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Pre Production Major Project: Critical Reflection

Overall I am very happy with how the pre-production elements have gone. I am very proud of finding some great actors after a long auditions process, these additions will help enhance the quality of our programme. 


The locations are perfect in conjunction with the script, adding realism to our programme which is one of the many themes I'll be presenting. This will be aided by the use of camera styles and techniques (after extensive research on both directors and styles).

The shot list and storyboards have turned out great after a lot of work and research. The script is very complex, however I am confident with the shots I am planning, along with my directing style. I need to work more on consistency, but I believe this will happen over time.

Both the teaser and title sequence fit the tone of the programme, which I'm very happy with! I struggled slightly with the teaser, however after advice from Simon I believe we have created an interesting video with suspense as well as comedy. I made sure we stuck with the same styles too so all the clips link together and reinforce our brand.

In conclusion, I feel very prepared for the major project after a successful pre-production process. I am excited about the project ahead, and proud of what we've created so far.

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Pre Production Major Project: Storyboards Research

One role of being director is the use of storyboards to portray my ideas in picture form. This helps me to show my team, as well as everyone else exactly what kind of shots I want, and the style I want to use. I am not the best at drawing, therefore I have made the decision to hire someone else to draw my ideas for me, as they will specialise in this field, and therefore help me get my ideas on paper with high quality. I found a girl named "Joey Ku"who studied Graphics at UCA; she has a business card and seems very friendly as well as passionate about drawing:


I am going to go with Joey as she seems reliable and has an impressive portfolio. After speaking with her, she seemed enthusiastic and very keen to help. But before I meet with her, I need to decide on what content I'm using, as well as the panels themselves.

After researching into storyboarding, I have found vital components to creating a successful storyboard for a short programme/film:

First of all I need to break down the script, I have done this already by printing it off and breaking it down into small shots:


Doing this has helped me envision exactly what shots I want to do, meaning I can then create a shot list so the team know what I want. This actually helped me progress as the script was rather overwhelming at first. My research also said this may happen:

"Figure out what you want these shots to entail and then transform those ideas into a series of storyboard panels. Stepping back and seeing your film in individual panels makes the project much less overwhelming."

My research then goes on to explain that I need to evaluate each shot in great detail, with several elements to consider:

  • What is the location setting?
  • How many actors are needed in the shot?
  • Do you need any important props or vehicles in the shot?
  • What type of shot (close-up, wide-shot, establishing shot, and so on) do you need?
  • What is the shot's angle (where the camera is shooting from)? Is it a high angle? A low angle? 
  • Do any actors or vehicles need to move within a frame, and what is the direction of that action?
  • Do you need any camera movement to add motion to this shot? In other words, does the camera follow the actor or vehicles in the shot, and in what direction?
  • Do you need any special lighting? The lighting depends on what type of mood you're trying to convey (for example, you may need candlelight, moonlight, a dark alley, or a bright sunny day).
  • Do you need any special effects? Illustrating special effects is important to deciding whether you have to hire a special-effects person. Special effects can include gunfire, explosions, and computer-generated effects.

All of these points are vital as they highlight the main aspects of each shot. These elements are going to help me create detailed storyboards

The next step in planning the storyboard process is the shot list:

"shot is defined from the time the camera turns on to cover the action to the time it's turned off; in other words, continuous footage with no cuts."

I have created shot lists before so I know what is needed in this department, however I have never made one on this scale, therefore plenty of preparation and planning is needed. My research shows that I need to concentrate on the major shots when creating the storyboard:

"Keep a shot list of all the events or scenes that jump out at you so that you can translate them into separate storyboard panels."

I am going to storyboard the most important shots that require the most planning or involve camera movements. My shot list will contain every shot I'm planning to use, which in turn will help speed and organisation on the day of filming.

The final step of planning a storyboard is actually constructing the panels. 

"A storyboard panel is basically just a box containing the illustration of the shot you envision for your film."

My research has shown me that there are different types of panels depending on the type of film, for example a television panel will have different shapes and dimensions to theatrical screens. 

