was at 1/160 per sec, following the 180-degree shutter rule, which ensures a natural motion blur effect.

Our music primarily utilises close-ups, over-the-shoulder (OTS) shots, and mid-shots, each intentionally incorporated to

enhance the storytelling:

Close-ups to highlight facial expressions and emotions.

Long shots to establish body language and setting.

Over-the-shoulder shots to enhance

conversation scenes.

Mid-shots to create a balance between

the characters and their surroundings.

In terms of composition, we mainly applied the Rule of Thirds to achieve

balanced and visually appealing frames.

For camera movements, we implemented handheld shots, Steadicam shots, and dolly movements:

Handheld movements to create a sense of

realism.

Steadicam shots for a smooth, controlled look.

Dolly movements to add dramatic and cinematic depth to key moments.

Lana Del Rey's Salvatore was used in our project.