3MD005 – Advanced Production Skills: Post- Production. Showreel 1

REFLECTIVE ESSAY 

password – showreel

Personal Showreel –  

https://vimeo.com/316927599

Whilst studying the Advanced Production editing module we were tasked initially with creating and understanding the manipulation and use of post production sound and image manipulation, within the production of film and television. Through the creation of several artefacts within the module, we were expected to develop and build upon our current skills and knowledge of the subject area, specialising in the theoretical side of editing and understanding the technology and practical skills required to complete the tasks at hand and the discipline required for a career within this media pathway.

For my first task, I was required to develop and create and short showreel, ranging from 60-90 seconds, this was to contain selected specialised skills we were attempting to develop throughout the module. The skills taught to us throughout included, basic assembling of an edit, sound editing, an introduction to colour correction / grading and motion graphics. The brief required that we use our own material gathered throughout our degree or work of previous media production students. I chose to create a show real using the collective materials I’ve produced and worked upon whilst studying Media. I initially felt comfortable in my knowledge of both sound and video editing and my previous experiences as editor on multiple projects, to complete this task sufficiently. However, I was aware of my inexperience in motion graphics and colour grading that I knew I would need to elevate my work within this module to a higher standard.

My aim for my initial artefact was to create a showreel that would express my understanding of editing, experience within media production and reflect, not only my abilities but creative style, in a fun and engaging way. I began crafting this video around a sound edit I produced, by taking the song “Good” by TWIN XL and rearranging it to a shorter, more engaging version that reduced empty space and what I believed to be unnecessary lyrics and beats. I chose this song due to its upbeat ‘pop’ nature and catchy repetitive sounds as I believed these would draw more attention to my work, due to its positive beats, it would more importantly would allow for a more rhythmic editing style. Within my SOL lesson I researched upon other showreels from media production companies, including that of Orillo Films, a York based production company, whose work we were also able to witness first hand at their studio. This was educating and allowed me to gain necessary experience for the module by witnessing and discussing the tasks and techniques regarding showreel creation with previous York St John graduates who are producing industry standard work.

Regarding the format of my first showreel, we were encouraged to research upon Walter Murch, a prestigious film and sound editor. I studied Murch’s In The Blink Of An Eye (2001), in which he discusses “a list of six criteria for what makes a good cut” (2001, pg 17-18) Murch believes a successful edit is one that appeases all six at once. These being:

  • Emotion
  • Story
  • Rhythm
  • Eye-trace
  • Two-dimensional plane of screen
  • Three-dimensional plane of screen

Murch believes emotion, the highest on the list, is the key to keeping an audience engaged alongside an advanced engaging story following a rhythmic pattern. Interpreting this guide, I adapted it to a showreel as Murch had developed this theory for film cuts, I felt this list could be altered as my showreel was not presenting as a narrative story but instead an expression of myself, therefore I focused predominantly upon emotion and rhythm.  I also intended to impart the use of eye-tracing shots, mentioned with Murch’s theory, in order to enhance continuity and flow within my own personal showreel.

After gathering a collective of my previous works, I assessed what elements of those would produce the most eye-catching artefact, selecting clips that involved movement and would specifically require the focused attention of an audience. I used a range of productions including, short films, video vox pops, live television programs, promotional footage and behind the scenes collectives. This was a conscious decision made to ensure I did not limit myself regarding content and form and allowed myself to express my full range and capabilities within the production of media artefacts. Within my chosen projects, for my showreel, I had worked in many creative roles that included Director, Producer, Writer, Camera Operator but most frequently Editor and I aimed to advertise my skills in a captivating way.

To my already altered sound, via the encouragement of my tutor, I devised and constructed an editing decision list, this list was a major component in highlighting key moments from my previous works and marking their in and out points. This allowed for an easier work flow when it came to forming my production in the edit suite having already specified the collective work I wished to use in order to produce my show reel. I edited my showreel, within Avid Media Composer, via several draft attempts along with discussions and feedback from my modules lecturer, I was encouraged to create tighter cuts that would collectively sync my ‘moving’ shots with my upbeat, faced paced style of sound.

For this piece I also wanted to utilise the lessons we were receiving upon motion graphics, as I had very little previous experience with them. I wanted to develop and moving image, motion graphic, that would reflect the production name I use online, Nimue Productions, which is a play on my own name and the legend of Nimue, an Arthurian character and myth. From this I was inspired to create a motion graphic that would encompass the ‘lady of the lake’ and express my fun and creative side. I began designing this graphic physically on paper, once I was satisfied with what I wanted to achieve, I used the Adobe programs Photoshop and After Effects to develop a layered, dimensional graphic that would then appear and become emotive at the beginning of my show reel. My final motion graphic was a hand drawn and texturized graphic of ‘Nimue’, raising Excalibur from a lake, once designed, it was a simple graphic to animate. I wanted to add another layer of creative expression on my showreel, therefore, I researched and began designing animated text for ‘Nimue Productions’. Focusing on the animated, water-based theme, I designed text that reflected a moving wave of an ocean, in multiple colours and actions. This I then integrated with the original animation I had produced. Furthermore, I also added, shadowed text labels to my video in order to identify what roles I had participated in, within each individual production. I was happy with the successful completion of this showreel and felt it reached the requirements of the modules brief. 

