Professional Practice 1 – Table of Contents

  1. 5 Point Plan

A list featuring 5 key future plans of mine.

https://parisfawcettyr1.wordpress.com/2018/01/31/5-point-plan/

  1. The Role of a Producer

A post written to help me acquaint myself with what is required of a producer.

https://parisfawcettyr1.wordpress.com/2018/02/09/the-role-of-a-producer/

  1. Interview Techniques

These are some tips so I knew how to best advise my group on shooting day.

https://parisfawcettyr1.wordpress.com/2018/03/09/interview-filming-techniques/

  1. Researching Interview Styles

Although it’s not strictly my job on the set, I wanted to make sure I was au-fait with interview styles, camera angles and lighting in short films.

https://parisfawcettyr1.wordpress.com/2018/03/17/researching-interview-styles/

  1. Collecting B-Roll Footage

This is the archived Youtube footage I asked Merlin for permission to use.

https://parisfawcettyr1.wordpress.com/2018/03/17/collecting-b-roll-footage/

  1. Shooting Day – Overview and Problems

An account of the day we went to film Merlin.

https://parisfawcettyr1.wordpress.com/2018/03/24/shooting-day-overview-and-problems/

  1. Production Forms

This is a list of all the production forms I completed as well as why they are needed.

https://parisfawcettyr1.wordpress.com/2018/03/26/production-forms/

  1. My Experience as an Editor

My thoughts and feelings on being an editor as well as the process I took to bring the film to life and the progressions made in my drafts.

https://parisfawcettyr1.wordpress.com/2018/04/17/my-experience-as-an-editor/

  1. Group Feedback

Editing the project as well as producing gave me a great opportunity to see all the ways in which my group and I could have improved to make this film as good as possible.

https://parisfawcettyr1.wordpress.com/2018/04/28/group-feedback/

Group Feedback

Editing the project as well as producing gave me a great opportunity to see all the ways in which my group and I could have improved to make this film as good as possible. I thought it would be most constructive to sit everyone down and talk about it, so here are some of the key points.

Shaky Camera- Despite the main camera being on a tripod, it was still shaky all the way through the film, meaning that not enough footage shot on this camera was used in the final piece. This could have simply been improved by tightening the tripod and not touching it at all whilst we were rolling.

This was the same for all B-roll footage should using the shoulder mount due to people not using it correctly.

Side Album shot too close- Not only was attention not paid to the fact that letterboxing would be incorporated (something I should have mentioned more), the shot was far to close and framed centrally with little thought. This shot could have had far more power and impact if more care was put in and all other group members made sure to check it over and give our opinions.

Not clapping on camera to sync audio- In order to sync audio, we clapped so that the clap would be picked up by the cameras mic as well as the audio recorder so I could match them up. Unfortunately, the clap wasn’t picked up by the camera mic so syncing was a nightmare, this could have been easily solved by simply clapping on camera so not only would the sound be closer to the mic but we’d also have visual references.

 

 

 

My Experience as an Editor

I was slightly daunted by the prospects of being an editor on this task as the final piece comes down to me and how good I can piece together the clips.

I started by importing all of the footage and removing anything that wasn’t needed, such as the parts where Merlin asked to start again or we had to take a quick break, this cut the film down to about 15 minutes. Then I took a look at the brief for the project and specifically took note of the fact our film must “explore what it means to develop the routine and rigour of being a professional in the media industry”. This meant that in order to stay concise and true to the objective, I had to keep the film directed at the idea of professionalism and industry based. Lots of the interview focused around the brand of Metal Hammer itself or rock music at large so this got cut from the short (although it will be in the directors cut). After this, I was able to piece together a narrative from the audio clips of Merlin, but it was still 4 minutes long.

Draft 1

This first draft was made after my first day of editing. I attempted to cut down as much as possible from the clips of Merlin speaking in order to cut it down to 3 minutes, anything he said that didn’t fit the brief or the times he said “umm” or “kind of”, I cut out. It was useful that we used 2 cameras as I could cut between these and archived footage and nobody would even know that I have reordered and cut pieces out of what he was originally saying.

After showing this draft to my group, the main feedback was that the close up shots needed colour correcting, the ending was abrupt, letter boxing needs to be thinner and the “Merlin Alderslade” writing needs to stand out more against the video.

Draft 2

This next draft included me colour correcting the close up shots so that they looked a little less yellow and matched the main shot better, this involved me playing around with the colour correction tools on Premier pro unil I found a colour that was just right. Then I applied this to every shot.

