Overall I am very happy with the programme, and the production as a whole. I believe we have made a very professional television pilot that appeals to our young (adult) target market through the use of humour and imagery. There were set backs, but we all pulled through as a team. Considering the lack of budget and time, I believe we did the great script justice.
From a personal point of view, I am extremely proud of what I have created as Director of this production. The job was very difficult, especially when certain situations occurred within my team, meaning I had to concentrate and work really hard with the tasks at hand. I have never created a programme over 10 minutes before, so to direct a 30 page script under strict time schedules and bad weather conditions, is one achievement I will take with me in future productions. Completing this task has injected me with lots of confidence to direct future projects, and carry on learning through experiences.
Like anyone, I will always try and learn from my mistakes and use this experience to enhance my abilities and preparation in future projects/jobs. Next time I will definitely work on improving my time management, as I believe I could have used it better in this production. I'd also put more time and effort into the preparation in the pre-production stage as I believe this would have put me in a much better situation if I had not overlooked certain aspects before filming.
To conclude, I am extremely proud of my performance throughout the production, and I'm very much looking forward to sharing the programme with everyone after gaining valuable experience from a very difficult but enjoyable production.
During the editing process, we all realised that the programme needed to be trimmed as it was too long and quite slow. All the shots were there, they just needed trimming, and some less important scenes needed deleting. This was quite difficult as a director as I had worked so hard to film everything to a high standard, and now it's being deleted. On the other hand, I understood every point that different people said and I now know that cutting out scenes actually makes a massive impact on the rhythm of the entire programme.
I thought I'd wider my understanding of the editing process as a director by researching into an article that was written by an editor who also directs:
Let Go of Your Ideas
"I guess that you are directing your own
script. Even if not, chances are you will be scared when your editor starts
cutting out things you thought were important for the story. Don’t think the
editor is disrespecting your script, or your direction, when they cut a line of
dialogue. The beautiful thing about film, is that images speak louder than
words. You might have needed that line on the page, but now that your actors
are fleshing it out, you can trust that their performance will convey the
emotion and the idea that previously needed dialogue. In saying that, it
doesn’t mean that you shouldn’t have written that line in the first place."
This is advice that I have taken on board as "images speak louder than words" is one thing that shines throughout this programme, especially as it's heavily dialogue based. This has meant that most scenes have been trimmed without losing the story, as the performances of the actors are strong enough to not need as much dialogue (mainly through their actions and facial expressions).
But Also – Fight for Your Vision
"In the same way that your actors are going
to interpret a scene differently from what you had envisioned, your editor will
also cut it with a different meaning to what you had intended. The actors and
the editor will sometimes come up with an idea that makes the scene better, and
sometimes they’ll take it somewhere you don’t want it to go. Just direct them."
I have always used this approach when working with Chris in the editing stage of productions. We work well as a team as he finds things that I don't see, while I direct him different ideas with how I want the scene. If he ever takes it to somewhere I don't want it to go, then I make sure I speak up and steer him into the right direction.
Throw Away the Script
"Your editor will look through absolutely
everything and make an “assembly edit” containing the best takes of all that
was shot (even if they already know that will be cut). This will be as close to
the paper script as it can be, and it will be unwatchable. So forget about it,
and look at what you now have in front of you, which pieces are necessary to
tell your story."
Both Chris and I throw away the script once editing is in place as we know the story inside out by then. Again this is something we've done on previous projects, therefore this research has shown that we're heading in the right direction as a team.
I have learned many new things throughout my 3 years on this course, one major one being the different type of shots directors can use. One I have always been intrigued with, but never had the confidence to do, is selective focus (also known as rack focus)
Rack focus is defined as:
"A rack focus in filmmaking and television
production is the practice of changing the focus of the lens during a shot. The
term can refer to small or large changes of focus. If the focus is shallow,
then the technique becomes more noticeable."