Yorkshire Film Archive Showreel

For my second artefact within the Advanced Production Skills Module I was required to devise and produce another 60-90 second promotional video, this time for the Yorkshire Film Archive, working from a real live brief with a professional client, in a professional environment. We were introduced to the clients at the Yorkshire Film Archive within our first week on the module which allowed us, almost instantly, to develop an understanding of their needs and requirements for the project. It also encouraged us to develop a professional working relationship with a business. Although this wasn’t my first experience working to a live brief for a client this publicised, I felt it required me to develop an understanding beyond my own, ensuring that I was creating something not only for the Yorkshire Film Archive but their audience.  

Our brief for this artefact stated that the piece should demonstrate “what they do and what they can do for the community”. To heighten the emotional element of the product we were developing on their behalf, we needed to use the stock Yorkshire Film Archive footage we were presented with by them, encompassing it with motion graphics and royalty free music, to enhance the product. To ensure I was well versed in their history and fully understood my client, I began researching the Yorkshire Film Archive online, within my scheduled SOL lesson for the module, browsing their website and collective social media platforms. I wanted initially to understand what drives the company to produce archival footage, where it comes from and what their goals and morale are based upon. I also wanted to understand how the Yorkshire Film Archive present themselves on a social media / internet platform, so my work for them would remain on brand and would not feel out of place if used to promote their work on those said platforms.

Encouraged by the usefulness of my editing decision list within the production of my first artefact for this module, I began a similar process in order to remain organised, focused and prepared for the edit ahead. I started my pre-production process by attempting to watch and analyse the footage given to us by the Yorkshire Film Archive, however, the vast quantity of their archival footage set my editing process behind schedule. Although causing time keeping issues, I decided to continue with this process as I felt watching all the footage I could, would allow me to present some of their collective ‘best moments’. This process also allowed me to cut out and discard any unwanted or subpar videos that would have taken up a vast amount of unnecessary editing space, saving me the hassle of importing them all into my Avid editing programme. This also worked in my favour as I discovered, when watching all the footage available, I was inspired to create an opening sequence based upon clips I had happened to witness. Within the collective, I found several videos containing images of maps, of Yorkshire, and birds eye view footage captured from planes. I decided to make my motion graphics element upon this, by sourcing a royalty free image of Yorkshire and the Humber’s boundary lines on a blank map. Taking this image into Adobe After Effects and with the use of a physical map of Yorkshire I located many key town and cities, I believed those from the county would easily recognise, and began placing their names upon their map locations. Incorporating motion graphics, I had the names of these locations fade in and out over the map to allow for texture and dimension within the showreel. This ‘interactive’ map style way a long process but one I believed would only improve upon my product for the Yorkshire Film Archive.

After assorting all my necessary footage and an introductory sequence, I sourced royalty free music that was upbeat and engaging, this was due to the fact, most clips I had decided to use where reflective of happy Yorkshire individuals and I wanted to remain on theme. The music I sourced came from royalty free artist Bensound.com who I have, relied upon within many projects as his music is often captivating and pleasant. I began combining the shots I had collected from the archives clips. Those I had selected, I felt represented many aspects of the broad range of individuals from the county, opening with a Yorkshire Television Production logo, I introduced miner workers in 1948 and housewives of 1943, two contradicting images of four individuals within each, one in colour one in black and white. Both clips positive, I followed with the title clip from ‘having a wonderful time’ to reflect the emotions show within the previous shots. I felt it was a strong start to the project.

Referring back to Walter Murch’s rule of 6 I ensured the production of this artefact also contained emotive shots, that reflected story and contained rhythmic, eye-traceable action. I continued to incorporate the multitude of clips I had gathered, I realised I had too much for footage for the required time constraint but was happy that what I could use was worth using and would only enhance the product. Adding clips that included Yorkshire scenery and appealing moments between individuals, I began embellishing the video with filters and effects. This included speeding up and slowing down multiple shots and cutting together longer video to ensure they were more impactful within the final product. I ensured to include clips that I had been inspired by, in regards to my opening sequence as I wanted to ensure an element of continuity to the video.

