Vermillion Part 1

Vermillion Part 1

The idea and the concept

In this video clip Slipknot try to be a little different, because in this video the idea and the concept did not show the angriness but aloneness, strangeness, isolated person. In the video was shown the girl with the white dress and it seems that she was really isolated from the world and she is trying to find something, she went to many places to find if there is something that can connect with her, she seems so stressed because she lived in the very fast world but she can’t touch or connect with the world that lives around her and finally a butterfly came to her and she can touch it.

The shoot

In this video is very unique because the director used a speed technique which is make that everything around the subject moves so fast but not the subject so the movement of the subject is taking slowly and in the editing process the editor faster the movement of the picture. But in this video the director is very diligent and smart the movement of the subject (the women with dress) was very unique and creative if you can see the detail when she is sleeping but the clock is move very fast and the changing from night to day in the end of the clip is very fascinated.

What about sound

Now we are going to talk about the sound the aspect of the sound, what is it like, and the vocabulary about sound because we are talking about music, to make this is clearer now we are going to discuss it.

Use of Sound

Direct sound. Live sound. This may have a sense of freshness, spontaneity and ‘authentic’ atmosphere, but it may not be acoustically ideal.

Studio sound. Sound recorded in the studio to improve the sound quality, eliminating unwanted background noise (‘ambient sound’), e.g. dubbed dialogue. This may be then mixed with live environmental sound.

Selective sound. The removal of some sounds and the retention of others to make significant sounds more recognizable, or for dramatic effect – to create atmosphere, meaning and emotional nuance. Selective sound (and amplification) may make us aware of a watch or a bomb ticking. This can sometimes be a subjective device, leading us to identify with a character: to hear what he or she hears. Sound may be so selective that the lack of ambient sound can make it seem artificial or expressionistic.

Sound perspective/aural perspective. The impression of distance in sound, usually created through the use of selective sound. Note that even in live television a microphone is deliberately positioned, just as the camera is, and therefore may privilege certain participants.

Sound bridge. Adding to continuity through sound, by running sound (narration, dialogue or music) from one shot across a cut to another shot to make the action seem uninterrupted.

Dubbed dialogue. Post-recording the voice-track in the studio, the actors matching their words to the on-screen lip movements. Not confined to foreign-language dubbing.

Wildtrack (asynchronous sound). Sound which was self-evidently recorded separately from the visuals with which it is shown. For example, a studio voice-over added to a visual sequence later.

Parallel (synchronous) sound. Sound ’caused’ by some event on screen, and which matches the action.

Commentary/voice-over narration. Commentary spoken off-screen over the shots shown. The voice-over can be used to:

    • introduce particular parts of a programme;
    • to add extra information not evident from the picture;
    • to interpret the images for the audience from a particular point of view;
    • to link parts of a sequence or programme together.

The commentary confers authority on a particular interpretation, particularly if the tone is moderate, assured and reasoned. In dramatic films, it may be the voice of one of the characters, unheard by the others.

Sound effects (SFX). Any sound from any source other than synchronised dialogue, narration or music. Dubbed-in sound effects can add to the illusion of reality: a stage- set door may gain from the addition of the sound of a heavy door slamming or creaking.

Music. Music helps to establish a sense of the pace of the accompanying scene. The rhythm of music usually dictates the rhythm of the cuts. The emotional colouring of the music also reinforces the mood of the scene. Background music is asynchronous music which accompanies a film. It is not normally intended to be noticeable. Conventionally, background music accelerates for a chase sequence, becomes louder to underscore a dramatically important action. Through repetition it can also link shots, scenes and sequences. Foreground music is often synchronous music which finds its source within the screen events (e.g. from a radio, TV, stereo or musicians in the scene). It may be a more credible and dramatically plausible way of bringing music into a programme than background music (a string orchestra sometimes seems bizarre in a Western).

Silence. The juxtaposition of an image and silence can frustrate expectations, provoke odd, self-conscious responses, intensify our attention, make us apprehensive, or make us feel dissociated from reality.

The article of the video

“Vermilion” is a song by American metal band Slipknot. The song is released as the second single from their third album, Vol. 3: (The Subliminal Verses). When the band plays the song live, they switch from their ordinary masks and wear their alternative “death masks“, which is an actual cast of each member’s face. However, during the All Hope Is Gone tour, most members, with the exception of bassist Paul GrayCraig Jones, and Sid Wilson did not wear the death masks for the song.The song includes a follow-up entitled “Vermilion Pt. 2” which is a continuation of the first part.

The Lyrics

She seems dressed in all the rings
Of past fatalaties
So fragile yet so devious
She continues to see it
Climatic hands that press
Her temples and my chest
Enter the night that she came home

Oh (She’s the only one that makes me sad)

She is everytihng and more
The solemn hypnotic
My Dahlia, you’re bathed in posession
She is home to me

I get neverous, perversed when I see her to worse
But the stress is astounding
It’s now or never she’s coming home

Oh (She’s the only one that makes me sad)

Hard to say what caught my attention
Vixen crazy, Aphid Attraction
Carve my name in my face, to recognize
Such a pheromone cult to terrorize

I won’t let this build up inside of me
I won’t let this build up inside of me
I won’t let this build up inside of me
I won’t let this build up inside of me


I’m a slave, and I am a master
No restraints and, unchecked collectors
I exist throught my name, to self ablige
She is something in me, the darkness finds

I won’t let this build up inside of me
I won’t let this build up inside of me
I won’t let this build up inside of me
I won’t let this build up inside of me

I won’t let this build up inside of me
I won’t let this build up inside of me
I won’t let this build up inside of me
I won’t let this build up inside of me


(She isn’t real, I can’t make her real)
(She isn’t real, I can’t make her real)

The Conclusion

It is very clear that there are a lot of connectivity between the video and the lyrics, in almost  every part of the lyrics is describing and showing in the video clip I thing this song have a meaning that “The differences (between the two tracks) are subtle  ‘Vermilion, Pt. 1’ is about the enrapturing, the buildup, the anticipation and the neurosis,” says Taylor. “‘Part 2’ is the aftermath, the pieces that have to be picked up later, and maybe the guilt of having lived through it.”. Both songs are said to be about lost or unrequited love from a possibly suicidal person’s perspective and could also be seen as a modern day take on the Dickens character of Estella Havisham. For all this is the good video clip the camera shoot and the effect is fantastic.

