Sunday, 25 November 2012
Thursday, 22 November 2012
Came in to the studios first thing to collect equipment and also to go through the amendments to our Shot list/production list for today.
We planned our group interview positioning:
- We also discussed ensuring we get the best actuality by agreeing to get at least 1 minutes worth for each person.
- Another change we made was having looked at some of the clips. We noted that when we shot actuality before it looked better if the contributor enters right and left of screen to open the shot.
- I felt today went well, our original contributor, Alison couldn't make it at the last minute, but luckily she was replaced by Bryan's partner, Vicki who was an insightful and interesting replacement.
- One thing that may become a barrier in the edit is inconsistencies with the weather (it was a bright day) and the fact our contributors are wearing different clothing and more over the season has obviously changed since we last shot.
- This time we didn't use the Canon 7D. This was a conscious decision as last time we had issues with sound which we were aiming to avoid on this occasion.
- To correct our previous misjudgment*, we allotted a dedicated sound recordist, Casey, who was able to ensure we picked up all wild track during the actuality sequences and adequate sound for the group interview.
- * We aimed originally to shoot as a small crew as this is the style of some documentary filmmakers, but soon realised this didn't suit and we have re thought our process in order to gain the highest standards possible.
Wednesday, 21 November 2012
Having confirmed with Editor, Dylan, I have made some finishing touches to the commentary script. With it, I have added a brief to ensure a voice-over style is established.
I have approached actress, Maddie Rice. and sent her the following script and brief:
Today went well, we had a multi-camera (2x Canon 7Ds) set up and shot all the rooms of the 'show apartment'. We also managed to get 'behind-the-scenes' footage as I directed our crew.
Looking forward to putting together the edit on Monday and adding it to the exterior shots we already have.
Tuesday, 20 November 2012
To ensure we keep everyone involved in the project up to speed with the pick ups on Thursday I have devised a Production Sheet which will be signed off by:
Sound Recordist (Casey)
This will ensure we are ALL aware of WHAT we are filming, WHERE and HOW.
I have been encountering some problems with maintaining momentum with both projects at the same time, but putting together a document like this helps to put things back in track and back in sync.
Pick Ups Thursday 22nd November 2012
Been extremely busy recently lining up shooting days and researching in my journal and I will be putting some of my entries into here in the following days.
I am currently researching into our 2nd days shoot at our location in Surrey.
This is a promotional film from architects, BDP and director Camilla Robinson
We shoot the interiors of the property tomorrow and I have been lucky enough to confirm an extra camera and camera operator (freelance BBC) to film the "behind the scenes" footage.
Tuesday, 6 November 2012
Having looked through the first rough edit there are a few areas in which we can bulk up the piece, including
HOLIDAY PUSH ALLOTMENTS
HOW DOES YOUR GARDEN GROW?
DOING THEIR BIT
In order to find these archives clips I went through the British Universities Film & Video Council and found this forwarded me onto British Pathe
Doing Their Bit. (1939) UK British Pathe
Transition for the opening (find tutorial)
Sunday, 4 November 2012
Myself and Dylan are looking at the opening transition and are looking for contextual research into the technique of transitions between illustration and moving image, here are a few areas of research:
Other Contextual Research Interesting style but not relevant to transitions:
ON another note i have set up the website for Street End Allotments
Thursday, 25 October 2012
Architectural historian and theoretician, Siegfreid Giodion declared:
Still photography does not capture them clearly. One would have to accompany the eye as it moves: only film can make the new architecture intelligible
Les Mystères du Château de Dé (1929, Man Ray)
Rien que les heures (1926) Alberto Cavalcanti
The Architect & The Painter (2011 documentary)
Architectures of Illusion: From Motion Pictures to Navigable Interactive Environments
Thomas, Maureen Penz, Francois
Urban Cinematics : Understanding Urban Phenomena through the Moving Image
Penz, François Lu, Andong
I have sent emails to filmmakers/experts in both architecture and film:
Marc Boumeester is currently coordinator and lecturer at the Royal Academy of Art in The Hague, as developer/lecturer at the Delft University of Technology, Delft School Of Design department of Architectural Theory and as developer/lecturer at the Delft University of Technology department of Media-studies. This combination gives opportunity to further develop the newly found field of expertise, linking directly architecture and public space to the application of unstable media techniques in order to come to a better understanding and use of these forms of communication, also embedding them directly in the curriculum of the various educational institutions. Besides this he is working as a free-lance consultant. His networks span from the obvious directly work related to the more glamorous such as the International Art Experts Forum at the ARCO in Madrid.
