Commissions Unit - Rekkie and Meeting

The base office in Gillingham featured a nice boardroom that featured different canvas portfolio boards of sites that Harrisons had related to the development of. The boardroom had noise cancelling windows, lighting was great, and the walls were light enough to keep a nice reflective-type effect over the whole room so when I will be talking about the kit list the use of lighting will be natural. Lex took a bunch of photos so 

We also recorded our small interview which agreed the terms and what the client is after, what we could film and the style we were going for. 

Studio Production - Researching the Studio Director

To understand how to be a studio director, I need to delve into some material that will assist me in doing so. The first book I picked up was Basic Studio Directing by Roy Fairweather. The problem with the studio director role is that previous units don't necessarily link into this role, which is making  it hard for me to transition. The methodology, terminology and execution are all different from film directing, but I think the hardest transition is the script. However. Here are my notes from the first book I read. 

'The key to holding this type of show together is for the director to know exactly what is happening next and what options are available.' (PG.10)

Basic stage areas is a big thing. Knowing what stage left upstate stage right and downstage are needs to be learnt before I step into the gallery. This can easily be remembered as the left and right are switched, so when you look at the plan stage right on the left and left is on the right. 

PG12

Keeping composure is also a big thing, 'Never shout. Do not shout unless there is a dangerous situation and you need 100% attention'

Direction is more of a journey than something you can get from day one. 'Don't expect to be brilliant from day one'

Now I turned to page 41; commands for script. I found writing a script before I knew the commands challenging and nobody quite understanding what I need from it, calling it on-the-fly isn't advisable. 

This is pretty much all of the commands that I need to use for the script, my first draft of the script was abysmal so now I have all of the commands I can optimise the script to fit it. Especially the pans and crabs from the crane. Some stuff I would never think of using are in here.

Here is some extra parts that will  be fine to add on the script for the vision mixers to use. (71)

Now I wanted to learn more about reaction shots, and this book actually has a lot of information about the methodology behind reaction shots and the over saturation of them. 

'There is a great temptation what directing interviews is always use a shot of the person speaking. This can be visually dull and is completely unnecessary, as the audience knows who is talking and can hear what they are saying even if they can't see them." PG - 100

Also, dealing with performers is something that I'm used to in directing, but not being in the same room as the performers is a different feel and it might not be as instant. plus the fact that it is going to be a debate show its hard to judge how something will come out. If we try to control most of the outcome it would be good. 'You must know who is sitting and their view-point. Then you can predict in advance who will clash with whom.'

Studio Production - 2nd Set Design

Here is the second version of the set design. After talking with hans I thought that this would be the best course of action in terms of coverage. The dolly doubles up as the third camera for the last contributor on the sofa so therefore we can have some nice dolly movements without the need to joeperdise losing a third camera. This works on paper but I do need to put this in motion and work out the timings of the jib and dolly shots.

Commissions Unit - Job Roles

In terms of roles, the commission is a two-man team; Lex Wilkinson, another member on the course and myself. Based on previous experience working with Lex during workshops and filming each other’s shorts, passion and understanding creative abilities are present. Instead of opting for a one-man team, the pressure is split over two people, which helps out so much when juggling other units too.

The roles for each of us are as follows –

Andrew 

·        Producer

Working with Lex took the focus for me off of camerawork and directing, which gave me the opportunity to try something out that I couldn’t before, which was producing. Projects before I haven’t really been organised so producing will give me the edge in the third year

.

·         Sound Op

Relating back to the first role, the focus for me has come off camerawork and directing. The piece agreed will essentially be composed of interviews and nice cutaways, so I can prioritise the sound aspect without the constraint on my behalf of worrying about the video

·         Co-Editor

As we are a two man team, it would be unfair in my opinion if the sole editing was left to one person. Communication is great between myself and Lex so we have a comfortability factor about opinion and styles of filming for example. I could point out something in the edit that doesn’t look right and vice versa. Editing gives us both a chance to own the product in question and both add our unique parts to make the commission that much better.

Lex

·         Director

Lex has always been fond of directing and we agreed to work on the project with the intention of Lex being the director. I have confidence in Lex as have seen his portfolio as he has progressed on the course just like myself.

·         Script writer

Naturally, the director writes the script as he/she is implementing their creative vision to a product. O course it doesn’t have to be this way, but it feels like the best course of action in this scenario.

·         Camera Op

Over the last year, Lex has been stockpiling camera equipment such as lenses and has now a vested knowledge in camera equipment. As I am focussing on sound and its only a two man shoot, it is logical for Lex to be on camera for this shoot.

·         Co – Editor

Same applies from my justification. Co-editing in this case helps out as you can spot something that can be overlooked if a lot of hours have been clocked in to the edit.

Studio Production - Show Research/Camera/Shotlist

So, creating a shot list shouldn't be too difficult for this project, if I collate research from shows that I have watched that are based on this type of program it'll help me create a decent shot list. I only have to do the first 15 minutes of the show so essentially 15 minutes I need to consider. Referring back to my set design it'll give you a good idea of what to expect from my type of shooting. The coverage is the most important factor, but at the same time there is enough cameras to transition shots.

Now as of next week I have a studio workshop with hans so I can get some tips on how to formulate a shot list and wanting it to make sense. In the meantime, I have been studying shows such as loose women, sweat the small stuff because they have the same sort of vibe as the show, with panelists.

Now even though sweat the small stuff is a game show but has a really 'hip' vibe thats designed for the same target audience. The shots are quite snappy to keep the viewers attention and has a lot of audience interaction. In our production we shall be getting audience shots before the  production so that is something that won't be in the shot list but shall be captured beforehand.

