BBC - Mark Kermode's film blog

Sunday, 25 November 2012

FMP: Graphic Artist Collaboration

Having put together a design brief for our Graphic Artist, Lucy Collins (Illustrator) here are the results so far.

Thursday, 22 November 2012

FMP: Shoot Day 3

Shoot Pre-production

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

FMP: Commentary Script

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:

Commentary Script

FMP (Pro Practice): Interior Shoot

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

FMP: Pick ups check list

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:

Editor (Dylan)
Director (Cat)
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

FMP: Update

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

FMP: Archive Research

Having looked through the first rough edit there are a few areas in which we can bulk up the piece, including






Present Day

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

Guide Comm:
Waiting list

Transition for the opening (find tutorial)

Sunday, 4 November 2012

FMP: Research into Transitions for the Edit

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:

(0m.27s in)

Other Contextual Research Interesting style but not relevant to transitions:

The Imposter

ON another note i have set up the website for Street End Allotments

Thursday, 25 October 2012

FMP (Pro Practice): Contextual Research

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.

Alison Butler

Job Title:
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.

Final Major Project (Professional Practice): The First Commission

Its finally happening! Brickflickr have their first commission. And its big!

"Project A" is a mansion In Surrey:

Tuesday, 23 October 2012

Final Major Project (Professional Practice): Contextual Research

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

Cedric Gibbons

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.

Ken Adams

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

FMP: Contextual Research/ Shoot Day Reflection

Critical Reflection

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)

Contextual Research

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: 17 October 2012

Monday, 15 October 2012

FMP: Contextual Research

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: 15 October 2012

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.)

Conducting Interviews

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: 15 October 2012

I will look to be more conversational in my questions tomorrow and search for answers that provoke honesty and humanity.

Extract from

Worthington, Charlotte. 2008., Basics Film-Making: Producing. [online]. Ava Publishing (UK) Ltd. Available from: 15 October 2012

FMP: Shoot Day One Reflection

On reflection from day one, myself and Director, Cat have put in place a few amendments to make Shoot Day Two in Chatham even more successful, we have also noted things we could do with on shoot. - We need something to monitor the visuals as you cant always see the viewfinder from awkward positions. - A monopod could work more efficiantly in enclosed spaces (eg Contributors cluttered plot spaces) - Monitoring sound was an issue as the radio mics only indicate peaking on the interviewers pack. - In conclusion a really useful person to have would be a location sound recordist! Next time: - I need to ensure I plug in headphones to the Sony to ensure good sound (I just kept an eye on levels last time) - I will also take notes DURING the interviews to highlight key points that can later be synced up with images.

Wednesday, 10 October 2012

FMP: Contextual Research

Behind the Scenes of River Cottage Interestingly the have a 'Home Economist' Sancha Starkey who works at Chef at your Shoulder This gave me an idea for the delivery for the documentary: To add to the website I would like to have seasonal recipes that can be used for anyone that view the film on our standalone website. A long the lines of Channel 4's new 'Scrap Book'
(Companion planting we learnt at the alloment the other day - it means to grow plants that attract insects that will keep away any unwanted insects!) I have sent a few emails out to chefs I know in the catering industry explaing:
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

FMP: Tutorial and Final Preparations

Discussed projects with Simon today and established for Architecting Film A need for architecture in film and introduced the notion of primary and secondary resources to back up and give aesthetic reasoning. E.G Futurisitc architecture in Blade Runner Last Year at Marienbad by Alan Renais "American Masters" Sketches of Frank Gehry (2005) Directed by Sydney Pollock Playtime (Jacques Tati, 1967) Brazil (Terry Gilliam 1985) Lost in Translation (2003) Gattaca (Andrew Niccol, 1997) Metropolis (Fritz Lang, 1927) This gives the final major project report some 'texture' would be interesting to incorporate the opinion of a friend, Ross (architecture/film degree @ Greenwich) and maybe his lecturer. It could also be useful to make contact with a directors/location scouts who have done films. Supersede Get release forms Archive - Dig for Victory 70's oil crisis Final Preparations Set up presettings on the Canon 7D White Balance - Adjust Kelvin Scale to 5200 degrees Set Colour space - Adobe RGB - gets best skin tones Picture Style - Neutral Highlight Alert - Disable Image Jump w/dial - 1 image Spanner - Auto Power - 8 mins Spanner - LCD Brightness: 4 or 5 Auto Cleaning - Enable ISO - 160, 320, 640, 1250, 1600 We also set up both the 7D and the Sony XD and tested the sound etc.