Senior Lecturer in Film
Co-convenor of Alternative Forms in Film & Theatre
Areas of Interest:
Research interests are in alternative and artist's film, cinematic time and space, and women's cinema.
Professor François Penz Dip Arch PhD
Professor of Architecture and the Moving Image
Fellow of Darwin College
Director of Studies for Clare Hall and Darwin College
Studies and teaches the history of the relationship between Cinema and Architecture in order to inform contemporary digital moving practice with a view to propose new modes of communication in architectural and urban issues.
Its finally happening! Brickflickr have their first commission. And its big!
"Project A" is a mansion In Surrey:
Tuesday, 23 October 2012
Filmmakers, with the help of production designers, art directors, location managers and countless other members of cast and crew insert architecture into their films. On a particular level, architecture sets a scene, conveying information about plot and character while contributing to the overall feel of a movie
Lamster, Mark. (2000) Architecture and Film Princeton Architectural Press, New York, NY USA
SAUL BASS In 1959, Saul Bass ran the title of Alfred Hitschcock´s suspense thriller North by Northwest across the gridded facade of the United Nations Secretariat Building
Gained unparalleled recognition as one of the film industry's designers
Grand Hotel (1932)
Gibbons picked up his knowledge of modern design while attending the Paris Exposition des Art Decoratifs in 1925
`Our Dancing Daughters' (1928) was a sensation upon its release. The film's costuming and Art Deco sets, designed by Cecil Beaton, who had personally attended the famous 1924 Exposition Internationale des Arts Décoratifs et Industriels Modernes, which began the Art Deco movement, became particularly influential.
Some of the most memorable and inspired of his grand illusions include; the antique and modern villain’s headquarters in Dr No (1962)
and the ship’s body of an early Rolls-Royce combined with the front of a Bugatti, which turns into a hovercraft and a flying machine, in Chitty Chitty Bang Bang (1968).
For Adam though, it is the huge triangular Pentagon War Room with its giant poker table and light ring in Dr Strangelove (1964); that he is most proud of.
I am also loking to get in contact with the folowing people and send them, a Q+A
Tuesday, 16 October 2012
We could do with more actuality/sequence of interview footage. We found with interviews today as soon as the camera starts rolling it felt a bit forced and unnatural.
We also discovered that the sun going in and out changed the exposure, somewhat dramatically sometimes.
Next time we need to capture uncultivated plots as well as the opening shot, more interactive GVs (plot actuality) we would also like to try and do a OTS track shot, but this may prove difficult without a stabliser (Track/dolly)
The Components of an Interview
Interviews are usually best shot in the following compositions:
Medium Shot (MS): From the waist to the head.
Medium Close-Up (MCU): From the center of the chest to the head.
Close-Up (CU): Only the head and face
A Note on Wide Shots (WS): A wide shot emphasizes the space instead of the subject. In many cases, the subject’s whole body is included in the frame. Wide shots are generally not appropriate for interviews because we cannot easily see the Interviewee’s expression. There are, however, times where a wide shot is appropriate for an interview. When there is something of special importance in the background, and it cannot be framed in a closer shot, then it is appropriate to use a wide shot for the interview.
In addition to the interview itself, it is important to get other shots:
B-Roll: Are images that the editor will cut together over the Interviewee’s voice. Usually they relate to the subject being discussed by the Interviewee. For example, if the Interviewee is discussing the architecture of the Potala, then you would want to get some shots of the entire building, as well as close-ups that illustrate the finer details.
Cutaways: These are usually Close-Up shots recorded with a second camera (if one is available). Cutaways isolate details about the Interviewee, such as hand movements or facial expressions. The purpose for taking cutaways is to give the editor more choices.
If you are shooting more than one interview, try to alternate where you place Interviewee in the frame, from left to right.
In this short documentary we meet Louis Ortiz, an unemployed man from the Bronx whose life is turned upside down when he discovers his uncanny resemblance to President Obama.
