Research and Development

First Analysis 

My project has changed from the initial plan, because of the busy schedule of an artist i was supposed to work with on this project. He’s  known as George the poet, he managed to tell me that he wasn’t going to be able to work on this project because he was preparing for a Europe tour and i had already set dates and everything concerning this project.  This let me no choice but to re-arrange my self to figure out a replacement for him so that i can carry on with my project.

I managed to get some one to work with although this was not an easy thing task do, i had to explain to him the whole idea and how i want him to approach the project. Lucky enough i got him to agree  and it was easy to work with him. Although we managed to book recording session from different studios, there was always a problem with timing and getting the engineers in the studio at the same time as the artists. This took me a couple of weeks to figure out when and where we are going to record because other studios we had approached were so busy, so there wasn’t enough time for us to finish recording.

Finally i managed to get in touch with a 2 year music student and i asked him if he wanted to work with me on my final project, i explained to him what it was all about and he was happy to work with me. This saved me a lot of money and time, because those other studios were charging me an hourly rate and a fee for the engineer so with the help of Dan Shute everything became much more easier. In order to save more time i organised a practice session with my fellow artists to go over the track, once everything was agreed, i had to let Dan know so that he can book session for us to come in and work on the project. This took a lot of time because every one was busy trying to work towards university deadlines. Due to the holiday period of easter we never managed to finish recording, so the project was delayed. I had to call another meeting with everyone involved in the project to let them know how late we were. So we decided to give priority to recording sessions so we can finish the song. After recording and mastering the song, I gave it to different friends to listen to it and tell me what needs to change, which they did and i went back to the studio to level out some vocals there after  i decided this was going to be a finished song so i decided to start the production process.

Treatment 

Tittle: Focus

Names of the artists

Chapterman

Josh

Jamal

project poster

Focus

Elevator pitch: This music video will be giving a positive message, saying that If we focus in life we can achieve what we put our minds to. The interesting fact about the music video is the style in which the story is told, through a combination of different techniques of rhyme, like spoken word, hip hop and grime.

Script:

The first scene starts when i am traveling going to another country to visit my girlfriend and i want to find my self, something i am passionate about so i start watching TV, swapping through channels looking for motivation. As the lyrics of the song say ‘let television develop my vision, make a decision and take a precision”

ext:  wide shot:

shows a plane taking off

Int: Long shot:

Watching TV with my girlfriend

Scenes 2

Then the second part of the song which is the emotional part with spoken word.

Int:  close shots

showing me having a conversation with my girlfriend about the life we leave and cuts to a different scene

int:  close up

shows us watching TV and comparing what we see with what we want to do.

int:  wide shot

shows me acting like the issues elude me but am not too blind to see the truth.

last scene, which is the grime part 

Ext:  close up

shows me and other artist talking about what we need to do to achieve success

Ext: lond wide shot

shows us sitting in a car talking about what we need to do. As the lyrics say to ‘succeed you have to focus’

MOOD STYLE 

The video will have long cinematic shots with a styled look and camera angles edited with jump cuts to help tell the story. I will achieve this effect by using a DSLR HD camera, with a 35mm lens and Go pro camera for some scenes and angles so that i can export it in the highest HD possible 1080p.

I will be using adobe After Effects to create kinetic tittles to go along with the lyrics especially on the spoken word part of the track (song). https://www.youtube.com/watch?v=V70kyic3X_Q

I am going to use big tittles at the beginning of the video to introduce the song to the audience as if it was produced by a big movie company, and for the trailer purposes so that i give it that movie look as the tittle was inspired by the Will Smith movie “Focus” like the movie..

something like this

This is a snap shot of the tittle for my project.. i made this using after effects and this is how i am going to introduce the song to the audience. Like it’s made by a big production company.

vlcsnap-2015-05-08-00h34m27s146

The video is going to look smooth with the lyrics rhyming with the story. some thing like this

I am looking for a city perspective like in this music video ‘Young Jezzy Me OK’ to give it that effect of the sun set. This will help set the mood and by using a 35mm lens i will achieve that effect easily with a good exposure and moving image.

Young Jezzy behind the scenes ‘Me O.K music video..

All these techniques will help me obtain the results i am looking for. These techniques are a good way to help a director tell a story through the use of a camera and good editing.

Focus Storyboard  

vlcsnap-2015-05-08-01h17m03s181 vlcsnap-2015-05-08-01h17m21s98 vlcsnap-2015-05-08-01h17m52s152 vlcsnap-2015-05-08-01h18m11s65 vlcsnap-2015-05-08-01h18m58s35 vlcsnap-2015-05-08-01h19m20s255 vlcsnap-2015-05-08-01h20m23s15 vlcsnap-2015-05-08-01h20m53s131 vlcsnap-2015-05-08-01h21m31s161 vlcsnap-2015-05-08-01h22m19s16 vlcsnap-2015-05-08-01h23m11s244 vlcsnap-2015-05-08-01h24m21s177vlcsnap-2015-05-08-01h25m23s14vlcsnap-2015-05-08-01h26m44s129 vlcsnap-2015-05-08-01h27m35s30 vlcsnap-2015-05-08-01h27m50s222 vlcsnap-2015-05-08-01h28m03s123 vlcsnap-2015-05-08-01h29m14s55

process of development 

I want to be able to tell a story using images like most directors do. I got inspired by watching a few music videos and analysing how some directors use imagery to tell stories or bring emotions to the screen by use of  special effect and editing technics. I want to be able to bring the artistic and dramatic feeling to my work as a director and producer, by creatively challenging my self to produce a high quality artefact.

