JAGN Film

Photography is Truth. The Cinema is Truth Twenty-four Times Per Second. - Jean-Luc Godard

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SIS | Ideas for an interactive story

1. B.R.O.X style video - Changes over time. The audience has to wait for events to unfold in real time within the story, before they can be found within the video(s).

2. Secret/Hidden Stories - This series would be made up of videos hidden around the internet or even the real world. Hidden links within each video can take the viewer to new videos which explain the story further or add new elements to it. Alternatively, each episode/video is in a different location in the real world and viewers must travel here to find each episode.

3. Point of View video - A conversation between two people where the viewer can choose who’s point of view they can watch from. They can switch POV at any point in the video. 

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SIS | Interactive Video Research

Bob Dylan, ‘Rolling Stone’ - Interactive Music Video: 

http://video.bobdylan.com/desktop.html 

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Reflective Evaluation of FFCP1

I have found this module to be very engaging as it has challenged me to overcome issues and challenges towards developing an effective and appropriate film narrative, as well as difficulties regarding shooting and editing my film. All these experiences have allowed me to develop my film making abilities to a higher and more professional level. I feel I have improved my capability to construct well formed narratives that satisfy a set brief, and can effectively plan, prepare and execute a film shoot.

The shoot itself was straight forward and simple, however the lack of any supporting crew, (aside from actors) meant I was filling all the roles that were required on set. It helped that I was working with entirely natural light as this reduced the amount of equipment that needed to be set up before each shot. Working with as little equipment as possible was very important as the entire cast and crew reached a total of three people. This was one reason why I decided not to record any sound on set, as it would have been another job to worry about on an already tight shooting schedule. This choice meant that all the sound would be added separately, so ambient noises such as background sound, footsteps, phones etc all had to be sourced and added in during the edit.

Editing 'Stair Crossed Lovers' was a very long and at times tedious process. I found creating the first cut was simple enough, but after discovering I needed to find and add two more minutes of footage, I began to feel governed by the films length. Thankfully, once I found the time to shoot some more footage, a new, longer version of my film began to emerge. Initially I had added shots of a cello being played as a sort of prelude, but after reviewing some feedback realised it was slightly too abstract and out of place. I began to realise that in my attempts to simply lengthen the film, I was bolting on sections that were unnecessary. Eventually, I found that remembering the core values of the narrative was the best frame of mind to be in when needing to add whole new sections to your film, and once I had learned this I managed to create a new, longer cut which not only kept the original narrative, but actually developed it further and reinforced it. In the end, this longer cut portrayed my story much stronger than the original.

Music was always a key feature for my narrative, therefore it was critical to make sure I had the right soundtrack for the film. When I produced an animatic to help with deciding what the soundtrack should sound like, I ended up using a mash up of two famous songs which harmonise at a certain point. This reflected my story perfectly, but the only problem here was that these songs are copyrighted, which meant that if I used them, I would have no rights to use my film for anything. To overcome this, I had no choice but to use copyright free music, and this made the process of finding two harmonising tracks extremely difficult, to the point where I still find myself frustrated about how the current soundtrack is. It’s a shame that I couldn’t use the copyrighted music, but ultimately I feel the soundtrack still tells its part of the narrative and I now have a film which will feature at the Hay festival.

The outcome of this module has been a rewarding success. I have made a film which I can say is truly my own work and be proud of, but also is being featured at a prestigious festival. This is something I feel great joy and satisfaction in knowing, that all the work and effort I've put in to this project has gone into something that will be seen by many. I think that is the ultimate reward for a film maker.        

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Stairs not Escalators

Although I originally wanted to use escalators at a key narrative tool in my film, I decided that stairs would give my film a better aesthetic, as well as be more practical to film. Below are a few different locations I could potentially film at:

1) Public steps outside Malvern Theatres, Malvern

These stairs have a lot of space around them to work in which is ideal for a film set, however due to its popular location, would most likely remain busy throughout the day. This means using film equipment here could be a serious hazard to the public, but also that continuity errors may easily occur as members of the public wander in and out of frame in the background. 

