Thursday 28 November 2019

M2 - ETHICAL ISSUES

REPRESENTATION

STEREOTYPES

SOCIAL GROUP/PERSON AND SYMBOLISM 
- IN OUR VIDEO
Our video has minimal human representation. Instead, we
use the visage of an animal - the lead actor will be obscured
beneath the mask. Our main character is of
non-specific gender. The rabbit symbolism that 
we use is very interesting to me as someone 
enthusiastic about folklore and cultural symbolism.

Rabbits can represent:
  • Innocence, naivety and childlike curiosity. The white rabbit from The Adventures of Alice in Wonderland (Lewis Carroll) embodies a lot of this as the titular character, Alice, follows him. He may represent her curiosity and is now well known and recognised in pop culture.
  • In some circles, rabbits may be seen as lucky creatures or a symbol of good fortune. The white of the rabbit we're representing in the video links to purity - perhaps perfection to a degree that's slightly eerie.
  • Rabbits are also associated with spring, Easter and fertility. This could link to the idea of rebirth, new life or vitality. 
  • Childishness. This rabbit could represent a child dealing with loss.

The singer will appear for short moments throughout
the video, though vague and disjointed. This is to shroud
his appearance and create mystery. The only other human
beings in the video will also be disjointed and the viewer
will only see certain parts of their bodies. As the crew, we
will be playing these other small parts. There is no relevant
representation of and religion or sexuality.

PLACE/SPACIAL REPRESENTATION
We're using certain places in our local area, including a
graveyard. With this, there are obvious things we have to
consider such as respect for the dead and it being a general
public place.
The way in which we're representing it concerns:

  • The way the character interacts with the space; they briefly touch and observe the graves - we haven't chosen it for religious reasons although some of the graves do depict christian crosses. This is irrelevant to the concept but we were careful to treat them respectfully. The character is shown to be unknowing of human culture and confused, therefore they are inspecting the graves with wonder.


STUART HALL'S REPRESENTATION THEORY



  • SOCIAL GROUP
  • EVENT
  • PLACE

Hall believed that the media gives things meaning - if you see something in the media, that information is being filtered through somebody or multiple people, all with opinions and agendas of their own. This means that news and representations of people, places and social groups will go through various degrees of distortion before you see it.
Take, for example, Jeremy Corbyn:














A paper biased against Corbyn















A paper biased for Corbyn


Here, he is being represented in two different ways. The point here is that, because you've likely never met him in person, your perception will always be warped by the media and (by extension) consumers of that media around you. Media re-creates reality rather than capturing it and so will always be different to life. No one subject or figure, such as Corbyn, has a single meaning in reality. The media creates meaning and spreads agendas - for instance, many people believe that "the media" at large is biased towards attacking him. He is an excellent example of people pushing agendas through media. This is the basis of Hall's theory.

It is important to keep in mind that those who run the media have the power to warp our perceptions of the world. Our views on certain social groups, people and places are all influenced by the media, and by extension those who control it. Unfortunately, those who run our current media are generally described as older white men. This means that our perceptions and preconceptions are being overseen by people likely out of touch with us and social groups that aren't their own. Until other people can make it up in the world enough to overtake them, we will be stuck with this old-fashioned system of thought influencing by hegemonic media companies. Their distinct lack of focus on diversity narrows our perceptions as the general public. Their attempts to fixate the media around their own views is done, in part, due to a desire to maintain social security and push others out. Therefore, it is difficult to challenge these companies or people at all. I'm hopeful that this will change in my lifetime, but this may require proactivity on the part of the youth of today.
Stuart Hall's further idea of Reception Theory is that audiences should always, constantly be questioning the media they consume. If we interrogate what we watch, read and witness then perhaps we can make a headway into taking the media into our own hands.


P3 - PRODUCTION SCHEDULE


Editing Techniques

Cutting on action
- a cut when the subject is in motion
- used to show dynamic movement and
  bridges the gap between the viewer
  and the action

Jump cut
- a cut with the exact same framing
  before and after, but the subject is in
  a different position
- used to illustrate waiting for long 
  periods of time without boring the 
  viewer, used to show progress, montages

Cross cut
- a cut between two locations or
  subjects
- used in telephone calls to show
  the viewer both sides of the conversation,
  used to elevate tension ie. a kidnapper
  walking into a house whilst someone is
  attempting to escape

P4 - PRODUCTION DIARY

written by Eleanor Payne 

SATURDAY 30TH NOVEMBER

FILMING

On Saturday, we began filming our rushes in the Burley Graveyard. We used Natasha's camera, Hazel's SD card and the rabbit mask we bought. Hazel was today's rabbit and so she wore simple black with a large coat and scarf. If we needed, I could also be the rabbit - I wore black under my jumper, just in case we needed another person to act. We're both quite lanky so we could pass off as the same rabbit.