some thing like this

Research

I love poems, simply because they take you places and make you think that there is more to this world. A poem has the power to change feelings and bring sad emotions or good emotion or some times make you cry. This inspires me to use images to inhence story telling because it engages the viewer by use of visual technics and music.

In the 80’s stories were told differently some times only people who are present at that particular moment got to hear the story but as time evolves some things change and now stories can be shared in different ways accross the world for every one to access by use of internet. In the 21 st century there are different technics of telling stories. For example a poem is a piece of writing in which the expression of feelings and ideas is given intensity by a particular attention to diction sometimes involving rhyme, rhythm and imagery. I really find that interesting because some directors use the same method to tell certain stories. This is the same thing i will be producing.

This is one of the poets of my century that use some of those technics and inspires me.

In this particular peom i like the combination of the acoustic guitar, music combined with George the Poet’s voice to help set the mood through which he is telling the story. This makes the poem more interesting through visuals and audio, it adds another element to the poem/story and this is where i get my inspiration from so i had to do an artefact with the same consept by using  music, imagery and a poems to give my story depth.

The music video i want to produce  for my final major project is something like this:

Secondary research

I looked at some online sources and found out that the most expensive video of all time was directed byMark Romanek: Michael and Janet Jackson‘s “Scream” (1995), which cost $7 million to produce.

Melina Matsoukas says that expensive equipment is not necessary for a quality video and one should never think that way: “A good video has the right visuals, a well conceptualised story and should be exciting and elicit reaction.”

Context

In the media world, the genre of my Artefact is a hip hop mixed together with other style to tell  a particular story , i am collaborating with a music producer who is creating a track  of which i am going to use in my final major project. I am going to write a poem and visually present it using different technics to bring out the right mood for the poem as seen in previous videos and examples above.

My intention is to record different scenes of project in different cities including New York city, United kingdom and Amsterdam which will give me an experience of conducting my project in different cities. ( this was the original idea ) I didn’t manage to record in New York because the trip was way out of my budget while  i had other issues to settle first and i failed to obtain an Amsterdam visa  in time, which resulted from  everything being recorded in different cities of England, Including London, Birmingham and Coventry

I want to give an example, The reason as to why this video has value simply because it is filmed in a different city and it tells the history and culture of the place. But that’s not the only thing that makes it different or interesting but the theme and technique in which it’s applied. I looked at the style and concept of which it is shot and the use of music and camera angles to tell the story and create emotions. That’s what i am going for, the story becomes more than just a poem but an art and that’s what adds value to the Artefact.

By following these simple steps, my project will be of a greater value in terms of how it will be produced to make the audience feel a certain way. The reason it’s going to be different from what has been done before is the style of which the story is going to be told and as it’s my first time directing a music video like this, i will be creatively challenging my self to produce a good piece of artefact through illustration of words and music combined with visuals. I am collaborating with a music producer who’s making the track of which i will produce a video for. I have composed a poem and a story board for which will help in the directing of the video. i will be in the video as well direct and edit the video and may be some help from fellow colleagues who will help with the idea generation. I want to become like “Stan Lee” an American comic book writer and editor who directs his movies and acts or appears in some scenes of the movies. Thats my vision and where my inspiration comes from.

production Folder

Production Schedule

Production Title: Focus                                                 AD : Josh

Day:        Friday               Date: 8 Jan. 2015                                                       Unit Prod Manager: Victor

Time Shot Set D/N Description days description Props/FX
26th/3 Pre production
               
9/01       Location scouting 31st/3 Shooting final scene  
        Auditions for actors      
          1st april Editing  
10/1 Developing a script
Last touches to the track 2nd/4 Editing
               
17/1     Record the track 3rd/4 Post production  
               
          4th/4 Final edit  
21/1 Go through the script with the actors
22/1     Rehearsals      
               
23/1       Test Shooting day 6th/04 Publishing  
               
27/1 Studio time
5th/2       Location scouting      
               
10th/       Shooting scene one      
               
20th       Mastering the audio      
               
26th/02 Production meeting

Recording track

9th/ 03 Location agreement signed
16/03 Test shooting

Costume a location

23/03 Shooting second scene

LOCATION LIST AND CALL SHEET
Production Title:   Focus                                       Production Manager: VictorNyagatare

SET LOCATION ACTUAL LOCATION

(ADDRESS & PHONE)

DATE & DAYS

(PREP/SHOOT/STRIKE)

CONTACT NAME

(OWNER & REPRESENTATIVE)

Coventry transport museum

Phone: (   0247634295   )

