Transitions: Pitch

The pitch was basically to sell our concept to Simon, with us each individually trying to convey what we wanted out of the project, how the project was going to be pieced together, and the inspirations surrounding it all.  

(HoldOut Presentation)

So the main inspirations for our group project were taken from TV series such as Skins and Misfits, as the tones, style and issues being tackled within them were similar to that of the original script being created by Will. Misfits style and direction is predominantly comedic but intense situations all told with a distinctly working class British voice, which was something we took and had a crack at ourselves.

My Role 
When it came to my turn to express my input within our group project, this is what i said - 

- The role of the DOP/Cinematographer will be to capture and cover all aspects of the director’s vision of how the narrative should be represented. 
- I’ll be working closely with both the director and editor to evaluate/come together on significant decisions in regards to the coverage of the production.
- Cinematography in both TV Shows, Misfits & Skins, have similar stylised techniques due to its target audience, that being adolescents. However there are subtle differences throughout, one difference being the lighting, with misfits utilizing a more stylised approach  due to the themes it’s tackling (low scale sci-fi, people with supernatural powers).

I went on to elaborate further on my own individual project for myself, preparing me for next year -

·       To further expand and develop my skills in relation to cinematography, this can only be achieved through deeper research and practice.

·       Research into specific cinematographers in both TV and Film, some that use lighting effectively, others that create atmosphere without very much lighting at all.

·       Some that i’ll be researching - Sean Price Williams, James Laxton, Natasha Braier & Maja Zamojda.

·       All of these DOPs interest me in some way, either their films/TV series they’ve worked on, or just their aesthetic/technique.

·       The outcome of this project would be to expand my depth of knowledge of cinematography, but also hopefully finding my own signature style within this process, beginning to focus on a particular aesthetic that suits me and fits the narrative of our chosen piece as well.

Overall i thought the pitch went very well, one issue Simon had with my input was the lack of examples to compliment what i was trying to convey in terms of cinematography, which i totally get as it's hard to imagine visually what i was getting at, so images would of been much more appropriate. 

Link to pitch -

https://docs.google.com/presentation/d/1bwTVorlCeaHGIWBOGfhCL1oiguo5FF3RJYuEXlYgU_E/edit#slide=id.g36e01ae1d3_0_0 

Live productions: Daily Politics - Live factual programme

For my research into a Live production, i've chosen to study & deconstruct the Daily politics show, screened on BBC 1, at 12am.

(Daily Politics)

This programme consists of a simple format, with dependant on the topic, one or two presenters. They'll be discussing factual based topics relating to politics/house of commons, and then would typically cut to the house of commons and have a 'Live' segment for PMQs, (Primeministers Questions) then cutting back to the people they're interviewing. 

The show's target audience is probably the elderly, however i do tend to watch it if i'm in that time of the day. 

This programme was a good one to research due to how it tackles being live, it cuts in and focuses on a point of factual live actuality and deals with it brilliantly. As it cuts from inside a studio set, to inside a location, (House of Commons) It has great application through that. 

I enjoy this programme a lot, as it debates on key topics which we all want to hear the progression on, and think its currently building up quite a big following from our young generation due to the wider implications of it.

Live production: Research into VT Camera operator

Seeing as I'd be shooting two VTs, I thought it'd be wise to also research the ins and outs of a camera operator within a VT and how they go about working as a team, shooting footage and location scouting. 

In essence the roles are quite similar however there are some key differences, one major difference being the environments of both settings, (Studio and location based) these therefore make the approach to both totally different. 

Skills for VT Camera Operator -

• offer advice on how best to shoot a scene and explain the visual impact created by particular shots
• plan shots for example when filming an expensive drama scene, such as an explosion, there may be only one chance to get things right, so shots need to be meticulously planned beforehand
• practise the camera moves required for pre-arranged shots
• study scripts
• find solutions to technical or other practical problems (for an outside broadcast, for example, the natural light conditions need to be taken into account when setting up shots)
• be prepared to innovate and experiment with ideas
• work quickly, especially as timing is such an important factor
• take sole responsibility in situations where only one camera operator is involved in the filming
• keep up to date with filming methods and equipment
• repair and maintain equipment
• demonstrate a good awareness of health and safety issues
• drive crew, actors and equipment to and from locations.

It goes without saying that the relationships between the camera operator and his fellow crew members, inc. Director, Sound, Cast, etc, has to always been a good working friendly professional one, or else it could hamper the production. 

https://www.prospects.ac.uk/job-profiles/television-camera-operator

A wesbite i found useful information from. 

https://www.videomaker.com/article/c10/15388-camera-moves-back-to-basics

Another website that had resourceful advice regarding camera movements for live production studio based scenarios & also creating narratives, similar to VTs. 

Live production: VT Production

Over the course of two days we were able to shoot both of my groups VTs, the VTs we shot were Online Fashion Fails, and Presenter Challenge. My role being camera operator for both, i knew i needed to be organised and on the ball as i didn't want to let my team down.

