Badman Riddim - Music Video (Barrington)

Risk Assessment (Barrington)

Risk Assessment 

Activity	Hazard	Control measure
Moving props	Someone getting injured eg pulling a muscle, putting strain on their back	If a piece of equipment is to heavy ask someone for help. Carry one object at a time.
Tripping on wires and camera equipment	Breaking Equipment or hurting yourself	Move the equipment carefully and be aware of where the wires are
Editing for a long period of time	Straining eyes may also cause headaches	Take turns in editing and take breaks when needed

Production schedule (Barrington)

Scene 1- Ruffle Snuffle (Character 1)

Scene 2-That guy In The Jumper Who Can’t Talk (Character 2)

Scene 3 -The Boy With The Sack On His Head Who Is Related To That Guy In The Jumper Who Can’t Talk But Has Canerows That You Can’t See Because Of his Sack (Character 3)

Equipment needed

-Canon 550D

-Tamron Telephoto Lens

-Canon Standard Lens

-Canon Wide Lens

-Tripod

-iPhone 4 (With an App for Lighting)

-Sony Ericsson Xperia (With an App for Lighting)

-Nokia (With a Flash-Light)

-Thin Blue Carrier Bag (as filter)

People needed

Kameron Brown

Kiana-Eshe Hoji 

Javid Thomas

Music Video Evaluation (Barrington)

Evaluation

How did that Video work?

The video worked through the hard work and consistency of the producers, editors and actors as well as the audience they all worked as a team for.

We all learnt many lessons from the experience, for example; We learnt how to take leadership roles, make quick decisions and/or improvising where necessary, the procedures, advantages and disadvantages of filming music videos; only naming a few.

 What would make it better?

It would have been better if we had more money to fund our production. This means we may have had more lighting equipment, better cameras/actors/props, and overall more variety in the video without as many limitations.

Also if there were more people working on the project, we may have got work done faster, with less effort and to a higher standard.

 What did the people who Helped, Watched or Shot the video think?

They thought that there were a few minor draw-backs throughout the project’s duration. However only small changes were suggested. These changes included adding Aspect ratio, different background footage and a more detailed story, which after explanation were withdrawn and understood.

What will I do differently next time?

Next time, we’ll hope to begin working MUCH faster and be hands-on with the ideas and processes we’ll need to take on. We also hope to add more locations and equipment with better funding or different providers to contribute towards our project. We will also choose our editing software beforehand to ensure quick, reliable movement with no delay through the course of our work.

Call Sheet (Barrington)

Call sheet- Music video

Song

“Vato Gonzalez ft Foreign Beggar’’- Badman Riddim

Shooting date

9^th December 2012

Crew details

Kameron Brown- kbthephotographer@hotmail.co.uk

Roles- director, Art Director, Production manager

Kiana-Eshe Hoji- kianaeshe@hotmail.com

Roles- 1^st assistant director, Editor

Location details

Fairbourne avenue

Tottenham

London

02089761903

Health and social notes

1.    Environment- not busy (only cast and crew)

2.    Clothing:

 Ruffle Snuffle (Character 1)

 Beige/ Brown Blazer Jacket, Blue Denim Jeans, Bow tie, Sun Glasses.

That guy In The Jumper Who Can’t Talk (Character 2)

Fully Zipped Hooded jumper, Denim Jeans, Katana Sword, Prayer Beads.

The Boy With The Sack On His Head Who Is Related To That Guy In The Jumper Who Can’t Talk But Has Canerows That You Can’t See Because Of his Sack (Character 3)

Brown Paper Carrier Bag, Red Cape, Carrot, Shirt, Jeans

Schedule

Call time- 12.00

Scene 1- 13.00

Scene 2- 13.45

Scene 3-14.30

Scene 4-15.15

Wrap- 16.00

Transport/travel schedules

All crew and cast will travel by bus

Equipment

Camera and lights

Facilities

Toilets

Food and drink

Expenses

Crew and cast bring back receipts so they can claim expenses.

Weather forecast

The location is indoors (room temperature)

Equipment List (Barrington)

Equipment List

Vato Gonzalez ft. Foreign Beggars – Badman Riddim (Jump) (Music Video)

-Canon 550D

-Tamron Telephoto Lens

-Canon Standard Lens

-Canon Wide Lens

-Tripod

-iPhone 4 (With an App for Lighting)

-Sony Ericsson Xperia (With an App for Lighting)

-Nokia (With a Flash-Light)

-Thin Blue Carrier Bag (as filter)

600 Words

I had many targets, aims and objectives I had to achieve during my time creating my six-week media project. They were all self-made and had to be structured in a specific manner.