5th -10th Feb. 2015

Stefany Brown

Genting casino

Phone: ( 01213257781     )

9th march 2015

Shirley Jones

Driving experience

Phone: ( 08445732911   )

23rd march 2015

Paul

Rileys

Phone: (      02476229916 )

31st march 2015

Manager

London

Phone: ( 07949503343     )

1st march 2015

James

1. Casting Assessment:

Talent Name: Joshua Francis Contact No.: 07538252970
Character auditioned for: Spoken word Artist Email: Joshuafra@googlemail.com
Communication Skills Rate (1 low / 10 high)
He’s an effective communicator                                                8
Performance Experience Rate (1 low / 10 high)
He has confidence high                                                            8
Spontaneity Rate (1 low / 10 high)
Very good                                                                                 9
Sense of Humor Rate (1 low / 10 high)
He’s a vey Out going person                                                    10
Right Type Rate (1 low / 10 high)
Just the one I was looking for                                               9
Notes:

I am so luck, I found the right type of character I was looking for, now he is going to be George the poet’s replacement. Such an out going personality and improves on the spot

 2. Casting Assessment:

Talent Name: Jamal Abdul Contact No.: 07519206777
Character auditioned for: Grime Artist Email: jtriyan@gamil.com
Communication Skills Rate (1 low / 10 high)
He’s an effective communicator                                                9
Performance Experience Rate (1 low / 10 high)
He has confidence high                                                         10
Spontaneity Rate (1 low / 10 high)
Very good                                                                                 9
Sense of Humor Rate (1 low / 10 high)
He’s a vey Out going person                                                    10
Right Type Rate (1 low / 10 high)
Just the one I was looking for                                               9
Notes:

It was very easy for him, well prepared and confident. I am looking forward to working with him

Production:

Location Agreement

Location/Company: Coventry Transport museum
Address : Millennium Place, Hales Street, Coventry CV1 1JD
Phone : 02476234270                                                                               E:mail clive.skelhon@culturecoventry.com

 

Dear Sir / Madam:

  1. I, the undersigned owner or agent, whichever is applicable, hereby irrevocably grants to Film Production (“Producer”), and its agents, employees, contractors and suppliers, the right to enter and remain upon and use the property, both real and personal, located at:

Millennium Place, Hales Street,

The “Property”, including without limitation, all interior and exterior areas, buildings and other structures of the Property, and owner’s name, logo, trademark, service mark and/or slogan, and any other identifying features associated therewith or which appear in, on or about the Property, for the purpose of photographing (including without limitation by means of motion picture, still or videotape photography) said premises, sets and structures and/or recording sound in connection with the production, exhibition, advertising and exploitation of the film:

FOCUS                                                                                                                                                                                            tentatively entitled                     (the “Picture”).

  1. Producer may take possession of said premises commencing on or about:

(DATE/TIME) 25th may 2015

subject to change due to weather conditions or changes in production schedule, and continuing until the completion of all scenes and work required.

  1. Charges: As complete and no payment for all of the rights granted to the Producer hereunder.
  2. Producer may place all necessary facilities and equipment, including temporary sets, on the Property, and agrees to remove said facilities and equipment after completion of work and leave the Property in as good condition as when received, reasonable wear and tear from uses permitted herein excepted. Signs on the Property may, but need not, be removed or changed, but, if removed or changed, must be replaced. In connection with the Picture, Producer may refer to the Property or any part thereof by any fictitious name and may attribute any fictitious events as occurring on the Property. Owner irrevocably grants to Producer and Producer’s successors and assigns the right, in perpetuity, throughout the universe, to duplicate and recreate all or a portion of the Property and to use such duplicates and recreations in any media and/or manner now known or hereafter devised in connection with the Picture, including without limitation sequels and remakes, merchandising, theme parks and studio tours, and in connection with publicity, promotion and/or advertising for any or all of the foregoing.
  3. Producer agrees to use reasonable care to prevent damage to the Property, and will indemnify and hold Owner harmless from and against any claims or demands arising out of or based upon personal injuries, death or property damage (ordinary wear and tear excepted), suffered by such person(s) resulting directly from any act of negligence on Producer’s part in connection with the work hereunder.
  4. All rights of every nature whatsoever in and to all still pictures, motion pictures, videotapes, photographs and sound recordings made hereunder, shall be owned by Producer and its successors, assigns and licensees, and neither Owner nor any tenant, or other party now or hereafter having an interest in said property, shall have any right of action against Producer or any other party arising out of any use of said still pictures, motion pictures, videotapes, photographs and or sound recordings, whether or not such use is or may claimed to be, defamatory, untrue or censurable in nature. In addition, neither Owner nor any tenant, nor any other party now or hereafter having an interest in the Property, shall have any right of action, including, but not limited to, those based upon invasion of privacy, publicity, defamation, or other civil rights, in connection with the exercise of the permission and/or rights granted by Owner to Producer. If there is a breach by Producer hereunder, Owner shall be limited to an action at law for monetary damages. In no event shall Owner have the right to enjoin the development, production, distribution or exploitation of the Picture.
  5. Force Majeure: If because of illness of actors, director or other essential artists and crew, weather conditions, defective film or equipment or any other occurrence beyond Producer’s control, Producer is unable to start work on the date designated above and/or work in progress is interrupted during use of the Property by Producer, then Producer shall have the right to use the Property at a later date to be mutually agreed upon and/or to extend the period set forth in Paragraph 2, and any such use shall be included in the compensation paid pursuant to Paragraph 3 above.
  6. At any time within 1 month from the date Producer completes its use of the Property hereunder, Producer may, upon not less than five (5) days prior written notice to Owner, reenter and use the Property for such period as may be reasonable necessary to photograph retakes, added scenes, etc. desired by Producer upon the same terms and conditions as contained in this agreement.
  7. Owner warrants neither he or anyone acting for him, gave or agreed to give anything of value, except for use of the Property, to Producer or anyone associated with the production for using said Property as a shooting location.
  8. Owner represents and warrants that he/she is the owner and/or authorized representative of the Property, and that Owner has the authority to grant Producer the permission and rights granted in this agreement, and that no one else’s permission is required. If any question arises regarding Owner’s authority to grant the permission and rights granted in this agreement, Owner agrees to indemnify Producer and assume responsibility for any loss and liability incurred as a result of its breach of the representation of authority contained in this paragraph, including reasonable attorneys’ fees.

