Hull’s year of culture: ‘We look at our city in a new light’

Hull, best known as the home city of poet Philip Larkin, beat Leicester, Dundee and Swansea Bay to be named European City of Culture 2017.

The Yorkshire city was praised for showing a “real understanding” of what the title was about after submitting a bid around the theme “a city coming out of the shadows.”

The real story of Hull’s year as City of Culture is how it’s transformed the lives of the local people.

In May 2016, Brenda Sparks and her daughter Abbie Longley saw an ad for volunteers for Hull UK City of Culture in the Hull Daily Mail. “We fancied giving it a go,” she says. “Though we didn’t think for a minute we’d be picked.”

Nevertheless, they applied for it, and soon afterwards – somewhat to their amazement – they were invited to an interview, given uniforms to try on, given flyers/brochures, and photographed.

“We were so shocked that they wanted us. We thought they’d want someone more … professional, someone who knew what they were doing.”

How did being chosen make you feel? “Excited,” says Abbie. And it was catching. Now Abbie’s daughter, Lucy Nicole, wanted in, too. “I began to suffer badly from fear of missing out,” she says. “When they went to KCOM Stadium to do a lap in their uniforms to hand out flags, I was jealous. So I signed on as part of wave two.”

Abbie and Lucy, who are both shop assistants, have always been keen theatregoers, though as Abbie notes, this wasn’t something she grew up with.

“We were a working-class family,” she says. “We went to museums- they were free. But the theatre was too expensive.” Brenda, though, worked as a cleaner until her retirement, for which reason it is fair to say that it is on her that the last year has had the most transformative effect.

“I’m 72,” she says. “I looked after my children, and helped out with my grandchildren, I looked after my mum, who suffered from dementia. I worked at Hull University for 46 years, until I was 68. So when this came along, I thought ‘right, I’m going to do something for myself’. Someone said to me: ‘You’re doing it for the people of Hull, not yourself,’ which is true, in a way. But oh, it has brought me out of my shell. When I was a child, art was just a picture on the wall. Now I go to Humber Street Gallery every week, and I love it.”

Once 2017 arrived, every day was an opportunity. “We rarely get to volunteer for the same event,” says Abbie. “But that’s great because afterward, we pool in the information, telling each other what’s worth seeing. It’s costing us a fortune.” They have amazed themselves with things they’ve wanted to try. For instance: opera. “I was a meeter and greeter at a 45-minute taster session Opera North held at the University,” says Lucy. “And I liked it so much, I booked tickets for us to see L’Enfant.”

Pop superstars and world-class dancers are just a few of the highlights of City of culture that wowed the trio. The highlights seem endless. There have been more than 2,000 events, exhibitions, and cultural activities at more than 250 venues. The year has won over most of those who didn’t think the words “Hull” and “Culture” belonged in the same sentence, as well as helping the local economy and going some way to reinvent the city’s image.

Made in Hull was the highlight so far for Brenda, the opening event of 2017 set the bar so high. “I think it’s still to be beaten,” says Brenda. “We knew there was going to be light and sound spectacle telling the story of Hull, but I don’t think anyone had imagined it could be so powerful and emotional. The atmosphere in Queen Victoria Square was electric.”

Radio 1 Big Weekend & Academy is Lucy’s biggest highlight so far. After the terrible events in Manchester, there was a chance that this wouldn’t go ahead. But the Big Weekend brought together champions of music in such a difficult time.

“It was simply incredible to have global pop stars right on our doorstep,” says Lucy. “Katy Perry astonished me and I don’t think I’ve ever been at a gig where everyone seemed so united. It was only days after the Manchester bombing, and when she asked everyone in the crowd to touch the person next to them, people joined arms and sang along, including the police officers right behind us. Incredibly moving.”

Freedom Festival has been an event held in the city for a few years but the meaning behind Freedom Festival had pretty much been lost. Until this year, different themes of freedom were back at the heart of the performances, debate, and discussions. Therefore making it Abbie’s highlight so far.

Abbie says: “The essence of the festival had found its way back home, bringing it colourful street performances and crowded streets over the weekend.”