Throughout the video I also remained aware that I wanted to encompass, what I felt the Yorkshire Film Archive stands to achieve, this being the collective appreciation of all things Yorkshire and the collective of unique individuals that remain a huge part of it. I was insistent of including clips that showcased those with disabilities, women and people of colour as I believe this would also help the Yorkshire Film Archive reach a wider basis of viewers. I rounded off my video with to images that I felt reflected the light hearted, enjoyable theme, running throughout my artefact. A classic ‘Yorkshireman’ and simply a clip that stated, ‘The end’.

I was satisfied with the artefacts I produced throughout the Advanced Production skills module and believe they showcase, my editing abilities and encompass all elements of the brief.

Bibliography

 

Chandler, G. (2004) Cut By Cut. (2nd Edn) California, Michael Wiese Productions.

Chang, J. (2012) Editing. Lewes, ILEX press.

Dancyger, K. (2007) The Technique of Film and Video Editing: History Theory and Practice. (4th Edn) Oxford, Focal Press.

Fairservice, D. (2001) Film Editing: History, Theory and Practice. Manchester, Manchester University Press.

Murch, W. (2001) In the Blink of An Eye: A Perspective on Film Editing. (2nd Edn) Los Angeles, Silman-James Press.

O’Steen, Bobbie. (2009) The Invisible Cut: How Editors Make Movie Magic. California, Michael Wiese Productions.

Thompson, R. (1993) Grammar of the Edit. Oxford, Focal Press.

 

 

Screen Production Portfolio 2MD001

Production Blog

For my Screen Production module I was given a list of six tasks and required to produce a production blog to reflect upon the said tasks I completed and  artefacts I created. These six tasks consisted of shooting a short film within 48 hours, a production management task discovering the feasibility of two locations after devising location recce’s, swot analysis’ and risk assessments for both. The module also include a Foley sound task, editing a soundless video and a script development task, devising our own shots for a script. I also took part within two group tasks, one a multi-camera recording of a live stage production and a single camera task which challenged us to develop a script excerpt into our own story.

48 Hour Film Task

My first task within the module was the 48 hour film challenge, a group project that asked us to produce a 48 hour short film.The production process began with a task brief that detailed specific criteria that our short film had to comply with. This criteria compiled our 48 hour project to feature a required line, character, prop a the details of these would be given to us at the beginning of our 48 hours. Our initial concept was based upon the mystery and crime genres as it would feature a kidnapping of a young man, taking an unexpected twist to reveal the two characters involved are both willing participants in the attack and the kidnapper is in a relationship with the kidnapee.

At the beginning of the project our group formed and reflected on the constrictions the required elements would produce and referring to the project management triangle, we began a discussion of the task. We examined what components the film making process required, which included having to produce a concept and script whilst ensuring this could be re-adjusted when given our required criteria. We were asked to devise a presentation of the project as this would allow us to outline all details for our production, this included a structure breakdown of our short film into a clear three act narrative. We then devised a synopsis giving our story depth, gathered a prop list, as our project was crime we needed to ensure our prop list was defined early as any use of violence and weapons within our short would need to be authorised. Furthermore gathering a location list in order to ensure our settings were appropriate, for the shoot we used our directors house as our primary location. This location was suitable due to its accessibility, allowing us to shoot locally in a suburban area that allowed for an undisturbed night shoot for our first act and fitting establishing shots for our third act. The presentation also contained our actors list, we chose to use members of our own group alongside personal residence as it meant we wouldn’t need to rely on outside sources. Although our actors were less experienced it allowed us to make efficient use of our limited time and helped to ensure crew availability and access.

Within our group we had devised what roles were necessary for our project, who would do what and why, this allowed us to allocate pre production and production tasks ensuring we were equipped and prepared for the shoot. My role within the project was Lighting, equipped with Lighting experience from previous practical tasks and shoots, I felt qualified and able to effectively light the project. Within my role during the pre-production process I researched lighting for crime, within classic noir crime lighting was used in one point lighting structures in outside scenes to enforced silhouettes and enhance shadows as seen in The Big Combo (1955). For our outside shoot I decided to use only natural and street lighting to enhance reality and artificial light within the phone box to refer back to the use of one point lighting structures in classic crime. In comparison I researched lighting in modern the crime/ mystery genres, films such as Gemini (2017) featured heavy use of neon and coloured lighting. I used this style of lighting within the second act with focus on red lighting at is represented both lust and power, I felt both these stylised use’s of lighting could enhance the projects tone and meaning. On the day my research came in useful because for the night shoot we used almost all natural lighting  with minimal artificial lighting for within the phone box. The use of the harsh red lighting within the second act gave the scene a darker, sadistic tone. During this process I referred to ‘Making Short Films, Third Edition: The Complete Guide from Script to Screen’ by Clifford and Max Thurlow for guidance and references when making our short film.