Owner/agent: Clive Parker                                                                        Date: 25th Feb. 2015

Address:       Millennium Place, Hales Street, Coventry CV1 1JD
_______________________________________________________________________________________________________

Phone/Email: Clive.skelhon@culturecoventry.com

Contact person on premises: Claire                                  Phone: 02476234295

project proposal evidence 

The idea was to collabo with one of the best upcoming spoken word artists in the united kingdom, but this was not possible because he was preparing for a europe tour around that time this was due to happen. I know him on a personal level which made everything easier in terms of communication. He was able to contact me and let me know in advance that he wasn’t going to be able to work on this project but he promised will work on something in the near future.

This some how changed my idea but not too far from the original idea, so i had to look for people who do spoken to work on my project. This held me back but because i was running out of time, everything had to be organised in a hurry so that i could meet the deadline.

These are some sources of inspiration 

This inspired me to tell my story in different styles in a collaboration  as seen in this video. This really influence how i wanted the music to sound even when were were in the studio working on the beat we made sure that in terms of delivering the lyrics we did it in such a way that when it came to shooting the video we would be able to bring out the emotions as intended.

The most important part of this project was to figure out how this song will be delivered and once i figured that out the rest was easy to pull together. i looked different sources, movements, theoretical perspectives that formed and influenced my idea.

On some levels most spoken word poetry isn’t very good, this might be true but the question is according to whom? Is the broader poetry community judging spoken word by the same standards they judge creative writing? The form in which they are both written is fundamentally different. It all fall under performance art, some words might be sacrificed at times because the listener doesn’t have the luxury of re-reading lines and analyzing every word choice, but that’s just a conscious decision. In the first place, spoken word is written for the sake of being performed; it’s not the same as reciting poetry. In modern days we get to see well-known artists use the spoken word method to compose lyrics for a song.

After watching all these types of videos, it made me consider some changes  toward  my project during the development stage and i had to make something that is controversial as possible, so i composed my song then gave it to my collabo mates to work on it and improve it where necessary.  We did not agree on somethings but because i was the project manager and director i was in full control to welcome certain ideas. My mates wanted me to make something more pop and urban that they can listen to in there cars, which was a good idea but i wanted to make something more reflective. something that you can listen to and learn something. I wanted to compose a song with a  strong message, something that people can relate to.

The instrumental we were using was different from the style or approach we were going for so after doing all this research i came to realise that in most spoken word videos the beat drops so that you can hear the spoken word lyrics properly and this sets the mood for a song. I had to make some changes i went back to the studio with my engineer, asked him to remove the drums and other instruments in the background of the song, so that the middle section of the song  can be emphasized,  the spoken word can be as clear as possible because it sets the mood sets the right mood. I was very important for me to make sure the person watching my video would almost feel, taste and smell  the message i was telling them.

for example in this video

Themes 

I wanted to give my video a theme of high coloured options so that i can give it that look of a professionally produced video.

vlcsnap-2015-05-08-01h17m03s181     vlcsnap-2015-05-08-01h25m23s14  vlcsnap-2015-05-08-01h20m53s131  vlcsnap-2015-05-08-01h20m23s15

I achieved this by playing with the colour wheels to obtain such effects. These effects would help me to set the right mood for the song as seen in other music videos. When i engaged with this approach it definitely changed and enabled my work to look more professional, so i begun to see my project develop.

Technical craftsmanship 

I wanted to make sure that my video looks as professional as possible but there was  something lacking, so i decided to carry out research on videos that have or involve poetry in their lyrics. The best approach to this kind of videos was that most of them had kinetic typography along with the imagery to help the audience understand more or engage with the message being portrayed.

