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The video also uses master shots as base tracks. The audience are taken back to the same shots at least three times throughout the video as the video rewinds back to the start of the video and replays what occurred but in a slowed down version. This gives the music video structure as the audience begin to develop a feeling of familiarity when being brought back to these scenes.
However, this video could be considered to go against Vernallis' theory in ways. This is because the video doesn't use discontinuity editing and doesn't involve many jump cuts. The video is focusing more on the art within the the video and aims to push the audience's attention on to the art of the video.

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The video also uses obvious edits such as slow motion, reverse and an animated logo. At the end of the video, the artist all jump through paint in slow motion whilst the main artist walks underneath them and slowly walks past them as they land. The video then rewinds all the way back to the start of the video in slow motion again.
At the start of the video, the audience are greeted by and animated moving image of the artist's name and the title of the song as the 'O's in the words move around the screen. These edits draw more attention to the edits themselves rather than the song. The audience don't really acknowledge the lyrics at the moments in which these edits are used or they are used when there are no lyrics being sung.

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Music videos also tend to be edited in a way that is in time with the song. An example of this in 'The One Moment' music video is when the guitars explode. Each guitar explodes to match a main beat in the music and becomes repetitive. This draws the audience into the music more as they notice how the moving image on screen reflects the beats of the music.

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The artists in the video make eye contact with the camera quite often throughout the music video. This helps develop a relationship between the audience and the artists as they feel more personally involved with the video. This is also used as a way of drawing attention to what is happening on screen as they feel more involved.

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From the very start of the video, it shows movement of the camera to match the pace and timing of the music. The camera zooms in on the first artist with the book in time with the slowed down main beat of the music before zooming back out towards the end of the first verse. It then pans vertically towards the left of the set slowly to match the slower pace of the lyrics and music. This lets the audience feel involved in the song and doesn't lose them in the distraction of what is happening on screen.

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'The One Moment' music video by OK Go is a great example that uses some of the techniques and media language observed by Carol Vernallis.

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Vernallis had five main points summarized from her observations:

1 - Music videos don't use continuity editing like television shows do. Discontinuity editing is used instead to draw more attention to what is happening on screen.

2 - There are usually obvious edits that draw attention to the edit itself, such as special effects and exaggerated transitions like wipes across the screen.

3 - Jump cuts are a commonly used technique in music videos.

4 - Master shots (referred to as base tracks), are frequently used and taken back to in music videos to give the video structure.

5 - The camera will often move in time with the music in the video, often by zooming in/out in time with the beat.

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Carol Vernallis is a teacher of film and media studies at Stanford university and is the author of 'Experiencing Music Video: Aesthetics and Cultural Context'.

Vernallis studied the camerawork and editing of music videos very closely and began to understand that music videos were edited discontinuously. The videos she observed were edited in a way that had a rhythmic basis that connected to the song.