I also made the letter boxing smaller.

The feedback from my group then died down but I still got to working on further colour correction and changing the ending of the film.

Draft 3

This draft was a big one as I colour corrected every shot so that the entire film looked cohesive, this didn’t take as long as I thought it would and still looked effective. Then I worked on making the writing on “Merlin Alderslade” stand out more and decided to use the bevel and emboss tool to give the lettering a bit more weight.

The ending was inspired by the Reed Murano interview I referenced here. That film also ends fairly abruptly but it’s okay because it jumps straight into the production logo, I decided to soften the ending by adding credits that fade in at the end.

I sent this draft to my group alongside my personal deadline for the film and received no feedback on it, so I decided to go ahead and finalise the short.

Final Film

It took me a lot of fiddling around to finally be at the point where I was ready to release the film out to the world. There’s still a lot I’m not happy about but I genuinely think that I did the best I could working off what was given to me.

It was difficult at times to work with shaky footage but I tried to be clever with my cuts so that a lot of the shakiness went unnoticed. I put many hours into editing to try to make it as close to perfect as I possibly could, and hopefully this paid off.

Making Meaning 2 – Table of Contents

Making Meaning 2 – Table of Contents

  1. Breaking Necks and Breaking Backs Manifesto Pitch

The PPT presentation I used when I pitched my manifesto idea to the class.

https://parisfawcettyr1.wordpress.com/2018/02/01/manifesto-pitch/

 

  1. People 2 People Pitch

My People 2 People pitch on my father, Michael Fawcett.

https://parisfawcettyr1.wordpress.com/2018/02/07/people-2-people-pitch/

 

  1. Manifesto Poem

The script for my manifesto, based off a poem that I wrote.

https://parisfawcettyr1.wordpress.com/2018/02/13/manifesto-poem-script/

 

  1. That’s Hardcore, Baby – What I Was Trying To Do and How Well I Did It.

A short essay on the aims of my manifesto and how well I achieved them.

https://parisfawcettyr1.wordpress.com/2018/02/14/thats-hardcore-baby-what-i-was-trying-to-do-and-how-well-i-did-it/

 

  1. Manifesto – That’s Hardcore, Baby

The final, edited video of my short film entitled, ‘That’s Hardcore, Baby’.

https://parisfawcettyr1.wordpress.com/2018/02/19/manifesto-thats-hardcore-baby/

 

  1. The Swimming Club

This documentary really inspired my cinematography for the film on FTM so I wrote an analytical piece on it.

https://parisfawcettyr1.wordpress.com/2018/03/01/the-swimming-club-dir-ceci-golding-nick-finegan-short-1/

 

  1. Documentary Making (Dawkins and Wynd)

My academic research into documentary making.

https://parisfawcettyr1.wordpress.com/2018/03/03/documentary-making-steve-dawkins-and-ian-wynd/

 

  1. Group Meeting – Figuring Out the Projector

A diary of our adventures whilst figuring out how to use the projector, a piece of equipment vital in our film.

https://parisfawcettyr1.wordpress.com/2018/03/06/group-meeting-figuring-out-the-projector/

 

  1. Location Scouting – Trip To The Arts Centre

Me, Ro and Tom scouting out a great place to film!

https://parisfawcettyr1.wordpress.com/2018/03/07/location-scouting-trip-to-the-arts-centre/

 

  1. Interview Techniques

Techniques I’ve picked up on both filming interviews and hosting them.

https://parisfawcettyr1.wordpress.com/2018/03/09/interview-filming-techniques/

 

  1. Practice Shoot

We did a test shoot to mimic as the Attenborough Arts Centre as well as possible, to hopefully smoothen out any potential problems.

https://parisfawcettyr1.wordpress.com/2018/03/13/practise-shoot/

 

  1. Lens Research

I looked into the different types/sizes of camera lens.

https://parisfawcettyr1.wordpress.com/category/making-meaning-2/

 

  1. Day 1 of Shooting

My life as a cinematographer: Day 1 on set of the People 2 People documentary.

https://parisfawcettyr1.wordpress.com/2018/03/18/day-1-of-shooting/

 

  1. Day 2 of Shooting

Day 2 on set of the People 2 People documentary.

https://parisfawcettyr1.wordpress.com/2018/03/19/day-2-of-shooting/

 

  1. Cinematography Aims

What I tried to convey in the footage I shot of FTM.

https://parisfawcettyr1.wordpress.com/2018/03/28/cinematography-aims/

 

 

 

 

 

Cinematography Aims

The most important thing for me was to make each shot look exciting, playful and interesting. I wanted to fill it with iconography related to children like learning blocks, children’s book, kids clothes etc and really get across the essence of what FTM stands for. It’s all about treating additional needs children like everyone else, this is what I’ve thought since before the project and Lydia affirmed this in her interview.