Pre-production
A script had been written by our producer of the VT group A, (Callum) our locations had been confirmed also by Callum & Laura, the presenter was ready for the shoot date too. I had been briefed on the shooting dates and what they would entail in terms of how & where we would be shooting, i feel its good to have some kind of insight into what you're going to be getting yourself into, so you can be as prepared as you can. 

Production
The first shoot day came fast, myself, the director & sound assistant all had our hands full, it was a tough yet rewarding day. We managed to get all of the presenter challenge shot in one day. We had some difficulty with the white balance at one stage but I was able to figure it out by changing it manually. It has motivated to seriously get out a manual an start reading more in depth about the Panasonic DVX200s, they're beastly cameras that need controlling to get the best out of them! It was also an extremely bright day, so i was playing with the aperture a lot which i don't really like to do as it doesn't have a fluid aesthetic throughout, especially when you come back for the edit 

Post-production
I wasn't really involved with the edit, but i was sent a few rough cuts throughout the edit process by amy to give some advice/feedback. I was happy with the general look and tone of the piece, it fitted what we were going for, especially the online fashion fails sequence.

(Presenter Challenge)

Watching the final sequence in motion is quite satisfying, looking back and seeing some shots that i wasn't too sure about, and obviously having no real input in the edit, it looks very professional and definitely fits the tones & aesthetic of our show. 

Live production: Swap-role workshop

We had a session with Del today where we undertook different roles throughout the production. The specific roles that were chosen to be practiced and experimented with were as followed: 


-Camera Operator
-Talent
-Vision Mixer
-Sound Engineer 
-Director

Camera Operator -
This role obviously being my designated job specifically for the production, it was important to get to grips with the camera quickly and successfully. We would be filming a group, doing multi-cam, practicing shots that would be replicated within the real production

Talent - 
At every interval we would have to swap roles and some of us would have to become the talent to shoot for the others, getting to appreciate all roles. It made me realise actually how hard it is to be in front of a camera and do improvisation. 

Vision Mixer - 
This role required from me great concentration and awareness. You have the director cueing you, telling you what the desired shot wants to be put onto air. Sitting in the vision mixing chair made me appreciate all perspectives of the production as you can see everything from there. 

Sound Engineer - 
This particular job was a handful, i struggled with getting the levels right due to not being properly run over how to function the sound equipment. After figuring out myself how to work it i managed slowly to perfect and correct the levels. Furthermore this role definitely made me appreciate whoever did this job had a challenge on their hands.

Director - 
Sitting in the directors chair, with everything in sight, cameras, sound on voice and the producers right behind you is a serious amount of pressure. When testing out the role we would be required to work side by side with the vision mixer, so the relationship has to be one of a positive nature, as conflict would be the last thing you would want. More over working this role made me appreciate the difficulties that whomever the director be would face and come up against. 

Overall this experience was beneficial in terms of making all of the crew members appreciate each others role within the production, so that when the day came to the production, if mistakes were made, we could at least appreciate and understand where they might of gone wrong and to rectify the mistakes. 

Live production: Research into studio camera operator

Seeing as i've never done any studio camera operation work before, i thought it'd be wise to do some research and gather valuable knowledge before the big day.

What i was getting a lot of was the physical demands of the job, that you'll need good stamina and strength, obviously i'm not the largest of people, but i like to think of myself as not a weedy dude.
Skill required to be a Studio Cam OP - 
- Stamina & Strength
- Calm under pressure
- Ability to carry out instructions quickly and accurately 
- Patience and Concentration

https://nationalcareersservice.direct.gov.uk/job-profiles/tv-or-film-camera-operator

I believe that i attain to some degree all of these attributes, which puts me in good stead for this role.

"Studio camera operators are responsible for ensuring that their equipment is in proper working order before a broadcast or taped session and that they are familiar with their show track"
http://getinmedia.com/careers/studio-camera-operator
After reading this article it really gave me some deeper understanding to the role and a sense of the levels of professionalism that should be shown once on the studio floor. Furthermore it made me feel to take more ownership & responsibility for the camera, I have to own it, and doing so I have to protect it as if it were my own, to also know the kit inside out, so if any technical faults were to appear, i could resolve it immediately.

"If you don't know what you're doing, you'll soon be out. So if you work against something, or you don't understand or you just don't liaise well with people then the machine won't work properly - the film will suffer, the actors will suffer, the whole process will suffer, the whole art form will suffer too."

http://www.bbc.co.uk/news/entertainment-arts-30128725
This interview gave me some deeper insight into how crucial teamwork & communication is, and that without it the project will most probably collapse. 

I'm realising certainly, that with more research comes more broader understanding & expansion of creative thinking when it comes to projects & shoots. I need to continue this to develop my skills and to focus it on one now, an that would be choosing camera.