Transitions: Pre-production for Shoot day

Our group had been very organised running up towards our shoot day, working within a document on google docs, and conversing over facebook with the latest updates regarding cast, equipment and call times. Callum had created a call sheet for the shoot day, finished scripts had been passed over to the cast, and a shot list had been curated by myself. 

(Shot list)

Me and Oliver worked very closely coordinating the blocking and camera movements/angles on the test shoot day so that when we came to the official shoot day, it would be a smooth transition and we'd be able to hit the ground running.

Overall i was pleased with the level of competence and commitment shown to the pre-production side of things as it gave us confidence & insight going into the real shoot date. However if there was something to improve on, maybe it would of been to use the lights in the test shoot and to see how they would benefit us. 

Transitions: Test-shoot day

So on the Tuesday 24th April, we had planned this day to be the official shoot day for our project. However, due to one or two actors dropping out, we had to completely scrap the shoot date and find new actors & a new date to film on. All was not lost though, as we then decided to use this day as a test shoot and lay out in person our vision, so Oliver being the director, began to block out scene by scene using ourselves as stand ins. 

Having a shot list already made for this official shoot day, we then decided to go off key, and explore a bit more with the camera shots and how it would actually be filmed. Also as the script was not fully finished by this point it was just about getting a rough concept about how the shots were going to be pieced together. Furthermore we still used the bones of the script to block out each scene, so that when the official day of shooting did commence we were going to be able to hit the ground running, and hopefully the new set of actresses/actors knew their lines accordingly.

(Test-shoot day)

Overall it was a very productive day, we got through 3/4's of the script with blocking and camera work all agreed on. There were a few scenes where we thought we wouldn't necessarily need massive amounts of blocking as we wanted it to be captured as natural and fluid as possible. It was kind of a blessing in disguise, managing to take advantage of a day in which we had all thought was that of a bad one.

Live production: Critical analysis

I can't believe another unit is over and second year is almost completely done too! To think, i thought this unit was going to be the easiest, how i got that so wrong i don't know! In all honesty, i know i probably say this but i feel like i'll take away from this unit the most, working under those kind of pressures, gives me confidence for the future an working in other projects where there won't be those kind of constraints, as it'll make me appreciate what i have and the time i have on those location shoots now. 


Pre-production
From my role, being camera, i just had to liaise with my producers and directors regarding what days i'm shooting and the style of the shoot. I was very pleased with how we all dealt with shooting the VTs, there was no hassle or issues with anyone and we all got on with the job at hand. We had permission granted in all of our locations, it's stuff like the weather that you can't really plan around, but fortunately it wasn't too difficult when we were out on location filming! If there were any downsides to the pre-production side of things in terms of improving for next time, it would be the VTs being slightly tweaked? I know we were restricted in terms of creativity as it may not of fit the tone/themes we were going for. However I would of liked a bit more creativity in that respect.  

(The live show)

Production
I was pretty satisfied with how the VTs were shot and the way in which it was done, as i was also happy with shooting of the Live production performance. If i could choose one that i was more proud of shooting it would probably be the Live production. I know your creative mark isn't left as a footprint within it, however i feel you're part of a bigger picture & to have an input in something like that is special. I think me & George got left with the bad apple in terms of the camera we were using for the Live production, (Sony PMW) so that was a pain getting it to match up with the other cameras that had different sized sensors that ours. 
We had a few technical issues regarding shooting our fashion fails online VT as the lighting was just pretty low and we knew it was going to be a post edit job. I've learnt now to take out my lights than always needed, as if we had that extra LED, we would of had a perfectly exposed face. 

Post-production
Having not yet seen the 'As Live' production, it's hard for me to critic myself in regards to that, however my VTs i can do so. Looking back on the final editing version, there are some things i'd change, like the lighting, and tighten up some camera shots. On the other hand, i'm pleased with the overall feel and aesthetic of the two VTs that i had a hand in creating. Possibly next time I would like to have more involvement in the edit process so i can contribute to some degree on that creative aspect.





What have i learnt 
I think this unit has taught me that communication is pivotal, you can have a group of fantastic talented people but if they aren't mature enough & professional to put aside any differences they have to come together and produce a piece of work, then they'll fail. I think that's what we did well as a year group, and i think we should be proud of that fact. I feel to some degree i know what it would feel like on a smaller scale to work on a studio set, and it's gave me that buzz to go hunting for more. It's a rush like nothing else and i loved every minute of it. Another big thing this time round is that i'm beginning to slowly but surely, enjoy researching relevant roles & people, obviously being interested in cameras, working camera operator, i've been tasked to research about them! I know how rich a lot of sources are for seriously useful information so i just need to keep digging and researching. 

What have i still to improve
I've got many skills that need major improvement but one that i felt i was majorly slacking was my camera ability! I felt i struggled with some of the movement shots within the live production, and trying to focus on that PMW was insanely difficult, so i seriously need to just crack on with way more research and take out the Panasonic's for little test shoots! I've been looking into colour grading more, and potentially shooting on V-Log, so realistically i need to take out the DVXs and have a play.


Conclusion
To conclude this unit, i think it's fair to say everyone did a great job at the specific role. I'm happy with how my role was carried out and in the manner it was too. there are certain things that looking back on i'd liked to of had a second chance or to add my creative input, but there things now i can take me with forwards to the future productions i'll be working on. I feel positive an confident in the direction that i'm going. 

Transitions: Group tutorial with Simon

After the pitch, we had much to talk about regarding the project and what we were going to explore with it individually. We knew as a collective we had to bring our own concept to our individual role. So with that being said, we had set out our own individual research into our roles and came back to discuss it further with Simon. 

The script was in its final stages, so hadn't been sent out to our cast or Simon for further reviewing, so today was a good chance to have a final overview on it. 

Feedback on script - 
- Too heavy dialogue based.
- Felt like there were no individuals, just a group of very similar characters.
- Needs to have more of a balance between sexes. 
- Needs to have more of an arch.

Feedback on Camera - 
So it was just a brief conversation regarding what I wanted the aesthetic to be within our project, but as the script was constantly changing as it wasn't completed, it was challenging to think of a certain aesthetic to implement. However, me and Oliver had been discussing briefly over the general tone that would suit the script, and had come to the decision that the majority of the coverage would be shot handheld. 

There were some concerns with our time constraints etc, as we were filming so close to the deadline, leaving us with little/not enough time for the edit. Nevertheless there was nothing that could be changed in that regard, so we had to push on with the project, staying focused and confident that we could achieve what we had set out to. 

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.