What FTM does for these children is give them an outlet to be creative and have fun in the way that all children should be able to. This ‘club’ of sorts provides dance, music and drama classes to children and makes sure that there are plenty of support workers on hand to deal with any potential problems. They take care of all of the children’s needs and adapt their carer situations for this. I wanted to show this in my shots of Lydia and Caleb together dancing, Lydia is Caleb’s 1-to-1 carer as he needs somebody there at all times.

Speaking on the day to Lydia and the other workers, I learnt that all the support workers go through many training sessions in order to be fully adaptable to any situation. I wanted to show the hard work of the carers in my film and tried to shoot both the classes and also what goes on that requires more work such as the calming down of a child, sensory play with them etc.

As for Lydia, I mainly tried to capture what I saw, a woman that gives her all to these children and making sure that they have a place to have fun where they belong. She dedicated all her energy to the children and made them feel so completely cared for.

I’m hoping that this gets captured in the edit of the film, I made sure to use less stable equipment such as a shoulder mount or fully handheld so that I could get right into the action of the kids. I wanted to show that they are just like any other and felt that this was the best way to do it.

Production Forms

As a producer, it was my responsibility to stay on top of all of these production forms, make sure that they were all filled in on time and with the correct information.

Production Meeting Notes

These are the time sheets for my group work. It is the producers role to document every group meeting, what was discussed, the aims and what we will work on for the next time we meet.

My group met up plenty of times as we had lots of problems to overcome. I wanted to make sure that every group member was always well aware of what way going on, was trained up and prepared for the day of shooting. These notes also show the idea progressing as we started by discussing the idea of interviewing Gurinder Chada and this developed into Merlin and then actively planning what we were going to do when we were on set.

Production Meeting Notes

Petty Cash Accounting

Petty cash is the money involved in the production of a job, it is my job to keep control of all receipts and invoices from what the crew spend. On an actual film set, the person in charge of petty cash would have to make sure that each day they account for how much they will need to spend so can be stocked up with all the money that they need. The receipts are required to send to the production manager in order to inform them on how much has been spent and to prove where all money has gone.

This way pretty easy for me to fill out as the only money we spent on the film was £22 each on train tickets, so in total it cost us £88 in petty cash.

Crowd Release Notice

A crowd release notice needs to be placed up at a film shoot in order to notify anyone in the area that they may be caught on camera if they enter a filming zone. Although things like street photography are allowed and legal, there are complications that come in when people believe that they are in a private area and therefore not going to be caught on camera.

I prepared this notice to put up on the board room window so that any passers by or people looking in would be well aware of what’s going on. It will also encourage them to be quiet. This notice ensures that we will be giving no compensation to anyone on camera and they pass at their own risk.

Crowd Release Notice

Press Release Proforma

A press release form is a compelling document that outlines the film. It will target those working in the media and tell them all about what the film is, selling it and informing people. It is a formal document that will be used to drum up attention around what you are making, you want people to be interested in it and give it a great chance for success off the bat.

There wasn’t much to say about this film as it’s just an interview, very clinical and professional so I tried to play on the fact that Merlin is in a very influential position.

Press Release Proforma

Call Sheet

A call sheet is required no matter what the scale of the film is as it makes everyone on set aware of all the details surrounding filming. They’ll know when to show up, where, what they’ll be doing and any essential information.

By producing this sheet well, I can be assured that the right information has gone out to everybody and nobody can claim that they didn’t know the time or location. In the notes, I included a little overview of the day too.

Call Sheet

Budget

The price it will cost to bring a film together, from the hiring of talent to the insurance. This provides a template of what you think you’re going to be spending so you can make sure you’re not going overboard with payments. Budgets are confidential documents but each department head will know their individual budget.

I mocked up a budget for our film, this is how much I think it would cost if we were paying people to assist us and making the film more large scale.

Budget For Merlin

Credit List

This is a list which showcases every individuals role in the film. I’ll use this to create the end credits scene when editing the film.

Credit List

Location Agreement

This needs to be signed as proof that you have permission to have shot in the certain place. If a property is private, you can be accused of trespassing so this agreement is proof that you were actually allowed to be there. The location owner should be told exactly what’s going to be happening on set, what equipment will be brought, when this will be happening, and who will be there.