The statement of intent we produced before shooting was finalised after receiving our specific criteria, we were able to integrate this criteria into our shoot through the use of extra props, a birthday sash was used to define the coming of age genre. The required prop, an almost empty bottle, and the required line were “take this you might need it”, were effectively placed and helped give realism to the intoxication of our character. The required character an ‘overconfident expert’ also was easily placed into our short as one of our original characters, our kidnapper was a expert in his craft. The required criteria didn’t affect our intended audience, of young and lgbtq+ people, as our two characters still represented that within the film. They also had no effect on our predefined cinematographic style that relied on short clips and montages to build suspense. Our project was easily adaptable to the specific criteria as we had put effectively organised pre-production, and our concept was simple but also sufficient in its story depth.

 

Production Management Task

For this task I had to produce two location reports for two separate scenes, one interior one exterior, producing a SWOT analysis for each along side supporting photos plans and completed risk assessment and recce forms.

My first location report is of Fountains Learning Center, I conducted a location recce for Fountains as I felt it would provide an appropriate location for the stairwell scene from 2013 indie Her. This location proved to contains both positives and negatives. The location is a strength in that it is easily accessible within campus, the Fountains Library provides a quiet idealistic set, this set is also open 24/7 throughout most of the school year. Our crew would be able to access food, toilets and parking all within a half mile radius, most of these falling within campus.  However weakness come into play as students use the library daily and this project would require shutting part of the center down in order to shoot and this could prevent students from participating within their studies. The location provides and opportunity our crew to shoot on a relatively low budget and if successful would create positive promotion of the university, however if the production were to fail, this could cause negative impact on the university and its image. Shooting at this location could be appropriate and feasible if used productively and efficiently.

My second location report is of a section of High Petergate, York,I conducted a location recce for High Petergate as it aesthetically suit the location of the scene without too much set alteration, Bootham Bar would also provide and adequate Diagon Alley entryway.  This location featured a combination of positives and negative, the street was aesthetically adequate  but  physically constrictive as the crew would net to construct a set along the street and we would struggle to fit a large crew, with equipment and vehicles  alongside a collective of extras and cast members. The probability of shooting within this location relies upon a local council, this scene would require pyrotechnics and smoke effects therefore they would have to grant us permission in order to shoot here, producers would have to ensure the professional conduct of the crew and safety of the city and its inhabitants. The power to shoot on location during the day was a strength however it would be on a limited time constraint, with greater noise pollution in comparison to night. When York is largely quiet and traffic is minimal, therefore it would be more feasible to shoot overnight therefore causing less disturbance than a daytime shoot would.

Local city information gathered from VisitYORK.

Foley Sound Task

For this task I was required to, from a provided silent scene, ‘devise and create a multi-layered soundscape’ this was to relate to my own understanding of the clip in relation to its tone, meaning and mood. Challenged with a scene with no sound I had to refer to the use of Foley sound effects, Foley is the recreation and capture of sounds to and establish and enforce reality within media artefacts. I referred to copyright free sources Freesound.org, Bensound.com and Premiumbeat.com for all my sound effects and audio clips. The clip followed a young girl on a road trip with her father with the establishing shot featuring grass and sand covered banks and hills. Their vehicle appears on screen almost instantly, driving onward through the banks past the camera. The initial audio track I laid over the clip was a recording of seagulls and sea breeze on a windy beach, as I believed this related to the scenes setting and created diegetic ambiance. I added the captured audio of a passing vehicle to heighten the realism of the clip, additionally adding Foley captured within a moving vehicle as the shot changed to the pair travelling within the car. I edited this effect, copying and reversing it in order to reuse it without heavy repetition, likewise using this technique on the ‘huff’ effect I placed over the father during this scene. To continue developing a realistic clip I added effects including the scratching of hair and cloth as the father ruffles his daughter’s head and clothes. For the following exterior shot’s I added the effect of an FM radio tuning and an upbeat fun audio track from Premiumbeat.com, as the clip featured two exterior wide shots that I felt could use more depth. I overlaid this with a non-diegetic music clip from Bensound.com, this was a softer piano piece that I felt suitably reflected the melancholy shift in the girl’s tone and expression and the introduction of the whale and the connection between the two. I wanted to enforce a more immersive sound for the whale clips, by using water effects, captured below the surface and whale noises created from a deep-sea echo. For the last clip I imported ocean noise, the sound of gravel due to the car pulling over and engine noises. I used the soft piano piece to move with and play out the scene as it aided the tone I was creating. The sounds I used within this video, I chose due to their aid in creating tone and reality within the clip.

A sound spotting sheet I created and referred to in the creation of this artefact.

Whale Rider Foley Task. from Niamh Grevatt on Vimeo.

