Music Video - Evaluation

Prior to the performance, we arrived at the venue with all the required equipment in order to set up safely and orderly. For camera 1, we taped down the tripod in front of the barrier, in order to limit the possibly of the set up becoming a safety hazard. This also meant that there would be less of a chance for the camera being damaged by any accidental moving of the tripod. During the performance I remained mindful of where I moved around with the two other cameras. Although it was vital to get a variety of shots, I had to stay alert at all times, to avoid potential injury to others, or damage to the equipment.

In order to get a sufficient amount of footage, I filmed throughout the gig and not just during the chosen song. I was able to capture a selection of audience shots, performance shots (from each band member) and various filler shots.

One major disadvantage that I encountered, was not having control over the lighting set up, however from my previous experience of shooting gigs, I made sure that I had equipment which was going to benefit my filming the most. I used lenses that allow a low aperture setting to compensate for low lighting, as I would need a relatively fast shutter speed to capture movement without much motion blur and a low iso to reduce graininess.

Prior to starting the editing process, I went through all the clips I had shot and organised them into categories, such as drum shots, guitar shots, bass shots, audience shots etc. This helped to speed up the overall editing process, as I was able to access the footage I needed with ease, without having to sift through each clip individually.

Both myself and the band decided to have the video in black and white. When comparing the raw footage (which was shot in colour) to the edited monochrome sequence, we found that the desaturated version has much more aesthetic appeal. As stated in the extract below, I feel that the use of black and white in this instance has a more elusive meaning, it has been used particularly for visual impact, as opposed to a means of conveying any deeper significance.

As the audio track was over five minutes in length, I felt that the biggest challenge was creating a sequence that didn't have a repetitive or dry feel to it, therefore I made use of all the footage I had shot and incorporated overlay during the outro. This visually reflected the heavier section of the song, by representing the dense structure of the final crescendo. 

BUTLER, J G. (1994): Television: Critical Methods and Applications. New Jersey: Lawrence Erlbaum Associates.

Promotional Video - Client Feedback

After sending the final draft to my client, I was pleased to receive such positive feedback. There was no mention of any alterations or improvements to be made, as Jayne was pleased with the production overall.

She has also requested for me to film and photograph a selection of future events for her brand.

Promotional Video - Evaluation

Overall I feel that each task for this unit was conducted well and achieved successfully as a result of careful planning and active engagement. I feel that initial research into my clients brand was vital, as it allowed me to develop some ideas in terms of what I wanted to create visually and conceptually. I looked into her work by visiting her official website and social media pages; this helped by giving me some grounds to go by in terms of her aesthetic and visual style, so that I could incorporate it into my own work.

Doing this also allowed me to develop an idea of what type of background music I wanted to use. I contacted a producer and sent a few existing compositions along with a visual mood board as inspiration for them to work from. By doing this, I was able to find a corresponding piece of music for my work, whilst avoiding the risk of using any copyright audio material.

By conducting research prior to starting the project, I was able to have a rough idea of how long I wanted the video to be. This made the editing process easier; by focusing on what to include within a particular length of time, I was able to cut down the interview section and various other shots, to create a concise yet succinct final piece, just enough to present all the relevant information about my client's work.

I made sure to get as involved as possible in my clients work. I attended fashion shows/photo shoots and arranged to film my client in her workspace, so that I could capture the craftsmanship as well as the glamour that surrounds her final pieces. By filming a variety of footage in various locations, I was able to create a diverse montage, which showcased the best of my clients work.

Ideally, I would have liked to capture more of the craftsmanship involve in my clients work, however due to a lack of time, I was unable to do so. In essence, I feel that more of shots of Jayne in her working environment would have added to the authenticity of the overall piece and added a sense of balance between the hands on work and the final pieces displayed in the fashion shows and photo shoots.

The main obstacle that I faced, was in trying to arrange time to record interviews with my client. Her work schedule was relatively full, therefore it became a problem finding a day where she was able to let me film her in her workspace. However, this was overcome and the interview with Jayne, provided a deeper insight to her work, tying together the video overall.