I’ll be bringing this form to the Metal Hammer office and get whoever necessary to sign it for me before we film.

Location Agreement

Emergency Information

This should be on set and features any information that could possibly be needed, including details of nearby hospitals in case anything goes wrong. This is a way of planning for any accidents and how we will manage them. This form even includes information on what to do when you call the emergency services, this is just a way of safeguarding to make sure absolutely nothing goes wrong.

Emergency Information

Location List

This is exactly what it says, a list of locations that you will be shooting at.

For me, this was easy to fill out as there’s only one location but if there was more, it’s a great way of making sure that all the information on each location is in one easy place to find.

Location List

Consent Form

This is needed to show that the participant knows exactly what they’re getting themselves into and they agree to it. This form proves exactly how much information a participant has been given before a shoot and that they are happy with everything that is going on.

I will bring this for Merlin to sign on the day of shooting.

Consent Form – Merlin

Participant Information Sheet

This is to go alongside the the consent form as it introduces the filming team to the participant, outlines their contribution to the film and an overview of the film. Like the consent form, this is so the participant knows exactly what they’re getting themselves into and there is no confusion around it.

Partipant Information Sheet – Merlin MH

Shooting Day – Overview and Problems

Today we went to shoot our interview with Merlin. I was nervous about this as he is someone I really look up to and have done since I got into rock music, he’s in an extremely influential position and has a voice that people listen to, this is what I want for myself in the future. Therefore it was important that everything went smoothly.

Our first problem was that despite my discouragement, we ended up taking out equipment that was far too heavy, causing it to be a struggle to carry to the train station and then across London. I probably should have further put my foot down when the group wanted to book out 3 big LED panels, however it was to the discretion of the director and gaffer as to what equipment was needed.

The second problem was one I had personally and that was giving up control. I really wanted to get involved and tell people what camera settings, angles and light positions to use but that really wasn’t my place on set. I’m still not sure as to whether I should have done more, but I don’t think the other members of the group would have appreciated it and maybe would have seen it as if I’m undermining them. It was my responsibility to only talk to Merlin and make sure we stuck to timings.

I was worried that we would seem unprofessional on set so I made sure to fully brief everyone on what was happening and keep people moving fast. Although I don’t think this was fully achieved, I had to bear in mind that not everyone works to the speed of me and for them to complete footage of a good standard, they may need more time.

The Interview Portion

Merlin was a treat to interview! I made sure to fully introduce myself to him and make him feel comfortable before the shoot. Both being music journalists, we had a lot to talk about before shoots, in-between and after, he was kind and really valued my opinion which made things easier for me. It was nice to talk about mutual friends, music and the magazine in general. The interview itself lasted 30 minutes but it felt like seconds! Merlin knows what is required from an interview and spoke so eloquently, it was really inspiring for me to hear. I listened to everything he was saying and thought that it was all brilliant.

He was a very welcoming host, making sure we had help whenever we needed and offered out copies of Metal Hammer alongside free goodies from bands that they had in the office. As someone who really looks up to him, it was inspiring. Since the interview, he has always been on hand to answer any questions I may have or tell me what archived footage I’m allowed to use.

Now all that is left is for me to edit the footage. I really appreciate everything Merlin did, I think that I did a good job of interviewing as he seemed very engaged and excited to answer my questions and most of all, I’m grateful for my group as I think we worked well together and they allowed me to have this amazing opportunity.

Day 2 of Shooting

The unplanned day 2 of the shoot began with me working with Lydia to prepare her script for the film after we struggled to capture her essence in an unplanned interview. This required me asking her the questions that the director wanted to touch on, listening to her response, pushing for more detail and then writing it in a natural yet more fluid way. This allowed us to plan where the footage was going to come in the film and structure it.

Then I set up the camera for the projector shot, unfortunately this wasn’t as visually appealing as when we set it up in the ftm offices the day before. This was a mixture of the room being brighter with real limited space, this also caused a problem with camera positioning as I couldn’t place the cameras where I had planned them to be. However, after a lot of place around with different sized lenses and angles, I managed to place both cameras in positions I was relatively happy with.

img_4313.jpg

(This shot was taken sat waiting as Lydia recorded her interview)

Overall, I think that I did my job of a cinematographer well, I aimed to get interesting angles and shot throughout and try to capture the essence of the children and their playfulness as well as the great work that the support workers do.