Here is an example of rack focus:
After seeing this shot in many good films, whether it was in a famous one, or even a fellow classmates, I planned to use this style in my latest project. After reading the script, I knew exactly where and when I would use this particular technique. There is a scene near the end of the film where Don turns up to the boys playing football, which came to a great surprise to everyone. This scene involves a lot of build up, as well as a dramatic entrance, therefore I couldn't think of a better time to use rack focus. This advanced type of camera shot is used for these moods/reveals in famous films, including "Young Victoria" (2009) where it is used brilliantly:
I used these films in my research so I could execute my shot with the right timing and elegance. I also warned Chris in advance with my shot list so he could do the relevant research to nail the shot too. I found this which became very helpful to both of us:
"By using a large aperture value (f/1.4,
f/2.0) you will be able to create a shallow depth of field. This effectively leaves one part of the frame
in focus while blurring others, such as the foreground or background. When you change the focus in the shot from
the foreground to the background you’re doing another advanced camera shot
called a rack focus."
This information was very useful as it meant Chris could set up the camera properly and I gained more knowledge on what rack focus was exactly. I then found these 4 easy steps:
Step 1: Setting up the Camcorder
Now you need to set up your video camera on
a tripod to keep it steady. This will ensure that the video is of a high
quality and isn't jerky. Position the camera so that it is fairly close to the
subject in the foreground. Check that the camera is positioned so that you can
still see the person or subject in the background.
Step 2: Focusing
Set the camcorder in manual focus mode. Now
focus the video camera so that the first object is in focus. The second object
should be blurred and out of focus.
Step 3: The Effect
Now press the record button and start to
slowly adjust the focus so that the second object comes into focus. The effect
should then be repeated at least another two times so that you can choose which
effect works the best when editing.
Step 4: Other Options
If your camera doesn't support manual focus
then all is not lost. It is still possible to create similar looking effects.
To do this you will need to use auto focus and trick the camera into focusing
on something in the distance. To make this possible lock onto something and
then move the camera. Then move the camera to your subject and the camera will
lock onto them and auto focus.
After extensive research, planning and practice, we were ready to execute this shot on film week, and it went very smoothly. After framing my shot, I told my actors what to do, and then we filmed it. I told Jamie (playing Ollie) to bend down as if he was tired, which would then reveal Don walking over - this is when the rack focus came in to play:
As you can see, the focus was on Jamie, but then when he bent over, the focus then shifted onto Paul (playing Don). This is a very important part in the film as this is when Don supports the team to victory, having a massive impact on the players. This reveal, along with the advanced camera work, will have a great impact on the viewers, as they will appreciate the shot and the story. Dramatic motivating non-diegetic soundtrack will be used for this part to really build up the scene and captivate the viewers attention
During the shoot I had to edit certain parts of the script as I've realised that it doesn't always work on screen like it does on paper. For example I changed the girl being hit by a ball, to a guy having a wee against a tree instead. I chose this for many reasons, one being the fact it would be difficult to film a young girl being hit by a ball, this could hurt her and get us in serious trouble. Secondly, I believe having someone urinating in the bushes and then getting hit will add more comedy value to the scene as it's less serious.
There were certain lines I changed slightly too as I believe this helped the story, as well as the actors performances. One example would be Deans lines when he's comforting Nath after being beat up by the Strood lads. There are certain parts of that dialogue that were too "wordy" and "tongue-twisters" especially for Malik (playing Dean) who struggled to deliver at times. I took it upon myself to edit the script slightly in his favour, but maintained the story as well as the tone of the scene.
These tweaks and changes are exactly what directing programmes is all about. The script could be the most exciting and talented one to read, but sometimes it can be too long or not sound right when it's being filmed with a cast and crew
After reading the script, I knew I had a challenge on my hands as it involved a number of exterior locations. This meant I had to plan and prepare very carefully as obvious obstacles like light and wind could cause serious issues. I have filmed outside before so I had a rough idea of what kind of actions/precautions were needed, however I spent some time researching and found some useful tips, particularly in this video:
This video was very useful as it is aimed at films with a low budget, always giving cheap alternatives for productions like ourselves. We are lucky enough to have specialised equipment, which puts us in good stead to create good shots with high quality sound, despite the winter conditions.