Vermillion Part 2

The idea and the concept

Still the same idea and but different concept, the shoot is totally different than vermilion part 1, in this video clip much more slower.

The Shoot

If you see the shoot still use the same technique, but now we are going to talk about the editing technique to see that the director maybe use one of the editing techniques to make this video clip.

Editing Techniques

Cut. Sudden change of shot from one viewpoint or location to another. On television cuts occur on average about every 7 or 8 seconds. Cutting may:

    • change the scene;
    • compress time;
    • vary the point of view; or
    • build up an image or idea.

There is always a reason for a cut, and you should ask yourself what the reason is. Less abrupt transitions are achieved with the fade, dissolve, and wipe

Matched cut. In a ‘matched cut’ a familiar relationship between the shots may make the change seem smooth:

    • continuity of direction;
    • completed action;*
    • a similar centre of attention in the frame;
    • a one-step change of shot size (e.g. long to medium);
    • a change of angle (conventionally at least 30 degrees).

The cut is usually made on an action (for example, a person begins to turn towards a door in one shot; the next shot, taken from the doorway, catches him completing the turn). Because the viewer’s eye is absorbed by the action he is unlikely to notice the movement of the cut itself.

Jump cut. Abrupt switch from one scene to another which may be used deliberately to make a dramatic point. Sometimes boldly used to begin or end action. Alternatively, it may be result of poor pictorial continuity, perhaps from deleting a section.

Motivated cut. Cut made just at the point where what has occurred makes the viewer immediately want to see something which is not currently visible (causing us, for instance, to accept compression of time). A typical feature is the shot/reverse shot technique (cuts coinciding with changes of speaker). Editing and camera work appear to be determined by the action. It is intimately associated with the ‘privileged point of view’ (see narrative style: objectivity).

Cutting rate. Frequent cuts may be used as deliberate interruptions to shock, surprise or emphasize.

Cutting rhythm. A cutting rhythm may be progressively shortened to increase tension. Cutting rhythm may create an exciting, lyrical or staccato effect in the viewer.

Cross-cut. A cut from one line of action to another. Also applied as an adjectuve to sequences which use such cuts.

Cutaway/cutaway shot (CA). A bridging, intercut shot between two shots of the same subject. It represents a secondary activity occurring at the same time as the main action. It may be preceded by a definite look or glance out of frame by a participant, or it may show something of which those in the preceding shot are unaware. (See narrative style: parallel development) It may be used to avoid the technical ugliness of a ‘jump cut’ where there would be uncomfortable jumps in time, place or viewpoint. It is often used to shortcut the passing of time.

Reaction shot. Any shot, usually a cutaway, in which a participant reacts to action which has just occurred.

Insert/insert shot. A bridging close-up shot inserted into the larger context, offering an essential detail of the scene (or a reshooting of the action with a different shot size or angle.)

Buffer shot (neutral shot). A bridging shot (normally taken with a separate camera) to separate two shots which would have reversed the continuity of direction.

Fade, dissolve (mix). Both fades and dissolves are gradual transitions between shots. In a fade the picture gradually appears from (fades in) or disappears to (fades out) a blank screen. A slow fade-in is a quiet introduction to a scene; a slow fade-out is a peaceful ending. Time lapses are often suggested by a slow fade-out and fade-in. A dissolve (or mix) involves fading out one picture while fading up another on top of it. The impression is of an image merging into and then becoming another. A slow mix usually suggests differences in time and place. Defocus or ripple dissolves are sometimes used to indicate flashbacks in time.

Superimpositions. Two of more images placed directly over each other (e.g. and eye and a camera lens to create a visual metaphor).

Wipe. An optical effect marking a transition between two shots. It appears to supplant an image by wiping it off the screen (as a line or in some complex pattern, such as by appearing to turn a page). The wipe is a technique which draws attention to itself and acts as a clear marker of change.

Inset. An inset is a special visual effect whereby a reduced shot is superimposed on the main shot. Often used to reveal a close-up detail of the main shot.

Split screen. The division of the screen into parts which can show the viewer several images at the same time (sometimes the same action from slightly different perspectives, sometimes similar actions at different times). This can convey the excitement and frenzy of certain activities, but it can also overload the viewer.

Stock shot. Footage already available and used for another purpose than the one for which it was originally filmed.

Invisible editing: See narrative style: continuity editing.

The Conclusion

Both songs have respective music videos. The video for “Pt. 1” was directed by Tony Petrossian and percussionist Shawn Crahan and the video for “Pt. 2” was directed by Mark Klasfeld. Both videos were shot in Los Angeles in late-August 2004. The woman in the videos is actress Janna Bossier There is speculation over whether or not she was directly related to the band. The video is available on the CD single and the DVD; Voliminal: Inside the Nine, which was released in 2006.

After we see the video we can conclude about what editing technique that the directors used in this video, hope it increase our information.


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