Live Client: The Production Stage - An Evaluation

The total production stage consisted of 8 different shoots. I felt that overall I was able to develop the following skills:

1. Technical - Having continuous contact with technical equipment such as the Sony Z1HD camera and sound recording devices meant that I was able to pick up techniques of setting up and operating them efficiently. I was able to learn new features and functions by experimenting with the equipment.
   
2. Organisation - In order to ensure all the aspects of the shoot ran smoothly it was important to ensure the crew was aware of the schedule, the correct equipment was booked and hired for the appropriate day and the client was aware of what would be happening. This encouraged me to think laterally about all the influential factors.
   
3. Communication - I was required to communicate effectively by e-mail and in person throughout the production stage. It was crucial to be accurate in all the information that I was conveying as this affected the shoot creatively and technically. I picked up techniques where I paid extra attention to detail such as shoot times, locations, shot lists etc. The process also steered me towards making a standard system that was applicable to all the shoots. For example each call sheet had the same information but was adapted according to the particular shoot. I found that the shoots ran according to schedule as a result of effective communication.
4. Professionalism - I attempted to maintain a high level of professionalism with both my client and my crew. This increased my confidence as an independent multimedia practitioner as I was encouraged to act in a fashion that would be accepted in the industry. This includes characteristics such as punctuality, politeness, good presentation, co-operation and subject specific awareness.
   
5. Business Management - Creating a budget, keeping receipts of expenditures and providing invoices all formed part of developing awareness of the business aspects. This made me consider the cost implications of hiring extra equipment, taking extra taxis for transport, providing lunch for the crew members etc. Considering this was a university project, many of my costs were cut, however if this was to be commissioned or paid for I would have to seriously consider how my services (and the crew's services) would be paid for in addition to the overheads etc.

The production stage has developed a large range of skills in a short time as I had access and exposure to such environments on a day-to-day basis. I have been able to use the pre-production stage and the proposal to support the success of completing the production stage in time. I feel that I could have improved the process by allowing further time for testing and learning how to use the equipment as well as familiarising myself further with locations such as the primary school for the interviews.

I think the most effective aspect of the production stage was the team of crew members. This ensured that each role was fulfilled with concentration. However I feel I could have improved the quality of the footage by selecting crew members with expertise in certain areas such as sound. A major drawback was the lack of expertise in cinematography and lighting which had a direct impact on the quality of the interviews.

My skills and techniques as a producer and director were tested during this stage of the client project. I believe I have improved on my abilities since the simulated project as I have implemented strategies that were effective and introduced systems that I thought were needed. I have developed in practical experience of audio-visual production.

Live Client: Shoot 7 - Adult Interviews & Shoot 8 - Post Parade

Compared to shoot 7 I was more prepared for the set up of this shoot. In addition to this I was more familiar and aware of the location and the people that I would be interviewing. I found that having experienced a similar set up for the children's interviews, my crew was able to set up at the Playwork's office efficiently. I had learned the fundamentals of lighting and was able to adjust the positioning to suit the location.

Lighting - Photograph by Tom Edson

I feel that that this shoot ran far better in terms of schedule, technicality and creativity. As I was more prepared I could achieve the look that I required and I could also capture answers that were crucial for the story of my documentary. The room that I had selected to conduct the interviews was larger than the room in the school and we had further flexibility with adjusting the natural light from the windows. This had an overall effect on the technical quality of the shot.

As well as filming the interviews I had integrated shoot 8 into the same day as it involved the same location. Although this was a drastic change to the schedule it proved to be beneficial as it saved time in hiring out equipment for another day, gathering crew and spending money on transport. I found that I had developed a directing style, and although the production falls within the genre of documentary I was able to direct the characters (staff of Playworks) to achieve particular shots that were crucial for the ending of the film. In order to avoid a re-shoot it was very important to capture the required footage.

PRP: Artefact 3 - The Idea

After having decided that I will be concentrating the research area in a problem area that is more dense, the next artefact took the form of attending a Women's Film Festival in London.



The idea was together practical understanding of whether the statistic of 'only 6% of film directors are women in the UK' was actually true. My aim was to speak to film directors and organisers of the event to distinguish the main reasons for the shortage of women film directors.

I also wanted to record the information in multimedia format i.e. sound recordings. However this was dependent on the circumstances at the festival.

