Hey! So just to say I have began a new blog for my second year as a Media Production student, why not take a peek?
https://grantsnaithyr2blog.wordpress.com
UNITED STATES – CIRCA 1950s: Woman with surprised look. (Photo by George Marks/Retrofile/Getty Images)
Come the end of the year I am travelling to a country that ever since I was a young boy I have wanted to visit, New Zealand! Come September the 1st I will begin my extremely long flight across the world to reach the lands of Middle Earth, the birth of the bungee jump and the most naturally beautiful country in the world. I’ll be travelling over with my dad and meeting up with my Uncle, who calls this piece of heaven home, whilst over in New Zealand and I fully intend to have a camera to hand for every second of it.
Whilst I will be filming and taking pictures of absolutely everything and anything to brag about upon my return I feel its important to at least go out there with an idea or two or what footage I will need to be able to cobble together some interesting pieces for my showreel. So during this blog post I’m going to outline a number of options as a sort of check list to myself for the big trip to make sure I capture enough footage to edit with. Later on i’ll be doing an additional post regarding equipment and technical preparation for the journey.
Travel Blog
My aim is to post a short recap blog of each day as I travel around, these will probably be devoid of pictures depending on how much time I find to post these and whether I get chance to sort through the images. This is obviously dependant upon whether I have access to wifi during the trip which is unlikely at times whilst we are on the road.
Maori Culture
I would like to produce a short film of roughly 3 – 4 minutes length focusing on the Maori Culture coupled with imagery of the raw beauty of New Zealand. I would be looking for a piece of music, if possible as under layer to a traditional Maori chant, that has that raw primal feel to it. Images id be looking to capture for this would include Maori performances, mountains with rolling clouds (perhaps in time-lapse style) and a still lake shoreline at sunrise. The reason I want to complete this project is simply because the Maori culture is so fascinating to me as I know so little about its ideals and teachings. On the minute mark the video below there is a beautiful shot of a sunrise bathing a lake, that and a few other shots throughout this video give an idea for the sort of shots I will be looking for.
Father & Son Road-Trip
I have a lot of respect for all of my family and friends as without them I could not be me and so it of course means a lot to me to be joined on this journey by my father. This project is perhaps more of a personal endeavour than a CV bolstering video, but never the less I will still strive to shoot and edit this to a professional standard. For this project I would probably rely mostly or even solely on Go Pro footage shot. I will then edit this to a currently undecided song so that in me and my father can look back at it years later and remember the good times. I have seen some truly brilliant examples of Road-Trip shorts on YouTube but for my this USA Road-Trip really stood out. It is careful not to use clips that last longer than 15 seconds, preventing the audience from getting bored and its edits match the tempo of the music.
Documentary
Though I never imagined myself finding much pleasure in documentary filmmaking, I did rather enjoy the process during my first year at university so I have come up with two ideas for short documentaries that I could shoot whilst out in New Zealand. The first is “Kiwi”, a short documentary that explores what it means to be a Kiwi and what the natives think of their way of living compared to that of the rest of the world. Id be looking to interview locals from different walks of life as to what they think makes New Zealand the greatest country in the world. My second idea for a documentary, that I am for now entitling “Soldier”, would be about my Uncle and his stories from his time in the army which he has written a book about (providing he’s up for it!). He is currently in talks with industry professionals who are working on a script for a film based on his life stories.
Networking
Lets not forget one of the most important aspects of being a student filmmaker, networking. In this industry it is vital to build up strong network systems across the world with other industry professionals. Though it is often overlooked, New Zealand has a rich history of Filmmaking and Television and I am hopeful of building up some networks whilst in the country. For my third year of study I am currently exploring the options of studying or working a year abroad and would like to gage how feasible it would be to do so in New Zealand during this trip. My Uncle is hoping to introduce me to the guy writing his script who has had work within the TV industry of New Zealand and I am also scheduling a visit to the WETA Workshop where various props and effects are built for big feature films where I am hoping to talk to them about the feasibility of internship, apprenticeships or shadowing sometime during my third year.