This included: 

Form/meaning

Structure/Strategy

Realism

However these must be broken down before adding to the ideas.

Form/Meaning: Meaning where and how it will take place. This includes locations, People needed to help create the project and the equipment/resources needed

Structure/Strategy: How it has been planned (It's order of occurrence) and how it will actually happen step-by-step planning. Structure meaning the formation of what ever is taking place.

Realism: Is the target reachable, achievable and realistic.

The targets I met include filming my Video profile (Six Week Project), Planning my video out according to my preferences, establishing the task in hand and learning about what I’ll need to do to help turn any ideas I had into a reality, Editing my Video Profile and Evaluating it.

Strategy wise I had to display a large range of various skills in the process of completing my Video Profile Project over the six weeks I had.

This included:

·      Learning and listening

This meant I had to learn what the task was, where I had to do it and how I was going to achieve my goal of completing the task. This also included brief lessons on basic shots and the types/ forms they can come in. I also was introduced to new programs and platforms for publishing (e.g. Prezi, Blogger and Google Mail) in which I had to use to publish my work in stages during the process of my task, used to and a way for me to show my progress and how I was coming along with the task at-hand.

·      Planning

Before I could actually begin my Video Profile I had to plan the stages and steps I’d need to take in order to achieve.

I used a variety of methods including targets, goals and objectives, my log book which helped me to keep track of and have easy access to my targets, goals and objectives while allowing me to jot down my progress and review my own work, I chose to use story board boxes to allow me to draw visual imagery to help pitch my idea and help me to gather the necessities, precautions and visual work-frame needed to make it happen. I also used scripts and spoke to my classroom peers, friends and family in order to acquire help and assistance in the production, editing and planning of the video; I even obtained feedback in the form of the 5 comments on my video.

·      Filming

This was the practical side of my work, the shots, locations and organization needed to take into editing and producing my outcome, basing my practical production on what I wanted the end result to look like, helping me by making editing less of an effort.

I learnt more about my classmates, made friends and even used them to help me in the long run toward my end result.

I used their skills and resources to help for example, I used Ash, Kiana and Elizabeth to help me to film the actual production, using Anton to help me also films, I used Kiana again to help me record the narrative then used my own skills to edit with slight assistance from Sue, Kiana and Barrington.

I learnt more about myself in regards to what I can actually achieve with little time to obtain the high standards I am consistently searching for and learned more toward my ability to work as a team and leadership skills.

Analysis of Television Adverts

Analysis of Television Adverts

Example 1:

Cow & Gate: Supergroup (http://www.bestadsontv.com/ad/48008/Cow-Gate-Supergroup) (Platform for advert was Television, however this specific platform is a chart on best adverts of 2012 found on 'Bestadsontv.com')

In the Video (Cow & Gate: Supergroup) we see a child walking into a room, looking lost she stumbles upon a range of instruments. A congregation of children gather and are intreged by the instruments and begin experimenting and playing with them. After a small test-run of the instruments. The toddlers begin to play music in sync. The whole concept of the advert is to 'feed their personalities', implying that the product will help them do extraordinary things, keep them creative and self expressive; which seems healthy and as the better option to any alternatives. The target audience are parents of babies or toddlers, which explains the use of toddlers and babies in the advert making the advert fit for it's purpose.

The image and audio quality is clear, professional and almost like a short film, however I am unaware of the memory size or file format. There are a range of different camera shots from establishing, C.U(close-ups) and M.S (mid-shots)

Pleasantville effect

How to label and organize clips in the browser

How to: Simply right click the files selection window, a menu bar will open, click on 'new bin'.

I needed to organize my work into bins, this helped me to keep track of and find my work when needed. I put them into categories of Online (Meaning usable) and offline footage.

This is a screen shot of my bins, with the necessary files inside

Chroma Key Effect

Speech Packages (James Hodges)

43:15 BBC Radio 4, Today 6/12/12

Purpose:  Shadow chancellor Ed Balls explains what he made of the Autumn Statement

Genre: Politics

Audience: The politicians and locals in the areas they empower/help control.

Analysis: This speech package was based on laws, including rises in prices regarding fuel, The economic growth slowing, in the package you hear the politians shouting and debating with raised voices, giving us indication that it is a very serious and has much support from the audience. There were also interviews with Ed balls and a member of the European parliment in which the ressession and public spending are discuss, also the affect of cuttingn taxes. It was a very productive and interesting speech package and help widen the understanding of the where-abouts of the economy.