We first got some nice silhouette shots of the rabbit stood across from a grave. It was a christian cross headstone so we had to bear in mind religious representation and respect. Setting up the camera on the tripod was relatively easy and we got the shots in good time. The things we had to bear in mind whilst filming were:

  • The golden ratio and rule of thirds
  • Focus and zoom
  • Lighting and white balance
From today's filming, we've learnt that our strength was efficiency and getting the shots we needed in the time we had. We worked from the storyboard and crossed each panel off that we filmed.
Next time we film, we could perhaps focus more on the golden ratio and composition of our shots, and in addition the delicacy of each (getting the zoom, angle and focus exactly correct). We'll have more time next Saturday to film the rest of what we need but I think we've made a great headway.



TUESDAY 3RD DECEMBER

EDITING

Today was our first day of editing - we had the shots from the graveyard to work with. We managed to get a lot of extra footage to fall back on. Hazel, our editor, had control of the mac but Natasha and I chipped in with suggestions and reminders, referring back to our initial storyboard. We stuck fairly closely to the panels so it wasn't difficult to get them in order and add placeholders for the footage we don't have yet.























This is the first assembly of the video we finished today - it shows our progress up until this point:







Natasha and Hazel filmed some more after school - next time we edit, we can now replace our placeholder images.




WEDNESDAY 4TH DECEMBER

EDITING

We continued with the editing process, adding in the footage Natasha and Hazel filmed the other day.


We had another look at the order things were in and decided to move some footage about. We started to think about lining everything up with the music as well as the storyboard we had filmed with.

One particular focus of today was the colour correction and the stabilisation of each shot. Hazel went through them and we all decided what looked best, bearing in mind the conventions of the indie genre.


"Keyframes are an absolute nightmare" - Hazel Potter





SATURDAY 7TH DECEMBER

FILMING

We spent today filming the rest of the rushes for the video. Previously, we had crossed off the parts of the storyboard that we'd filmed in the graveyard and so it was clear what we needed today. As the Rabbit, Hazel needed to act in front of the camera. Natasha was the cinematographer and primary camera operator, and so needed to be behind it to line up each shot. In the director's role, I made sure each shot looked good and made sure we were sticking to the storyboard.

We first filmed in the underpass in Burley - it was tinged a very warm yellow, which we've since realised in editing it, and is something to watch out for and keep in mind in future with choosing locations. It had interesting leading lines which make for a good composition and we definitely made use of it. The one obstruction we repeatedly came across were the dog walkers that came past and through the tunnel. We had to wait a while at times for people and their pets to pass.

After this, we filmed along the river. We had to watch out for slippery mud, certainly with Hazel's obscured vision with the mask, and also for people's properties - it was unclear what land we were allowed to be on and so we had to take care not to trespass.



We then had to finish the filming day by going over our documents and ensuring we had every shot.





MONDAY 9TH DECEMBER

EDITING

Today, we were tasked with adding the newest rushes into our video. Hazel put them into order and we worked as a group to get things in order, according to the storyboard and also what looked best. There were a couple of things we had to change or take creative liberties with, but other than that it turned out very similar.


Tuesday 26 November 2019

FILM MAKING WORKSHOP

SPARROW




I worked with Amaani Kishver, Mia Muttick and Hazel Potter on this short film for a workshop. We completed all tasks in a single day and it was difficult to stick to time constraints. Our group dynamic was that we all more-or-less took turns doing each job on set - I had to be in two scenes because nobody else was particularly willing and Mia ended up behind the camera.

Our idea was a simple spy scenario -

  • Sparrow and Lark have a conversation about something that went wrong.
  • Lark then relays this information to their boss, Robin. The secret plan is revealed.
  • Lark walks away, Sparrow enters Robin's office and reveals that they know the plan
We got things done in time and with minimal fuss, however there were issues with the audio quality.
I learned that, on a film set, things always take longer than intended. Next time, I'll give the crew enough time to get everything done and always have at least two takes of each shot.

Since this is a functioning and active school, there were some issues with the audio quality, from white noise to young children screaming in the background which couldn't really be helped. We did try alternatives but because there were no microphones, we had to use the iPhone voice recorder which we discovered in post-production, wasn't any better, forcing us to try and enhance it with FCP audio effects and music to avoid clunky transitions.
We learnt that more time must be left for filming and editing than we first expected as it takes a lot more time, especially with reshoots we had to do. Also next time, we might get professional actors in so the performance is more polished and less amateur.
Next time, we would have microphones and hire out or pre-book silent (or quieter) rooms to film in to
quicken the overall pace of the shooting day. To keep the morale of the crew up, it would be a good idea to bring along snacks and treats to keep everyone happy. Additionally, we would make sure to carry spare sd cards and batteries, checking that we all have what we need before we left as one member of the crew forgot her hearing aids and had to return for them as they are essential. 





Monday 25 November 2019

M2 - LEGAL ISSUES

OFCOM


Regulate what can be shown onscreen, on radio and on broadcast. Their duties come from parliament and they ensure that people are not exposed to inappropriate things or scammed. It sets standards for programmes, sponsorship and product placement. 