In terms of editing, I found that it was easier to edit once I had the audio to work with. In this instance, the rhythmic style editing complimented the content of the video, whilst also keeping an upbeat flow to engage the viewers attention. Other elements that I had to consider during the editing process were the levels of both the music and interview; it is vital that my clients interview was clearly audible over the backing track, so that I could attain the ultimate purpose of the video, which was to promote her work. In response to the final draft that I had sent to my client, she had directed me to alter the levels of the audio tracks so that her interview was more audible.

I found that organising my videos into folders made the editing process much easier, as I was able to select the footage that I needed in order to correspond with what my client was discussing during the interview.

Promotional Video - Client Feedback & Draft Questionnaire

I have been in constant contact with my client, discussing improvements and amendments to the video. I sent an initial draft edit, so that my client was able to get an idea of what direction the video was taking in term of content and aesthetic.

In addition to this, I have constructed a draft online survey as a quick and easy method of collecting feedback from my client for the finished product. I chose to include questions that were relevant and beneficial to the area of work, including a series of multiple choice questions and some with a more open format.

Promotional Video - Interview Prep

In preparation for an interview with my client, I have been watching various promotional videos that incorporate interviews to gain inspiration and get an idea of the types of questions I could ask and how I want the shots to look visually. 

The type of questions I intend to ask include, how long my client has been running her independent business and what inspired her to do so. I feel that such questions will evoke answers that not only give an insight into her expertise, but also adds a personal element, showcasing her carefully crafted talent and skill.

In addition to this, I would like to overlay the spoken dialogue with shots of her working, showing her final pieces and elements of the planning process. I feel that this will tie together all of the other footage, in a cohesive and visually diverse manner.

Promotional Video - Initial Draft

For the initial draft, I have edited together all the footage captured from two fashion shows and collated it into a montage sequence. From this, I feel that an interview is necessary in order to give the viewer a clearer idea of what the video is promoting. Hence, I intend to have shots of my client talking about their business and their products, this will be complimented with shots of them working on headpieces in their office as well as the catwalks. The spoken dialogue will help to provide an explanation and insight, into the work of my client. In addition, it will create a dynamic variation in a visual sense, bringing the viewers awareness back to the client, engaging them in the essence of the video, which is her work.

As there was a lot of footage to edit into the sequence, I was sure to arrange everything into relevant folders, making the overall process much easier and more convenient. This also allowed me to combine various videos into one coherent sequence, in which I was able to show a vast variety of my clients work.

Promotional Video - Sound Production

As of the commercial nature of the video, using music that is subject to copyright, may present numerous implications. I ensured I got my client's opinion in regards to what style of music would work best with the video. Not only do I want a composition that fits as an enhancing piece of background audio, however I want it to reflect the brand identity and compliment the visual pace.

I have contacted various music producers, so that I can incorporate a piece of background music without violating any rights. I sent them a visual mood board along with a selection of existing tracks as inspiration, so that they can get an idea of visual and aural style.

Already this project has allowed me to experience what is involved when working to a professional standard. By contacting various clients I have been able to develop my time management and communication skills, providing an organised and professional standard of work to my chosen client.

Promotional Video - Planning and Client Feedback

I have been in touch with my client, discussing the planning process for the final video. Maintaining such a level of communication is vital during the preproduction stages, as it has allowed me to manage my time efficiently. By getting a clear understanding of what my client requires in their video, I have restricted any time being wasted on planning sequences that would be of no commercial value to my client. The shot list that I had composed was an organised way of presenting my ideas to the client, which reinforces the benefit of planning each stage with care and attention to relevant details. In addition, constructing a gantt chart allowed me to show the client a guideline schedule, which we must attempt to adhere to as much as possible.

