Ordinary Product · New store shots

The match cut

Rebuilt in After Effects with your match-cut method. No zoom, no flash. Not in any reel yet.

Six frames a picture

The readable pace.

Four frames a picture

Your fast pace.

Eight pictures, each squared up on its own real wall, the frame dead centre. Nothing moves or scales.
Your recipe: fast overlapping cuts, and on every cut one adjustment layer with Radial Blur (Zoom) going 0, 65, 0 over two frames.
Sound: only your shutter click on each cut. I held the first and last picture for a moment so you can watch it. The comp itself is just the cut.
Both comps are in After Effects as live layers, nothing precomposed: OPF Match Cut 6f and OPF Match Cut 4f. The project is saved in the job folder.

How a frame is reframed. Left: as she shot it, with its four corners marked. Right: the same pixels with those corners pulled out to a rectangle. A corner pin, nothing redrawn.

The best

Use these first.

The rug, pulling out to the whole thing

Better at half speed0:10IMG_9646

The clean take of the pull-out: the whole rug, the pouffes, no feet, and it holds for five seconds. The phone switches lens at 0:02 (the colour jumps), so I would use it from 0:03.

The rug’s wordmark, sliding along the letters

0:06IMG_9647

Close, sharp and the steadiest rug shot, with the twist. Use the first 4.5 seconds: clothes come into the corner after that.

The tee wall, straight on

0:05IMG_9668

Three frames, the wordmark band, the rack and a corner of the rug in one picture. Rock steady. I would crop the right edge: a McDonald’s sign shows above the wall.

Walking the polo wall

0:10IMG_9664

Frames, the band and the rails with real depth. Steady and sharp, with three usable pieces in it.

The family photo over the wordmark

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Bright, no reflection on the glass, and the letters read. Skip the first 1.5 seconds (a bump).

Very good

All usable as they are.

The rug’s wordmark, a little wider

0:07IMG_9648

Starts with the floor and the pouffes, then slides along the word. The sharpest rug shot. Use the first 4.5 seconds: a shadow comes in after that.

The polo wall from low down

0:10IMG_9651

The same wall as number 4 from a lower angle. Use it from 0:02.5: the phone switches lens before that.

The family photo, closer

0:05IMG_9656

A good push in. Use the first 3.5 seconds: a light spot appears on the band after that.

The portrait in the jet seat

Better at half speed0:04IMG_9666

The clean take of this frame, with no light on the glass. It is short, so half speed gives it room.

Better at half speed: 1 (the pull-out itself), 9, 11, 12, 13, 14 and 19. They were filmed at 60 frames a second, so half speed is real slow motion. Every clip has both speeds here.

Could be used

Each has a flaw. Only the part I name.

Panning the tee wall

0:07IMG_9657

Very steady and sharp, but a light reflects on the family photo, right on her face, until 0:04.5. The last 2.5 seconds are clean.

Every frame in one fast pan

Better at half speed0:09IMG_9665

Too fast and a little shaky as shot. At half speed it becomes a usable run past all the frames.

The pyramid photo over ORDINARY

Better at half speed0:10IMG_9654

The frame with the big letters under it is a strong picture. Shaky start and a whip at the end: only 0:02.5 to 0:06.5.

The Great Wall photo

Better at half speed0:08IMG_9653

The NOT SO ORDINARY hoodie reads well. Hazy glass and a light spot bottom left. Only the first five seconds.

The couple on the boat

Better at half speed0:06IMG_9660

A light reflects on the right side of the glass. 0:01.5 to 0:04 if you want this frame in.

The polo wall, ending on the wordmark band

0:09IMG_9661

A weaker version of numbers 4 and 7, with a bump at 0:05. The last two seconds on the letters could be a cutaway.

The tee wall wide, then into the family photo

0:11IMG_9659

The wide first five seconds work, tilted. The close part has a strong light reflection right on the glass.

The store, looking toward the door

0:08IMG_9667

Steady and sharp, but the hooded mannequins at the door are in the first half, and the pink one reads as a veiled woman from behind. Second half only.

The portrait in the jet seat, with a reflection

0:04IMG_9655

A ceiling light sits right on the chest. Number 9 is the clean take.

The rug pull-out, with feet

Better at half speed0:07IMG_9645

Feet come into the frame from 0:03. Number 1 is the clean take. From this one only 0:01.5 to 0:03.

Leave out

A cleaner take of each exists above.

The rug pull-out, skewed

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The softest rug take, and the shadow of whoever is filming lies across the rug the whole way.

The OP poster

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A security camera and a wall socket sit next to the frame, the glass glares, and the shot drifts off it.

The frames from below

0:08IMG_9658

A steep angle, mostly wall and ceiling, soft, and it turns yellow at the end.

He also sent one photo: the family frame over the full wordmark. It works as a still with a slow push in, or as a carousel card. IMG_9669

Where they would go

My plan once you say go. Nothing is changed yet.

The store, slow and The pieces

The rug (2, then 1) and the frames wall (3, 4, 5) as new beats. These two reels are the store itself, so the new look belongs here first.

A quick tour

The tee wall and the polo wall under Ali’s lines about where everything lives, and the rug on his closing line.

The endings of the talking reels

One beat of the rug’s wordmark in the quick shots before ORDINARYPRODUCT pops.

The announcement

I would leave it as the opening day itself, unless you want the rug in it too.

Every phone shot gets graded to sit with the cinema camera, and steadied where it needs it (they are 4K, so there is room).