Live Client: Shoot 6 - Children's Interviews

This shoot was completely different to the 5 earlier shoots for various reasons:

1. The camera was framed, static on a tripod. Compared to the other shoots the size of the shot was decided and it stayed the same for each interviewee. This is the contradicting aspect highlighting the underlying theme of how 'play' has just stopped. This is how the documentary begins - still and static. The pace then picks up.
   
2. The set up involved a full 3 point lighting kit. This was challenging as we were limited to space and adaptability in the location. In terms of practicality we had to shoot the interviews in the school in a smaller room than desired.
   
3. The shots were more directed rather than 'fly on the wall' as I wasn't just capturing what was happening but actually creating what I wanted to happen.

I found the interview process particularly challenging as I couldn't predict what the children would say. This was when my directing skills were really tested because I didn't want to force an answer from the children but I also needed to achieve and gather particular dialogue to tell my story.

Lighting is an area that is difficult to get right. It was useful to have the crew's perspective and help to achieve the style I needed. We had a black backdrop with strong 3-point lighting. I wanted to highlight the lighting and make it obvious that the 'subjects' were under a spotlight. we had limited space, which affected the lighting technique. Cinematography is an aspect of filmmaking that I would like to explore and learn in depth.

SPP3: Images - the Aim

Image 1 - Profile Image

As part of the assignment we were required to submit 4 images, of which one had to be a profile image for the exhibition catalogue. The other 3 images were intended to represent your work. My aim was to represent the following aspects:

1. Audio Visual Specialisation
2. Theme of Women & Children

Image 2 - Canvas Installation

I chose the canvas installation Indian Women for the first image. For the other two images I wanted to create montages from the production stills of the Street Play documentary. I had not created photo montages before and therefore found this very challenging.

I used very simple techniques to create the photo montages, which mainly involved creating a layer mask and placing the images in particular places on the layers. It was a very lengthy process that required attention to detail.

Image 3 - Street Play

I found that this image summarised what the documentary is about - the right for children to play. My aim was to show the idea of play and making noise about play. It is also clear that the film was about a parade / rally. However I don't think it is explicit that the images are a compilation of stills from a documentary. Though the theme of children is clearly portrayed.

Image 4 - Audio Visual Production

I found that this image represents both my research and client project. It is clear that my specialisation is audio-visual. I have not made it explicit but the underlying theme of the image is women in multimedia, which is the focus of research project. I think that this image also outlines my values in a production - collaboration and teamwork. I did not want to just show me working with a camera, I wanted to show that I work with people to produce my vision as a combined effort.

SPP3: The Final Showreel

The Final Showreel: March 2009

SPP3: Showreel - The Editing Process

Initially I intended to use my previous showreel and expand on what I had already created. However as I began I found that I needed to start again with a new project. This time I decided to choose the music first and edit the content in relation to the rhythm and the time of the music. I chose a royalty free piece of music by Kevin McLeod. Compared to the music in my previous showreel this piece had a faster tempo and an upbeat motivational mood. It also had distinctive beats that were easy to split into bars of 4, 8 and 16. I decided to distinguish the videos by allocating a particular number of bars for each. This helped me follow a structure and create excitement to keep the audience engaged.

Showreel Edit - Click to see larger image

I came across various challenges:

• Making sure the edit was precise - in time with the music. As the beats were defined it was easier to line the cuts in time with the music.
  
• Engaging the audience - I had to make sure that the videos were not too long or too short so to keep the viewer engaged throughout the 2.30 minutes.
  
• As well as the videos I had to create titles in Photoshop. With the flexibility of CS3 I was able to import them into Premiere easily. However it was challenging to place them in the right part of the video and ensure the transition was smooth. In order to ensure the consistency of the titles I decided to be precise with how long they were i.e. each transition was timed at exactly 4 seconds.
  
• To match the music I had decided to use eye-contact as a repetitive feature. This was difficult to time with the music but was very effective as the video and the beat complimented each other.

I found that it was very beneficial to keep coming back to the edit after a break as I noticed subtle time differences that I could change. In addition to this I asked peers for their opinions to see how effective the showreel was. The final challenge was to ensure the music levels were appropriate as I had integrated diegetic sound with the music. I felt that this would be effective especially for What NTU Can Do For You as I was Sound Operator. I thought it would be suitable to be able to hear the sound as well as the music. This techinque worked well so I decided to use it consistently as a feature with each video. I found that the diegetic sound ehanced the quality of the showreel and proved my ability to give attention to the sound as well as the image.

