Studio Production: Final Reflection

My thoughts on the project are overall positive. I feel like it was a really good experience and something that has helped me to develop my skill set as i am not a very confident person when it comes to large groups of people and i find it difficult to give feedback unless it is one on one. Therefore it was challenging for me to be able to communicate to the group at times and at times i couldn't handle the pressure of everyone needing my help and attention and this is where i learnt a valuable lesson from teacher helen. She said that when anyone asked me for advice i should ask them questions back rather than give them a solution as it give you more time to compose yourself and also helps them to think of the answer themselves. This helped me as it took the pressure of me and placed  it onto them.
I also learnt that i needed to delegate more to kate and roxanne. At the beginning i took on a lot of repsponibility and wasn't sure what kate and roxanne should be doing that i was, so in the end they asked me for any jobs they could help with and i assigned them things to do. This proved really helpful as it took some pressure of me and gave me the opportunity to focus on the things i enjoyed a lot more and so they took over a lot more of the paperwork and research to allow me the opportunity to focus on my other jobs.

I am really pleased with the finished show and even though a couple of issues occurred, that is what can happen with live TV and i think i really helped to maintain moral by making sure between the 2 halves of the show that everyone felt pumped and shook off the problems of the first half. I think i did a good job of using talk back with jamie. I tried to keep it to a minimum and was mainly to cue him for any important questions or to tell him to move on due to time. I think having this role was really important as it helped with keeping the running order to time and also helped Jamie to know exactly what to say if something came up as an issue. For example the vision mixers missed their cue on a graphic that they needed for the show and unfortuantly after a short pause, Jamie began to try and save the situation in the hope that the graphic would appear but as i was in the gallery i made the decision to move on as it became clear that it might not happen. This made the talk back a really helpful thing as kate would not have been able to make that clear to jamie in the time i was and so it saved valuable seconds.

Stay safe,

Helen

Studio Production: Final Script

After a meeting with Simon, Helen and using feedback from hans, Myself and roxanne tried to modernise the script and give it more of a youthful edge. This is the final draft:

What You Sayin' Script 

I am a lot happier with the script now as it uses a lot more social media relevant language and i think its really come on peeps and bounds and as script writing is something i want to do in the future. i really enjoyed working on the numerous drafts and working to make it the best it cane be.

Stay safe,

Helen

Proffesional Practice: Reaserch into similar companies' promotional videos

I decided in order to make a promotional video, i would need to research existing promotional videos first. Here are a few i looked at:

Serbia soul food - https://www.youtube.com/watch?v=wIwNwZwNXuA

The Penny Black Restaurant and Bar - https://www.youtube.com/watch?v=twl072sffjE

UberEATS - https://www.youtube.com/watch?v=CXw7amyR1kY

These videos focused primarily on the product being sold and used artistic shots of preparation and final delivery.
I also thought it would be a good idea to look at adverts as they appeal to a wider target audience, children and adults.

Haribo - https://www.youtube.com/watch?v=9scm3NCIH_E

Cadburys - https://www.youtube.com/watch?v=TVblWq3tDwY

Walkers -https://www.youtube.com/watch?v=OfUhTQiaIqg&list=PLGpE8p5vbBohLCv3MSrScLtHWZV-jY8Ei&index=3

Maynard - https://www.youtube.com/watch?v=B-xG3D8OMQk

These adverts are all colourful, fun, catchy and are clearly directed towards not only children but adults too. Most give off the impression that there products are fun and possibly even fun to eat. The point of this is to leave the viewer with positive feelings, which then will create a positive memory towards that product which could possibly make the viewer buy that product at a later date.

I also researched how advertisement works to get some background information and found the psychological and persuasion tecniques incredibly powerful and interesting. Below are a few links to articles discussing this:

http://www.theatlantic.com/business/archive/2011/08/why-good-advertising-works-even-when-you-think-it-doesnt/244252/

http://wklondon.typepad.com/welcome_to_optimism/2014/04/how-advertising-really-works.html

Lastly, i thought id do some research on event planning as the company i am filming are a small business who provide event packages. I found that many people are very stressed when planning any event, be it a birthday, wedding, baby shower etc, and any help in making that process easier is openly accepted and welcomed.
http://www.theguardian.com/small-business-network/2014/feb/26/homebased-event-planning-business

I tried to find some promotional videos for similar businesses who provide packages for events but found it very difficult. There were loads for hotels and wedding packages but very little if any that i could find for businesses who provide food or sweet packages. I found this possibly an advantage as there seems to be a gap in the market for promotional videos (although a few websites).

