TV Studio Reflection

TV studio session – Tuesday 5th May

Our show was named The Geek Week and was designed as a topic a week show that would cover a specific area of Geek culture. This particular show concentrated on cosplay, its history and growing presence in modern western society. Our lengthy research into things Geek really paid off during the design and concept of our set which looked really good on camera with various items of Geekyness on display with a colourful couch and posters lining the walls. In hindsight I would have like to have the walls filled with a little more colour but the majority of our shots were tight and prevented the cameras from seeing the wider less populated set. Our VT’s were suitable to our project: one showing a trip our presenters took to MCM Birmingham Comic Con shortly after we had decided what topic to cover in our show and the international VT being of a trip to a large comic book store there and exploring the influences on the cosplay community. I feel these met the required criteria for our project however one of them seemed to be far too lengthy and I worried it would loose the interest of the audience. My role within the television team was Camera 2 operator, a role I hadn’t had the opportunity to prepare for as I had missed a few practice sessions due to international trips and the team deciding that my role should b changed, however, I found the process of camera operation simple and easy to pick up on the day. Essentially it relied heavily on floor manager and director working well together. Unfortunately, our director didn’t seem to take the project very seriously and acted rather unprofessional and as such communication between him and the floor manager were strained. I think the project would have benefited from a stronger director who could communicate clearly back and forth with the floor manager. Our director not only demonstrated a lack of professionalism in communication to the studio from the gallery but he also forgot to bring in the VT creating a large problem for us during the shoot even though we were allowed to add the VT after shoot. This meant our timing had to be really tight as we didn’t have the VT in front of us to make sure we could add it easily later. I was largely disappointed with our director in general and felt that we should have had someone else at the helm. Inside the gallery, early on in our shoot it seemed disorganised and argumentative which was a direct issue from lacking a strong central figure present. However, once we had began rolling and resolved our technical issues they co-ordinated themselves well. The auto-que scrolled a little too slowly the first run through but this was rectified for our following shoots. Our major problem on set was the audio, we hadn’t prepared sufficiently for recording audio in the two sections of our set which we discovered after our first take. This is something that we should have highlighted during practice but without our demonstration able to make practice we should have pretended that we had to move to a different section of the set. We remedied this by moving our mics so that one was positioned to pick up audio from the makeup tutorial even whilst not on screen and tilted the other slightly to accommodate for the interviewee. Our camera operators were organised and very aware of the schedule and timing of the show, especially camera operator one who also had the added job of operating the on set TV screen after positioning his camera into a suitable shot for the next segment of the show. We had four cameras in total, one unmanned aimed as a close up on the make up demonstration to give a constant view during the show. The Floor Manager also did a successful job of queuing the cameras and the Presenters were aware of which cameras they needed to look at during which part of the show. We had a duo of presenters who both dressed up in costume to fit with the theme of cosplay our show was following. They made for a good group but sometimes felt too scripted and seemed to be a little nervous. During one of our takes we found a gap of six seconds that needed filling and the presenters did a good job of filling this section with dialogue between presenter and make up artist. Myself and the floor manager also dressed in costume to add to the theme of the show and create a calming atmosphere which I think helped and showed commitment to the show. Other members of crew chose to wear Geek related items of clothing as well which showed a unison amongst the team. Reflecting upon my own performance, I feel I did so quite successfully considering I missed two rehearsals due to being away in Istanbul and had my job role changed from Presenter, to Floor Manager to Camera Operator in the last week. I would have liked to have been more aware of the blocking of the set beforehand and perhaps should have requested an image the set sent to me whilst I was aware to help prepare. With more time I also would have studied the operation of the cameras a little more in depth and was fortunate to have the assistance of the other camera operators in setting it up. I would have spoken out against the choice of director from the beginning to try and persuade the group to pick someone more capable of the role and also would have spent more time familiarising myself with all the roles in the studio and the equipment as then I would have been better prepared for a switch in set role. My feelings towards working in TV has not changed since this experience and it is still an area of Media that I would prefer to avoid. It feels far too regimented and structured and lacking in creativity and freedom to be a career I would enjoy pursuing.

