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I play The Protector, who is strong, focused, and grounded. The movements are powerful and deliberate, showing a deep sense of responsibility and an instinct to shield others. Every action feels intentional, as if always prepared to face any threat.

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For the in-between sections, I wanted it to feel very natural, as if the audience is just a fly on the wall watching me, I didn't plan what i would do in each clip i just imagined what I would do personally and i used what i have found from peoples experiences with DID and tried to embody how it would feel. If I were to do this again, I would think more about how I am portraying these feelings. I feel like sometimes within it, I could have done more, but I am not the most confident actor, so I need to work on it for the future.

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The movement for the Protector was heavily inspired by "Human" by Sevdaliza. The heavy, pulsing beat and the dark tone of the track influenced me to create sharp, grounded, as well as fluid movements that feel both defensive and powerful.

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For the protector section, I wanted the camera to be moving to follow my movements to highlight different things. The ending, where I have put the effect over the video, was inspired by the song. I wanted to make it look how the song sounds, and I think the effect helps a lot.

Opening shot:

It opens with a medium shot filmed from a slight low angle, giving the character a strong, grounded presence right away. The low angle isn’t extreme, but it subtly makes the character feel powerful and in control. As the movement becomes wider and more assertive, the camera shifts back slightly into a medium wide shot, still keeping that low viewpoint. This lets us see the full body and emphasises the way the character owns the space.

Hand Held:

During the faster, sharper movements, the camera becomes handheld and a bit shaky, but still controlled. This is because we didn't have a stabiliser for the camera, so it had to be handheld, but I actually like how it turned out. The small amount of movement makes the energy feel raw and more real.

Stillness:

There’s also an important stillness when I stop and look around the space. The camera holds steady in a medium shot. This shift in framing makes it feel like the character is always scanning, always aware of what's happening around them. Finally, the section finishes with a strong, steady close-up at eye level. The direct eye contact is powerful and creates a protective, strong energy.

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Tayla plays the Nurturer, which represents softness and care, creating a sense of calmness and emotional safety. The gestures are gentle, often reaching outwards or embracing space, symbolising support, comfort, and unconditional kindness toward others.

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Check out this Online Portfolio designed by Megan Gaskell.

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The movement for the Nurturer was inspired by the emotional vulnerability and tenderness in "Don't Watch Me Cry" by Jorja Smith. The softness of her voice and the aching feeling in the lyrics helped me to gentle, flowing movements that reflect care, loss, and emotional strength. I wanted the choreography to feel like a physical expression of offering comfort by reaching out, holding on, and letting go, all while carrying an underlying sense of resilience.

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For the nurturer section of my piece, I decided to use soft and fluid movement when filming and have minimal cuts. This is because nurturers are not frantic or sharp; I wanted their essence to be flowing, patient, and grounded. The camera mirrors this by not making sharp cuts or quick changes.

Opening shot:
It opens with a medium wide shot at eye level to present the Nurturer character in a calm, open space. This framing establishes a sense of welcome and warmth, allowing the audience to see the body language clearly while still feeling a gentle distance. The eye-level position keeps the connection natural, suggesting trust and approachability right from the start. The camera then moves into a medium shot (MS) from a slight high angle. By drawing the audience closer, this shift builds emotional intimacy and allows smaller gestures, like delicate hand movements, to feel more personal and caring.

Flowers in the corner shot:
Later in the section, I used a medium wide shot with the flowers in the corner of the screen. Visually, the flowers anchor the space, creating a sense of warmth and safety around the movement. The choice to leave them slightly off to the side mirrors how nurturing presences in life often work quietly, watching over others without demanding attention. I also did this as the nurturer symbol is the flower in hands (picture in mood board), so it can link back to this.

The flower shot:
Near the end i used a close-up (CU) to capture Tayla gently holding a flower. The blurred background ensures the focus stays on the flower again to symbolise care, fragility, key traits of the Nurturer.