The client seems inclined to allow me predominant control over the direction of the video, particularly in terms of structure. However she has directed me on the visual style of the video, so that we can fully express the brand identity. We have planned to include a selection of still images, in the video sequence so that my clients work can be presented in a diversely appealing manner. In addition to this, I intend to edit the videos, in accordance to the audio, keeping a consistent pace to the visual and aural elements of the sequence.

I have been requested to attend a fashion show, as well as a photo shoot in which my clients work will be displayed. As of the nature of both events, there will be photographers and cameramen present throughout, meaning that those present will be aware of the possibility of being filmed/photographed. However, I have ensured that those who are working 'behind the scenes'; such as hairstylists, makeup artists, photographers and designers - my client included - have signed a release form so that I officially have their written consent and permission to be filmed.

In addition to this, I have decided to capture a variety of shots that display my clients craftsmanship, showing the work that goes into making each piece. This way, there will be a contrast between the glamour of the catwalks/photo shoots and the manual work that is behind the final products. To tie it all together I intend to have interview sections, in which my client explains various elements of her work, such as what is involved in the process of making her headpieces, how long she has been working in this field and the various projects that she has been involved in.

Promotional Video - Planning

Gantt Chart

Promotional Video - Planning

Shot List/Edit Decision List - Initial Draft

Promotional Video - Planning

Visual Mood Board 

I have decided to include shots similar to those featured above as they not only show what is involved in my clients area of work, they also have a specific visual aesthetic that present her brand identity.
A majority of images that I have included in the mood board above, showcase the work of Jayne Elizabeth Millinery, which I have included in order to stay as authentic to her work style as possible.

Promotional Video - Planning

Prior to contacting my client, I was sure to conduct some research into their brand, in order to develop an understanding of their work, so that I could begin some rough planning in terms of concept and visual style.

I contacted an independent designer, who specialises in millinery and have decided upon an initial structure for the video. In this case, I feel that a narrative based sequence would not be so relevant, hence I plan to incorporate an interview set up along with shots of my client at work. In addition to this, I have arranged to attend various events that display the clients work, such as photoshoots, fashion shows and clientele interaction.

Before shooting, I would need to make sure that release forms are signed by those who are involved in the video. Moreover, the fact that I will be shooting in various locations means that I will have to consider all aspects of health and safety, in order to minimise the possibility of harm to anyone involved, or damage to any equipment.

In particular, I will need to consider how I will be travelling to these locations with all the required equipment, without causing damage. I will also have to be prepared for any potential unforeseen happenings, which could interrupt the shooting/editing process.

As this video will feature on the clients official website and their company youtube channel, the target audience will particularly consist of those interested in the fashion element or the products themselves. It could also work well to induce collaborative work with other professionals in similar creative fields. 

As a result, I will have to consider the visual style of the video, as it is vital that it reflects the work authentically, as well as having a strong aesthetic appeal in order to enhance the fashion aspect. I plan to include images of the clients work that has been featured in magazine's and other forms of media, to showcase the versatility of their bespoke creations.

The ultimate aim is to engage the viewers interest in the products themselves and the work that my client does. By inclining their interest, they would be more likely to make contact with the designer, allowing the business to gain positive recognition and prosper as a result. In order to ensure that this happens, it is paramount that I include my clients logo and contact details, with links to their professional website/social media pages. 

Psychoanalytical Fim - Evaluation

I intended to have a sense of disorientation lead the flow of the final sequence, as this would reflect the internal struggles of the featured subject.

The mind is constantly wandering between past experiences or the unknown depths of the future. Therefore, my intent was to portray the ambiguity of chronology and structure, by showing the subject aimlessly traversing back and forth through various situations, whilst attempting to console the ongoing conflict between his id, ego and superego. To enhance this concept visually, I decided not to include any conspicuous establishing shots, in order to maintain a constant state of unfamiliarity and disorientation.

I shot each section of the sequence multiple times, from various angles, in order to give visual versatility, this also gave me the opportunity to make use of editing techniques, such as the 30 degree rule.