"Decide which shape and size of panel to use.
A television storyboard panel, like the screen on your television set, resembles a square, only slightly wider. Theatrical feature-film storyboards are rectangular in shape, almost twice as wide as a television screen. Many filmmakers hope for a theatrical release and also like the picture information available with the larger, rectangular storyboard panel, but shooting a happy medium between the two is safer. You're more likely to end up on TV and you don't want a lot of your picture information lost on both sides of the image."

After using this research, I have looked for different storyboard templates which are in contention of being used for my own:


This is the BBC template that I have used before on past projects. They are very simple but have just enough room for appropriate images; however these are very rectangular and are more suitable for theatrical films for the cinema, therefore I want more square shaped panels.





These panels are much more suitable for this project as they are square. I like the fact there are less squares to a page as it means there is more room to draw more detailed pictures in the squares. On the other hand, the description boxes are quite vague, meaning I am limited to the amount of components I can describe for each shot.





These panels are perfect in my opinion as they are square, good size and have different boxes for the descriptions. There are three panels to each page which is great, as that means there is plenty of room for Joey to draw my shots in great detail. The size of the description boxes means I can describe each shot in great detail too, including the dialogue, music and action of the camera. Each panel are clearly labelled too meaning it's easy for everyone to read and understand along with the shot list.



I have booked a day with Joey so we can sit down in the library and work on the storyboards together, this research has helped me to know exactly what I need when creating detailed and successful storyboards.







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Pre Production Major Project: TV Teasers Research

I am in charge of directing a teaser for our project, therefore I have researched into how to create one, what to think about, as well as look at some examples. After researching on how to create a teaser, I came across this handy information which sum them up nicely:

What are teasers and trailers?

In a nutshell, they’re short videos designed to build interest for your longer work. A teaser is typically vague, establishing tone and imagery but revealing scant (if any) details about characters and plot. A trailer is more descriptive, bringing in the plot and character introductions that teasers leave out, while preserving the curiosity that can only be satisfied by paying for the whole enchilada. Trailers typically adhere to the chronology of the film, while teasers can be more freeform.

What are the goals of teasers and trailers?

A good introduction to your work should do some or all of the following:

• Establish tone and pace (Is it serious? Funny? Inspiring? Romantic docudramedy? Western thriller, in outer space?)
• Establish setting (“It’s 1862, and space pirates are raiding the galaxy.”)
• Set up conflict (“But there’s a new sheriff in space.”)
• Introduce the main characters (“Him? That’s Chet Chetson, alleged pirate and richest man in space.”)
• Create intrigue (“Hand over the amulet, sheriff, or space is going to explode.”)

What are some popular techniques for achieving those goals?

Some common ones include:

• Mood-setting music
• Excerpts from the film, cut at key moments so as not to explain too much
• Shots that aren’t in the film — such as blackouts, typography, or short shots that work for introducing characters in the context of a trailer
• Voiceover
• Montage, and/or lots of cuts
• Cliffhangers and unanswered questions

Source: https://vimeo.com/blog/post/using-teasers-trailers-to-build-your-audience

These points are very helpful as I now know what to think about when thinking of the idea for our teaser. Also means I can look out for these techniques while watching other teasers:


This one particularly caught my eye as it was short, but had many dynamic clips that kept me hooked/interested. The quick cuts helped keep a good pace and I believe this is exactly what I need to do when planning the shots for our teaser.

This one features clips from the actual film, something we are unable to do, so I am going to have to use shots that will be the same style as the ones in the actual film. I am going to create a shot list for the teaser so everyone knows exactly what I want on the day.

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Pre Production Major Project: Table Read

After securing the actors, we hosted a table read so everyone could get together, meet each other, and practice lines from the script in the same room. This turned out to be a great success as I managed to see what they were all like in their respected roles. I must say, the cast did very well and I was happy with how it all went. I noticed a number of things while at the table read, one being the fact that Malik (playing Dean) struggled with the bigger passages, therefore Helen, Aimee and I decided to shorten his lines to fit him and his character. We want the actors to feel comfortable in their roles, therefore decisions like these will benefit all of us. I was particularly impressed with Dan (playing Tom) as he seemed to adapt to his character well and read his lines with ease. He put emphasis in the right places and I believe he is a very strong actor in a difficult role. 


Overall the table read went very well and everyone got along, with lots of laughing and togetherness. This is exactly what I want from my cast and crew, as I believe everyone will perform to their best abilities that way (as well as easier to direct).