So i looked at different ways of which i can create kinetic typography along with the lyrics to the song, to add that depth of professionalism to the production. Here is a few examples..

After analysing all this and how it’s been effectively used in music videos and spoken word video, i decided to create my own typography to match with the lyrics using adobe after effects to achieve the same results and here is a few examples of my work and you can find more on this page. Although i made this effortlessly, i had to try so many times and i kept on failing either because the composition couldn’t render or after effects would freeze, but this didn’t stop me from achieving the effect i wanted, i kept on trying until i had something i could work with.

The reason as to why i decided to use kinetic typography in the first place, instead of just a normal approach to a music video with use of moving imagery, was because the spoken word artist was not available to shoot the video on the allocated dates and i was running out of time. So i had to find a creative way to approach this technical problem and still be able to deliver the message as planned without changing any mood of the track as i wanted to produce a high quality artifact. This came out perfectly as the audio was well mastered so you could hear the words properly.

 Second ANALYSIS

What professionals in this field do?

A film director is a person who directs the making of a film. A film director is responsible for controlling a particular movie’s artistic and dramatic aspects, and be able to visualize the script while guiding the technical crew and actors in the fulfillment of that vision.

The director also has the power to choose the casting members of a film, the production design, and the creative aspects of filmmaking.

This is one of the roles i want to pursue among other careers in film, because it gives me the opportunity to create and try out new challenges.  I believe every one starts from somewhere. This project is one of a few projects that I have been a director; this has allowed the freedom of creativity.

Music video directors make short films that are based on different songs depending on the genre of the music. They also often work these musical artists to come up with concepts and stories behind the videos. This is a highly demanding job and not always stable because some times things don’t work out according to the plan. This field is also very competitive, since everyone wants to be a professional music video director.

WHAT PEOPLE IN THIS FIELD DO / SKILLS REQUiRED TO BE A PROFESSIONAL IN THIS FIELD.

As with a film, music video directors will have to understand cinematography lighting and editing.

Some directors will begin their careers creating music videos before moving on to films.

Although is not a requirement to start a career, it’s advised to consider earning a bachelor’s in a film degree. This will give you sufficient knowledge on about the history of film, camera techniques and the business side of the industry.

You also need to find an internship for a production company either working as a production assistant on a music video. Which is a great way to gain some experience and network with different people across different fields

The key skills:

Management,

Leadership and communications

Creativity

And open-minded

Technical skills required

Familiarity with production equipment, such as those used for lighting and audio, and other related electronics

Here is an example of a video i directed:

This is the video i directed for this project:

REFLECTION

Although this came together after a period of hard work. There were some challenges, especially in the beginning, but as a director of a film / project you have to find solutions to the problems stopping the progress of a particular project at the time otherwise no one else will and the project won’t happen. The process of producing a music video is not easy as it seams because, i believe there is equal amount of hard work involved in both film and process of producing music. The hardest thing i have had to do on this project was to get everyone involved in the project, in the same room at the same time. This made me realise that directors deserve a lot of credit i had to learn the required skills in this field.

we then resulted to using social network to communicate which easier because everyone would know what to do without pressure from others . this worked out quite well. Especially when i got the news that the intended plan was not going to be possible due to George the Poet’s tour in Europe. we had to communicate effectively because i was not limited with time.

On Thursday 12th of march i almost dropped this project because the work we had done on the track was only save on the machine in the studio, but that morning the pro-tool refused to function and i was scared that we would have to repeat the whole process. This either meant that i was going to quit or find another another project to work on. my project was pushed back because We had to wait for a technician to come in and recover the system errors. Then we learnt how to save  on multiple devices each time we worked or changed something so that we have several copies.

This whole process to me was a learning process, i now have the experience of what skills it take for someone to be a professional music video director or director in general. I have learn management skills, how to pay attention to detail. I have learn how to effectively communicate with people and lead them in a set of activities. I have work with different people in different field like music engineers and i learnt a lot from them too. I have learnt how to be well organised, time management because time lost is hard to recover.

Despite this being the first time i do a music project, it was a very challenging and exciting experience because i had to plan everything on my own in advance and find back up plans. what made it more interesting is the fact that i had full control over everything. I created some thing from nothing to something with the help of a music composer known as Josh who is the same artist i collaborated with on this project. He made the instrumental, and we worked on the lyrics.  i came up with a concept, i edited and directed the music video, looked for a suitable cast ; the people that had the same delivery with there lyrics and the type of energy  was  what i aimed for during the selection period. I had to co-ordinate and work with different people trying to find locations, transport and selection of equipment used to shoot the project. Definitely i can say that my networking skills have improved on a hight level, just being able to pull all this together proves that to me.

This whole experience is important to me because i went out of my way and challenged my self to do something totally different, i now have a song that  i can show case to future job opportunities and share with family and friends. The whole experience taught me how much effort goes into composing a song and producing it. this is another skill i have acquired. On top of directing, editing, producer and actor i am now officially a musician as well.

I thought this was successfully achieved  as i have like the whole process of making and producing music.  Even though a lot of effort goes in it, it’s been an experience that i am proud of. Of course practice makes perfect so i am looking forward to keep practicing these skills so that i can get to be a qualified professional.