I chose to film long takes, when there was a particular focus upon the subject. This enabled me to utilise jump cuts during post production, once again, enhancing the mental opposition and confusion. To compliment this, I overlaid clips and altered the opacity, in an attempt to produce a visual representation of the perplexing psyche.

I also made the decision to edit the footage to monochrome. I felt that these colours present certain connotations which are relevant in expressing the subjects emotions. The colour white is associated with purity and wholeness. Black represents secrecy and mystery, just as the subject is attempting to suppress a dimension of himself from the world. What black covers, white uncovers. Therefore, each colour perfectly represents an element of his psyche.

As there were multiple shots which formed various scenes, I was sure to organise my footage into folders, so that the process of editing could be conducted in a manageable and orderly manner. This proved beneficial in terms of adhering to deadlines; with an organised layout, I was able to sift through my footage, pick out the shots that were required an speed up the overall editing process.

Psychoanalytical Film

Promotional Video - Preperation

In preparation for the promotional video unit, I was given a brief from which I was directed to document the work of an art student.

Before I even began conducting any planning, I attempted to develop my understanding of the art piece itself, by engaging in regular meetings with the student and asking them to explain their planning process and any meaning behind the work. This not only enabled me to further my understanding of the artwork, but also provided me with enough insight to capture and portray it authentically.

I then began to plan what I wanted to shoot; I decided to capture the entire work process, from start to finish, as well as incorporating an interview set up to intersect the action shots with.

I had produced a series of questions that I would ask the student, in order to form a good structure to the interview section of the shoot. I wanted the questions to evoke in-depth answers so that I could enhance the speech with various shots of the student working and the final piece itself.

I used a single camera set up for the interview, however when documenting the student working, I had two camera's set up, with an additional one focusing on the intricacies of the work. With the third, handheld camera I was sure to utilise the entire work space and shoot from various angles and perspectives. This not only creates visual interest, these shots also compliment what is being said during the interview. 

Overall, I feel that this project has allowed me to explore and develop my practical and planning skills. Which has served as experience and practice towards the 'promotional video' unit of work. 

Little Brother - Feedback

Feedback Report

‘Little Brother’ animated film

Nuneaton Museum & Art Gallery

Project planning
The purpose of the project was to work with members of the Museum team and students from King Edward VI College, to create a short animated film based around the concept of how someone might legitimately protest about something that concerns them. This could be through the students working as individuals, sharing personal concerns, or in small groups exploring wider ideas.
The students would be working with a professional animation artist, Chris Bradley, in the conception and final production of the film.
The film could be informal and fun but must include, as its central learning point, the concept of how an individual might find their voice when considering making a protest and discovering how their protest might make the most productive impact.
The film was to form part of a museum temporary exhibition focusing on the history of protest.
The project brief was outlined to students in October 2016. The timetable for completion was challenging, requiring 7 workshops and a final completion for early December 2016.

Strengths
Strong and encouraging ‘buy in’ to the project from the beginning from the teaching staff who were quick to vision how the project would benefit their students.
Generous allocation of teaching time and flexibility to allow students and teachers to attend workshops.
The challenging timescale of the project gave the students an authentic taste of producing material in a ‘client based’ scenario.
The professional animator, Chris Bradley, was exceptionally skilled in keeping students focused on the project. At times the rate of production slowed, due often to the intricate nature of stop motion film production. Chris, with his experience, was key in keeping things running to a timetable with a completion date looming ever closer.
Despite a small drop out rate, the students working on the project were committed and hard working, many spending their own time in completing elements of scriptwriting or model making in their own time to avoid over run.

Weaknesses
A great deal of the initial allotted workshop time was taken up deciding which direction to go with the protest theme. In hindsight it may have been better to get the group to decide this at the initial brief stage and come to the workshops with a consensus.
The delay in deciding the nature of the ‘protest’ to be animated inevitably pushed back time on developing a script and model making. This put pressure on the remaining time and inevitably led to
an over run. In retrospect, as the concept of ‘protest’ was quite wide and complex, it might have been better to give the students some pre selected areas or suggestions in order to make adoption of the theme for the protest far quicker and easier.