Ellis, John. 2011., Documentary: Witness and Self-Revelation. [online]. Taylor & Francis. Available from:
Monday, 15 October 2012
Documentary is commonly thought of as a cerebral, intellectual genre (Bill Nichols’ notion of a ‘discourse of sobriety’); quite often it is virtually the opposite: emotion-driven, sensual and – in that it sometimes asks its spectator to respond to it spontaneously on a gut, almost physical emotive level – primal in its appeal.
Bruzzi, Stella. 2006., New Documentary. [online]. Taylor & Francis. Available from:
The Interview Setup
Only rarely is an interviewee asked to speak directly into the camera, in part because few “regular” people can do it comfortably. (Film- maker Errol Morris achieves this effect through an elaborate setup he devised, called an InterrotronTM, in which the interviewee speaks to an image of Morris on a screen placed over the camera lens.)
Everyone approaches interviewing differently. Some people work to put the subjects at ease, starting with more “comfortable” questions before easing into material that’s more touchy. As mentioned, film- makers whose style is more confrontational may show up with the cameras rolling. Sometimes you’re asking someone to relate an event he or she has told many times, and the story’s taken on a polished quality that you want it to lose; it may take getting the person riled up, or challenging something about the story, to accomplish that.
Another strategy for interviewing, notes Boyd Estus, “is for the person asking the questions not to look at the interviewee as a source of information but to get them involved in a conversation, which often involves playing devil’s advocate. ‘I really don’t understand why this is better than that. Can you explain that to me?’” Estus explains, “So the person’s engaged, as opposed to spouting a pat answer.”
Bernard, Sheila Curran. 2010., Documentary Storytelling. [online]. Elsevier Science & Technology. Available from:
I will look to be more conversational in my questions tomorrow and search for answers that provoke honesty and humanity.
Worthington, Charlotte. 2008., Basics Film-Making: Producing. [online]. Ava Publishing (UK) Ltd. Available from:
Wednesday, 10 October 2012
In my final project at uni I am Writer/Producer of a student documentary on allotments in our local area (Chatham, Kent). I am looking to compile some seasonal recipes to coincide with the documentary on a dedicated website for the allotment plot owners which I will be making in the next month. Would you be interested in providing us with some of your recipes to compliment the variety of vegetables grown on the plot? I would be more than happy to have a short article/link to the Pesto website! I look forward to hearing your thoughts on this.
Tuesday, 9 October 2012
Monday, 8 October 2012
Sunday, 7 October 2012
Thursday, 4 October 2012
Tuesday, 2 October 2012
Monday, 1 October 2012
Sunday, 30 September 2012
Friday, 28 September 2012
Tuesday, 25 September 2012
- I established that my script structure is there but there is a strong need to develop a question. - This question could be the form of a 'fact' - Need to find an inside route that links the story together- Worked out that me and Cat would share the roles of camera op during the shoot Looked through the assessment criteria in detail:
- 'Advanced' - an understanding of what your project is and where it fits in the industry - Demonstrated in FMP report on how it is delivered outside the university screening. - The context: whats the competition/audience? - 'Cultural Knowledge' - understanding of it's contemporaries with accompanying research. All evident in the FMP report. - Have I tried something new/original? - Being abled to CRITICALLY REFLECT and develop work/time management/ meeting deadlines. Clearly defined ideas
Monday, 24 September 2012
Friday, 21 September 2012
WHAT PEOPLE TALK ABOUT – STRUCTURE BY LOGICAL PROGRESSION THROUGH ISSUES/THOUGHTS RELATING TO THE SUBJECT OF ALLOTMENTS. WHAT YOU SEE – STRUCTURE LOGICALLY, CREATING A VISUAL NARRATIVE THROUGH EVENTS EITHER CHRONOLOGICALLY AND/OR BY BUILDING TENSION AS KEY EVENTS APPROACH AND UNFOLD. When you script this more fully also consider HOW you are going to illustrate each point you make through sequences and/or actuality. Each thought should logically tee-up each sequence/actuality moment. Each interviewee will need set up sequences – think creatively as to what these could be. Summarise in the shooting script what each person is going to tell us. Think about a good opening sequence and a good ending.And now I've organised a recce at the allotment I asked what I should do whilst out meeting plot owners, she advised,
If you are going to meet people, I would suggest you just talk to them and start to suss-out who are your potential characters (just take notes). In terms of pictures stills are fine for the recce - but remember to start thinking about your filming opportunities - what are the sequences and actuality possibilities there. You will need to start asking them questions which will inform your script and provide the information you need to structure it - go with the flow, but know your subject so that you can ascertain who can represent different aspects of your story (you need to know the 'bigger picture' re: allotments - what are the current issues etc). Definitely need to get people on-side and make them feel at easel, but also stay in control of the direction of your film. Use the people you meet for their expertise on the subject, but you are the expert in terms of making a film.