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Pre Production Major Project: Shot Lists Research

One task I need to complete as director, is the shot list. This needs to be done in great detail as this then leads onto my storyboarding. I have looked into how to create a detailed shot list, and have come across these 4 vital steps:

Step 1: Do Not Edit

The first thing to know when making a shot list is that you do not want to be editing your movie as you are shooting it. If you are new to this process, in all likelihood you are watching your movie in its end form as you envision your scene. So, you would be seeing a close up on Jill when she speaks, close up of Jack as he says his line, then back to close up on Jill. Do not write this as 3 shots. This is 2 shots: a close up of Jill and a close up of Jack. You are not going to shoot Jill's lines one at a time. If you have trouble wrapping your head around this, you can first write out your pre-edited version of things, then adjust it to a shooting version.

Step 2: Frame Sizes

There are many things that you will want to note in your shot list in order to keep it informative. One of these things is frame size. Frame size is measured by how much of a person is showing in the frame. A wide shot shows the full body of a person from head to toe. A medium wide (abbreviate as MW) is commonly referred to as a cowboy shot and goes from head to knees. A medium shot (write MED) goes down to the waist. A medium close up (MCU) goes from the chest up. A close up (CU) is just the face. An extreme close up (ECU) shows only details such as eyes or a hand. You should also specify whether these shots are singles (only one person), 2-shots, etc. Note that close up does not mean single. Keep these definitions in mind to create the most accurate shot list.

Step 3: Angles

You will also need to specify what kind of angle you have your camera shooting the subject from. Not all of your shots will be straight on or frontal. Some will be profile shots meaning from the side. You may also want to have a shot looking down on the character, which you would note as high-angle. Predictably, low-angle shots come from below. During coverage, you may want to see a piece of the character to which your subject is speaking. This is a dirty shot or an over the shoulder (OTS).

Step 4: Movement

In some cases, you will have a dolly or zoom planned. For this you should describe the frame at the beginning and the shot and then the frame at the end. If there are any key frames in between, then you can describe this as well. Make sure it is clear that this is all one shot.


Shot lists will help you schedule your movie and make sure that you get all the coverage that you want. To keep communication at its best, write your shot list precisely.

Source: http://www.steves-digicams.com/knowledge-center/how-tos/pre-production-how-to-create-a-shot-list.html#b

These steps are very helpful for the content as it's shown me there are many aspects to a successful shot list. I also need to think about the layout of my shot list, as I won't be the only one reading/using it, therefore I need to make it organised and easy to read. 



Here is one layout I found, it is set out like a table which is good for organisation, however the different colours make it seem very complicated in my opinion. The different colours help to separate the different scenes, however not only are they quite strong, but they also make the document harder to read meaning practicality is reduced which is never good for a shoot under strict time and pressure. 



This style of shot list is a lot clearer to read, however I would say this is too brief for a big project with many different characters and locations. I like the simplicity of it, making the shot list very easy to read for everyone, however it needs more content and I believe the lack of a table format may be one of the reasons for this.



This format is near to perfect in my opinion as it clearly indicates the different scenes, as well as having detailed analysis of each shot. This kind of content will help Chris and I establish exactly what I want, and what each scene entails. It is also laid out in a very simple table making it easy to read and very organised. I believe this could be the style I go for when creating my own shot lists.


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Pre-Production Major Project: Directors

I love watching films, hence why I have a passion for this project and degree. I like a number of directors including Tim Burton, Quentin Tarantino and Martin Scorsese; however there are a couple that really stand out to me due to their distinctive directing styles:


David O. Russell

David O. Russell is a fantastic American director who is known for being very stylised. He's directed recent films like Silver Linings Playbook and American Hustle, two films I very much enjoyed due to his unique visual tendencies. His recent films use a lot of handheld camera movement (mainly with Steadicam rigs) which give his films a nice smooth look but with a lot of energy at the same time. He likes to move towards and away from characters while they are talking, one technique I've always liked but never had the confidence to execute. 

Some people argue that his style is very distracting, however I think his smooth movements help the scenes maintain a rhythm and keep me interested. I am definitely going to look into how to execute moving shots like his, as I believe that would suit the theme of our programme.