Bibliography

http://en.wikipedia.org/wiki/Spoken_word

https://www.youtube.com/watch?v=D-eVF_G_p-Y

https://www.youtube.com/watch?v=O7ZbM7ak8uw

http://careerbear.com/film-director/article/what-does-a-film-director-do-and-what-skills-are-required

http://creativeskillset.org/creative_industries/tv/job_roles

https://www.youtube.com/watch?v=lJY1XYHaiEY

https://www.youtube.com/watch?v=akq2dJ9N5Do

http://www.mormontabernaclechoir.org/music-spoken-word-about?lang=eng

http://www.roundhouse.org.uk/whats-on/spoken-word-theatre-and-storytelling/

https://www.youtube.com/results?search_query=creating+typography+in+after+effects

https://www.youtube.com/watch?v=2jTwX8jz-44

https://www.youtube.com/playlist?list=PL1487B0A90D0B66E5

https://vimeo.com/127276638

https://www.youtube.com/watch?v=5ezsH_S-gOc

RESEARCH AND REFLECTION

Professional practice Networks 

  1. linkedin
  2. fame street
  3. Film and tv pro
  4. Shooting people
  5. Call the shots
  6. Cannes Lions
  7. Short film world
  8. Short film world
  9. ITV experience
  10. Film and Tv professionals

Joining any of these groups is a very huge step for media producers and other people looking to gain experience and this is how the future looks like. This is a very important step when it comes to developing your online presence as a professional in the media industry. I came to realise that, the advantage of employers accessing your contacts, is much easier than handing in a Cv. This saves a lot of time and the content is always available for any one to access your technicalities. Screen Shot 2015-05-20 at 17.34.56 I have joined a few of these networks and they have given me the opportunity to find numerous opportunities with in the media industry. The biggest advantage is that when you sign in onto one of these networks, every week they send you notifications about new jobs availabilities and people within the same field always share different vacancies. If you want to land hands onto some experience or even paid jobs this is a very effective way of starting and this also enables you to network and communicate to other professionals within the same field.

A contact list of potential professional for my future career.

  • Greg Cole; film producer / director with experience of at leat 20 years of experience and he work at heart break productions. Email: chmpcimp@yahoo.co.uk.
  • Jim Peakman; writer / director at blue ridge films, also work at Channel 4.Email: jim@blueridgefilmsgroup.com.
  • Steven Ringrose; He is a lead editor at blue ridge productions. Contact details: stevenringrose@blueridgefilmgroup.com.
  • Dale Driver; He is a film director at blue ridge productions. Contact details: dale driver@blueridgefilmgroup.com.
  • Laura Douglas; She is a production executive at Educare. Contact details: laura-douglas@hotmail.co.uk.
  • Gary Smith; Film producer at Winchester entertainment. Contact details: garysmith@vumanity.com
  • Amy Mills; She is a runner at MBY productions and she also works at British got talent . Contact details: amymills30@msn.com
  • Ray Grewal; Script writer / submission assessor at creative England, BBC, Chapter one promotions. Contact Details: raygrewal49@gmail.com
  • Martyn pick; He is a director at quantum films. Contact details: martynpick@hotmail.com
  • Chris Mock; He is a sound engineer and editor. Contact details: chrismock@me.com

I chose these contacts because most of these people are in the same professional positions as of my interest so i decided to go onto their blogs and websites to  get in contact with and see what they are about, how they represent them selves as professionals.

Evidence of contacts i have made:

Screen Shot 2015-05-22 at 17.18.48

Although i managed to get in contact with a few of these contacts, most of them did not reply back in time, i guess this is because of their busy schedules but here is more evidence from a few people that replied.

Screen Shot 2015-05-22 at 18.39.17

Screen Shot 2015-05-22 at 19.18.58

364MC Professional practice porfolio

RESEARCH AND DEVELOPMENT

What is a portfolio? This is an edited collection of the best work intended to showcase an artist’s style or method of work. A portfolio is used by artists to show employers their versatility by showing different samples of current work produced.

The following are professional options open to me and skills required to inhabit the roles.

THE KEY CREATIVE TEAM

Producer

The producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, contracting and arranging for distributors. The producer is involved throughout all phases of the process from development to completion of a project.

Director

The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film’s plot, directing the performances of actors, selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film’s soundtrack.

Screenwriter

Screenwriters or scriptwriters are responsible for researching the story, developing the narrative, writing the screenplay, and delivering it, in the required format, to the Producers. They are almost always freelancers who either pitch original ideas to Producers in the hope that they will be optioned or sold, or who are commissioned by a Producer to create a screenplay from a concept, true story, existing screen work or literary work, such as a novel or short story.

PRODUCTION DEPARTMENT

Executive Producer

An executive producer is usually an investor in the project or someone who has facilitated the funding of the project. There may be multiple executive producers on a project, depending on the financing arrangements.

Line Producer Typically,

a line producer manages the budget of a film production. Alternatively, or in addition, they may manage the day-to-day physical aspects of the film production.