Now Loose Women has seemed to have a smaller set due to some budget constraints (seems to have cut down since I tuned in a couple of years ago. But saying that, our budget isn't to high so its almost ideal for research. Starting with a crane camera would be nice, snapping to a close up of the anchor, then cutting between the screen and the guests on the panel when they are being introduced. As long as we keep up with whats being said, most of it would be on the fly. alot of the time will be taken on the VT's so when I have my workshop with hans I shall ask about filming many talent at once on the fly and the time taken. 

Studio Production - Mood Board

This is my first mood board ive created, setting the tone for what I want the set to look like. The colour scheme is there plus what type of brickwork we would want for the set. I want a very cosy set with sofas, coffee tables and small tables with lampshades, kind of the 'Starbucks effect' that the young culture of today like.

Starbucks con-notates a relax environment where friends can talk to each other and enjoy their company, and is very appealing to this generation. Also the Friends' coffee house is another link to the mood board as this emulates exactly what we are after. 

Based on the context of the show the target audience, the set design was agreed by all of the production team. The set is a key part to how the show translates to the audience as a backdrop to the panellists. It reverts back to the question of what story are we trying to tell? I wanted the show to give off the casual appeal of friends talking about topics amongst themselves. I have dubbed this methodology the ‘Starbucks’ effect, because when you enter a Starbucks or any upmarket coffee shop there are friends talking on nice lounge sofas about topics relating to them, pet peeves etc. The audience that primary follow this effect just happens to fit the target audience of the show. So we wanted the set to reflect that. 

Studio Production - Auditions for Panelists

We had our auditions for our panelists the other day and I do have to admit the quality of panelists we have are pretty good and I'm proud to announce that our team has been selected. The main thing was their opinions on certain subjects and if they're avaliable, because there's nothing worse than having a great talent that is completely unavalible.

Firstly, we had a young lady called beth. A very ourspoken individual. She came across to me as Katie Hopkins V2 so even though i didn't agree with certain opinions they definitlely would be good for the show. Great start to the day I say.

Next we had a young guy called Jordan. He was very outspoken, homosexual and black. What's key is that is represents that the show is not all one sided and there is a level of diversity to the show. We like outspoken people and he nailed it, again some opinions very questionable.

Then, we had my pick, Rory. He was the typical 'lad' who will no doubt contrast very well with the other two so I am exctied to see how he fits in. Overall the contrast of the panelists is amazing and I think that the show will be a treat with the level of talent we have. We have yet to announce the anchor so in the next blog post that will be addressed. Long Day but im happy with the outcome!

Professional Practise - Potential Equipment to Use on Shoot

This blog will be about the different equipment  that will be used during the shoot and justifications into why I chose these equipment bits and bobs.

Number one, the GoPro, now because I am the producer I will have little input in what shots are used but I will talk about why we are using certain bits and bobs. The GoPro would be great for first person shots such as interacting with the computers and equipment that they deal with, would be great to walk through the office. 

Number two, something experimental in this film, the Tripod Slider Dolly. this will be great for them really smooth dolly sequences that will be in this film, very portable too, so can be easily transported than a normal dolly.

Number three, the ZoomH4N W/ Boom Pole and Rode Mic setup. This is essential for getting the best sounding interviews that will be used in this film. The reason I chose a boom over a Radio mic is because I don't like the way that the clip mic sounds, very 'tinny' whereas the boom with rode setup we don't have to worry about batteries, interference and its like super cardiod so there is no problem picking up the contributors sound. 

Number four, this is potential but not for definite, the BlackMagic Pocket Camera. This captured INSANELY good quality on my shoot before, so I might use this again for the next shoot. 

Studio Production - First Skype Audition

Out first audition was actually on skype. Dave is our first auditionee for the role of anchor. He is very charismatic and has impartiality that would benefit the show be a use of the topic we are talking about. Looks like we've found the main anchor! The only problem we have is the level of avaliability that Dave posessses. He's not avaliable for the dress rehearsal days so there may be a chance that it won't go through because of this. Because of previous years, we want this to be the most organised and best production that the broadcast media course has done and we can't do this if we don't have 100% avaliability from everyone involved.

Studio Production - Plan and Justifications.

This is my initial concept plan for the studio production and camera positioning, based off of a small sheet of paper that I was given. As you can see, the layout is a very casual hybrid of loose women and the graham norton show-type vibe. Also, I have implemented a variety of different camera formats and styles so we can get the most coverage out of the set and the contributors.

A crane camera always looks nice and if the set looks great, it shall stand out in terms of production value. the two tripod cameras that are facing the talent ensures that we can pick up the snappy shots of a debate as and when we can. The dolly I want to use sparingly as it can be very monotonous if used too much, the tripod by the door catches the guests coming in to the set and follows. overall, its a simple layout that doesn't need to be too difficult and fif for purpose. There is also the possibility of having a raised set so that the audience vision isn't impeded by the camera guys. The audience is on raked seating and reactions to them will be prerecorded before the show and used during to save the audience being put on the spot and losing that actuality.

Studio Production - Directorial Style

As myself and Chris were underway with the workshops, there is something that isn't quite apparent, our directorial style. When tested, we both opted for different layouts completely. So before we embark on the actual directing and camera placement and what have you, it needs to be absolutely clear that we need the same directorial vision in what we want otherwise the first and second part of the show will be a mishmash!

Professional Practise - Project Plan.

Based on my previous experience in ICT, I am using a GANTT chart used in a program called microsoft project. This software easily allowes me to track my progress and helps me with the steps I need into complete the project. I have split it up into milestones, pre production, production and post production. here is the plan. it may be hard to read if you haven't studied charts before but it is relatively simple for me.