Another director I admire is Zack Snyder:


Zack Snyder

Snyder is also an American director, however he produces and screen writes too. He is mainly known for action and science fiction films like Watchmen and Man Of Steel, but it's his unique style that catches my eye. I'm a big fan of his use of slow motion, and he uses a technique called "speed ramping"

Speed Ramping is the process of progressively speeding up or slowing down the frame rate in video footage. Snyder uses this with great effect, especially in the action scenes in Man Of Steel. I want to use slow motion in our football scenes as I believe they help create suspense as well as give a dynamic feel on the film. I will use Snyder's techniques as a starting point, as I believe his camera techniques would suit our football scenes. 

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Pre-Production Major Project Research: Directing Football film/programme

I have been researching into how to string shots together to make dynamic scenes (mainly for the football scenes at the start and end of the script). The two main points that I've come across are "having an objective in mind" and the "different camera shots":

Have an Objective in Mind

This type of realistic behavior is what you want to capture in your fiction writing, and the way to do it is by utilizing various camera angles, the difference being that you have a specific intention in doing so. Rather than show a random encounter with boring dialog and nothing all that interesting happening in the scene—which is what real life often is like—you have an objective in playing this scene out, that high point you are leading to, a moment of revelation or plot twist that is going deliver with a punch when you reach it. And so every camera angle is used deliberately to give the most punch when needed.
Television producers follow a basic rule that no shot should last more than thirty seconds, and no scene should last longer than three minutes. This is the 30-3 Rule. This is the basic idea of how shot sequences are made. You take one long scene and break it down into a variety of short shots.
How does this translate to fiction? A scene can take much longer than three minutes to read, and sometimes it may cover a number of moments in time, some even separated by days and weeks. But if you break down your scenes and look at the segments that take place, you will find a natural rhythm that feels just right. Remember, scenes should be mini novels, with a beginning, middle, and end. It doesn’t work to place strict rules on scenes, for they should be as long as they need to be—whatever it takes to effectively reveal the bit of storyline intended while keeping the pacing and tension taut. However, I believe if you lay out your scenes intentionally with a series of camera shots, leaving out excessive narration and backstory, your scenes will “move” like a movie and will feel like concise, succinct movie scenes.

 Two Types of Camera Shots

Essentially, there are two types of camera shots—stationary and moving. I’ve never seen them classified this way, so I use these terms I came up with. Or you could think of them as static and dynamic, or still and kinetic. Use whatever terms work for you. But basically we’re talking about filming a moment in which the camera is either moving or not moving. Simple.
You decide which types of camera shots you will use based on your high moment. If the high point of your scene involves showing an expression of someone’s face, an object (like a ring), a small detail not before noticed, then the key camera shot will be a Close-Up (CU), which might also be called a Close Shot, or it might be Angle On. If the high moment will be a sudden massive explosion due to an unnoticed gas leak, the key moment will require a Pull Back (PB) and/or a Long Shot (LS). By knowing the key moment and how your plot builds to it, you can plan the camera angles to best enhance the visual experience and evoke the strongest emotional reaction from your reader.
Of course, your scenes have more to them than just the high moment, and for that reason, you will need to use a number of camera angles for each scene, for the most part. Once you identify your high moment and determine what shot is needed then (since that shot needs the most emphasis), you can work backward and forward, figuring out the rest of the shots. This is just my method. I have no idea if movie directors think this way or plan each scene out in any particular fashion. Maybe some work chronologically, deciding on the first shot and going from there. But I believe if you use this method, it will best serve you and the needs of your plot.
So as we go through these stationary and moving camera shots, think about when you might want to keep the “camera still” and when you want to move it from one place to another. As you will see, there’s a specific purpose to each shot.
Source: http://www.livewritethrive.com/2013/02/13/string-shots-together-to-make-scenes/


The '30-3 rule' is one I have never come across before, however it is very interesting and one I am definitely going to use. The last thing I want is to have my audience feeling bored due to certain scenes/shots being too long/simple. I am going to use this research to construct a detailed shot list, and I will have in mind this rule when I do.

Establishing my "high moment" is another factor I have never thought about before when directing in my previous projects. This makes a lot of sense, and I believe this will help me to really emphasise what moods/themes I want my different scenes to contain.