11/12/2012 6:00 589224 BBC Radio 4 52:27- 57:00
Purpose: The speech package’s purpose was to inform and expose the audience of the critical state of the nation being spoken about.

Genre: Politics

Audience: The audience included people who were interested in politics and leadership, as well as the people who have relevance to the countries/people who were involved.

Analysis: This was a very serious and heart-felt topic as it consisted of the people’s suffering, worries and troubles. This was indicated through the background sounds of chanting, screaming and the loud sounds which were parallel to the voices. It informed the audience of the lack of unity amongst the people and aimed to enlighten the audience on how it has affected the people living there.

1:15 BBC 4 Today 10/12/12

Purpose: To get opinions on people on their way to work in Beijing / to try to gain understanding of what it's like to work in Beijing

Audience: the general public.

Analysis: This speech package was more experimental and less on the serious side. It was more on the experience gaining side, in which the host is traveling in Beijing to get a taste of the lifestyle and common routine of someone in the working class.

7/12/2012 Radio 2 art show 1.10-1.12

7/12/2012 22:00 (1:10-1:15) Radio 2 Artshow

clone effect

What is the clone effect:
Cloning in final cut pro is when you produce visuals of a duplicated item/person/ place etc, it works by giving the illusion that two or more of the same things are in the same place.
This effect can be used to create a scene which maybe includes twins or more of the same item without actually having them in production.

I like the effect however, I think there are much better looking and more reliable ways of getting this effect.

annoying orange effect

The annoying orange effect possesses it's name from the famous 'Annoying Orange', a hit Youtube channel known for it's comedy.

The effect is simply an object that DOESN'T speak or interact on it's own in any way; with a mouth and eyes edited onto it. This give the illusion that the object is speaking and interacting.

Keyframing

What is a Keyframe?
When we set a 'Keyframe' in FCP, which we set on a specific video frame either on the TL (Timeline), in the Viewer, or Canvas windows, we are 'marking' that video frame as the starting place for something to begin changing. When we set a second Keyframe, further down the line, we are marking that video frame as the place were we want the change to be complete. FCP will interpolate or generate all the frames needed between the 2 Keyframes so that the change will happen smoothly, over time.

What can be Keyframed?
Well, in FCP almost everything can be Keyframed. Some of the effects that we can Keyframe are: filters - color, size, opacity, rotate, mattes, masks, blurs, composites and change from color to Black and White. The only filter that can not be Keyframed is the,' de-interlace' filter. We can place any number of Keyframed filters on a clip and have them all running at the same time, all changing independently of each other. Very powerful stuff.

Keyframing
There are almost as many ways to apply Keyframes and work with them as there are things that can be Keyframed. We will start by doing our work in the Viewer window. We are going to change a video clip from color to black & white and then back to color again, over time.
I like to use the 'Sepia' filter which is found in the Image Control folder in the Effects browser. Drag and drop the Sepia filter from the Effects browser onto the clip in the TL. Double click on the clip in the TL to load the filter into the Viewer window and click on the Filters tab.
The first thing you will notice is that the Sepia filter default setting is set to 100 in the Amount box (Red Arrow). The Amount box controls the amount of filter that is applied to the clip. 100 being full filter effect, 0 being no filter effect. To the right of the Amount box you will first see the Keyframe button. Further to the right is the TL. In the TL you will see a horizontal green line. This is what I call the Keyframe line. You will notice that it is all the way at the top of the space as the filter amount is still set to 100. You can click on this Keyframe line and drag up or down to change the amount of the filter that is applied but this will effect the entire clip. The 'Red X' button under the word 'Nav' is the reset button and will return the filter to it's default settings.

(Quoted from: http://www.kenstone.net/fcp_homepage/basic_keyframing.html)

Alfred Hitchcock Documentary Narrative

(Sir Alfred Joseph Hitchcock, was an English film director and producer. He pioneered many techniques in the suspense and psychological thriller genres *Shot of Hitchcock*)

(*Shot of Shower scene* In order to capture the straight-on shot of the shower head, the camera had to be equipped with a long lens. The inner holes on the spout were blocked and the camera placed farther back, so that the water appears to be hitting the lens but actually went around and past it.)

(The soundtrack of screeching violins, violas, and cellos was an original all-strings piece by composer Bernard Herrmann entitled "The Murder." Hitchcock originally wanted the sequence (and all motel scenes) to play without music, but Herrmann insisted he try it with the cue he had composed. Afterward, Hitchcock agreed that it vastly intensified the scene, and he nearly doubled Herrmann's salary. The blood in the scene is in fact chocolate syrup, which shows up better on black-and-white film, and has more realistic density than stage blood. The sound of the knife entering flesh was created by plunging a knife into a casaba melon.