SPP3: Showreel Content

The aim of the showreel was to represent myself and my work in an audiovisual piece no longer than 3 minutes. Over the three years of studying Multimedia I have gathered a portfolio of work in different areas of the audiovisual pathway. Most of all I have had the opportunity this year to work on projects directed by peers. Compared to my first showreel in December I had a range of videos to show my versatility as a practitioner. In addition to my directing and producing ability I was able to highlight my skills in following direction and fulfilling roles like camera operator, sound and camera assistants. Below is an outline of the content of my showreel:

1. Introduction - Who I Am and What I Do
2. Street Play - Community Documentary - Producer & Director
3. What NTU Can Do For You - Promotional Video - Sound & Camera Assistant
4. Holding Pattern - Short Film - Producer & Director
5. Indian Women - Canvas Installation - Photographer & Director
6. No Knives? Positive Lives! - Youth Documentary - Camera Operator
7. Iranian Women - Video Installation - Director
8. Sketching in the Nature - Digital Sketchbook - Camera Operator
9. Green Kutchh - Environmental Documentary - Producer & Researcher
10. Outro - My Contact Detail

In my first showreel I had concentrated on the design of the transitions and the brand of the showreel. With the feedback I decided to focus on the actual video content and toned down the transitions. I thought the simplicity would be more effective. I also highlighted exactly what each video was and what role I had in the production, this was something that wasn't clear in the first showreel. However I decided to keep the brand consistent by using the colour scheme of black, blue and white and I also kept my logo the same as I felt it represented my personality well.

SPP3: Assignment 2 - The Submission

For the final submission I chose the following job roles and courses:

Job

1. Working Title Films - Action 2009! -

   http://jobs.guardian.co.uk/employer/working-title-films/

2. Freemantle Graduate Scheme -

   http://www.fremantlemediagraduates.com/home.html

3. BBC Production Trainee -

   http://www.bbc.co.uk/jobs/pts/

4. Informa Media Academy - Graduate Scheme -

   http://www.informa.com/graduate/media_academy

Post-Graduate Course

1. The Mountbatten Internship - New York Programme -

   http://www.mountbatten.org/mipweb.nsf/pages/ny_academic_programme#cert

2. MA Global Media -

   http://www.wmin.ac.uk/mad/page-1202

3. MA Film Producing & Business Management -

   http://www.glam.ac.uk/coursedetails/685/520

4. MA Arts Management - http://www2.northampton.ac.uk/portal/page/portal/Arts/home/research/pgrad/ma#am

My rationale outlined my reasons for choosing the Action 2009! programme and The Mountbatten Internship rather than the other options. As my career aspirations are to become a producer for film and video, I specifically chose roles and courses that required a combination of creative and administrative awareness. I feel that this integration will allow me to implement and develop the skills that I have gained through my education as well as learn new techniques applicable to the industry.

SPP3: Assignment 2

Assignment 2 had various aspects that were put together to make the 'Post-graduate' package.

1. 4 Job Advertisements
2. 1 Job Application (Cover Letter, Content, CV)
3. 4 Post-Graduate Course Advertisements
4. 1 Post-Graduate Course Application (Cover Letter, Content, CV)
5. 1000 Word Rationale About Application Choice
6. Exhibition Profile Text & Image
   
7. Exhibition Portfolio Images
8. Exhibition Portfolio Showreel

The aim of the assignment was to prepare myself for whatever I choose to do after graduating.

PRP: Artefact 2 - The Evaluation

For my second artefact I decided to conduct interviews with practitioners in the creative industry. The questions were based around the answers I had received from the students in my first artefact. I had contacted various practitioners such as web designers, film producers/directors and games designers. However due to their commitments I was only able to speak to two practitioners over the phone.

I spoke to Meena Patel, a web designer who described the design industry as a split of 50:50 men to women ration. On the other hand she highlighted there is a lack of women developers but the reason for this is dependable on interest. I found this observation interesting and learned that there are more women in web ‘design’ than I had perceived.

I also spoke to the film producer Cassandra Sigsguard. She said there are many women film producers however only 7% of directors in the UK are women. She outlined one of the reasons for a lack of this representation is female interests and lifestyle choices.

I have drawn on a conclusion that the representation of women in Multimedia is weighed according to the sector. Due to the nature of this project I feel it would be more efficient and effective if I concentrated my research on an area that is denser with the problem. I feel that there are less women working as directors and game designers.