2) Public stairs outside Malvern Library, Malvern

These stairs are very wide and so offer plenty of room to work, again however the location is not ideal as members of public will be using these stairs for most hours of the day. Sunday is the only day of the week the library won't be open, so places massive shooting restrictions on the schedule.

3) Public stairs leading towards footpath to shops, Malvern

The secretive location of these stairs is ideal for minimal public interference, although there isn't as much space to set up shots around the stairs. After close consideration of the shots I will need, there is only one shot that will be challenging at this location, whereas at the aforementioned locations all shots face a notable degree of difficulty due to public interference. 

This location research leads me to conclude location 3 as the best choice for my shoot.

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‘Stair Crossed Lovers’ Animatic

I created an animatic from the storyboard for my short film:

Because of how much this film oriented around music in the cut, I needed to produce something that would let me really see how the soundtrack was going to change with the shots. Creating this animatic was the ideal way of getting to make an edit before filming anything. This helped me properly see how my shot choices would work against the soundtrack that was so important to the narrative.

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‘Stair Crossed Lovers’ Narrative Breakdown

The narrative for this short film follows the basic 3 act structure of beginning, middle and end:

Act 1:

Set up the characters -

We begin by introducing the characters as a couple who seem to be communicating through their mobile phones by texting. They are shown travelling in opposing ways and therefore the impression that they are coming together is created. They are also both clearly listening to music through headphones which can be heard by the audience too. Each character's song is different. 

Act 2: 

Build on expectations -  

Now we enhance the idea that these two individuals are lovers coming together by merging the songs that we can hear them listening too. The music is representative of each character, and the fact we can hear their songs harmonising will reinforce the feeling they belong together. It is during this section of the film we start to hear narration of Sonnet 8 come in. The tone of the sonnet will suggest that all is not as it seems. 

Act 3: 

The reveal - 

 In the final act it is discovered that these two people actually don’t know each other at all. The illusion built by the previous acts is broken when we finally see a frame that includes both characters passing on a flight of public stairs. It is here we see them pass without a single glance toward the other and they continue to use their phones as before. We do however notice that the music is still united which serves as a suggestion that they truly where a good pair, but fate had decided they were never to meet despite getting so close. The final shots are of each person looking back curiously at different moments, as if they somehow knew the person they just passed, but eye contact is never made as they go separate ways.  

END

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Reflective Evaluation of FFP1

I have found this module creatively testing as the brief has been less about producing a piece based on a narrative or subject, but much more focused on a client's needs and requests towards a final product. This different kind of structure around formulating ideas is what I found most challenging, as it meant re-considering my approach to how I acted on the work.

Working with clients meant it was very important to keep someone else's requirements in mind. Also, it introduces a creative restriction depending on what exactly the client asks for. When discussing with my client what it was they wanted out of this film, it became clear that they were very open minded towards any suggestions as far as the creative elements went, but when it came to the actual content of the film there were moments when seemingly too much was being asked for. I struggled to articulate towards the client how this could be a problem to try and put too much into a small video, and it was here that I learned the importance of tailoring the language I use when communicating to non-film educated clients. This is a very important part of the process to get right; communication of ideas, and I am very pleased I have learned through this module how to communicate better with clients. I predict this will help me a lot when working with clients in the future.  

The research process has been different for this module. Much of the core elements and themes established for the film were made during group thinking sessions and collaborative planning processes. I enjoyed working in this way as I felt a much richer sense of creativity. The method of passing ideas back and forth, slowly building on them over conversations worked very well for me. I felt that I had more to offer creatively as even small suggestions could spark a chain of ideas within the collaboration. I think in future projects, even if collaboration isn't necessary, I will try exploring  ideas in this way again.  

Once groups had been condensed into smaller pairs, I noticed a shift in the work flow. At this point we were finalising shot lists and had a clear idea of what our film needed to be for the client, and we had a shooting schedule ready. Now that I was working with one other, I noticed that I naturally fulfilled my producing role and found it easy to figure out what parts of the work I had to concentrate on. The pressure of knowing you are working as part of a team motivated me to make sure my job was done correctly and effectively.  