The Mystery of Film Noir

In the dark alleyway of time hangs a silent question above the door of Film Noir: Genre or Movement? There are those who see Film Noir as a genre signified by its down on its luck male protagonist and strong independent femme fatale in a world of perils and plunders. Others argue that Film Noir does not constitute itself as a distinct genre and instead was Hollywoods only real organic film movement. In the aftermath of the Second World War the American audience had seen a change in its taste of content. It preferred a darker, grittier and adult-oriented image. Few of the artists in Hollywood who were producing this content called them noir at the time, this was a term coined by French critics who admired the new style being created in America. But the vivid loss of innocence, fatal romanticism, hard cutting cynicism, endless desire, and shadowy sexuality that arose in those immediate post-war years proved hugely influential, both among industry peers in the original era, and to future generation of storytellers. Using Film Noir as my choice of film movement to edit made sense as the script was written from the beginning intended as a film noir piece. The characters, setting and subject at hand alone spell out the shady dealings of this movement. I looked to famous Film Noir directors such as Jules Dassin, John Huston and Michael Curtiz but the most influential to me from an early age, and the man responsible for my love of this particular film style, was Robert Siodmak for his work on the film The Killers (1946, Robert Siodmak). Like many other Noir Films it was based off a short story written by Ernest Hemingway, the film in particular contains all key components of a classic Film Noir; the doomed man, the dangerous woman and the gritty monochrome texture.

Looking at the above clips from The Killers, Robert Siodmak shows a love for few cuts, preferring to hold steady long shots or track actors or objects through the scene, a technique not uncommon in Noir Films. Notice how in the second video the camera tracks the suitcase as its taken from the characters and holds that shot as the suitcase glides away. In a modern Hollywood film this same series of events probably would have consisted of several cuts. Again after the suitcase has been handed over there are some lingering shots of the characters in amongst a crowd of people but our characters are not at the front making them seem like regular bystanders. Another director who I am looking to combine my editing style with is Steven Spielberg. In a previous post (https://grantsnaithyr1.wordpress.com/2015/02/11/advice-from-the-pros-part-5/ ) I have highlighted my love for the ‘Spielberg Oner’. He favours a roughly 3 minute take and shoots it in a slow movement style so as to remain invisible where possible. Particularly in his film Jaws (1975, Steven Spielberg) he demonstrates a tactful use of the long take, and blocks his actors with great skill to allow them to move through the scene. In the below scene from Jaws he demonstrates this so well transitioning from wide to mid to close up shots all in the same take without a single cut that matches the increasing levels of intensity between the characters.

So overall, my edit is aiming to use a minimal number of cuts, focusing instead on fluid movement of the camera tracking key characters and objects for prolonged periods of time hopefully creating a slow pace to my piece. The film would hopefully be around the five minute mark, pushing at the boundaries of the requisite 3 to 5 minute short film we are to produce. Whilst I intend to make this piece as well as possible, I feel that this is a short film I will be revisiting and filming over the summer break to refine.

The Broadcast Project

Six groups (BBC Academy College of Production) Floor manager Ed Sharpe
– Producer: The final decision maker
– Director: Sound and Vision

Group 2 with Ross
11:30 – 12:30 in TV studio (ETG06) and then 1:00 – 2:00 (ETB04)

The brief is to make a studio based “magazine programme”. This is similar to a glossy magazine, comprised of items each made to fit the tone, style and subject matter for the intended audience. We have to make these items to add in. Examples of these types of show: This Morning, The One Show, The View, Good Morning, Lorraine, Loose Women, Top Gear, The Gadget Show. We must watch as many of these types of shows as possible to get an idea for what we are creating and analyse it.

We are recording live, no editing is allowed. You can do as many takes as you like and the final piece should be 10 minutes long. You can choose a title and theme for your programme and the content of which should include a mix of researched clips and your own VTs. You must interact with your audience via social media. You will audition for studio and VT roles but work as a team. At least 2 clips found from the internet that fits your theme that is copyright approved. At least 2 VTs one of which must be international/produced outside UK. A studio based interview. A demonstration item or a performance, an audience participation item using social media. Try to go see a studio recording. Peer marking that reflects on your contribution of the final piece, this will have an impact on your final grade.

Technical talk/lingo (Talkback):
– Crab left/right, tilt up/down, track out, zoom in, pan left, throw focus, thats a wrap. Be decisive and clear.
ABC – Accurate, Brief and Clear

The Script – First Draft

I finished work on my first script for my short film “A Game of Bluffs” (working title). I would appreciate any constructive criticisms as I will be completing a second draft next week to continue developing it. Please leave a comment in the comments below or feel free to fill out a report form and email it to me at Snaithius@hotmail.com, thank you.