Production Manager

The production manager supervises the physical aspects of the production including personnel, technology, budget, and scheduling. It is the PM’s responsibility to make sure the filming stays on schedule and within its budget. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator.

Production Coordinator

The production coordinator is the information nexus of the production, responsible for organising all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production.

Production Secretary

The Production Secretary provides administration assistance in the production office to the production co-ordinator and production manager.

Production accountant

Production accountants are responsible for managing finances and maintaining financial records during film production. They work closely with the Producer and the production office to manage the day-today accounting office functions, and report on the project’s financial progress against the budgets (cost reporting).

Post-production Supervisor

Post-production supervisors are responsible for the postproduction process, during which they maintain clarity of information and good channels of communication between the Producer, Editor, Supervising Sound Editor, the Facilities Companies (such as film labs, CGI studios and negative cutters) and the Production accountant.

First Assistant Director

The first assistant director (1st AD) assists the production manager and director. They oversee day-to-day management of the cast and crew scheduling, equipment, script, and the set. They ensure the filming comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focused on their work.

Second Assistant Director

The second assistant director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks delegated to the 1st AD. The 2nd AD works closely with the Production Coordinator to create the daily Call Sheets that let the crew know the schedule and important details about the shooting day.

Third Assistant Director

The third assistant director (3rd AD) works on set with the “First” and may liaise with the “Second” to move actors from unit base, organise crowd scenes, and supervise one or more production assistants.

Production Assistant/Production Runner

The production assistant or runner assists the first assistant director with on-set operations. PAs also assist in the production office with general tasks.

Script Supervisor

Also known as “continuity”, keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script. They make notes on every shot, and keep track of props, blocking, and other details to ensure continuity from shot to shot and scene-to-scene.

Stunt Coordinator

Where the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the Director.

SCRIPT DEPARTMENT

Story Producer

The story producer has overall responsibility for the story across episodes. In reality TV, the story producer is responsible for creating a story line via editing/producing the show’s source footage. They may also be responsible for writing the host’s dialogue.

Script Editor

Provides a critical overview of the screenwriting process, using their analytical skills to help the screenwriter identify problems and thereby help to strengthen and develop the screenplay.

Script Co-ordinator

The script coordinator is responsible for producing each draft of the script and annotating it for ease of use for the production team.

LOCATION DEPARTMENT

Location Manager

The location manager is responsible for finding and securing locations to be used for the production and coordinating the logistics, permits and costs involved. They are also the face of the production to the community.

Location Assistant

Assists the location manager and is on-set before, during, and after the filming process. General responsibilities include arriving first at the location to allow the set dressers onto the set; maintaining the cleanliness of the location areas during filming and fielding complaints from neighbours.

Location Scout

Responsible for the initial scouting of locations for the production, taking into account production logistics, e.g. location fees and budgetary restrictions, local permitting costs and regulations, camera and lighting requirements, convenience to other locations, production services, crew and unit parking.

CAMERA DEPARTMENT

Director of Photography/Cinematographer

The director of photography is the head of the camera and lighting department of the film. The DoP makes decisions on lighting and framing of scenes in conjunction with the film’s director.

Camera Operator

The camera operator operates the camera under the direction of the director of photography, or the film director, to capture the scenes on film. Depending on the camera format being used for filming (e.g. film or digital), a director of photography may not operate the camera, but sometimes these two roles are combined.

First Assistant Camera (Focus Puller)

The first assistant camera (1st AC) is responsible for keeping the camera in focus while it is shooting.

Second Assistant Camera (Clapper Loader)

The second assistant camera (2nd AC) operates the clapperboard at the beginning of each take and loads the raw film stock into the camera magazines between takes. Also oversees the logbooks that record when the film stock is received, used, and sent to the lab for processing.

Loader

The loader transfers the film from the manufacturer’s light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC. After filming, the loader then removes the film from the magazines and places it back into the light-tight cans for transport to the lab.

Camera Production Assistant

Usually a trainee in the camera department, the camera PA assists the crew with menial details while learning the trade of the camera assistant, operator or cinematographer.

Digital Imaging Technician (DIT)

On digital productions the digital imaging technician is responsible for the coordination of the internal workings of the digital camera. Under the direction of the director of photography, the DIT will make adjustments to the multitude of variables available in most professional digital cameras to manipulate the resulting image.

Data Wrangler

On digital productions the data wrangler is responsible for managing the transfer of data from the camera to a computer and/or hard drive.

Steady cam Operator

The steady cam operator is someone who is skilled at operating a Steady cam (trademark for a camera stabilisation rig)

Motion Control Technician/Operator

This technician operates a motion control rig, which essentially is a ‘camera robot’ able to consistently repeat camera moves for special effects use.

Video Split/Assist Operator

A video split is used by directors, to watch a monitor during each take. This is captured by special recorders fitted to film cameras next to the eyepiece.