As you can tell I am immensely excited to be achieving what for me has been a life long ambition at the end of this year and have so many plans and dreams for this trip that no doubt some of it won’t happen, but that doesn’t stop me giving it my all. And if for some strange reason you haven’t already decided you want to go to New Zealand some day, take a look at this insanely good video!
Whilst i’ve been hard at work editing my short film ‘A Game of Bluffs’ I’ve also been busy promoting the film ahead of its release via social media sites such as Facebook and Twitter. Whilst some people have been putting up trailers to their films I decided to promote mine via still images as I did not want to give away too much about my film or give an impression of the finished style. Just like my film, I’ve chosen to centre the promotion on the characters using the tag line “Four Guys, One Poker Game, but who’s playing a Game of Bluffs?”
While I was exploring the possibility of studying a year in the states and how I could go about funding such an expedition, I came across this interview by film finance expert Tom Malloy which made for a really interesting read. Money is a hideous obstacle to all creative minded individuals and it takes a little out of the box thinking to build up funding to create a short film.
http://www.filmmakingstuff.com/film-finance-tips-with-tom-malloy/
This reminded me of a resource provided to us back a few weeks that could be of use when considering the financial side of filmmaking. A list of useful links to information relevant to financing a film and gaining production support throughout the film distribution process:
About UK creative industry tax reliefs
http://www.bfi.org.uk/film-industry/british-certification-tax-relief/about-tax-relief
BFI Film-Fund
http://www.bfi.org.uk/supporting-uk-film/funding-filmmakers
Film London Micro-Wave Scheme
http://microwave.filmlondon.org.uk/
iFeatures
http://www.ifeatures.co.uk/
Ideas Tap
http://www.ideastap.com/
FLAMIN
http://flamin.filmlondon.org.uk/resources/production_funding
Arts Council
http://www.artscouncil.org.uk/funding/apply-funding/apply-for-funding/
BBC Films
http://www.bbc.co.uk/bbcfilms
Working Title
https://www.workingtitlefilms.com/
Warp Films
http://warpfilms.com/films
Vertigo Films
http://www.vertigofilms.com/
Sixteen Films
http://www.sixteenfilms.co.uk/
Film4
http://www.film4.com/film4-productions
The first step of scriptwriting is the pitch which is then developed further into the Outline. Once you have pitched an idea to a producer of commissioning editor and they given you a favourable response, your next stage is to create the Outline. 
The Outline is not the go ahead to write the script, it is a crucial stage in the development of the short film. The fact that you have been asked to produced the Outline shows that someone has shown a keen interest in your idea. When being asked to create an Outline you are begin asked to produce a number of specific things:
– Elaboration on your story
– Proof on the page that it works and is a complete and original story idea
– The main central characters, Protagonist/Antagonist, work and are engaging and original
– An engaging document proving that you can write clearly without confusion or over complication. An Outline incorporates the notion of a synopsis, is a present-tense, prose version of the intended screen narrative.
“It concentrates on the main narrative story, the central protagonist/s and antagonist/s, their motivations, and the essential active questions” (Parker)
“I hate outlines. Hate em, hate em, hate em. The point of the exercise is to tell a story, and once thats told in outline form, why write the script? But… producers require outlines before they will commit to a script, so its a necessary evil” (J. Michael Straczynski, creator of Babylon 5)
“I usually work from an outline. I will know first in a general sense where I’m going. What it is I want to say” (Walter Bernstein, screenwriter of The Train, The Magnificent Seven etc)
An Outline for a feature screenplay is generally no longer than a page to a maximum of two pages in lengths whilst a short screenplay is no longer than half a page, possible only one or two paragraphs. All Outlines are told in a present tense style. Keep to the main story and the relationships of who the characters are and any relevant conflicts. It is a document where you can include/write emotion. The most important thing to the success of your Outline is the conflict, whether that be external violent conflict or internal emotional conflict. A film without some form of conflict is a film that loose interest with the viewers.
“Peter Parker was in love with Mary-Jane, he always had been and he betrayed this in his behaviour each time he was in her presence”
As with the Pitch before it, it is good practice to examine and analyse other examples of Outlines from other films. I found this process particularly interesting during the Pitch and so will be doing the same for the Outline. Here is an example of an Outline from the film Paul.