UNDER EIGHTEENS

  • Ensuring that anything that could be considered harmful to under 18s is not broadcast when they are likely to be tuning in, such as the encouragement of sex, the occult, nudity, drugs use, alcohol use, adult language and violence. 
  • The Watershed is 9pm - you mustn't broadcast inappropriate content before 9pm.
  • The involvement of under-18s in filming.
HARM AND OFFENCE
  • Provide protection of the public from depictions of harm, suicide and violence.
  • Protect the public from hypnosis, photosensitive epilepsy-inducing sequences or sickness.
  • Broadcast competitions must be regulated.
CRIME, DISORDER, HATRED AND ABUSE
  • Material that has the potential to spark violence in viewers, lead to crime or cause disorder. cannot be shown.
  • Hate speech cannot be encouraged, such as homophobic, racist or sexist slurs.
RELIGION
  • Proper degrees of respect are shown for religions and discrimination is not encouraged or, if possible, depicted at all.
  • Religious programmes must not seek to promote or sell religious views or beliefs subliminally.
  • The religion being depicted must be clear to the audience.

BBFC


The British board for film classification, decide on ratings for films so that they can be distributed and shown to audiences across Britain. Ensures that the right audiences see the right films and nobody sees something inappropriate for their age. Emphasis on the context in which things are shown!

















UNIVERSAL

  • Potentially dangerous behaviour must be disapproved of or not depicted. Attainable weapons must not be shown.
  • Scary or potentially unsettling scenes should be mild/
  • Discrimination should not be depicted.
  • References to drugs or drug use should be scarce or not depicted.
  • Infrequent use of mild bad language.
  • Occasional nudity.
  • No sexual content.
  • Mild contextual violence.












PARENTAL GUIDANCE

  • No glamorisation or encouragement of dangerous behaviour that children may be able to copy.
  • Scary or potentially unsettling scenes should not be prolonged
  • Discrimination should not be depicted.
  • References to drugs or drug use should be discouraging or not depicted.
  • Infrequent use of mild bad language.
  • Occasional nudity.
  • Mild sexual implications or innuendo.
  • Mild contextual violence.
















12A
  • No glamorisation or encouragement of dangerous behaviour that children may be able to copy.
  • Scary or potentially unsettling scenes can be moderate but the overall tone must not be 
  • Discrimination should not be depicted.
  • References to drugs or drug use should be scarce or not depicted.
  • Infrequent use of mild bad language.
  • Occasional nudity.
  • Discrete sexual references or depictions.
  • Sexual threat must only ever be implied.
  • Moderate violence, no dwelling on details.














12
  • No glamorisation or encouragement of dangerous behaviour that children may be able to copy.
  • Scary or potentially unsettling scenes can be moderate but the overall tone must not be 
  • Discrimination should not be depicted.
  • References to drugs or drug use should be scarce or not depicted.
  • Infrequent use of mild bad language.
  • Occasional nudity.
  • Discrete sexual references or depictions.
  • Sexual threat must only ever be implied.
  • Moderate violence, no dwelling on details.














15
  • Dangerous behaviour should not be dwelled on.
  • Strong threat or horror may be depicted, must not be sadistic in nature.
  • There may be discrimination depicted but it should not be encouraged.
  • References to drugs or drug use can be depicted but must not be encouraged.
  • Strong contextual bad language.
  • No constraints on nudity but likely used in a comical context.
  • Sexual activity without detail.
  • Strong contextual violence.
















18
  • Adults may choose their own entertainment, but works rated 18 cannot be viewed by anybody below that.



















R18
  • Strong sexual content involving adults.

CLAWS BBFC RATING

We've decided that Claws would likely receive a PG rating because of its challenging themes.

CODE OF PRACTICE

We completed a risk assessment, actor consent forms and location consent forms to ensure we would all be safe and on task. These are the main risks listed in London's code of practice for filming in the city and in general. It works for where we would like to film as well.







































We need to be aware of the following:


  • Council property
  • Health and safety
  • Lighting
  • Litter removal
  • Noise
  • Problem solving
  • Public liability insurance
  • Residents
  • Risk assessments
  • Rivers and waterways












P3 - CALL SHEET

30TH NOVEMBER

7TH DECEMBER

Wednesday 20 November 2019

LIGHTING

Lighting techniques




 Rembrandt
Named after a painter (or painters under his name!) known for the triangle of light on one cheek.


Loop
Creates a loop next to the nose (my picture's slipping into Rembrandt a bit, this wasn't intentional).










Flat
Bog-standard lighting.









Butterfly
Supposedly more feminine-looking lighting, used often with classical female actresses. Makes a small butterfly shape below the nose.







Raccoon
Generally a lighting mistake, having the light source too high up.












Half-and-half
An interesting way to present mysterious characters or someone with secrets.

Spooky lighting (EXTRA)
 I just thought this one looked funny.

Tuesday 19 November 2019

P3 - RISK ASSESSMENT

P3 - PRODUCTION SCHEDULE


P3 - RECCE


We conducted this recce in order to document the potential risks of our locations. It was important for our risk assessment to know what we would be dealing with when we got there. We found that our most prominent risk was the mud by the river. 

BURLEY


RIVER AREA














WOODED AREA




TUNNEL






CATHEDRAL



(DOGS NOT INCLUDED)