For my third artefact I have decided to focus the research on women film directors. I will be using the Birds-eye View Women’s Film Festival as a foundation for this. I can then apply the findings from this to the other areas of multimedia in the broader context. In addition to this I will continue engaging with other women practitioners to enhance my understanding of the project.

SPP: Exhibition Ideas

COLLABORATION & NETWORKING

I feel that the themes of collaboration and networking would be effective for our final year exhibition. Multimedia is made up of various mediums and requires collaboration at all stages. I think that these two words represent the educational format of the subject and the industry that we all intend to enter. The image below is very simple and breaks down the idea visually.

Live Client: Shoot 5 - The Play Parade

Today was one of the most challenging shoots that I have experienced. To start off with we were a crew of 10 people and we had three cameras to cover the event. Fortunately the weather was on our side and it was not raining. I found that having detailed shot lists for each camera was very useful and ensured that the shots I required were captured. The day ran smoothly and on schedule. The crew members worked very hard and took initiative for the project as well as worked well as a team.

We all found ourselves racing up the roads of Radford and trying to keep up with the marching crowd of over 100 adults and children. The parade only lasted for approximately 20 minutes but that time was very tense busy and stressful. It was very difficult to direct 3 cameras at the same time and I had to trust the camera operators to achieve the objectives I had set out in the shot list. It was extremely beneficial to have 'spotters' helping the camera operators. They also made logs of the shots and time-codes which will simplify the editing process. Although I now have 3 hours worth of footage for only one event, I think that this will also give me a big choice of shot sizes and angles for the edit.

Delegation is a quality that comes with hard work and practise. Especially after being used to doing everything yourself, it is something I think I am developing quickly with the scale of this project and find that this is achieving better results. Audio Visual production requires a range of skills and requires the input of various people, creatively and practically. Having to co-ordinate 3 cameras was a useful exercide and I feel more confident in operating the equipment. In addition to this I have been working with the same crew members on a regular basis and we now have an understanding of the ways in which we work. The day brief at the begginning of the shoot was very important to me and I think it was essential to gather the crew and communicate my intentions for the day.

Overall I am pleased with the outcome of today and am looking forward for the next shoots as well as the editing stage.

Live Client: Shoot 3 & 4: An Evaluation

These two shoots were based at a new location: Radford Primary School. I found that signing release forms was the most challenging factor. In order to simplify the process I had written my own version of the release forms for parents. However it was still complicated to explain the project and obtain signatures from parents with time constraints. We were set up fairly early in the day, which resulted in extra crew members available to help with the release forms. I learned from this process that the paperwork involved in the filmmaking process is by far one of the most influential facors in the success of a smooth shoot. I had to ensure all the details were correct and in place, including risk assessments.

Shoot 3:
Camera: Sherrilyn Lombardelli
Sound: Matthew Robinson
Production Assisstant: Janet Chu

Shoot 4:
Camera 1: Sherrilyn Lombardelli
Sound 1: Diana Sabau
Camera 2: Alex Burton
Sound 2: Matthew Robinson
Production Stills: Tom Edson

We finished both days on schedule and captured the footage that was required. The weather was not pleasent and it was raining on both days. This made me consider the implications of this happening on the day of the Play Parade. It would be very difficult to get the shots I want with bad weather conditions!

Live Client: Shoot 2 - An Evaluation

Shoot 2 was very similar to shoot 1 where we tried to capture the office atmosphere at Playworks. Unfortunately it was not as busy as the week before but we still managed to get the shots I had outlined in the shot list.

For this shoot we also had Tome Edson present to take production stills, which is very useful for documenting the process of making the film. I found that as a crew we were very efficient as we were familiar with the location, characters and the style. In addition to this we had formed a working relationship from the shoot before and understood eachother. Furthermore we were more comfortable and confident with the equipment.

PRP: Artefact 2 - The Interview Questions

1. What was your route into your career?
2. What is your educational background? Do you think this has an influence on your career choice?
3. What did you find the most challenging when approaching a career in the creative/ technological industry?
4. Do you feel there is a shortage of women in the industry?
   