I also found these tips that are very helpful:
Use the sun as a backlight. By placing your
subject between you and the sun, you can achieve a backlit or “halo” effect
that emphasises the outline of your subject. This works best when sun is at a
45 degree angle; if it’s too low, you risk getting lens flare, so try this
after midday.
Use the “golden hours” of daylight. Another
option, depending on the look and feel you’re going for, is to film when the
sun is low in the sky (roughly an hour after sunrise and an hour before
sunset). Filming with the sun at your back will give your subject a rosy glow.
Use a wide aperture. By manually selecting
a wide aperture and zooming in on your subject, you’ll be able to blur the
background and sharpen the image of your subject. This is a nice way to
visually create ambience without distracting from the subject.
Use a microphone. Perhaps this goes without
saying, but outside environments tend to have ambient noise, which leads to
lessened sound quality in your recording. To solve this problem, use a clip mic
or a boom mic—both of which you can place close to the speaker—to make sure the
focal sound is the speaker, not the background.
Use filters. Most cameras these days come
with a variety of filters that will eliminate the slight annoyances of outdoor
filming that can be distracting, like reflections and glare. A UV filter, for
example, will reduce glare, while a polarizing filter will reduce reflections
from water and windows. Read your manual to find out what filters your camera
has, and use them!
Avoid autofocus. Shooting outdoors often
means that there will be several objects in your depth of field, such as
buildings, trees, etc. This can confuse the autofocus, and if you’re not
careful you’ll end up with footage that keeps focusing on the trees behind your
subject, and blurring your subject. Always try to use the manual focus when
you’re shooting outdoors to keep this from happening.
These tips can also be easily done with the equipment that we have, so Chris and I can create good footage despite the challenge.
Another aspect I need to take into consideration is the welfare of my cast and crew. The cold conditions will mean they need to wrap up warm and stay active (especially through the football scenes). There will be times when they are not needed in a particular scene, so wrapping up warm and supplying hot food/drink will be top priority during these production periods.
As part of the editing process, Chris and I have been working on the non-diegetic soundtrack, as well as the diegetic sounds of actions throughout the programme. There are sounds on Final Cut that work well, however we are also using royalty free websites that charge a small fee for high quality sounds.
Audio Jungle is one:
It has a "preview"option so you can put it in your film and see if it goes well with the imagery on screen. Of course it has a watermark so you can't have it for free, but the preview is very useful when deciding what sound is best for each scene.
One problem we've had throughout is the soundtrack at the beginning. It's the opening football scene so I want it to build up, and having a non-diegetic soundtrack should help this. I put forward the option of using the Instrumental version of Kasabians "Clubfoot":
It's a very upbeat and motivational soundtrack, and one I have used in a previous project. It has also been used in films like "Goal" which links in nicely to our football orientated opening sequence. On the other hand, it is right before the title sequence which is the iconic part of the programme, so I don't want that to be drowned out by an intense opening soundtrack.
Other segments we've been working on are the sounds for the B-Roll. They are only short, but show a progression in time, so we want short upbeat music to keep the pace of the film going nicely. Simple melodies from the royalty free websites are working well, and definitely enhance the overall quality and mood of the programme.
Finally the diegetic sounds to reinforce the dramatic scenes are making a big difference. Ollie kicking the ball after a loud heartbeat is one example of where we've used a diegetic sound to enhance the drama in the opening sequence. They are also useful for graphic matches, for example when the champagne glasses clink together after a punch in the boxing scene. These sounds not only help the audience to understand the story, but also reinforce the genre of drama and realism.