Websites:
http://www.pinkapplestudios.co.uk/event-packages/
http://sweettreatscompany.co.uk/candycart-packages/

I will be using this research in my approach to filming :)

Stay safe,

Helen

Studio Production: Running order

It was my job to come up with a running order which i constantly updated after what we learnt from every workshop. This meant that often after a rehearsal i would need to update the script and running time for the next day. We went through 10 drafts of the running order and as i was able to really maximise every second of air time to make sure that not only did each director have 15 minutes to direct but also that the show was evenly paced and not rushed. I worked closely with hannah the PA on what was working and what needed more time and i think this really helped with the running order. Also as i had the opportunity to have the role of PA for an afternoon it gave me a clearer understanding of what hannah needed and what would help her in the running order and which parts of the script needed changing to help with the running order.

Stay safe,

Helen

Proffesional Practice: DOP research

What does a Director of Photography (DoP) do?

Directors of Photography (DoPs) are key Heads of Department on film productions and theirs is one of the major creative roles. They provide a film with its unique visual identity, or look.
DoPs must discover the photographic heart of a screenplay, using a variety of source material including stills photography, painting, other films, etc.
They create the desired look using lighting, framing, camera movement, etc. DoPs collaborate closely with the camera crew (Camera Operator, 1st and 2nd Assistant Camera, Camera Trainee and Grips).
During filming, DoPs also work closely with the Gaffer (who runs the lighting team), the Production Designer, Costume Designer, and the Hair and Make-up Department.
After reading the screenplay, DoPs meet with the Director to discuss the visual style of the film. They conduct research and preparation including carrying out technical recces of locations. They prepare a list of all required camera equipment, including lights, film stock, camera, cranes and all accessories etc., for the production office to order.
During preparation DoPs also test special lenses, filters or film stocks, checking that the results fit with the Director's vision for the film.
On each day of principal photography, DoPs and their camera crews arrive early on set to prepare the equipment. During rehearsals, the Director and DoP block (decide the exact movements of both actors and camera) the shots as the actors walk through their actions, discussing any special camera moves or lighting requirements with the Camera Operator, Gaffer and Grip.
Each shot is marked up for focus and framing by the 1st AC, and, while the actors finish make-up and costume, the DoP oversees the lighting of the set for the first take.
On smaller films, DoPs often also operate the camera during the shoot. At the end of each shooting day, DoPs prepare for the following day's work and check that all special requirements (cranes, Steadicams, remote heads, long or wide lenses, etc.) have been ordered. They also usually view the rushes (raw footage) with the Director.
During post production, DoPs attend the digital grading of the film, which may involve up to three weeks of intensive work.
Most DoPs work on commercials and promos as well as on feature films. Although the hours are long, and some foreign travel may be required, the work is highly creative and very rewarding.

 http://creativeskillset.org/job_roles_and_stories/job_roles/759_director_of_photography

Proffesional Practice: Producer research

Producers have overall control on every aspect of a film's production. They bring together and approve the whole production team. Their key responsibility is to create an environment where the talents of the cast and crew can flourish. Producers are accountable for the success of the finished film. They steer the film from beginning to completion and beyond.

The Producer is often the first person to get involved in a project. Or they may be the agent-style Producer who focuses on the deal. The many responsibilities of the Producer span all four phases of production. In the Development stage, Producers are often responsible for coming up with the idea for a production, or selecting a screenplay. Producers secure the rights, choose the screenwriter and story editing team. They raise the development financing and supervise the development process.

In pre-production, Producers bring together the key members of the creative team. This includes the Director, Cinematographer and Production Designer and key cast members. They help the Executive Producers to raise money for the production. Once the initial finance is in place, they select other key production office personnel and Heads of Departments.

Producers also approve locations, studio hire, the final shooting script, production schedule and budget. More time and money spent in pre-production can reduce time and money wasting when the production gets underway.

Once the film is in production, Producers are responsible for the day-to-day smooth operation of the team. Producers are also in constant communication and consultation with the Director and other key creatives, on and off set. Producers approve all script changes and cost reports. They are the first point of contact for all production partners, investors and distributors.

During post production, Producers are expected to liaise with the Director and post production department. The Producer will deal with the finance and distribution companies in planning the marketing and distribution of the finished film.