“For the past 60 years, a space-traveling smart-ass named Paul has been locked up in a top-secret military base, advising world leaders about his kind. But when he worries he’s outlived his usefulness and the dissection table is drawing uncomfortably close, Paul escapes on the first RV that passes by his compound in Area 51. Fortunately, it contains the two earthlings who are most likely to rescue and harbor an alien on the run. In the comedy-adventure Paul, best friends Graeme Willy and Clive Gollings have saved for decades to take a sci-fi fan’s trip of a lifetime: a pilgrimage to America’s UFO heartland to track the legendary hot spots of extraterrestrial activity. But when a close encounter with Paul derails the plans…their dream vacation turns into a road trip that will rock their universe forever. Hunted by federal agents and the fanatical father of Ruth Buggs a young woman whom they have accidentally kidnapped, Graeme and Clive hatch a fumbling plan to return Paul to his mother ship in one piece. And as two nerds fight to help save an awesome little green man, Paul might just take his fellow outcasts from misfits to intergalactic heroes.”
Remember, write in a way that is engaging, the outline is a document that you want someone to read and be intrigued by, so intrigued that they want to go to the next stage, the Treatment. However, it is not uncommon to be asked to revise and develop your Treatment further. Later in the process of the script if it is not working as well as you expected, re-visit your Outline and see if what you are writing reflects what the original story that you had in mind. This is another reason why the Outline is so important and why scriptwriter should carefully follow the stages on creating a script. Film making is an expensive process so at each stage from now on producers especially want to feel that you story/outline/idea is working enough to attract potential backers. It is also important that you actually like the story.
Here is a brief look at an example page from a finished film script to look forward towards as you enter the script writing process. It shows the layout of a script page bu also the importance of why it is laid out as such.
This is a documentary about Lars Von Trier challenges his friend and mentor Jørgen Leth to remake one of his previous short films ‘The Perfect Human’ (1967) in five different ways each time with a new set of obstructions.
1st Obstruction – Leth must remake the film in Cuba, without a set, and with no shot lasting longer than 12 frames, and he must answer the questions posed in the original film; Leth successfully completes this task despite finding it difficult to do. 2nd Obstruction – Leth must remake the film in the worst place in the world but not show that place onscreen; additionally, Leth must himself play the role of “the man”. The meal must be included, but the woman is not to be included. Leth remakes the film in the red light district of Bombay, only partially obscuring it behind a translucent screen. Lars is a little disappointed. 3rd Obstruction – Because Leth failed to complete task 2 perfectly, Trier punishes him, telling him to either remake the film in any way he chooses, or else to repeat it again with obstruction 2 in Bombay. Leth decides to go with the first option presented to him and remakes the film in Brussels, using split-screen effects. 4th Obstruction – Leth must remake the film as a cartoon. He does so with the aid of Bob Sabiston, a specialist in rotoscoping, who creates animated versions of shots from the previous films. As such the final product is technically an animation but not a cartoon. Nevertheless, Trier considers the task to be completed successfully. 5th Obstruction – Trier has already made the fifth version, but it must be credited as Leth’s, and Leth must read a voice-over narration, ostensibly from his own perspective but in fact one written by Trier.
This documentary really works well to show the directors behind everything as humanised as they jest amongst one another. You get a real sense of the frustration suffered by Jorgen in the process and as a filmmaker myself I can relate to the stress created by barriers presented to you, as is the case currently in my university years. However, it is really interesting to see the student challenge the mentor and in doing so reinvigorate Jorgen’s imagination thus making this project a educational one much as my university course is for me as well. Reflecting on the actual pieces created by Jorgen I would say that the piece created in Brussel’s was my favourite. I like the use of split-screen to create an interesting look to the film and present events simultaneously to one another that together tells a story to the audience. In addition to this many of the shots were taken just perfectly in my eye. My second favourite would be his first piece shot in Cuba, again this piece had some interesting shots. I think this was almost forced upon Jorgen as he could only have a shot last 12 frames, thus forcing him to really pick his shots carefully and in the process allowing him to pick brief shots that were framed well.