It is sometimes claimed that Leigh was not in the shower the entire time and that a body double was used. In an interview with Roger Ebert and in the book Alfred Hitchcock and the Making of Psycho, Leigh stated that she was in the scene the entire time; Hitchcock used a live model as her stand-in only for the scenes in which Norman wraps up Marion's body in a shower curtain and places her body in the trunk of her car. The 2010 book The Girl in Alfred Hitchcock's Shower by Robert Graysmith contradicts this, identifying Marli Renfro as Leigh's body double for some of the shower scenes.

Another popular myth is that in order for Leigh's scream in the shower to sound realistic, Hitchcock used ice-cold water. Leigh denied this on numerous occasions, saying that he was very generous with a supply of hot water. All of the screams are Leigh's.

Hitchcock creates suspense and shock in the way he uses cinematography: camera position, angles, shots, colour, lighting, sound and music.)( *Changes to clip of North by Northwest* For example, in ‘North by Northwest’, Hitchcock creates a scene of suspense and shock in the plane scene. There is an extreme long shot of the sky and cornfield and Cary Grant who looks small and helpless, stands waiting. Then a plane tries to attack him. There is a long silence, and he looks for the plane engine. A truck approaches and Hitchcock uses the camera from ’s point-of-view of the truck coming closer until it is an extreme close up of the grill of the truck. This creates shock as the grill is coming towards Grant’s face and ours. There is a point-of-view shot of the plane. A close up of Grant shows us he is shocked and a cut to a long shot of the plane coming towards him builds tension. Grant dives under the truck and then there is a great big shock, when the plane crashes into the truck which is leaking petrol and there is a terrific explosion.)

(*Shot of Hitchcock*In my opinion, I believe Alfred Hitchcock was outstandingly excellent at creating suspense and shock in a number of ways especially in the shower scene, as we know “mother” is coming from behind, but Marion doesn’t since her back is facing the shower curtain. I preferred the film ‘Psycho’ as it was more successful in creating suspense and shock, since the film was made in black and white. This made it seem darker, scarier and creepy.

This being just one of the many reasons, Hitchcock is so credited and will never be forgotten.The murder of Janet Leigh's character in the shower is the film's pivotal scene and one of the best-known scenes in all of cinema history. As such, it spawned numerous myths and legends. It was shot from December 17 to December 23, 1959, and features 77 different camera angles.The scene "runs 3 minutes and includes 50 cuts. Most of the shots are extreme close-ups, except for medium shots in the shower directly before and directly after the murder. The combination of the close shots with their short duration makes the sequence feel more subjective than it would have been if the images were presented alone or in a wider angle, an example of the technique Hitchcock described as "transferring the menace from the screen into the mind of the audience".)

Evaluation

Scenario

My scenario was ‘finders keepers’ based in which two people have a confrontation regarding lost vouchers.

My experience with in-Camera editing

I personally find that in-Camera editing is beneath my standard of film, however I feel that with the right practice and organization can be pulled of to a cinematic standard

Disadvantages of in-camera editing.

      1.    Less room for failure

      2.    Shooting in order

 What I have learned

D.W Griffiths - What contribution did the following have on film editing? (script)

 David Llewelyn Wark "D. W." Griffith (January 22, 1875 – July 23, 1948) was a premier pioneering American film director. He is best known as the director of the epic 1915 film The Birth of a Nation and the subsequent film Intolerance(1916).

Griffith's film The Birth of a Nation made pioneering use of advanced camera and narrative techniques, and its immense popularity set the stage for the dominance of the feature-length film in the United States.

Griffith began his career, first as a failed actor, and then as a writer. It is here as a playwright that he found his first influences. His love for the works of Dickens and Tennyson gave him the idea of parallel stories within a single film as he began his career in directing. Multiple scenes of action "crosscutting" from one scene to another, first introduced in Griffith's ninth film The Fatal Hour (1908) and expanded later in After Many Years (1908), had never previously been attempted in film. He enhanced this crosscutting approach in The Lonely Villa (1909) by the use of intercutting between three separate groups of characters: a man, his wife and children, and burglers. Griffith followed the stories of each of the groups allowing the audience to witness the events unfolding from each of their perspectives until all three collide into the film's single narrative.