A Game of Bluffs Screenplay

SCRIPT REPORT FORM

The Pitch: Start Fresh

For our most recent task we would have to prepare a pitch to give in front of our class for a script idea that we would like to create, edit and adapt into a short film. The film should conform to a specific style so as to stand other films being produced in the class. Here is my fourth idea:

“When complicated director Harold Levarr is told by his producer to start fresh on his most recent project something in his mind breaks resulting in him taking a fresh start a little too far” – 34 Word Count

“Harold Levarr is an unstable minded director told to make a fresh start on his new project resulting in a mental breakdown of dangerous consequences” – 25 Word Count

Production Roles and Storyboards

It is imperative to any well organised documentary production team to have clear and defined production roles these can include; Director, Editor, Camera Person, Audio Technician and Interviewer. After a discussion in todays meeting we arrived at defined production roles for one another and we briefed one another on exactly what that role meant to them and the team as a whole and what was ultimately their responsibility. Our production roles currently stand as follows:

Michael Moser – Director
Karen Jensen-Clark – Audio Technician
Chris Caswell – Interviewer
Grant Snaith – Camera Person

My role as Camera Person is to operate the camera on the day of shoot, in order to do this there are a number of factors I must master beforehand. I will have looked into the storyboards in depth and prepared a visual for each shot in my mind so that when commanded to do so by the director I can assume the necessary shot without having to double check the storyboard again. I must also learn to utilise the camera and it settings and the other various equipment associated with it (Shoulder mount, Tripod etc). This is imperative as time cannot be wasted in messing around with settings, the settings should already have been pre-determined before shoot to reach the optimal appearance for our choice of visual style and then only need slight tweaking to adjust to light levels on scene. In addition to this I should take the time to hone my camera movement skills as this is an area I have previously highlighted as a trouble zone for myself. I will be doing so by booking at a camera and shoulder mount/tripod every other day and practicing tracking, zooming, panning and other styles of movements.

1) What are we trying to say about our character?
Maurice is a fascinating person to talk to who simply has so many stories to tell that we could have honestly chosen from a hundred different subjects related to him, however the most interesting aspect is his history as a war evacuee. Our documentaries ultimate goal is to tell our audience just what it was like for Maurice at this tender age to be taken away from his parents to a strangers home who’s only motivation for doing so was money from the government. It should also be made apparent just how mentally strong Maurice was during this time in his life and how he has overcome such trying times to live a happy life thereafter. In some respects we think this is relatable to modern day society and the debate about people having children to receive funding from the government without adequate means of looking after them.
2) How will you gather and order your research information?
We are currently in the stages of research into our subject Maurice and his past as an evacuee during the Second World War. We decided that the first and best place to start was a group meeting with him without cameras and just a simple mic to capture the conversation. This took place on Monday and went really well. Not only did this help to put Maurice at ease and familiarise him with the group but we also all got a better sense of our story and we each got a better visual for the story at hand. Advancing on that we have decided to further research into other stories and the historical facts behind the Second World War evacuees and will be posting our research onto our blogs. We think this is imperative to our success as a better understanding of the subject at hand can only help us to better tailor our questions to manipulate our interviewee into an emotionally provocative answer. Our final piece of research will be to take a day trip out to Coalville and the countryside that Maurice was evacuated to during the war. We intend to take Maurice back here during our filming and so this would be essentially location scouting better allowing us to storyboard this section of the documentary.
3) What is the editorial hook or angel on your subject?
The emotion of this story is a key factor that we have decided to really focus on during our documentary. During our meeting with Maurice off camera there were several moments picked up on by our group and on audio recording where it was apparent that the memories were close to bringing him to tears. It was these little moments that we realised we must capitalise upon to evoke an emotional connection from the audience. We would like our audience to have watched the film and ask themselves ‘What would it have been like if this had happened to me?”. In order to do this we really want to emphasis the separation from his parents at an early age and the need to learn street smarts in order to survive.
4) Decide on a visual style for your film?
When we went to visit Maurice we all took note of how the natural light from the large windows created a warm and yet soft lighting to the visuals and we all agreed that this would be an ideal visual style for our piece. We feel that the warm colouring creates a more personal feel to the story and since Maurice is quite elderly a cold colour could create a more lonely and isolated feel.
5) What is the heart of the story that can be told in three minutes?
The nucleus of our story is the separation of child and family as Maurice was taken out to Coalville, Leicestershire during the Second World War to avoid the bombing runs. We would begin our story from the moment of evacuation to his first place of residence and the difficulties he encountered here with poor heating and little food and then follow him to his second accommodation and conclude with his return to his parents. Each act of the story will take roughly a minute of the three minute long documentary.
6) How are you organised as a production team?
See Above
7) Why would this appeal to our intended audience?
Our story is a timeless tale of the hardships of youth in the trying times of the Second World War. It is an area that many British people are aware of but rarely stop to consider the effects of and as such our documentary is centred around the principal of revealing this. We would class our intended audience in the stereotype of Middle Class parents and grandparents of an age range from 50 to 90. We theorise that younger parents would tend to be disinterested in subjects such as the World War where as 50 to 90 would encompass those who were alive during the war and had similar experiences who might wish to reminisce about the past. 