Monday, 8 October 2012

FMP: Graphic Artists Work

Allotment Brief Lucy

FMP/Media World: Contextual Research


Pre-production Animatic for Address Is Approximate from The Theory on Vimeo.

Finished Film

Address Is Approximate from The Theory on Vimeo.

1) John August (Screenwriter Frankenweenie, Big Fish) 2) Simply Scripts Profesional Scripts, helpful for writers, with downloadable treatments and synopsis 3) Making of Note: Insider interviews tab Quentin Tarantino From Below Wes Anderson From Above

Final Major Project: Documentary Moviemaking Course

Particular segments from Documentary Moviemaking Course by Kevin Lindenmuth Shooting and Coverage
Contextual Research
Shooting Technique

Final Major Project: Waiting List enquiry

Through speaking to the residents of Street End I decided to contact Paul Schmoeger: Urban Parks,Allotment & Play Manager at Medway Council. I asked him the following questions: At Street End Allotments, 1) What is the current waiting list and how long is the maximum waiting time? 2) In your opinion, what do you believe are the reasons behind the extent of this particular waiting list? 3) What alternatives are there for people looking into running an allotment but have to wait a long period of time? Across all Medway allotments, 1) What is the total number of plots on these sites? 2) What is the total number of people on waiting lists for these sites? 3) Are any of these waiting lists closed to further applications? I have found in the meantime a recent table of waiting lists for Medway:

Sunday, 7 October 2012

Final Major Project: Recce

Finally managed to do our first official recce today! My director Cat had the Canon 7D on hand and we started by sitting down with a number of plot owners and they were a really interesting and dynamic group and we all got on really well. We discovered allot about Street End and more importantly we immersed ourselves in what it is the people in these communities do and what makes them tick. We found out there are 90 plots: 5 vacant and 6 plots are not cultivated. Discovered there was no waiting list 20 years ago or so and the old generations tend to keep there plots maintained and well kept for years but people have been influenced by the media and how unrealistically simple it is portrayed. Today waiting list can be up to 4 years. (confirm with our contact at the council) The costs, we found out, are reasonably high (about £50/annum) bearing in mind the cost of seeds and general upkeep but in the long run you can save yourself £10 a week in vegetables. Manure is delivered weekly from the local stables (and is gone in 24hours!) this shows the culture of re-use that runs through the community. It also includes a drop off point for non rubbish items that can be used again (hoses, nets, pots etc.) We were given the contact details of someone at Medway Council and I will be in touch with him about waiting list etc. We have also confirmed ALL of our contributors (with contact details who are available at short notice, during the week): Doug (Plot #30) Theresa (Plot #37) Brian Dreuce (Allotment manager/rep) Alison Cooke (Plot #?) Richard Wilkins (Plot #26)

Thursday, 4 October 2012

Final Major Project (Professional Practice): Research into the context

Had a meeting with Dan (From the Hip) to discuss filming. He talked about Royalton and their videos have the same visions that we want to put on the screen. This is the creative proposal we devised before meeting him and before our meeting tomorrow Creative Proposal I also got together a list of equipment that I would want on a 'dream job' The Lens Baby (Which Dylan recommended)
Red Camera Kino Flo Lighting/ Canon 5D Canon C300

Tuesday, 2 October 2012

Final Major Project: Shot List

Shot List Day One

Final Major Project: Tutorial and Production Meeting

Communication with editor, Dylan has proved an insightful exercise. Together we highlighted the importance of: - Efficiently logging rushes. - Worked out how we can input the rushes after each shoot. - With Cat, we took Dylan through the coverage and how best we can give him all the shots he needs. Following this, I had a tutorial with Simon where: - We established I need to try and find a contributor that is on a waiting list and can give the story another dimension. - Find out from the council "how long is the waiting list?" at Chatham. - Include on Astons how long our contributors have been waiting. Later, myself and my Director, Cat, began to organise our shot on the 11th October by - Testing out the cameras and measuring out distances for the interview. - To pre-set the cameras to 60FPS etc. in preparation for the shoot. - Sourcing a clapper board!