5. Do you feel that women multimedia creators are less well known and recognised? Why?
   
6. What do you think affects or influences the choices women make about their further education and career prospects?
7. What are your thoughts about women mentors or role models? Do you think that having a role model could influence and motivate aspiring artists? Do you think there is a lack of this in the UK?
8. Did you have a role model, mentor? Did anyone really influence you?
9. How do you think the profile of women in multimedia can be increased?
10. What factors influence, persuade, inspire and motivate you as a multimedia practitioner?
11. Do you think women take on roles that they are expected to by society? On a subconscious level?
12. Do you think women create their own barrier into the industry without realising?

These questions are subject to the answers given by the interviewees and are intended to lead to further conversation about the subject.

PRP: Artefact 2 - The Idea

After interviewing young women studying Multimedia I decided that I needed to interview Multimedia practitioners in the industry in order to broaden my understanding of my research. The questions will be based around a similar style to my first artefact, however they will be targeted to a different audience.

Considering the time constraints I have decided to approach women working in and around Nottingham so that they are accessible. I may not be able to capture a physical sound recording of the interviews as the interviewees may have other commitments. I aim to at least have a conversation with 5 women from different areas of Multimedia. This conversation may be face-to-face or over the phone.

I am hoping to collect information that is specifically related to the working environment and how this relates to women and multimedia. I feel that practitioners' and students' answers will resemble and differ and various ways.

PRP: An Interesting Statistic

I found an interesting website in which a blogger has commented that only 16% of the Games Industry are women. I found this is powerful statistic yet I was not surprised. I don't know any women that are recognised in the Games World. I am sure there are, but they are not publicised enough.

http://grandtextauto.org/2005/06/17/women-games/

This figure has been taken from Aleks Kritoski's paper 'Chicks and Joysticks: an Exploration of Women and Gaming' found at

http://mypages.surrey.ac.uk/psp1ak/publications.htm

Live Client: Shoot 1 - An Evaluation

Street Play Documentary: Shoot 1
Location: Playworks
Scenes 3 & 4: Rally Preparation at the Office
Time: 10:30 - 15:00

Crew:

• Director: Bindni Karia
• Camera Operator: Sherrilyn Lombardelli
• Sound Operator: Samantha Kirk
• Production Assistant: Diana Andreea-Sabau

Production for the Street Play documentary began today. I was really nervous yet very excited. We were very punctual and the whole shoot ran very smoothly accodring to the schedule. I found it extremely helpful to have time to test the equipment before we set out. Fortunately the crew arrived earlier than expected which meant that we had time to go through each piece of equipment.



I had decided to have a calm and planned approach to today's shoot and feel this worked very well. For example I spent almost an hour introducing the crew to all the characters at the Playworks office. I also allowed enough time to brief the crew on health and safety and describe exactly what I wanted to achieve from the shoot. This meant that we were all well prepared and less time was wasted in discussion as the shoot was taking place. We took our time to set up the equipment and to ensure that everything was connected correctly. It was very important to double check the format, ratio and mode on the camera.

I found that setting up the sound was the most challenging task. Samantha was very confident with the equipment. I have not been through the footage yet and am worried how the sound has been recorded. As a crew, we worked well as a team and I found that staying calm and focused was extremely beneficial when trying to capture shots on the move. As a bonus we captured everything that I had planned to in the shot list. However I decided not to take the shots outside due to continuity issues with the snowy weather.

PRP: Artefact 1 - The Evaluation

For my first artefact I carried out verbal interviews with 10 current Multimedia students from varying levels and pathways. I recorded these interviews in audio format. The questions were based around their reasons for studying Multimedia, their expectations of Multimedia, inspirations from role models in the industry, intimidation by technology, future career prospects and women’s expected roles and subjects.

From the test I discovered that Multimedia seems to be a continuation or follow on from subjects like Art, IT and Media. Students find that confidence is something that holds them back especially from furthering their knowledge in technical areas. They find that technology can be intimidating in certain situations. It was highlighted that men tend to pick things up quicker and this may be due to interest, i.e. women are just not interested in technology. They agreed that to a certain extent it is women’s attitudes and assumptions that sometimes limit them from prospering.

I found that majority of the students feel more comfortable when working around women and they are motivated or inspired by them. However when asked if they were influenced or inspired by a Multimedia practitioner in the industry only 30 % could quote a name.

This raised the question of whether there are women in high status roles within Multimedia and if there are, why are they unheard of or not publicised as much. In order to explore this further I will need to look into how current women practitioners began their career and what, or who supported them. I need to gain a deeper understanding of what women in the industry think of their representation and what can be done in order to improve this. Or what can encourage and inform more women Multimedia students about their particular prospects within the industry.