Storyboards

Group Task: Deanna Hammond-Blackburn 9164
                     Emma Hall 9162
                     Alex Major 9190


These are the storyboards we drew before filming commenced, based on our Production Breakdown. They are seperated into the farm location and studio location, and along with the breakdown, came with us whilst filming to help us make sure we got all the basic shots needed. This meant that when we were comfortable we had the basic structure, we could experiment a bit with different shots that weren't scripted, without worrying that we'd miss something. They also really helped speed up the filming, as we had a clear idea from the Storyboards what we needed to get done on that particluar day, what props we'd need in that particular shot, and where to place the camera etc. When doing the breakdown and storyboards, it was also the first time the narrative properly came together and our ideas solidifyed into something actually filmable, and that made sense. It was also helpful in giving us something we could show our actor, so he knew what the idea of the video was, and what we were aiming for it to look like.

 

 

 

 

 

 

 

Music Video Rough Cut

Group Task - Deanna Hammond-Blackburn 9164                              
                     - Emma Hall 9162                                       
                     - Alex Major 9190

This is our first rough draft of the music video. 

AM - Filming Report 4

Solo Task: Alex Major 9190

• A very cold day meant we had to work quickly to get the shots done and keep our actor warm. This meant rehearsing shots with each other as stand-ins, or with Ben wearing his coat, so by the time it came to filming, we only had to do one take, and not spend time getting the camera set at the right angle.
• For the low angle shots, we couldn't use the tripod, and yet couldn't rest the camera on the floor either. We therefore had to make use of our book props to rest the camera on, and build them up to the right height. This also protected the camera from the muddy ground.
• The field was even more muddy than previously, and meant we had to work even quicker in the field, as the mud stuck to shoes and made moving around difficult. We therefore cut some of the shots we wanted to use but were maybe unnecessary. We decided that the wealth of studio shots we had already shot would be able to pad out the film and replace any missing time.
• We also relocated the end shot of the singer walking into the distance to a similar field that had more regular grass that was a lot less muddy, and easier to walk on. This was especially important, as we needed the singer to walk quite a far way into the distance, which would have been impossible in the other field.
• The weather also threw up further problems in that upon placing our hero photograph in the grass, the dew made the photo wet and flimsy. It was also difficult to see the photograph when the singer held it later on, whilst walking. We therefore directed our actor to hold the photograph somewhat unnaturally, so that the camera could clearly see it. The book also needed to be held at a slightly strange angle for it's close-up when the singer read it. Whilst odd-looking from the actor's viewpoint, this made for a better shot through the camera lense.
• A particular shot where there are berries hanging in shot, we wanted specifically after taking a similar photograph for our photoboard. However, it was difficult to manouver the camera into a position to see both the berries and our actor, especially as we were filming next to a steep decline. We therefore had to use a fallen branch with berries on, and have someone stood off-camera holding the branch in the right position - and keeping it there for the (quite long) shot. This meant re-shooting the shot a few times, with branch sometimes swaying across shot and obscuring the actor.

DHB and EH - Starting to edit

Pair Task: Deanna Hammond-Blackburn 9164
                     Emma Hall 9162
                   

Starting to use Final Cut was quite simple, however we did run into difficulties trying to work out how to save things on the Mac or onto the External Hard-drive, and the difference between creating an Event and creating a Playlist. Once an event was created on the Hard-drive, it was quite a simple process importing the clips from our memory card in, although this did take some time as we initially imported a lot of clips all in one go. We found that the background tasks associated with importing such a large number were slowing us down and causing the Mac to crash, so we re-imported them in smaller chunks.

We then went about naming all of the clips to help make finding them easier, and started to insert them onto the timeline. This we picked up fairly quickly, along with how to insert placeholders to represent sections we hadn't filmed yet, and toggling between the pointer and the blade using the keyboard shortcuts 'A' and 'B'.


Inserting the music was also quite simple, although there were a few occasions of accidentally cutting the music track as well as whatever clip we were using the blade on. Detaching the audio and deleting was also quite easy to pick up, and so the basic techniques came together quite well. Once moving on from the rough cut to real video, we came across more difficult techniques and challenges, such as adding and modifying transitions, titles and cutting in time to the music.

Call Sheet 4

Group Task: Deanna Hammond-Blackburn 9164
                     Emma Hall 9162
                     Alex Major 9190

Silver Light Day 4, Wednesday 27th November 2013 Snitterby Carr
UNIT CALL: 8:45	EST. WRAP: 11:45

 

Shooting Schedule

Assemble and collect equipment: 8:45

Arrive on location: 9:15

 

 

Cast		Call Time
Ben Dowell	Singer	10:30

3i	DAY	Dark Barn	Alex’s Barn	Walking past the barn and then deciding to walk into it.	Singer	Long Shot to begin, singer framed centre, shots of the feet walking through the doorway.
6	DAY	Countryside	Concrete outside barn, with pages on, field, leafy tree area.	Montage of feet running over different surfaces: cracked concrete, grass, leaves, pages	Singer	Transitions between barn’s concrete to the copse location with close-up tracking shots of feet running over different surfaces (journey)
Move to Field location
9	DAY	Field edge	Dike	Singer walks/runs further down the dike.	Singer	Extreme long shot.
10i	DAY	Field	Field	Singer walks up to field, and sees a photograph on the ground.	Singer	Establishing shot of field, POV shots including shots of the singer’s shadow over the field and the photograph. Reaction shots of the singer.
10ii	DAY	Field	Field	Singer looks at the photograph and decides to turn and go back.	Singer	Shot reverse shot of the singer and the photograph.
11	DAY	Field edge, Edge of copse, Copse	Dike, Ditch, Copse near farm	Singer walks past through each location, no longer looking at the books.	Singer	Shots edited together with cutaway shots in the studio to speed up walk back.
Move back to barn location.
12	DAY	Barn	Alex’s Barn	Singer walks up to the doorway, looks down at the photograph and takes a moment before walking back in.	Singer	POV shots down at the photograph. Close ups of the singer and long shots showing location.
14	DAY	Copse	Copse near farm	Singer is sat under a tree looking through the book at further photographs	Singer	Long Shots, close-ups of the book, POV shots and more abstract shots of trees and branches nearby.
End of shoot

 

Crew List

Deanna Hammond-Blackburn

Emma Hall

Alex Major