Monday, 1 October 2012

Final Major Project (Professional Practice): Research into the context

Investigating similar property film I discovered there are allot of very slick and highly polished films. Here are a few examples:

Crest Show Home Video from Stuart Boreham on Vimeo.

Candy & Candy
This film his not about property or architecture but has some interesting shots and some of the interview sequences can be implemented into our films

Freunde von Freunden - Ole Martin Hansen from Freunde von Freunden on Vimeo.

This particular piece was made for an architects and has visual representations but is another area in which we could look

Paddington Footbridge from Factory Fifteen on Vimeo.

The movement and colours in this film really appealed to me. could be worth emulating the colouring on it and the subtle movements in our film.

Quartier Latin - Shadows & Light of Paris from emeric on Vimeo.

I particularly like the contrasting shots used in this film as well as the use of shadow

Final Major Project: Researching the Context

In my targets for this week, I want to investigate the context, any similar films to Super-Seed. Keith Ehrlich 'Made by Hand' Each film aims to promote that which is made locally, sustainably, and with a love for craft. Based in Brooklyn, the project takes its influence from the handmade movement here and elsewhere.

Made by Hand / No 4 The Cigar Shop from Made by Hand on Vimeo.

Hugh Fearnley-Whittingstall (KEO Films) - River Cottage, Land Share campaign Jimmy Doherty (Fresh One Productions) - Jimmy’s Farm, Jimmy’s Christmas Dinner, Jimmy and the Giant Supermarket, Jimmy’s Forest
Short films by director Sean Dunne

The Bowler from Sean Dunne on Vimeo.

Stray Dawg from Sean Dunne on Vimeo.

Sunday, 30 September 2012

Final Major Project: Scripting amendments

Spent 20 minutes today running through my ideas and gauging the opinion of a planning professional who has experience of work in local government. We put together a structure for the script, Setting a context through Dr Wiltshire: Why is there such a long waiting list for allotments? Why is there a growing demand for allotments? [Case study, Chatham] Are there alternative growing spaces available for those on long waiting lists? 1) Alternative Gardening projects (social enterprise) Urban areas 2) Local Authority improves methodology for identifying land (government-led funding?) Rural 3) Education before committing to allotments (reducing time wasters!)

Friday, 28 September 2012

Final Major Project: Identifying the "question"