On the shoot, I found being under Joshes direction troubling at times as I am more used to being in that position and making decisions on set, but despite this, I feel Josh did a very good job as director. The shoot didn’t go as expected because our schedule had to be contently re-arranged to fit around the riders and their needs. I think this shoot was a big step forward for me as it was only myself and Josh in charge of orchestrating many people a day, most of which with some form of disability. This has taught me that some things you have to learn by doing them.    

I almost always edit alone, so having to collaborate during this part of the process was uncomfortable, but still rewarding. I enjoy showing different cuts of my films to receive feedback to what the next cut should be, but working as a pair in the cutting room is a less preferred way of editing for me.

Working on a client set brief has been challenging but fulfilling. I am very happy with how the final result looks, and I believe it communicates the appropriate message that our client wanted. I must remember to utilise what I have learnt during this module and apply it to future projects, both on this course and in the real world.

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Photos from R2A

The following primary research was taken at the Ride to Achieve centre at Redbrook Farm. These photos will help me in planning out potential shots and identifying key risk factors. 

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Video Research

I looked at other films and videos which cover similar subjects and narratives

Riding for the Disabled Association

John’s Story

Anneka Rice’s Lifeline Appeal for RDA

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Charity Film Ideas

Here are a few quick ideas that could be the starting point for the R2A film:

1.Sports montage

A film that shows off the sporting capabilities of the riders at R2A. This can break the stigma attached to disabilities and show how this charity is helping many people grow past their condition.

 2. Street interviews

“Do you think its possible?” is a potential tagline for this short film. It could feature interviews with members of the public asking them if they think it's possible for disabled people to ride a horse. Reveal that it of course is possible because of wonderful charities like R2A.

3. Follow one rider

This film would follow a single rider through their journey at R2A. Focusing on the progress that is made by a new rider who has just started their journey to when they achieve their goal. 

4. From the horse's point of view  

This could be a very visually interesting way of telling the story of an individual's experience at R2A. The unique perspective of a horse's point of view may allow for beautiful moments. It would rely however on a less authentic approach as these shots would have to be set up and staged.

5. Projection on horses

Starting with close ups of parts of a horse with footage of R2A being projected onto it, then gradually pulling back out to reveal the full horse. One of the riders then comes along and rides horse away, revealing charity information on screen.

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Meeting with Janet

A meeting with R2A’s leader, Janet Alderton. This was our opportunity to ask as many questions at possible to get the best possible idea of what kind of film she wants for her charity. 

Meeting Notes:

They are an affiliated group with RDA

It was launched in December 2013

The lessons work by a 1 to 1 basis between teacher and rider

All riders are private

Individual goals are identified with each rider

They cover learning, physical and mental disabilities

The abilities of all the riders ranges widely

They competed in the special olympics world games in LA

Sam was the rider who competed there

Sam has met Prince Charles

Routine is imperative with some of the riders

1 Sunday every 2 weeks off - Can be flexible if filming demands

“Its what you can do that counts” (Not what you cant do)

There is 20 different clients

Is it possible to include them all?

The film should be about the riders

Their journies

The achievements and goals for each rider is different - Ranging from holding the reins to competing in the world games.

It is possible to stage an event to get multiple riders together at once

Riding removes the restriction for a lot of the riders.

This film should aim to change perceptions of the disabled

Eg - One rider has only 6% vision and thus had to give up playing music, but when they are riding a horse, you wouldn't know they were disabled

This was an incredibly helpful meeting, and from these notes I can see a few directions this film could go in.  

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Ride 2 Achieve’s Message

It is important to understand this charity’s message and their core values, that way, coming up with ideas for their film will be much easier. 

I looked further into how R2A help disabled riders and what it is they hope to offer people in their situation.  