Filmmakers didn’t really start using DSLR’s till about 7 years ago, when the Canon 5D was released with a video recording feature. The reason filmmakers went crazy for DSLR’s was the ability of depth of field and the additional lenses available to it. These additional lenses meant that the aperture could be fiddled (see F-stops). The key to shooting with DSLR is understanding the settings and how to set them to best achieve a good look for your surroundings.
As Canon 5D arose so to did the well known Philip Bloom who really flourished with his work in capturing great image. (Check out ‘Philip Bloom setting up a Canon 5D Mark II video’) He makes key comments about never setting ISO to auto, use 160 if its nice and bright or take it upwards; 320, 640 or 1250 for darker settings. The side effects of this is it can create a noisy/grainy image. (Also check out more videos of his)
Jonathan also recommended the Video Accessories ‘Loupe’ as it attaches to the back of the DSLR LED screen. Not only does this make the camera look more professional but the Loupe makes it easier to check your focus. (Note: it is always most important to make sure if nothing else in focus that the eyes are in focus). He also suggests the Red Rock Shoulder Rig (£1500) and a Focus Ring.
My next task should be to master the use of the DSLR that I used at home before contemplating getting new tech, access Vimeo Create/Vimeo School on how to use DSLR’s, head out to town or to the park and shoot interesting footage. Its also crucial to get myself in shape, else I won’t be able to hold the camera steady. Its going to be a steady pace of learning to use the technology but I’m committed.
Its important to learn from those who have gone before you in a sort of ‘respect your elders’ type of manner and I have always endeavoured to study the works of many varied media texts from difference in genre and media form. What I find most interesting, as a want to be director/producer, is to read books and articles from other director/producers or to watch interviews by them in addition to viewing their films and analysing them. Recently, I discovered a Facebook page by a director named Danny Lacey, who whilst not being a large established name in film is influential in his writings. I even posted a video of his about how to shoot like an editor in a previous post. Here is his most recent status about cinematography:
“One of the important aspects of my Filmmaking Journey is grasping the art of cinematography (and photography). As a director I think it’s an essential skill to have in my armoury. Now, I’m not saying I’m a great cinematographer (or photographer), far from it. What I am saying is I have a good basic grasp of the art after years of pretending. That’s right, pretending.
I’ve owned several cameras over the years and I just get out there and shoot stuff, all the time. It’s a great way to learn. I like to think I know about framing, what effect a lens will have on a shot, exposure, depth of field and colour grading.
I can take this experience on to the film set with me as I now have a good idea of what I want from a shot and can describe to my cinematographer what I want in a more clear and qualified way (making me look a little less stupid).
So, if you’re new to the industry and just starting out you should more than double up on your skill set. If you’re a director, learn how to write. If you’re a camera guy, learn how to light. If you’re an editor, learn how to operate a camera and so on.
I took my Canon 5D MKII out to Blackpool in the UK recently for more photography practice. It was a lovely day and we had a glorious golden hour which meant we got some lovely shots. I also wanted to experiment with shutter speeds at night.
Hope you don’t mind but I thought I’d share a selection of pictures from that day. Shot on the Canon 5D MKII, the only lens I used was the Canon 24-70mm and all images were edited in Lightroom 5.
Do you think it is important for a filmmaker to be multi skilled? what are your main skills on set?”
The below picture doesn’t do the beauty of his cinematography skills justice so I advise you to check out his other images here (https://www.facebook.com/thefilmmakersjourney/timeline). This has really given me some drive to begin adding strings to my bow. Its all well and good saying that I’m a director/producer, but really what good is that when I don’t know how editing functions, I don’t understand the use of lighting, I can’t put sound to image? What use is it in a world where jobs are hard to come by and employers look for supermen who can do everything by themselves? I am determined to find myself a year two or three photographer and ask them to join me on a day trip to somewhere to teach me about cinematography skills and how to capture the beauty of the eye.
The Journey Begins 