Presenting our early storyboards: %5bUntitled%5d (1) %5bUntitled%5d

When I Grow Up, I Want To Be…

Film Director
Film Directors have an overall responsibility for the method in which films are created. As a director, it is imperative that you utilise skills such as creativity, organisation and technical knowledge to manage the entire production process from pre to post production.

As the leader to a production team made up of people with their own very different roles, in this job you would need good communication skills and an understanding of individuals personalities, strengths and weaknesses. You would need to be very organised and good at planning ahead to better equip you for potential problems. You would also need to make strong decisions, manage your time well and keep to your budget which each require in turn discipline above all else.

Film Producer
Film Producers look after the business side of a production, leaving the director and crew to concentrate on the creative aspects of the work. This job includes pitching new ideas for projects, gaining the necessary funding and rights for books and screenplays, and managing the budget.

To do this job, you would need to be well organised, good with numbers and calculations and an excellent negotiator. It is also important to have a strong sense of empathy to better your chances at a successful negotiation. To become a producer, you will most likely need experience of working in the industry and a good network of contacts, another reason why a strong sense of empathy is imperative to this line of work.

A Long Time Ago, In A Galaxy Far Far Away…

Yes, thats right people, the trailer for Star Wars: The Force Awakens has been put up on the world wide web in all its 88 second glory, and what a wait it was watching the clock tick over through the last few days knowing that it really wasn’t that far away at all. And finally, it awoke…

What do we see in this trailer? Obviously not a great deal because none of us want the plot to be ruined for us, but what J.J Abrhams teases us with is so amazing that it seems to tap into both the original trilogy and the prequel trilogy at the same time without creating uproar. It would seem all is not well in the universe and that the empire is still present, some flickering shots of stormtroopers preparing for combat drop. Perhaps my favourite shot of the entire trailer is the swooping shot of the X-wing fighters skimming over a beautiful looking lake, its a fleeting shot but still strikes accord with my inner geek. Then we are introduced to the sith warrior, all dressed in black traipsing through a snowy forest, till he comes to a halt and draws his lightsaber which has a neat laser handle guard! But wait, theres more! Probably the shot that everyone will be shouting about, behold, the mighty Millennium Falcon swooping down into action over a desert planet in a dog fight with two tie fighters.

Now I’m still a little skeptical about the new Star Wars film/s and this trailer doesn’t strike me quite the way that say Avengers: Age of Ultron did, however it looks like a great film. It goes some way to combining the flashy action packed shooting style of the prequels with the aspects of the original trilogy thrown in as well. Star Wars: The Force Awakens is due for release December 18th 2015!

Advice From The Pros

From the mouth of one of the big directors at this time, James Gunn, comes this brilliant snippet of advice to all aspiring directors out there. I’d like to send out thanks not only to James Gunn himself for taking the time to write to his fans about this but also my friend Ben, who took the time to link me to this:

Remember that it takes ten years or so to become a doctor. Entertainment is a far more competitive field than medicine – and, if you’re really focused on mastering your craft, it can be just as complex. So expect it to take at least ten years of hard work at the expense of a regular life to simply be competent and perhaps begin to make a living at it. And, even then, sadly, only an extremely small percentage of people are able to do so.
If you find that too daunting, consider working in another field. If you don’t find it daunting at all, consider therapy. Considering your sense of reality, you’ve got bigger problems than your career goals.
However, if you find that daunting, but still have the need or desire to continue, well, that’s at least one place to start. I wish you not only luck, but strength, perseverance, heart, and talent.
And, before you start, there are of course lots of exceptions to the ten year rule (or, as Malcom Gladwell talks about in his book Outliers, the 10,000-hours-of-work rule). But that also takes a great amount of luck, something we don’t have much control over other than putting ourselves out there as much as possible.

Creatures and Monsters Intro

Here is the introduction to my mini-documentary ‘Creatures and Monsters’ that I went and shot at Birmingham’s Prosthetics Event a few weekends ago. Sorry its taken so long to get up here. I will be having a editing tutorial tomorrow and so will be uploading a new and improved version of this to determine my advancement. Enjoy!