I found Riding for the Disabled Association’s website which offered a little more insight into the scale R2A has as a member group of RDA.

  http://www.rda.org.uk/

I learned that they offer support for all forms of disability, not just physical.The charity is seen as a powerful form of therapy for the riders as well as somewhere that can allow them to progress positively with their conditions. It is recommended by medical professionals as a great way to deal with disabilities. 

From what I have read, I can see a clear message of support.      

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Ride to Achieve - Charity Research

I looked at the Ride to Achieve website to gather research about the charity I would be making a film for:

http://www.ride2achieve.org/

“Ride 2 Achieve RDA seeks to provide bespoke support to disabled horse riders who wish to achieve their full horse riding and therapeutic potential.

We operate as a non profit organisation, and are a Group Member of Riding for the Disabled National.  

To achieve our aim each rider is provided with support and mentoring designed to fit with their own individual needs.

From our base at Hoarwithy, Hereford we are able to offer varied and interesting horse riding lessons and associated activities. The site is equipped with an outdoor riding school, as well as many opportunities locally for riding outside of the school on country tracks and fields.” - Home page of ride2achieve.org

This is a good starting point to getting an idea of what a film about this charity could look like. I am very attracted to the thought of capturing riders on horses in lush fields, as this could look very visually pleasing on film. A few challenges I predict could be actually capturing the horses as they are such large animals, it can be very difficult to frame them effectively. Furthermore, working with animals and disabled people comes with many risk factors that will need to be carefully considered and planned for.

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Escalators in Short Film

Now that my narrative has changed to one which revolves around the idea of two potential lovers passing each other, I started looking into how escalators have been used in short film. I feel this could be the ideal location for my film as the movement of two people coming together on escalators seems to me an ideal way to show visually how these characters have a destiny to be together. 

‘Girl on the escalator’ by Charles Bukowski (2016)

This short film uses the escalator as its location in a restrictive way. We are put into the point of view of the main character who is stuck behind a girl and her boyfriend traveling slowly up the escalator. I find it interesting how effectively this location is used to make us feel this character's awkward and confining encounter.  

‘Broken Escalator’ Becel ad (2007)

In this short film escalators are again used in a very confining way. All the characters in this film are imprisoned by escalators, getting stuck on them when they break. Its is of course done with humorous effect as you cant really get stuck on a broken escalator, but that idea of escalators being in control of our movement has made me question if they are a suitable choice of scene for a romantic film. The idea of destiny could fit well here, but I feel the mechanical aesthetic could also be inappropriate for my short film. There are many shots that have been framed effectively and capture the the escalators in interesting ways. These thoughtful compositions are something I will take note of when deciding how I should frame my shots, even if I choose not to use escalators.

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I found this advert for Galaxy, which uses music as a narrative tool. The use of two different styles/genres coming together so well symbolises for me the unity of two people or characters. I want to do something similar with my short film. I plan on utilizing my films soundtrack in a way that will reinforce the narrative idea of two characters who are a perfect match. By introducing each character with their own unique theme, and then letting these themes merge in shots portraying both characters together, I believe I can create a strong feeling of belonging. This is a clever way of showing a relationship that has so much potential without having the characters actually talk or communicate in any way.  

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The use of mise en scène in this short film tells us so much about the character and what she is going through. There is no other location used and barely any other characters, and yet a clear narrative is built. This is something I must take note of as I will be working with similar constraints, but also wish to utilise the simplicity of a single location in my films narrative.

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Sonnet Film - Short Film Research

‘Verbatim: What is a Photocopier?’ by Brett Weiner

This short film used the transcript from a court case to form the dialogue and context of the piece. I am impressed by how well the transcript has been translated into film, and feel inspired to conciser how I could use similar techniques to make a film from a sonnet.Using the lines of the sonnet as dialogue or narration could dictate an interesting structure to my narrative.

‘Solemates’ by Bryce Dallas Howard

I found this short film to very effectively capture an entire lifetime relationship between two individuals, only revealing their shoes and feet, and in 65 seconds. It is very encouraging to see how completely a simple story can be portrayed in such a short length of time. I will need to think carefully about how I use every shot to tell the story of my film as efficiently and appropriately as possible.