 

Script Breakdown Task

For this task I was required to extract a chosen scene, from any film, and devise my own responsive shots to the script, conducting a storyboard, breakdown sheets and annotated shooting script. I chose to excerpt a clip from the Academy Award winning 2015 film ‘Room’. The scene I chose to re-imagine was a short scene between Jack and his mother on his fifth birthday, where Jack is gifted with a birthday cake but cannot understand why it contains no candles. I chose this scene, and this film, due to its simplicity that does not underestimate its ability to explore and present a deeply meaningful story. It’s simplicity allowed me to expand upon the previous content, exploring how different shot sizes, styles and lengths can alter the impact of a character’s emotions and actors performance. The scene tells an audience a vast amount of information within 60-90 second period, in that time it is revealed how long Jack and Ma have at least been captives, they survive with the bare minimum (cake, Sunday treat) and the bond between the two as they rely only on each other for care and affection. I felt my re imagined scenes use of limited space and props re-affirmed the vacancy of grandeur and freedom in these characters lives. For this task I referred to ‘Multimedia Storytelling for Digital Communicators in a multi platform world’ (Ginter, 2016) and his explanations of storyboards and shot types to ensure correct use of terminology and structure (pg 247-251).

   

   

Group Live Task – Patience by Gilbert & Sullivan

For this Screen Production task I worked within a group formation on a live multi-camera shooting of ‘Patience’ by Gilbert & Sullivan, performed at the York Theatre Royal. This task required us as a team to respond, with professional practice, to a client brief of both time constraint and project scope, whilst working in a live production environment and conducting a professional process. Within this group we divided specific roles to those who wanted them and were suitable for them. I requested the role of director, a role which I felt I could sufficiently execute to a professional standard, I shared this role with my Co-Director who was likewise suited for the role. I began researching for the task by watching a previous online version of the production and reading through Roger Singleton-Tuner’s sub chapter ‘The Director’ (2011, pg 64) within his book ‘Cue & Cut: A Practical Approach to Working in Multi-Camera Studios’ as our project focused upon our use of a live multi-camera setup.

My Co-Director and I began communicating with the the client directly after working with our Producers to contact the Production Assistants, requesting if we could attend rehearsals. This decision was made in order for us to speak with the Directors of the performance personally, discussing any concerns they had of our presence during the production and details of the brief. The client was initially concerned that our shots may not be wide enough to capture the entire chorus, due to previously working with other students, therefore we had to ensure all our shots were appropriate to her request. Attending rehearsals also allowed us to study the performance and collect floor plans in order to track what shot types and shot lengths we would use during our live shoot and our use of two directors . We decided to use three main shot types, these being a Wide Shot, Mid Shot and Two shot, we made this choice as the production featured multiple ensemble pieces, that we wanted to fully capture. Through the rehearsal process I was also able to organise for our VT crew to attend and capture rehearsal footage and actor interviews, to give our clients a multi layered professional product.

Our process then involved attending a location recce at the York Theatre Royal as this allowed us insight into the locations of our cameras and setups, impacting on final decisions including our shot list, this had to be altered as the lighting rig within the theatre blocked several of our shots. After our recce, I conceived a live multi-camera shooting script which contained specific instructions for each Camera Operator and Vision Mixer to give direction and ensure that these members were well prepared for their roles alongside my own.  Our group also attended the productions dress rehearsal within the theatre alongside attending health and safety lectures to ensure we were performing to a high professional standard. The day of the shoot required me to ensure that our group was prepared for the long shoot, reminding them to look after their own health and safety, staying hydrated, as well as the safety of the audience, by ensuring the remained in their required areas. Shot lists, character guides and scripts were also given to crew members before our shoot so they were prepared. During the shoot my Co-Director and I delegated specific tasks, in order to complete the workload. This included myself working alongside our vision mixer to follow our script and obtain the shots I wanted and my Co-Director communicating with our Camera Operators to guide them through the shoot and any last minute alterations that needed to be made. I believe the live multi-camera project was a success, as it required a team that was willing to commit to the time constraints of the production, respond actively to the client brief and produce a professional piece of work.

Location Shooting Task

For this task, I was required to work within a group to produce a single camera scene devised from an excerpt from the ‘Stone Cold’ script, that we would develop and write ourselves, filmed within our ‘Black Box’ studio on campus. This task challenged us to work within our crews planning our lighting and camera set ups alongside blocking our actors, filming and editing our scene. Our group for this task only consisted of seven members, compared to another group within our class whose group consisted of 14 members attempting the same brief. This initially constricted our group as we felt we had an inadequate number of group members, our roles therefore required more from us as workload had to be redistributed. As Producer I felt it was necessary to take on elements of the extra workload to ensure we would complete the task within its time constraint, I also took on the role of writer and editor within the project. Taking on the extra tasks allowed me to incorporate my own level of creative interpretation of the task, as writer the flow and structure of the story relied on my originality and inventiveness, correspondingly as did the editing.