Through research I am looking to set up the "through question" in order to tie up the story. I will be putting questions to our newest contributor, Dr. Richard Wiltshire:
Research Interests urban horticulture labour mobility in large organisations employer provided housing Japanese economy and environment Biography Richard Wiltshire obtained a BSc from King’s College London before completing an MA at York University (Toronto) and a PhD at the School of Oriental and African Studies, University of London. He taught at the University of Washington and Tohoku University (Japan) before joining the Geography Department at SOAS, which merged with the King’s Department in 2001. A Japan specialist, working on urban and environmental issues, he is also internationally known for research and advocacy on community gardening. Looking for the “through question” • There is a current demand with spare land in short supply, growing waiting lists and limited funding. • Estimates of waiting lists exceeding 100,000 are widely reported • In most areas, waiting lists have not been a focus of concern since the oil crisis temporarily boosted demand in the 1970s. • “The need for allotments, community gardens and urban farms is likely to rise with the growth of interest in organic farming and as a result of rising housing densities and the consequential reduction in the size of many gardens. The number of allotments required in any area is a function of demand and therefore it will be appropriate to use a demand-led methodology, based on local authority records. It is obviously desirable for local authorities not only to provide and rent allotments, but also to keep a waiting list as this helps to identify the level of unmet demand and its spatial distribution. Accordingly there is likely to be a need for a population-based provision standard, coupled with an accessibility standard or distance threshold.” • Solutions can be found in “cross-boundary” working: “The London Borough of Camden, for example, has been able to bring some relief to applicants who might otherwise wait several years for a plot by encouraging them to apply for plots in Barnet, Haringey and Brent, with the active support of the allotment officers and managers of devolved sites in both boroughs.” • The sign of a successful allotment is being oversubscribed eg: Thurrock - only seven of the 30 allotment plots were occupied. Now all the plots have been taken and there is a waiting list. Bury - In just two years the site has been transformed: all plots have been filled and the waiting list has grown to over 60. Some plots have been split in half to make it easier for plotholders to keep them well cultivated. • Some blame recent media attention which can sometimes create unrealistic expectations about the time and effort required to keep a plot in good condition. • Examples of a typical waiting list are starting to be published online. E.G Prior Street Gardens (Greenwich) has a waiting time of 14 years. • The only realistic hope for aspiring growers in the short term lies with alternative gardening projects. These are currently attracting a great deal of popular attention. The Womens’ Environmental Network ( has for years supported food growing within areas of social housing in London’s East End. The Federation of City Farms and Community Gardens ( provides similar support to urban farms and gardens throughout Great Britain. The Capital Growth project ( aims to create 2012 new growing spaces in time for the London Olympics, and the Landshare project (http://landshare.channel4. com/), a national initiative to match aspiring growers with landowners, has already attracted many thousands of inquiries.

Final Major Project: Checklist

Post group crit Targets Sept Oct 2nd Architecting Film Exact content of the film and how it will brake down, a script. Research into the context – what else is out there, like this – before this? Production schedule Superseed A tight script with the “through question” outlined. A picture script, think images – what will we see. Work with Cat. With contributors assigned to “characters”. Production schedule in place for shoot. Research the context – what else is out there, before this. Will, while I can see all the research is coming together, you must make sure this doesn’t all fall through because of lack of contributors firmed up, and/or a clear through line with your story question. Don’t let your hard work in the planning/idea stage stumble in the production phase (as has happened before abit with Pete:Hack)

Tuesday, 25 September 2012

Final Major Project: Tutorial

- Spent the first hour today with Dylan just going through our ideas and agreed in our collaboration to log rushes during the shot just in order to template and experiment with logging and compiling footage after each shoot. - After this we had our group tutorial which proved to be a really helpful exercise:
- 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

Friday, 21 September 2012

Final Major Project: Recce and Feedback

Having shown my script order/structure to Helen she has come back to me with the following advise: Remember to structure your film in the following ways:
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

Final Major Project (Professional Practice): Primary Research

After tutorials with Simon yesterday I have now established my Final Major Project will now be split in two and my blog posts will entitled the following: Final Major Project Final Major Project (Professional Practice) Professional Practice will essentially be a showcase of my research/development and general "workings" whilst working within a corporate video environment as Director. With a deadline to establish a Title, overall theme and format I began by brainstorming keywords and phrases:
Corporate video production, Director/Producer, story of business, creative and technical director, Creative concept, Output/distribution, Video content for the web
I 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

Final Major Project: Online Delivery

Looking forward to the broadcast platform I am thinking of producing a slick online package similar to that produced by Keo Digital's Landshare website (a sister site to Hugh Feranley Whittingstall) The reason I am thinking about this now is that Im not sure how this could be split between the group/myself or do I commission a different course to do it? This is an example of Hugh's Landshare website

Final Major Project: Contributors

Left a message with Clare Devereux:
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.
I left her an email explain our intentions,
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)

Final Major Project: Contributors

Been researching potential chefs to attend a BBQ at the allotments for the conclusion of the documentary. I began by listing down the main chefs I wanted to contribute: Hugh Fearnley-Whittingstall - This proved a challenge and I was bounced around his agents firm Greenebeaton, but discovered a lead after calling Keo Films (HFW production company) It was suggested I ring River Cottage Canteen directly and managed very simply (before lunch orders!) to be passed over to head chef Sam Rom-
I followed up this conversation with an email as Sam sounded very positive:
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