One of the biggest successes of the festival has been, in their minds, Back to Ours, a series of events designed to spread culture outwards from the city centre, taking over shopping centres, housing estates, schools, and gyms. “Black Grape played in front of an Iceland supermarket, and Badly Drawn Boy was at the Freedom Centre on Preston Road,” says Brenda. “And much has been cheap or even free,” says Abbie. “In the summer, people would spend all day with their kiddies playing in the new fountains outside City Hall. They’d bring packed lunches.” What you give, you get back. Hull has shown its citizens a measure of kindness and devotion, and as result, they’re loving it right back.

Instagram Task

https://www.instagram.com/bethysjmedia/

For this artefact I have produced a seasonal greeting video and include 4 BTS (behind the scenes) stills from the planning phase and during the production phase. I have presented my finished video and stills on Instagram while ensuring that these have met the technical requirements for the content on the platform.

My Instagram video had to be engaging for 18-24 year olds and also has to be intended to be shareable. Therefore with this in mind I decided to research other existing Instagram video and see what was most popular/trending. In conclusion to this research I discovered that young adult like watching food and drink tutorials. Therefore I developed my researched and decided to produce a video of a Christmas cocktail making tutorial.

Filming was undertaken in pairs therefore on person was operating the equipment whilst the other is the subject of the video. This meant that preparation and planning was essential to fill for this task (Bamford 2012). Also this artefact had to be done in a 3-hour timetabled slot for both members to shoot their task. Therefore I decided to produce a story board to ensure that I knew exactly what shots I needed when it came to the production. Resulting in me taking full advantage of the time slot. Story boards should include frames, shots, location, cast, set and props (Schenk 2015 p.116). Taking this on board, I included these on my storyboard and this preparation allowed me to create the artefact that I had planned. Also it was very useful to present my storyboard to the crew members when arrived on set to shoot as it made them aware of my vision and how I wanted the sequence to look.

Health and safety was a small issue with this task. Although we was working in a studio situation all the low hazards was took into account and the risks was reduce such as placing rubber mats over wires to reduce the risk of crew and clients tripping. The other risk management we incorporated was to set our camera in a spacious area so that no drinks could be spilt compared to a tight area also we had a towel on standby in case any spillages was made to prevent getting on equipment.Me and my partner also had a production schedule which was the glue that held the production together as without the schedule we wouldn’t have been able to get the images I had in mind (Brown, L. Duthie, L 2016).

When it came to the editing stage I decided organise my footage by labelling them by shot names and also placing them in chronological order. Therefore it made it easier to find the footage throughout the editing stage and no time was wasted, struggling to find certain footage. There was not many challenges that came with editing the video due to experience in other tasks. The only main struggle was finding a seasonal song to match the mood of my video, while considering it being a copyright song. I managed to find a track off https://www.bensound.com/ which fitted perfectly with my video and I don’t have to worry about any legal obligations.

Overall I am pleased with the final outcome of this artefact, as I believe that my visual style has demonstrated a clear rationale and understanding of my intended audience.

Bibliography:
Brown, L. Duthie, L (2016). The TV Studio Production Handbook. I.B Touris
Bamford, N (2012) Directing television, a professional survival guide. London, Bloomsbury.
Schenk, S and Long, B (2015) The Digital Filmmaking Handbook 5thed. Boston, Cengage.

Short Interview

The short interview artefact brief was to interview on of the representatives candidates at the Student Union election. The questions asked was all fixed questions set by the clients and theses needed to be asked in the running time of a minute including an intro and an animated graphics including their name, the video also must be subtitled.

For this task I worked in a group of five and each member of the group had different roles. As the task was a live brief there was not much time for planning. That being so, as a group we had 30 minutes to look over our candidates manifesto and what they were running for. As a group we worked collaboratively and decided that three people would be charge of camera, sound and lighting and the other members took care of interviewing the candidate.

My role for this project was to set up three point lighting with the lighting kits for the set-up. Which includes key light, fill light and hair light. All lights were flooded to diffuse light which helped decrease intensity and harshness (Kindem 2009) to give the set a bright but not harsh light. In conclusion, the candidate was properly illuminated in an effective way so that it was pleasing to the eyes due to correct use of 3-point lighting. This resulted in a more professional artefact rather than an unpleasant piece which lacked creativity and professionalism.

Health and safety never came as an issue for this task. Although we was working in a studio situation all the low hazards was took into account and the risks was reduce such as placing rubber mats over wires to reduce the risk of crew and clients tripping.