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I chose dark red lighting in a black studio for the Protector to make the space feel intense and serious. Red felt right because it’s a strong, warning colour that matches the Protector’s job of staying alert and defending when needed. The black background kept everything simple and focused, so the focus was on the movement.

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Natural lighting

Set in Castlefield Viaduct, as I liked how the plants were on either side, and there were lots of different areas that I could use to film. It also gives a sense of peace and calmness, which I wanted to convey in this section.

I chose this for the costume as I wanted neutral colours, and I feel like the cardigan adds a comforting feel to the outfit.

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Charlie plays The Opposite Gender, this section explores strength and freedom in a different form, blending fluidity and boldness. His movements are confident and expressive, embracing a sense of identity that shifts between energies without hesitation or fear.

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For Charlie's solo, I asked him to freestyle as he has his own distinctive style, and I wanted it to feel authentic using his own interpretation of the music. This is where I was practising with him, doing it while I figured out how I wanted to film it.

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Jasmine plays The Child, who is playful, curious, and full of light energy. Her movements are soft, quick, and sometimes unpredictable, reflecting innocence and a sense of wonder. There’s a feeling of joy mixed with vulnerability, as if discovering the world for the first time.

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For the partner section, we collaborated to create the choreography. Working together allowed me to explore how different sides of identity can support, challenge, and balance each other. It also symbolised the idea that within DID, alters aren’t isolated — they coexist and often interact in complex ways. By building the choreography together, I was able to make the movement feel more authentic, showing how these identities communicate and move alongside one another.

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For Jasmine's section, as I wanted it to be many short clips put together, I decided to choreograph as we filmed, so it was more inspired by the setting and felt more realistic. Jas also put some of her own ideas into it, which I think helped her embody the character more, even though she is already very fun and energetic, hence why I chose her for this character. I feel like this helped her section feel more natural in the sense that she is just a child wandering through a garden.

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For the child section, I wanted it to seem as if the audience was just watching in on a child wandering the woods/garden. Hence why I used lots of short clips and tracking shots and slo-mos to make it seem almost dreamlike as well.

Opening shot:

For this shot, I used a zoom-out shot from the bow in her hair. This is a transition from the section before to make it seem like a flashback. As she skips away in slow motion, it emphasises the innocence and carefree nature of the moment, giving it a dreamlike quality. It allows the audience to focus on the purity and joy of the child’s movement, while also adding emotional depth.

Wide shots:

I used a lot of wide shots to capture the size of the forest highlighting the child’s smallness in a large, overwhelming world, which adds to the emotional depth of the scene and reinforces the theme of exploration.

Peekaboo shot:

For the ending shot, I decided to have the camera peek in and out from behind a tree, like a game of peekaboo. It adds a playful and curious feel and it also transitions out of the child section fading to black.

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For the Opposite Gender section, I chose to film it all in one continuous take, using a handheld camera to follow the dancer throughout the movement. By staying close and moving with the dancer, the camera creates a fluid and connected feeling, almost like it’s breathing with the performance. There are no cuts, which helps keep the energy natural and uninterrupted, reflecting the idea of movement between different identities or expressions. The handheld style also adds rawness and honesty to the footage, making the connection between dancer and camera feel more personal.

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The set I chose was Fletcher Moss Botanical Gardens, I feel like it is exactly what I envisioned for this section, with the flowers and all the greenery. I really liked how it turned out; however, due to work and other commitments, the only day we could film together was raining, so I tried to hide it as much as I could with editing and colour grading, but the sun would have highlighted it even more.

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For the set I originally wanted a plain white room, however, with a lack of time and resources to hire somewhere, I was going to use a studio at Shockout with the white wall; however didn't like how it looked, so I decided to do it in 3.7/8 with half of the blinds down and half up. I liked how the size of the studio created this big open space behind, and with the blinds open at the front, with the natural lighting, it created some nice shadows in the background.