As a group we discussed the initial concept of our scene, determining that we would develop the genre of the ‘Stone Cold’ excerpt into a film noir as we felt this was an unexplored genre for us and would allow the crew to explore lighting styles, with filters and hard and soft light. This would also allow us to work on our lighting technique with enhancing shadows and developing light intensity. Our creative interpretation of ‘Stone Cold’ led us to effectively use our space, with multiple shots from multiple angles and actions that utilised the sets parameter. For example our close up shots featured on the watch and candles, compared to our opening tracking shot. Our location consisted of a professional set-up, due to our access to a black box on site that was pre-established by assisting technical staff. We hired student actors for our production as this allowed both us and them to experience a live set shooting and develop our professional workplace skills.

For the project I researched into the representation of women in the noir genre, femme fatale noir, and the noir genre in Britain, examining both ‘European film noir’ (Spicer, 2007) and ‘Women in Film Noir’ (Kaplan, 1980). I made this decision due to the original excerpt focusing upon a woman, Rose, we wanted the character to remain our antagonist and therefore had to devise how her character could fit into film noir. 

Bibliography

Ginter, S. (2016) Multimedia Storytelling for Digital Communicators in a Multiplatform World. New York, Routledge.

Kaplan, E. A. (1980) Women in Film Noir – revised ed 1980. Suffolk, BFI Publishing.

Singleton-Turner, R. (2011). Cue & Cut: A Practical Approach to Working in Multi-Camera Studios. Manchester, UK: Manchester University Press, pp.64 – 66.

Spicer, A. (2007) European Film Noir. Gloucester, UK.

Thurlow, C. and Thurlow, M. (2013). Making Short Films, Third Edition. 3rd ed. London: Bloomsbury Publishing.

 

 

In the simplest terms, in the most convenient definitions, The Breakfast Club – Video Essay

The Iconography of The Breakfast Club- A Video Essay from Niamh Grevatt on Vimeo.

For this project I was tasked with creating a video essay, this video essay was required to demonstrate the analytical critique of an aspect of media. For this project I chose to analyse The Breakfast Club and the influence it has had on pop culture. I began by researching video essays, these videos can range between two minutes to 12 minutes and may sometimes contain a voice over.

As a fan of The Breakfast Club I felt very comfortable tackling this project as I already new the piece of media fairly well. I was already aware of several pieces of media that reflected and incorporated many elements used within The Breakfast Club. This film, released in 1985, was one of John Hughes’ most famous works,  alongside other ‘brat pack’  films such as Ferris Bueller’s Day Off, Pretty in Pink and Sixteen Candles . More than 30 years later, The Breakfast Club has transcended multiple generations due to its connection with the people. The film follows five students in detention on a Saturday, The students initially dislike each other, but the journey they take over the course of the film allows them to understand one another and connect, they learn that we all struggle and we are all human.

I believe that’s one of the reasons the Breakfast Club is still so popular with all people, most everyone I’ve discussed the movie with loves how individual each of the students are, that they struggle, that they’re simply trying their best. The Breakfast Club has famously gone on to influence many modern media products. Simpson creator Matt Groening named his infamous Futurama robot ‘Bender’ after a rebel John Bender. More famously on his most popular characters Bart Simpson’s tagline ‘Eat My Shorts’ is used to this day due to it being a John Bender quote from the film.

I wanted to keep my video simplistic and easily understandable, I did this by gathering many media products that contain influences of The Breakfast Club. I then created a montage to Simple Minds “Don’t You Forget About Me”, one of the films most recognisable songs, to show the way in which these newer media products take their own spin on the 80’s classic.

I used a direct quote from the film to title my video as I felt in encompassed the statement I was trying to make in this video essay. That The Breakfast Club lives on through the simplest terms and most convenient definitions, it’s iconic dances, quotes and songs are all so simplistic yet so recognisable and meaningful to so many people.

The Late Night Breakfast Show – Group Project

The Late Night Breakfast Show was a group task I partook in within my Media Production class at York St John University. The task we had been given was to create a 10 minute long studio segment as part of our Multi-camera Task. We began this task with research and planning, groups were tasked with looking at existing magazine shows and multi camera productions in order to create our own concepts. We then had to pitch them to the rest of the class, the studio segment agreed upon was The Late Night Breakfast Show, a morning television program devised of multiple smaller segments, which was the concept my group had devised.

We went on to take the Belbin test as a group, in order to assess which roles we would be best suited to. We then went on to discuss the content of the show and the creation of our treatment. This was in order to ensure the show had a purpose, overview, target audience and format, the group then moved on to roles so we could have a fully functioning crew.