Editing the interviews was the most challenging aspect of the artefact. The reason for this was we had a lot of footage of the client talking and it was difficult to choose what the most vital of the interview was. Also another difficult aspect of editing was creating a graphic as this aspect was very new to me therefore it was challenging learning new skills. However after successfully creating one with a little bit of help, I now feel confident in creating my own graphics for any future projects.

Overall, this artefact has been selected because it was a good group project that shows collaborative work as well as showing a good understanding of media production skills.

Bibliography:
Kindem, G (2009). Introduction to media production: the path to digital media production. 4th ed. London: Focal Press-M.U.A. pg’s 241, 225.

Studio task

The main concepts of planning, organisation, collaboration and communication were crucial in making sure we created a studio magazine show totalling 10 minutes as stated by the brief. The brief of the studio task was to include a live interview during the show and two VT’s. The show must be suitable for a primetime and pre-watershed audience. As this was a live task there would be no chance to edit the show after the studio filming.

‘In the studio, teamwork is essential as each person plays an important role in making sure the production goes smoothly’ (Johnson 2016). Therefore teamwork was key for this artefact, we collaborated on the creative decisions such as what to have for our VT’s, Logos and colour scheme while ensuring that they are suitable to the theme of a magazine show, we found that by having team discussions we was all able to express our ideas and develop them into the show. Social media groups chats was made in order to ensure that all members of the production team was up to date with any changes that may have been made and also available for those who had any enquires. However, being in large groups for this artefact it didn’t come without problems such as some roles had to be covered when it came to final production day due to some members been absent.

My role within the production team was an autocue operator and VT presenter. I wasn’t very confident with this role compared to other areas but it was good to gain a bit more experience and practise. My role as an autocue operator was to sit in the gallery and be in charge of the speed at which the script appears on the camera for presenters to read. It was important that I practice this role during rehearsals so that I could go at the right pace for the presenters. During rehearsals some changes needed to be made to the script and it was my responsibility as an autocue operator to make these changes as quick as possible (Brown, L. Duthie, L 2016).

I’ve learnt that health and safety in production environment is important (Verrall, 2006) which is why a risk assessments was made for each location of filming so crew members were not at risks. During our shoot on location, which was in York city centre, the main risk was the public with our equipment and them not being aware. The risk management we incorporated was to not set our cameras in busy areas, narrow walk ways and ensure that there was no trailing of wires across the pavement. We also had a production schedule which was the glue that held the production together as without the schedule we wouldn’t have been able to go live at the given time. (Brown, L. Duthie, L 2016).

Overall, this artefact has been selected because it was a good group project that shows collaborative work as well as showing a good understanding of media production skills.

Bibliography:

Brown, L. Duthie, L (2016). The TV Studio Production Handbook. I.B Touris.
Johnson, K., 2016. Shoot, Edit, Share: Video Production for Mass Media, Marketing, Advertising, and Public Relations. Focal Press.
Verrall, B (2006). Choosing an Angle: Citizenship through Video Production. London: Learning and Skills Development Agency. Pg41.

Sequence Task

For the sequence task I had to film a sequence of a maximum duration of one minute. The sequence had to show establishing shots, CU’s, match shots, cutaways and understand of the 180 degree rule. The story for my sequence task is someone is relaxing on a bench reading a book. Suddenly realises they are late for an appointment. Grabs something and dashes off to meet their friend and makes their apologies.

This artefact was done within a group of three and had to be done in a 3-hour timetabled slot for each of us to shoot our task. This meant that preparation and planning was essential to fill for this task (Bamford 2012). Therefore I decided to produce a story board to ensure that I knew exactly what shots I needed when it came to the production. Resulting in me taking full advantage of the time slot. Story boards should include frames, shots, location, cast, set and props (Schenk 2015 p.116). Taking this on board, I included these on my storyboard and this preparation allowed me to create the artefact that I had planned. Also it was very useful to present my storyboard to the crew members when arrived on set to shoot as it made them aware of my vision and how I wanted the sequence to look.

There is a simple sequence to follow when you are designing shots or planning the storyboard (Hughes 2012 p.121). Starting with an establishing shot, in which I established the surroundings before anyone was in the shot. Then I have told the story through shots that I felt was appropriate as well as meeting the brief. Action shots and close-ups was used to show the emotion of the emotion of the character, which portrays the story to the viewer. Cutaways where added which I used as my character was walking while ensuring that the shots were short and fast paced to portray the story, in which the person was late.