Production
The initial problem with production was establishing the concept and vision for the film. I think there had been an underestimation of how complex the students might find this. Once this was resolved, script writing and model making could commence.
Chris was instrumental in keeping students focused and the commitment of the students was great, particularly once they could see the direction the project was taking.
The tight timetable for the project was ambitious. If we were to do this again a few more workshop sessions would be programmed in. As it was the students showed wonderful commitment in giving their own time to ensure things were completed on time.
I believe that the students benefited from their work with Chris. Working with a professional animator they could see the amount of planning and production required for a successful project. Chris was skilled at developing a bond with the students, helping them with planning and designing all elements of the project as well as demonstrating how to achieve a professional result.
For the students to be involved in a project from conception to launch, I believe, was very rewarding. I also believe that the practical skills gained were significant, from model making, script writing, sound recording and stop motion photography. This was certainly a broad base of practical skills with a wide application for the future.

Project launch
It was fantastic to see so many of the students attending the launch in their own time. They obviously felt real pride in what they had achieved. The quality and significance of their work was echoed by Councillor Ian Lloyd, Portfolio Holder for Arts and Leisure at Nuneaton & Bedworth Borough Council. The film was enjoyed within the exhibition it complimented and appealed to a wide audience, both children and adults. Many visitors commented on the high production values of the film which I think is testament to Chris Bradley and the students involved.
For the Museum & Art Gallery it was an important project. We wanted to engage with a traditional ‘non service user’ audience, using our collections in an inspirational way and getting students involved in a meaningful project. I hope their experience was equally positive and rewarding.

Postscript
The Museum & Art Gallery were delighted that Jakob Morrison created a small exhibition of the props used in the production of the film within our Community Showcase. We can conclude with his words:
“Working on this project was really rewarding and taught both myself and the other members of the group so much about film production. The museum team gave us the brief for the film and a deadline for completion which was really challenging. Working with the artist was amazing because we got to see all the different layers that go into film production, from developing a practical story, script writing to designing sets and sound editing.
The level of detail that goes into a production like this went beyond what I’d imagined. The filming of the stop motion, making the tiny adjustments for just one shot took ages and this was just for a 4 minute film.
Everyone benefited from the project and I’d like to see how I can use what I’ve learnt by doing my

'Little Brother'

During the course of 6 weeks, we were given the opportunity to work with a client to produce a stop motion animation, whilst working to a brief. This presented me with a chance to strengthen my organisational skills, by working to a preplanned schedule. This project was also an opportunity to work collectively as a group, allowing me to develop communication skills and time management.

The planning process consisted of selecting a topic that related to the given theme of 'protest'. Together, we chose to create a piece around surveillance in the UK. We developed a narrative, then began story boarding. Following this, we developed a script and created each set and the characters themselves, ensuring that everything was designed to fit the scale of the filming area.

When constructing the props for each set, we carefully considered colour and placement, so that each element authentically reflected the narrative and characters that they were associated with. In groups we were allocated a set to design and build, whilst others were designated the role of creating the main characters. To manage our time efficiently, we sub divided our groups, with some pairs working on props and others assembling the backdrops.
During the production process, I was also given the opportunity to assist in recording the voiceovers of the characters.

The actual filming and animation was a lengthy process and required upmost attention to detail. We were allocated time slots in the same groups we had worked in during the creation of sets and props.
We worked accordingly to the script, to create movement that corresponded to the dialogue. This was the most time consuming process, as every detail had to be matched in the consecutive frame.

Overall, it was a beneficial opportunity that provided me with the experience of working to a clients brief in unfamiliar context. It also allowed me to develop communication and time management skills as we worked in small groups to accomplish the tasks.