I was giving the role of Lighting Technician, I had to research my role and current multi-camera productions on air currently to better understand how to efficiently partake in the project. I looked into the different styles of lighting used within similar projects and went on to discuss the different types of lights we would need with our producer and media technicians. The producer was then able to update the risk assessments for everyone’s safety.

We began our first desk segment with basic studio fluorescent’s and added a pancake lantern to create a softer tone. For our second studio segment, a parody of an antique show, we required spotlighting in order to light up individual items that were being valued. For our third segment, an arts and crafts show, I used a selection of Dedolights in order to create a multi coloured background to create a relaxing atmosphere. I also used Dedolights for our last segment that required a spotlight background.

When using the Dedolights I found that they would become overheated easily, therefore I had to take extra precaution when setting up our studio. I had to ensure I wore heatproof gloves when handling the equipment and that the runner was stood by at all times in case I needed assistance.

I chose to include this artefact within my portfolio as it was a collective task that we, as a crew, had to come together and worked hard on. I felt that myself along with everyone involved had done their job to the best of their abilities and the finished product was a successful and effective product.

Self Portrait

For this task I was required to create a video suitable for sharing and streaming on Instagram. As a media creator I was tasked with this in order to establish myself as a new online presence, find my audience allow them an insight into who I am.  For this I attempted to create something unique yet representative of what makes me who I am, what I love and those who inspire me.

I began this task by looking at similar videos that already existed online and more specifically Instagram videos and the quality that can go into them. I started planning my own video by brainstorming on things in enjoy watching and reading but also my hobbies and interests. After initially creating a list I began planning where and what to film. I new I wanted to keep this project personal so I decided to film it within my bedroom. To keep this theme up I planned to gather some of my most important and personal possessions. In order to shoot my self portrait I had to fill in a risk assessment  to safely book equipment and find a fellow student partner so I could have support to safely shoot my video.

My video included multiple elements, it included personal items to me such as family photos, because the people in them are those that are closest to me. I also gathered a childhood video that I later incorporated in the video as I felt this footage  showed a candid glimpse of a younger version on myself. I also included things around my room like collages I’ve created, tarot cards I collect and even my bed, as my room is where i spend most of my time surrounded by these things.

I wanted to give my video an abstract element, I did this through the audio within my video. I recorded myself reciting on of my favourite poems and then reversed the audio whilst lowering its pitch. By editing the audio I felt I could incorporate more of myself into the video without it being too simplistic or boring.

I felt that this video contained many elements and incorporated many layers of my life and personality. Therefore an audience interested in myself and my work could view this and begin to understand what makes me who I am.  I felt the collection of images of me at a young age and me now gives the audience a great contrast of me then, a young kid who’s only intention is to have fun in one of her favourite places. And me now a young adult studying in higher education, living independently coping with everyday life as an adult.

What Makes You Happy? (Video Vox Pops)

[youtube]https://www.youtube.com/watch?v=xM2pxJTxUOY[/youtube]

Video Vox Pops conducted around The City of York, asking people “What makes you happy?”. I asked this question as I felt it was simple yet meaningful and I could gather a good range of thoughts and feelings on the topic.

I chose to use this artefact as part of my portfolio as I felt it demonstrates and follows the concepts of a video vox pop [x]. The video contained snapshots of the public and their opinions on a specific topic, which were shot with a standard medium close up. This shot was used as it is a tool often used within video vox pops [x] [x] [x]. Alternating angles that featured our interviewees on either the left or right of our shot were used, instead of centered to allow variety within the video vox pop. The video featured local landmarks like the York Minster and local churches and included a collection of interviews with a range of different people. The interviewees ranged in age, gender and backgrounds, from those who live and work in York to those just visiting from abroad, this meant that we could gather a wide range of opinions.

I also chose to use this artefact as part of my portfolio because the answers given to me by my video vox pop interviewees were personal and real. From discussion of material things making a person happy temporarily, to not feeling much joy after the loss of a partner. These interviewees were honest and open, which allowed me to create a personal video vox pop.

I worked collaboratively with a group for the production of this task, which allowed me to build upon teamwork skills. I took the leadership role as producer, this meant ensuring health and safety protocols whilst shooting. I had to provide gather our interviewees and provide them with Student Production Contributor Release Forms, allowing us to film and use their image for our artefact. I wore a Hi-Vis jacket throughout production which featured the name of the university in order to inform the public who we were. Whilst our Interviewer and Camera Operator were performing their tasks I ensured that our production team stayed safe throughout the city. I did this by remaining making sure we remained on pavements but did not block any pathways for pedestrians.

Created as part of the Media Production: Film and Television course at York St John University. With thanks to all participants.

 

Audio Vox Pops at York St. John

Freshers life at York St John – Vox Pops
The first week of Semester 1 2016 I was on the York St John University campus, speaking to several students about their expectations of student life and how those expectations compared to the reality of living the life of a student. This include how they’re budgeting their student loans to how they’re finding lectures and how overwhelming the entire process of growing up and moving away from home has been so far.