Whatever you are filming, wherever and however you are filming it, the vital paperwork is the Risk Assessment form (Bamford 2012, p.60). In regards to health and safety it was considered an important aspect due to being in a public location. My group and I filled out an assessment form specifying the specific risks, such as cables, roads and uneven floor. To prevent/reduce the risks that were listed we ensured that we never went near the roads and filmed in quiet areas with a flat surface and made all crew members aware of any trailing wires.

When it came to the editing stage I decided organise my footage by labelling them by shot names and also placing them in chronological order. Therefore it made it easier to find the footage throughout the editing stage and no time was wasted, struggling to find certain footage. However, at this stage I did notice that I was very limited to the amount of footage and this made it difficult to ensure my sequence product had a beginning and end of story including all the appropriate shots. This artefact has allowed me to be aware that when you are at the production stage you should try and get as much footage as possible, even if you repeat shots and also if you think you have enough.

Bibliography:

Bamford, N (2012) Directing television, a professional survival guide. London, Bloomsbury.
Hughes, M. (2012) Digital Filmmaking for Beginners – A practical guide to video production. USA, McGraw-Hill Companies.
Schenk, S and Long, B (2015) The Digital Filmmaking Handbook 5thed. Boston, Cengage.

Uncles Death Inspired My Future!

The music industry is an undeniably a competitive area of employment. As there are many gifted musicians pursuing to break into the industry, the use of modern technology making marketing and publicity accessible for all who wish to promote their own material, the competition is more intense than ever.

English artist Jordan J. Fawcett is a melding of rustic innocence and frailty millennial abandon. He’s young, handsome and full of beans, and 2018 looks set to be his year. He’s had a smattering of lined up gigs across East Yorkshire and he’s just been announced on the bill at Freedom Festival. He took time off from a breathless schedule to chat to Bethany Stephenson about his uncle’s death and the creation of his music style.

_20171129_162822How long have you been playing music for?

I’ve been playing music for the best part of 4 years so far. I started playing my uncle’s old guitar after he passed away following a car accident and since then I’ve moved onto a multitude of string instruments: bass, ukulele etc. I’ve recently began playing the harmonica after a brief obsession with Bob Dylan

What inspired you to start playing music?

After my uncle passed I wanted something of his to remember him by so I kept his old battered classical guitar, after a couple of weeks I realised I wanted to make use of it, I started looking at tutorials on YouTube and chord diagrams. At first it was painstaking as its just repeating chord progressions over and over but once I had the chord down I began learning songs with a friend whose been playing since he was young. ‘HeartBreak Hotel’ by Elvis Presley was the first song I learnt.

When and how did you begin performing live?

I started going to open mic night’s at the Sail Makers Arms in Hull with friends, I went every week for months just to watch other artists play. Every week I’d tell myself “tonight’s the night, I’m getting up there”. But I never got up until one night I had the right amount of Dutch courage in me that I put my name down and played ‘Clint Eastwood’ by Gorillaz on a friends right handed guitar upside down… Badly but I realised it wasn’t so bad…. Until I saw a recording and almost fainted! However I’ve continued to play as much as I can for a few years now.

What is the biggest difficulty you have encountered throughout your career as a musician/performer?

The most challenging thing that I have encountered would be finding out what my style is. I was aware that my voice wasn’t great but I started to realise some songs I use to play didn’t match my style of playing like the folky Bob Dylan and the pop Ed Sheeran songs. So I revised my song vocabulary and found that I enjoyed playing songs with energy like hip-hop. Songs that I can have fun with from artists like Jamie T, Afroman or Gorillaz. Once I had my style conquered others started taking me more serious as an artists.

_20171129_161029How important do you think it is for aspiring musicians to earn their success?

I believe it’s very important for aspiring musicians to earn their success, I believe the journey of the graft it takes to earn your spot is the most important factor in building yourself as a person and as a musician. It’s the people who have grinded themselves down to the bone to get where they want to be that becomes the greatest in history.

What advice would you offer to anybody trying to gain success in the music industry as a performer?

My advice, never become comfortable because comfortable means you’re not moving forward. Even a step back is better than standing still.