https://drive.google.com/open?id=1UqCQ_8Izr7O31q8YeBnbo-WOqwTMVn0C
Location/Set Task:
For this task we were constantly using the Gibbs’ model of reflection throughout (1988). The task consisted of us taking the ‘Stone Cold’ script and adapting it in a way that we could make into an excerpt scene from a film. We had to creatively interpret the script to plan the scene by devising a lighting plan, positioning cameras and blocking the actors once we had them, all to professional standards.
This is where the Gibbs’ model was most valuable, once the script was ready, we were thinking about what we felt worked and did not. We evaluated the script, next we analysed the script in terms of lighting it, and how we would position cameras to suit to feel of the story and work with the lights and vice versa. Then from there working out what else we could do and how to fix any problems that may arise. Due to the fact we were experimenting as we went along, we had plenty of time to rework and reflect on what we had done and were going to do (Gibbs, 1988).
My role within this group project was as a grip/gaffer. For me the most significant role I played in the creation of this group task was communicating with the Director of Photography and positioning the lighting ‘back-stage’ and making sure that the ‘DP’ was happy with the look of the piece. Alongside this I managed cables, keeping all loose cables taped down and reducing the trip hazards around the set, clearly marking hazards so that the crew were aware. Safety on set is of paramount importance, and I wanted to ensure that we would have no issue with safety and ensure a smooth-running production.
Although I did not have any creative control in the production of this project, I did have key choices to make, most useful being the order in which to set everything up. I decided to get the basic lights set up primarily. I chose to do this as it meant that the ‘DP’ could then get a basic view of the set and start planning his shots exactly whilst I was preparing other aspects, coloured filters to put on the lights, spare batteries with the lights, the track for the camera, and making sure everything was tidy and cable managed. The impact of this meant that the production could run smoothly, allowing me to help whenever needed and meant that the whole crew had organised space to move around and work in without causing too many problems for other people. By understanding other crew members roles, I was able facilitate by using my time more efficiently, to save time for the rest of the crew.
‘Resilience, stamina and strength are essential’ (Jones, 2003, p.115). This is very true as although none of the equipment was particularly heavy, our ‘DP’ changed his mind frequently on where he wanted the lights to be positioned. The stamina aspect is most relevant; it was simply a non-stop session. I enjoyed being busy and focused on my role.
I felt that the production went reasonably well, although there were a few times when shots did not go to plan, or we did not get enough footage. Overall I feel the production would have been much improved if all the members of the crew knew their roles a lot more intimately and were faster and more efficient in their roles. On the other hand, I made a few mistakes, not being aware of the level of filters I used on certain lights in the dress rehearsal, and not marking them down. This became an issue on the day of shooting as I was working from memory rather than a marked sheet. We resolved this through trial and error; however, for future I now know that I should mark down the filters on a separate sheet which would speed up the time of set up on the day of shooting.