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'Behind You' Dance Concept Video - Xavier Gibson

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My piece is an exploration of the effects of Dissociative Identity Disorder. It begins with me waking up, unaware of the events of the last 4 days. As I move through the day from waking up, I discover different objects or clothing that relate to each of my alters, which you later see in each of their sections. Each section takes us through what each alter has been up to throughout the last 4 days, while I (the host) am unaware and have no memory.

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This article explores how to create different types of lighting effects in film by adjusting three key factors and provides examples and techniques for achieving common lighting effects.

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Choreography inspo from 2:18 - Me and charlie partner section

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Choreography inspo from 2:18 - Me and charlie partner section

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CDK - Somebody That I Used To Know by Gotye

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How to use the camera as I had never used a proper camera before

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How to use the camera as I had never used a proper camera before

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Canon 7D for filmmaking: Setup Guide & Overview

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Figuring out what camera angles work best.

The use of the mirrors this way didn't make it into the end result, as I did not like how it looked, so I had to change it.

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For the partner section me and Charlie did collaborative choreography, which involved responding to another body in real time. This mirrors the internal interaction between alters within a system.

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I used the emotional qualities of specific songs ("Don’t Watch Me Cry" by Jorja Smith and "Human" by Sevdaliza) to guide the creation of my movement. This is a practice-led method where sound and mood directly inspire choreographic choices.

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I chose this for the costume as I wanted to give businesswoman vibes, hence the blazer. However, when I tried it with the lighting because it was all black, you couldn't see my movements, which is why I had it open. If I were to re-film, I would probably have a more supportive bra, as I felt a bit unstable in this one, and it's a bit revealing in the end result, which isn't what I was going for.

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For costume i went with a baby pink theme, to begin with its because i knew Jasmine has a lot of pink clothes so it would be easy to find something as well as this I feel like it highlights the childlike quality and it ties in with the pink bow which is used to symbolise her character within the piece.

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For Charlie's costume, I wanted something very different to my costume, as I knew we were going to have the partner bit, and since my section has a red theme, I thought green would be best, as it is on the opposite side of the colour wheel, so it would create the most significant difference. I also wanted it to seem more casual and everyday.

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For my costume as the host, I wanted something with no colour, as each other character has their own colour scheme, so I wanted mine to be almost a blank canvas to highlight the other personalities. I also wanted it to be very casual and everyday wearing, as most of it is set at my apartment.

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Editing the music to make it shorter

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Cooler tone to make it more calming, peaceful and almost sad.

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How to Blend Two Videos on CapCut | CapCut PC & Mac Tutorial

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Reflecting on my process, I think I have definitely learned a lot from doing this. Before starting, I didn't know how to use a camera, edit or edit music. The process of learning all this has actually been quite fun, and I enjoyed figuring it out to finally get to the end product. While my piece is not perfect, I think with the time I gave myself, which was not very long, I am happy with the outcome.

I think the use of an actual camera rather than a phone enhanced the overall outcome, although in some clips I didn't have the settings right as they are either slightly blurry or the exposure isn't right; however, I tried to combat these within the editing process, and it came out quite well.

With doing choreography, I would definitely give myself more time if I were to do this again as because I felt a bit rushed, I was panicking about getting it done sometimes more than what it actually looked like, but I don't think this shows in the final piece.

I also think next time, if I had more of a budget, I would take more risks with the locations, as I would have liked to not film it within the shockout building, although the use of the studio turned out well. I would also maybe hire a videographer, just so I know it will turn out the way I want it to, as I am not that confident with a camera. Or just do even more research on cameras and maybe get my own so I can play around with it more and really get my head around how to use it.

With editing, I think I did quite well, especially as I have never really edited a project so big, but I feel like after a few tutorials on how to do things that I was stuck on, I found it quite easy to figure it out and get it how I wanted.

Overall, I am really happy with the outcome of my project and hope everyone else enjoys watching it too.