SOUND DEPARTMENT

Production Sound Mixer (Sound Recordist)

The production sound mixer is head of the sound department on set, responsible for recording all sound during filming. This involves the choice of microphones, operation of a sound recording device, and sometimes the mixing of audio signals in real time.

Boom Operator (Boom Swinger)

The boom operator is responsible for microphone placement and movement during filming. The boom operator uses a boom pole to position the microphone above or below the actors, just out of the camera’s frame.

POST PRODUCTION

Film Editor (Offline Editor for video productions)

Assembles the various shots into a coherent film, working closely with the director.

Assistant Editor

Assists the editor by collecting and organising all the elements needed for the edit.

Online Editor (for video productions)

When the offline edit is complete, adds visual effects, titles, and applies colour correction. Also ensures that the program meets the technical delivery specifications.

Colourist

Adjusts the colour of the film to achieve greater consistency. Negative Cutter Cuts and splices the film. Provides assembled negative reels to the lab for prints to be made.

VISUAL EFFECTS (VFX)

Visual Effects Supervisor

The visual effects supervisor is in charge of the visual effects department.

Compositor

A compositor is a visual effects artist responsible for compositing images from different sources such as video, film, computer generated 3-D imagery, 2-D animations, matte paintings and text.

Roto/Paint Artist

Manually creates mattes for use in compositing. May also paint visual information out of a scene, such removing wires and rigs, logos and scratches.

Matte Painter

These artists draw/paint entire sets or extend portions of an existing set.

POST PRODUCTION – SOUND/MUSIC

Sound Designer

In charge of the post-production sound of a movie.

Dialogue Editor

Responsible for assembling and editing all dialogue in the soundtrack.

Sound Editor

Responsible for assembling and editing all sound effects in the soundtrack.

Re-recording Mixer

Balances the sounds prepared by the dialogue, music and effects editors.

Music Supervisor

Works with the composer, mixers and editors to create and integrate the film’s music. Negotiates licensing of the necessary rights for all source music used in a film.

Composer

The composer is responsible for writing the musical score for a film.

Foley Artist

Creates and records many of the sound effects for a film.

Reflection of my Mentoring Experience

Even though these mentoring sessions have come to an end, i feel sad because i had started enjoying them. With this experience i gain more confidence than i had before, public speaking skills and responsibility. It has truly been an exciting experience. Although at first i was afraid because i didn’t know what to expect or say and i had never done anything like this before, it became much more easier every time i did it.

What even made this experience much more easier was that there was an experience member of staff who was always there to lead each sessions but she would brief us every day before the sessions start, me and Dan already knew what to expect and what to say. In the first session we had to introduce our selves and talk about our experiences, this made us open up to the groups and the group also reacted well to what we were telling them because it was in there best interests, i guess we wanted to make a difference as mentors.. Me and Dan always worked hard to make sure every one feels at easy while in the session with us, which made some of them confide in us.

What i noticed was that me and Dan are very good team players, which was one of the things we first told them. We told them that in order to get good grades on this module they had to be great team players and help each other out.. i guess the best thing to do was to lead by example. So me and Dan would help the fill out some roles each time some one in there group did’t turn up. A number of times we had to be presenters and floor managers but this made the whole experience even more fun.

It is always good to do something you are sure of. In these sessions me and Dan divided the roles because each of us was comfortable in doing something they are sure of. So Dan was mostly in the studio and i was in the gallery because when i was doing the same module i was always in the gallery so i new my way around each and every equipment in there. Although it was a good idea to have a practice session to remind ourselves before we met with the groups.

‘A Mentor benefits by acquiring improved ways of working with people and satisfying the desire to help others’ (Alred, G. Garvey, B. Smith, R. 1998). I would agree with that quote, I have become more confident when speaking in public and i have developed relationships with other mentors and mentees  however, i would like to do this again because it was a great way to meet new people and feel responsible, like a role model.

Bibliography 

Final Mentoring session

I didn’t realise but time has gone fast. For this session there was a group activit, every group was being timed to see which one could be the fastest to set up all the equipment between the gallery and Studio the quickest. Out of the three group 4 was the quickest.

mentoring

Group 6

When every one came into the studio for the session, they were timed and and they got around 95%after this there was a health and safety exercise where me and Dan had to were hi-vis and hats to carry out the demonstration regarding using a ladder.. This was fun for us an the mentees trying out the out fits and climbing on top of the ladder. After showing them the whole procedure then we had to go through how to wrap up the cables of the floor correctly to avoid tripping on them.

Group 5

Group 5 took longer time to set up than the previous group they got around 97% of the set up complete.  Becks was going through pointing  the mistakes they had made,she forgot one thing, the studio lighting wasn’t turned on, Dan reminded her before she switched the topic.

vests

Group 4

this group was the fastest to set up everything, i mean they broke the record as they did it in half the time every one else took to switch on every thing, but they got one thing wrong which was the com that connects the floor manager and the gallery and thay also forgot to switch on the studio lights but they got every other thing right in only 5 minutes and 23 seconds this was amaising. Again Me and Dan went through how to wrap up cables, and then we went on to laying them down on the floor. During the first two groups we had three people at a time laying the cables.