Music Video - Preparation

In preparation for Music Video Production unit, I decided to photograph a live gig, in order to explore the technical aspect of capturing a live band and then apply this to the terms of moving image.

As I was capturing a live environment, it was paramount that I achieved the correct exposure. In order to do this I initially planned what additional equipment I would need. Considering the dark setting of most music venues, I decided that a telephoto or mid-range zoom lens would grant me the ability to shoot at a wide aperture, in order to allow more light into the images. This was vital, as a relatively fast shutter speed would be required to capture the movement of the band.

I shot on the continuous mode, as this allowed me to capture a variety of frames ensuring that I was able to keep up with the pace of each subject and also meant it was less likely that I missed a good shot.

In addition to this, I shot on auto focus mode, once again this made certain that I had a good selection of shots and did not loose a good image, as a result of it being out of focus. I also did this, as the shallow depth of field meant that there was more in the shot that was out of focus and each subject would not remain stationary for very long, therefore shooting on manual focus would have proved difficult in trying to capture the main focus with accuracy. I also kept the ISO setting relatively high as this compensated for the loss of light as a result of a fast shutter speed.

New Wave - Film Evaluation

Evaluation and Health & Safety

My new wave sequence was constructed of an array of shots that I had captured in various locations, structured in the form of a montage. By doing this, I have given the viewer the ability to derive meaning from the film based on their own interpretation. I felt that this was a key theme surrounding a majority of the New Wave texts that I had looked at for my contextual study. In terms of concept, this style provides a loose narrative which makes the film easy to follow, but not too conventionally organised.  

When conducting on location shoots, I was sure to consider the practical elements of health and safety. I ensured that all of my equipment was correctly put away when not in use and whilst shooting, I had to be sure that both myself and my apparatus were not obstructions which could lead to potential physical harm for pedestrians or those around me.

When assembling the footage together, I wanted to make sure that the rough trademark of new wave editing was made apparent, therefore I was not too careful in selecting where to cut the shots. With long takes, I transformed them into a series of jump cuts, adding a sense of discontinuity.

Similarly, I was sure to keep a consistent flow throughout the sequence, by maintaining the choppy editing style. I also incorporated elements that were featured in the New Wave, such as having the subject look directly at the camera, ultimately breaking the fourth wall and acting as a reminder to the audience that they are simply watching a film. This was commonly demonstrated in French new wave films, shedding new light onto the world of cinema and transforming film making from the conventions of classic, large scale productions.

I also experimented with the use of colour, taking inspiration from Daisies (1966) and the creative use of filters used within the iconic nightclub scene. Shifting between exotic hues adds a sense of the unconventional as well as enhancing the surreal essence of the film. In addition to this, colour has the potential to influence the audiences feelings towards what they view on screen, as each shade holds personal connotations, hence every viewer may develop varying interpretations.

'Daisies' (1966)

However, I did not want to make the effect so drastic within my own film, so I altered the colour levels slightly, just enough to add a slight tint to each shot. I did so with purpose, although the effect was predominantly done for aesthetic purposes, I ensured that the colour complimented the tone of the shot, in order to enhance the focus of it. For example, for a location shot of a secluded area of Digbeth, I added a cold filter, to represent the solitude felt when present there.

 Overall, I found that I was able to manage my time effectively; by documenting my planning for each shoot, I was able to express the developments in my ideas and then elicit them in a practical sense. Such as altering the fundamental concept so that it was not too heavily based around a narrative, as this would not have been true to the nature of new wave. Most new wave productions emitted a sense of spontaneity in terms of their content and I wanted to be as authentic as possible when making my film, hence created a montage of scenes which were loosely connected, so that the viewer is able to derive their own interpretation of events.

 As a result, I was able to produce a new wave montage sequence that combined various elements displayed by the movement. I felt that this project particularly allowed me to explore and strengthen my editing skills, as there was a vast amount of footage to sift through and implement into a sequence. In addition, the fact that I edited to audio and a poem also stretched my ability to edit in time.