The process involved in creating my finished artefact began with researching audio vox pops, including BBC Academy tips on recording vox pops [x]. It also included going out around campus with a sound kit and approaching York St John students, this was done in pairs. Myself and another student took turns recording our questions to collect a fair range of results. In order to interview students I had to ask their permission, ensure that all participants signed release forms and were aware of the purpose of my vox pop. I had to be aware during this time to not disturb classes taking place or enter locations like Fountains Library. This process then involved editing my audio files in Adobe Audition to create my finished artefact, I felt this artefact incorporated all the elements often included in audio vox pops [x].

I chose this specific artefact for my portfolio because I felt it captured a personal element of student life as my vox pop interviewees discussed holding down part time jobs in order to get through uni comfortably. Students also discussed learning how to budget and shop around in order to save on spends. The personal element was also reaffirmed by students discussing missing family, learning to cook and how attending a university like York St John can be quiet but also homely and ‘chummy’.

Living with a lifelong blood disorder (Story 3)

For my third story, I took inspiration from my own family and my younger brother, Riley. Riley’s 18 and was born with a genetic disorder known as Haemophilia B, I sat down with Riley to talk about what it was like growing up with a form of Haemophilia and how it affected him day to day.

A young Riley

A young Riley

“Growing up with Haemophilia definitely effected my childhood, when I think of my childhood memories they often consist of visits to hospitals and appointments and lots of needles!”

Haemophilia is an inherited genetic disorder passed down on the X gene, for example because our granddad suffered from it, he passed in onto our mum, who in turn passed it on to Riley when he was born. Riley’s specific form of Haemophilia, Haemophilia B, means he’s lacking the clotting protein, factor IX. This prohibits his body from producing blood clots, due to this thinning of the blood, so when he gets an injury, it’s almost always a big deal and treating these injuries always included several injections for him, where he is given a clotting agent to lessen blood flow. Although this may not sound particularly invasive, having, and being treated for the disorder has still affected his life on a day to day basis.

Haemophilia Genetic Inheritance Diagram from The Haemophilia Foundation Australia

Haemophilia Genetic Inheritance Diagram from The Haemophilia Foundation Australia

“As a kid, I would often end up in hospital for even minor injuries, because I would need factor IX doses. From falling over in the playground and receiving a few small bruises, to larger more dangerous joint bleeds in my knees, you always had to be safe rather than sorry. Which would often lead to people being super cautious around me or wrapping me in cotton wool.”

Riley often had to take days off whilst at school, due to travelling 80 miles to the London to see specialist doctors. He said “It often made me feel isolated and different, I didn’t really talk to my friends about my Haemophilia so a lot of them didn’t really understand it. Quite often people would just assume that if I get a cut I’m going to instantly bleed out and die, even worse when they were ignorant enough to assume it’s contagious. Which it’s not!”

As a kid, Riley was often not allowed to play many sports, especially if those sports involved physical contact. Which was a struggle for him as he really enjoyed partaking in many different sports.

“I wish I had been less wrapped up in cotton wool, I wish Haemophiliac kids could just be involved like any of child would be. That they could join in on contact sport even if that meant having factor onsite just in case.”

I wanted to finish off the interview by asking Riley, if he could let everyone know one thing about his disorder to make them more aware, what would it be, to which he said:

Riley as he is today

Riley as he is today

“I wish it could be more normalised, just because I have Haemophilia doesn’t mean in not capable of being a functioning member of society.”

 

 

Exploring Masculinity (Story 2)

For my second story I was inspired by Huffington post’s Building Modern Men, “a month-long focus around men to highlight the pressures they face around identity and to raise awareness of the epidemic of suicide” (HuffPost 2016). Huffington Post released a video during this time to acknowledge and reduce the stigma that surrounds men and boys crying, where they asked men when the last time they cried was.


http://projects.huffingtonpost.co.uk/building-modern-men/

James and Jordan post interview

James and Jordan post interview

I decided to sit down with two local students, James and Jordan, to discuss with them, as young men, the ways in which masculinity has influenced their lives and how they feel towards the social norms expected of men within our society. We discussed how they feel towards the often stigmatised topic of men and boys opening up and honestly expressing their emotions.

Click below to listen to the interview.

Tweets featured within the #boysdocry hashtag on twitter:

 

Charlotte’s Story (Story 1)

Charlotte BennettFor my first story I interviewed Basketball athlete Charlotte Bennett, on her experience as an national and international league player and adversaries she’s faced as a woman in a male dominated, competitive sport. For the Storytelling (Factual) module on Media Production at York St John.


Click this link to see my tweets about the video and RT to spread the word!