Griffith employed the crosscutting technique and combined it with shorter and more rapid shots, thus setting a rhythmic tempo and allowing him to sustain suspense within his movies. Griffith structured these films using parallel editing to enhance, and prolong the suspense of the sequence by continuously interrupting the progress of each line of action. This approach to editing influenced Russian filmmaker Sergei Eisenstein in the development of montage editing, as well as the techniques used by future Hollywood directors in all genres

Motion picture legend Charles Chaplin called Griffith "The Teacher of us All". This sentiment was widely shared. Filmmakers as diverse as John Ford, Alfred Hitchcock^[22] Orson Welles, Lev Kuleshov^[23] Jean Renoir^[24] Cecil B. DeMille^[25] King Vidor^[26] Carl Theodor Dreyer^[27] and Sergei Eisenstein^[28] have spoken of their respect for the director of Intolerance. Orson Welles said "I have never really hated Hollywood except for its treatment of D. W. Griffith. No town, no industry, no profession, no art form owes so much to a single man."^[29]

In-Camera Editing

In Camera Editing Technique

FIGHT OVER VOUCHERS is the name of our piece.

We used a combination of different shots and styles with our piece. Though there was a totally of 3 different shots altogether, we used a variety of techniques. For example, over the shoulder, quick-pan, shot-reverse-shots and '2 shot'. We used close up shots and establishing shots to set what the whole thing is about.

Our piece is quite comedic, as it is intended to be. We intended to put a lot of suspense and tension into it by quickly changing the shots and keeping the pace fast.

Scratch disk

To create a scratch disk:

You need to configure Final Cut Pro so it will find the drive and the project folder where you will be capturing your video clips and creating your Final Cut Pro movie. The drive and project folder are called your "scratch disk," which could be a portable firewire drive on which you are storing all your video files.

1) Start Final Cut Pro.

2) In the menu at the top click on Final Cut Pro... System Settings

3) Then select the tab for: Scratch Disk Settings

4) Near the top of the screen that appears you'll see a series of checked boxes for Video Capture, Audio Capture, Video Render and Audio Render.

These should be checked so you can set all of them to the scratch disk drive and folder for your project (so when you capture your video and audio it will be stored in the right folder, and when you do rendering of your movie it also will be stored in the right folder).

5) To the right of those click on the button labeled Set and navigate through the computer's directory to your scratch disk drive. If you already have a folder for your project, just click on it. If you don't have a folder, then click on the New Folder button to create one and give a name to it.

For example, if you're using a portable firewire drive, click on Set and Choose a Folder to find the icon for the firewire drive on the desktop and open it.

6) You should now be back at the Scratch Disk Settings screen. This time look further down on the screen for the other three buttons labeled Set:

Waveform Cache Set

Thumbnail Cache Set

Autosave Vault Set

These are three other Final Cut Pro settings, each of which also should be set to the same scratch disk as the first one.

It is especially important that you set the Autosave Set button to the same scratch disk, as this is where Final Cut Pro will periodically save copies of whatever you're working on so you don't lose your work if the computer crashes. You want to be sure that these automatically saved files are being saved to your scratch disk drive and folder.

Make sure all three Set buttons have been set, and follow the same directions as above to useChoose a Folder to set each of these to the same scratch disk.

When you're done and back at the Scratch Disk Settings Screen, leave the default settings for the other options, such as Minimum Allowable Free Space on Scratch Disks, Limit Capture...Size and Limit Capture Now.

And click on the button at the bottom labeled OK. Now start a new project in Final Cut Pro by clicking on File...New and click on Save Project As... Give your project file a name and then navigate through the directory tree to the same scratch disk drive and project folder you used in the Scratch Disk Settings instructions above. Save the Final Cut Pro project file in that folder.

Once you've completed these settings, they are now stored in the copy of Final Cut Pro on the computer you're using.

The next time you launch Final Cut Pro, it will look for that scratch disk. If someone else has used that computer in the interim for a different Final Cut Pro project, they probably set it to use a different scratch disk. In that case at the prompt you'll need to reset the scratch preferences to your disk, as described above.

Why Scratch Disks Are Important:

Whenever you use your computer, your operating system frequently writes and retrieves information from a swap file on your main hard disk. The swap file is a temporary file that is created to help speed processing and applications and as a virtual replacement for RAM memory. Because not all data requires the speedy processing available with RAM memory, your computer is able to use a swap file for caching files that are not so processor intensive.
This means that data is constantly being written and retrieved from your computer's main hard drive. Because your computer's primary hard drive is used so much, it is not a good candidate as a scratch disk in Final Cut Pro. Rendering and other techniques used in video editing require a lot of processing power, and processes and other data actions occurring on the main hard drive would prevent efficient and timely rendering in Final Cut Pro. Thus, Final Cut Pro requires that a separate scratch drive be used for rendering and editing.