This research has really opened my eyes to the amount of detail that is needed when working on big projects. It is not a matter of thinking of shots and putting them together, there are a number of components I need to think about to really get the best out of my actors and locations.


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Pre Production Major Project: Directing Styles Research

I have been researching into different ways to direct people/films. There are many different styles I could take, so I have been looking at them all and deciding which ones suit me best.


The Dictator
In this style of directing, the director has a strongly assertive role and is very dominant in the process of creating a theatrical work. Rehearsals are more or less fully controlled and predictable, with the actors having little or no say.

The Negotiator
‘The negotiator‘ is a style of direction in which the director focuses on a more improvised and mediated form of rehearsal and creation, using the ideas of the production team and actors to shape a theatrical work in quite a democratic style.

The Creative Artist
The director sees himself or herself as a creative artist working with the ‘materials’ of dramatic creativity, be they the actors, designers and production team. The “creative artist” wants input from the actors but, as artist, has final say over what is included and how ideas are incorporated.

The Confrontationalist

In this style of directing, the director is in constant dialogue and debate with the cast and the production team about creative decisions and interpretations. The director seeks out and actively engages in such exchanges. Out of these exchanges, which can sometimes be heated or risky, comes a final contested product.

http://www.edubuzz.org/dgs_drama/styles-of-directing/

I believe I am a mixture of the top 3 when directing films. I am always making sure I am listening to different peoples opinions while shooting, whether it's the actors or production team, as I understand that people may think of spontaneous shots/movements on the day which I may not have thought of. I always create a shot list, however I am open to making it flexible as I, along with others, will all have creative minds on set and will think of other ideas which could enhance the creativity of the film. On the other hand, I am very much in control when directing, and the talent as well as my team will always listen to me and my final decisions. The key to directing a successful film is having respect from everyone, as they are more likely to listen and comply to my directions. That's one quality I take great pride in, and I believe that helps me separate from the rest. Actors and actresses are always going to perform at their best when they are comfortable, and respect/get along with the director. This means people/social skills is a big part of directing.

I have also been researching into HOW to direct different shots. Here is an example I found which shows how a director should see different shots:

"For example, you may be walking down the street and you come across two of your friends having a small picnic at one of the tables in the city park at the corner. Your mind will probably direct your eyes into the following views of the couple:


  • First, you would have a Wide-Angle or Long Shot of the entire scene.
  • As you walk toward the couple, you will look at one person, and then the other.
  • As you come closer, you might shift your focus and look at what is on the table.
  • Your next glance will probably be at the first person who speaks to you.
  • As the conversation continues, your eyes will shift from person to person, from person to table, from an action of one person to that person’s face etc., etc. The combinations could be endless."
Source: http://www.livewritethrive.com/2013/02/13/string-shots-together-to-make-scenes

To me, this is a great way of describing what happens in a directors head when constructing shots. When creating my shot list, I am going to use this research to make sure I am thinking of every scenario correctly and in detail. This has shown me that there are endless amounts of combinations when filming different scenes, so it's up to me to decide on my style and use it consistently.

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Pre Production Major Project: Test Shoot Research

Test shoots are very important for productions, as they will help us be very prepared for the actual shoot (where time is limited). After researching on key components to a shoot, I came across this video that will help me think of all the important aspects in the test shoot:



This video is suggesting vital components when preparing a shoot including last minute preparations, shooting techniques and how to direct a crew. I am going to show my crew this video as I believe it will help everyone in their different roles (mainly Chris and camera crew). 

The 180 degree wall is very important for both Chris and I as we don't want to cross the line and confuse the audience. We want to keep a constant perspective for the viewers, so the camera set up and test shots will be key to not making this mistake.

It also explains the length of different shots, even using "a wedding scene" as the example of a "longer slow paced event" which is what I will be doing for our wedding scene. On the other hand, I will be using shorter fast paced cuts for the football scenes, so I need to practice both styles in the test shoot.

The main points I've taken from this video are the directing tips. It has made me realise how much communication is needed when shooting, a loud voice with clear commands is vital. I am going to take these points on board and practice them on test shoots so I can perfect my style before the actual filming.

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