Final Major Project: Research

The Selby features photographs, paintings and videos by todd selby of interesting people in creative spaces.
I feel illustrations and the art side of this will bring an eclectic and bohemian feel, and a guide/map like the one below could look really nice and upkeep an interactive feel.
High/Low films produced a film about the story behind Patagonia Provisions wild caught salmon. Patagonia Provisions

Thursday, 6 September 2012

Final Major Project: Crew Focus

During our discussion with Simon it was agreed we need to clarify and split up the roles in 'Supersede" documentary. My role as Producer/Writer has now been added to the proposal: Writer/Producer – A Project Perspective from Will Tippett Conception of this particular idea was developed on visiting and experiencing the Street End allotment. Tasting the produce and speaking to the people there triggered a response and an understanding of the social importance of the allotment. In order to compose a 15-minute showcase of life on the allotment it is important to get to know our contributors “on their own turf”. Pre-production will consist of a methodic yet personal research and development period where the whole production team will conduct interviews and take in the environment by taking photos and film. Akin to this, as writer, the backbone of the story will be revealed and 1st drafts of guide scripts and interview questions will be composed, vetted and quality controlled weekly as the team discover more about our contributors. Having looked into the style of documentary filmmaker, Dorothy Fadiman, I discovered, after some initial background research, she assembles a crew, contacts interviewees, and starts filming. She watches each day’s footage, chooses the best clips, and allows the film’s story to emerge. Fadiman went on to explain, highlighting the importance of “Finding a good idea; doing background research and putting together a supportive team; then, once you start shooting, opening yourself to the direction suggested by what you see and hear. This is how you allow your footage to tell you where to go, instead of following a predetermined script.” Fadiman’s scripts develop gradually, in the editing room, as she chooses the best clips and rearranges them–all the while slowly building her movie. This is an approach, certainly worth considering working closely with Editor, Dylan Cox.

Final Major Project: Research & Recce

Having established our provisional production schedule, I'm looking to focus in on some details. Pencilled in further to the last post we have a meet and greet opportunity at a bbq next week at Great South allotment (TBC) with another bbq on 16th at Street End. Having spoken to Helen and Simon, with the collaboration of the production team, about the planning and execution of our recces, I have devised a 'hit list' of requirements and objectives. - Take 600D for research stills and potential shots. - All take notebooks (filming interviews straight away could be intimidating- essential to build and maintain a rapport). - Cat (director) can get some idea of artistic tone, shot angles (look for out establishing wides etc.) - Speak to potential contributors, obtain contact details and availabilty (as a rule, we look to find 3 major characters with some minor ones) - Find our opening and closing shots and how titles can be incorporated into it (Eg. blue sky, weather permitting, framed by allotment buildings.)
Images from Wilder Quarterly

Wednesday, 5 September 2012

Final Major Project: Preliminary Scheduling

Liaising with the team we have collectively pencilled out a production schedule, it is essential we are organised from the outset and this will be the starting point for our timetabling of 'Supersede' project.

Final Major Project: Contributors

Sent the following message to Chatham & District Leisure Gardeners Association facebook page (57 members of Street End and Great South Allotments)
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 Team
I 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.

Final Major Project: The 1st Proposal

Documentary Idea 29082012 Dylan Input During the summer break I the green light the idea with our group and curculated the proposal prior to day one of this semester. Akin to that, before our first group discussion me and Dylan met, having corresponded during the holidays and methodically went through the proposal above and had the following thoughts: Establish location - Chatham, near Maidstone It is a relevant topic and occurring theme in terrestrial programming "Breaking information" - Online broadcast Extra contributors (Food matters etc.) contextualise whats occuring "at ground level" More cross collaborations: Production stills (Danni) BA Hons Photography Illustrions to apply to presentation and After Effects (Lucy) BA Hons Illustration EXPERIMENT WITH ON-SITE EDITING

Wednesday, 1 August 2012

Media World: Business Project #1 Edit

Arrived early at From the Hip's Studio with my business partner and sifted through the shots we got from the shoots at the 2 properties in Putney. Methodically we went through individual shots noting down the number of each shot along with a shot description
. 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