Wednesday, 19 September 2012
Corporate video production, Director/Producer, story of business, creative and technical director, Creative concept, Output/distribution, Video content for the webI then came up with the theme of Drawing board to finished product This is the amalgamation of my thoughts, it essentially a stylish making-of film making use of the b-roll from the main shoot with an accompanying document to compliment each section of the film - Architecting Film Idea Proposal
Monday, 17 September 2012
Victoria Williams and her colleague Clare Devereux run Food Matters, a Brighton-based not-for-profit organisation that offers support and expertise to organisations and individuals working towards creating more sustainable and equitable local, national and global food systems. Food Matters has worked with the Food Partnership since its inception and holds a co-opted place on the Board due to their expertise on issues such as organic production, sustainability, GM crops, consumer attitudes, local food systems and food poverty. Victoria represents Food Matters on the Board where she continues to lend her expertise to the FP.
Dear Clare, I have been recommended you maybe interested in a project I am producing by my sister who attended a presentation to South Coast young planners on food and social planning. I am a student at the University for the Creative Arts (Maidstone) studying Broadcast Media writing/producing a documentary about allotments in Chatham (Kent) and we are looking to have a expert opinion on the social and environmental impacts of allotments and I wondered if you wanted to take part in an interview with us? Our shooting period runs from 1st October to around 14th October. So far we have contributors from Great South and Street End Allotments in Chatham and potentially have River Cottage head Chef Sam Rom cooking produce from the allotments and it would be great to have your informed opinion to give perspective to the piece. I look forward to hearing from you, Will (Producer)
Hi Sam, Following our recent phone conversation, here is a brief overview of what we are looking to film: Scheduled Production Period: Monday 1st October - Sunday 14th October for University for the Creative Arts (Maidstone) BA (Hons) Final Major Project Super-seed: The Story of Street End and Great South Allotments 15 minute documentary featuring community gardeners and allotment owners from Chatham (Kent). Focusing on the story of plot owners with expert contributors looking into the impact self-growing can make on urban communities. Concluded with a BBQ of plot owners produce by a top chef, with question for the chef and concluding thoughts from plot owners. I can send you a more detailed synopsis if required. I understand you have a hectic schedule with filming and at River Cottage, and we are more than happy to be flexible with dates and cover your travel costs. If it for any reason does not suit your schedule feel free to pass on this information to anyone else you feel maybe interested. Thanks for taking time out to talk to me and I look forward to hearing from you soon. Kind Regards, Will
Sunday, 16 September 2012
Thursday, 6 September 2012
Wednesday, 5 September 2012
We are now going ahead with our research and would like to come along and meet as many allotment holders at a time that is convenient, please advise dates which would suit. If there is someone who could show us around and introduce us to everyone would be great. Please let us know your mobile number if you are keen to help. The sooner we can come to see you the better! There is also possibility we can attend the September BBQ- what time does this start and can we speak to people then to? We have also pencilled in the week ending 14th October with the BBQ for filming, this is to be confirmed. Thanks for bearing with us, we are looking forward to meeting you all! UCA BM TeamI had help with this from Helen and she also suggested: -Create a timeline -Establish 3 major characters with minor characters -Find out stories: is there a waiting list? etc.
Friday, 3 August 2012
Wednesday, 1 August 2012
eg. "ESTABLISHING W/S WINDOW DETAIL". This proved a very efficient way of finding the strongest clips and enabled me to log the footage into final cut pro with ease and pick out the best shots easily. I am currently putting the shots into an assembly edit but here is a sneak preview of Mercier Road