It is rare to find one Producer who has the expertise and vision to exercise personal decision-making authority across all four phases of production, but

The Producer is usually supported by a hand-picked production office team. Many of the key people will have worked with the Producer on several film projects. Producers have a legal responsibility, under the Health and Safety at Work Act 1974, to prepare health and safety procedures for the workplace. The Producer's ultimate responsibility is to the production company and the Executive Producers.

 http://creativeskillset.org/job_roles_and_stories/job_roles/757_producer

Proffesional Practice: Director research

The director has two basic responsibilities: (1) to bring about a unified vision within the finished production, and (2) to lead others toward its ultimate actualisation. To meet these charges, the director must organize the realisation of his or her vision. The director must decide upon the interpretation to be given the play; work with the playwright (if possible), designers, and technicians in planning the production; cast and rehearse the actors; and coordinate all elements into the finished production.
To decide upon interpretation, the director must analyse the script to discover the play’s structure and meanings. Without understanding, the director cannot make choices. He or she seeks to know what the play is about and to understand each character in terms of both the script and the demands that character places upon the actor. The director must be able to envision the play’s atmosphere or mood and know how to actualise in terms of design and theatrical space. And, finally, the director must be able to see the play in terms of both physical and verbal action.
Before rehearsals begin, the director meets with the designers. At this time, the director not only gives his or her vision, but also listens to ideas. This highly creative intercourse results in a compromise which often is better than the original vision, for creative ideas interact with other creative ideas. Ultimately however, the director decides upon the interpretation to be used. The director may have specific requirements that would need to be presented to the designers before their work begins. The director must be aware of actor movement when viewing a design. Also, the director must have an idea of what kind of lighting would help enhance the mood of the production.
When casting a play, the director is aware of the physical demands of a character. Physical appearance must fit the character and must also be seen in relation to other characters. The director also tries to discern acting potential. In his book, Theatre, Robert Cohen describes traits that a director often looks for:

Depending on the specific demands on the play and the rehearsal situation, the director may pay special attention to any or all of the following characteristics: the actor’s training and experience, physical characteristics and vocal technique, suitability for the style of the play, perceived ability to impersonate a specific character in the play, personality traits which seem fitted to the material at hand, ability to understand the play and its milieu, personal liveliness and apparent stage “presence,” past record of achievement, general deportment and attitude, apparent cooperativeness and “directability” in the context of an ensemble of actors in a collaborative enterprise, and overall attractiveness as a person with who one must work closely over the next four to ten weeks.

The director’s most time-consuming task is to rehearse the actors. The director must be organized, for he or she focuses the entire cast during this time. The director’s medium is the actor in space and time. Space is defined by the acting area and the setting while time is defined by the duration of the production and the dynamics of the drama The director must be able to see the actor as a person and strive to draw out that person’s potential. Consequently, the director constantly must be sensitive to both the needs of an actor and at the same time think of ways to meet those needs in positive ways.

Directors tend to follow an established process during rehearsals. Initially, the director usually has the actors read through the script. The read-through allows the director to discuss his or her vision, character motivation, and interpretation which will help the actors begin to see their characters in terms of a unified understanding. The director then blocks the actors. Blocking are an actor’s basic broad movements which serve as the physical foundation of the actor’s performance. The director indicates movement such as entrances and exits and positions actors onstage. Often, this step takes preplanning. During this stage, interpretation begins to be worked out, for blocking is linked to a character’s motivation to move or position.

The next step would be to work on detail, which helps an actor discover his or her character. Detail includes working out stage business, which is an actor’s small-scale movement. For instance, making coffee, answering a phone, putting on shoes, or adjusting a tie are pieces of stage business. Hopefully, the actor will originate much of his or her own stage business.

Motivation and detail continue while time is spent devoted to lines. Interpretation of dialogue must be connected to motivation and detail. During this time, the director is also concerned with pace and seeks a variation of tempo. If the overall pace is too slow, then the action becomes dull and dragging. If the overall pace is too fast, then the audience will not be able to understand what is going on, for they are being hit with too much information to process.

Also, eventually, the actors will need to be off script. Once off script and the lines are memorized well enough that the actor is not thinking “What is my next line?” then the rehearsals enter into a very rewarding stage of development. For actors cease to read their part and truly make it living. They also discover new avenues of interpretation once off script.

Late in the rehearsal process, the director often has the actors run through the production. A runthrough gives the actors a sense of continuity from one scene to the next. At this stage, the director usually does not stop the actors but takes notes to give after the scene is finished.

Nearly all elements of the production — actors, scenery, lights, sound — come together at the technical rehearsal. The stage manager, prop crew, running crew, light and sound board operators all rehearse their various parts to play. Hopefully, light and sound cues will be set before the first technical rehearsal begins. A dress rehearsal is a technical rehearsal with costumes and makeup. At this time, the director must give over the production to the actors and technicians. The final dress rehearsal should be the same as a performance.

Nobody is more useless on opening night performance than the director. The director’s job is over at this time and is often lost and feeling alone. The best the director can do is to wish people well, sit, watch the performance, know every flaw during that performance, and sweat it out.

 http://www.edubuzz.org/dgs_drama/the-role-of-the-director/