Sunday, 23 January 2011
Problems we faced
The night before we started filming (Friday 21) Sarah realised that we had the wrong charger for one of the the camera's. As a result, we only had an hour and a half where by we could film. It was too late to go into school and collect the correct charger, therefore, we decided to use the two which were fully charged for the main filming, and the one which had little battery would be used for filming behind the scenes. Lucy friend also had a camera which we could use to film if necessary. I feel we handled it well using good communication skills and reacting quickly and thoughtfully to the issue at hand. In the future, we need to check all our equipment well in advance, and even if you are not the group member with the camera's and neccesary equipment, you still need to make sure that everything is in order ready for the shoot, and if not, have the ablity to tacticle the issues before it effects the shoot.
Filming the narrative 23/1/11
We were able to get my friend who does performing arts, and one of her male piers to take part in our narrative. They arrived at eleven thirty, before Sarah and Lucy, so I was able to begin briefing them on our ideas. Sarah and Lucy arrived at eleven forty five and we gave a brief together of the detailed scenes. We set up the camera's outside and started shooting our first scene at roughly twelve fifteen.
I suggested going through all the happy scenes to start with, so the actors were able to gain a greater understanding and the of the direction of the narrative. We shot the outdoor scenes first in order to avoid any issues with the weather. The couple started off on the bench, where we set up a close up and long shot. We wanted to captured the love and emotions on their faces through the close up, as well as conveying the romance the their use of body language. We then moved on to the walking scene, using a long shot from behind, and tracking shot through the trees created a sense of being in the moment. I feel we made good use of the camera's as using two allowed us to achieve a number of different shots whilst not having to keep repeating the scene. Continuety would also be easier to keep with the less re shoots done. However, I think we should have been more aware of the other camera's around us, ensuring that we do not capture them in the shot. The outdoor scenes went well, especially as they progressed, as the actors were able to gain confidence in preparation for the greater scenes which will need more emotion, such as, the moments of agrivation within the relationship. The ordering of the shoot was very practical as the solemn scenes are more important, as they are the true soul need to reflect of the song.
I suggested going through all the happy scenes to start with, so the actors were able to gain a greater understanding and the of the direction of the narrative. We shot the outdoor scenes first in order to avoid any issues with the weather. The couple started off on the bench, where we set up a close up and long shot. We wanted to captured the love and emotions on their faces through the close up, as well as conveying the romance the their use of body language. We then moved on to the walking scene, using a long shot from behind, and tracking shot through the trees created a sense of being in the moment. I feel we made good use of the camera's as using two allowed us to achieve a number of different shots whilst not having to keep repeating the scene. Continuety would also be easier to keep with the less re shoots done. However, I think we should have been more aware of the other camera's around us, ensuring that we do not capture them in the shot. The outdoor scenes went well, especially as they progressed, as the actors were able to gain confidence in preparation for the greater scenes which will need more emotion, such as, the moments of agrivation within the relationship. The ordering of the shoot was very practical as the solemn scenes are more important, as they are the true soul need to reflect of the song.
Filming the performance 22/1/11
Sarah picked me up at nine o'clock as we had to be at filming for ten. We got to the hall half an hour before the band, so we were able to start setting up and planning out the first shots and the briefing of the band. Sarah printed out a planning schedule for each band member. By the time the band arrived we had set up all the camera's and had a short time left for planning whilst the band set up the stage. We considered the time that the band would need before starting, and on the planning schedule estimated that we would start at eleven o'clock. This was very accurate, as the band was all set up by eleven. I made another shot list which coincided with the one previously made by Sarah. I thought this was necessary as we were able to gain more idea's once the band had set up and we were able to see what the actual stage set up with the band looked like. The band progressively showed much enthusiasm as we were able to discuss our ideas with them as well.
We took it in turns to use the two camera's and, once charged, we were able to use a third camera's which was kindly borrowed from a friend of Lucy's. To start of with, we looked at doing longer shots of the whole band, using the tri pods in order to determine a steady shot. We used two at the same time so as to get two different shots, one possible closer and at a lower angle, whilst the other focused on particular band members. After a going through the song three times, we decided to hand hold the camera's on stage, getting variety of shots. Whilst holding the camera's we focused on tracking, mid and close up shots of the band. For many of my shots, I filmed continuously, without cutting, throughout the song as we would be able to cut up these scene and would get more movement and a greater variety of shots. Sarah focused more on Wolfie, the main vocalist, and Tim, the guitar soloist, whilst I centralised on the bass, electric guitarists as well as the drummer.I felt this worked well, and it was very practical using two camera's as we were able to get double the footage.
The band went through the song roughly six times. We did not feel it necessary for them to continue playing the song all the way through when we could get shots of the musicians playing using just the beginning or last part of the song. It was important that we were able to shoot Wolfie singing the song all the way through as we need to sink his miming to the recording. We discussed with the band whether or not they should do a live performance or for Wolfie to mime. Wolfie showed a preference to a live performance, believing we will be able to cut it correctly, however, this may not be as accurate as if he was miming to the actual recording, as the timing would vary. We were advised by Mr Sheppard, who arrived on set for half an hour to check how we were progressing, that it was important for Wolfie to mime along with the track for the close up shots, as this would be the most accurate method. The instrumental was not as important, it was the lip sinking that we were most concerned about. As a compromise, they played live, but used an I pod with the recording on and turned their instruments down in order to hear the track and ensure that they were in time.
I found that the band were very co operative when it came to the photo shot. They seemed very eagar to hear our ideas and also pitched their own ideas. We wanted to produce creative and unique stills, which are keeping in their genre and considering the researching previously found. I wanted a shot which can convey their closeness as a band, a reassurance for the audience, which is very important for bands, especially new ones. Wolfie needed to stand out to a certain extent as he is the leader of the band, and he enjoys this role.
We took it in turns to use the two camera's and, once charged, we were able to use a third camera's which was kindly borrowed from a friend of Lucy's. To start of with, we looked at doing longer shots of the whole band, using the tri pods in order to determine a steady shot. We used two at the same time so as to get two different shots, one possible closer and at a lower angle, whilst the other focused on particular band members. After a going through the song three times, we decided to hand hold the camera's on stage, getting variety of shots. Whilst holding the camera's we focused on tracking, mid and close up shots of the band. For many of my shots, I filmed continuously, without cutting, throughout the song as we would be able to cut up these scene and would get more movement and a greater variety of shots. Sarah focused more on Wolfie, the main vocalist, and Tim, the guitar soloist, whilst I centralised on the bass, electric guitarists as well as the drummer.I felt this worked well, and it was very practical using two camera's as we were able to get double the footage.
The band went through the song roughly six times. We did not feel it necessary for them to continue playing the song all the way through when we could get shots of the musicians playing using just the beginning or last part of the song. It was important that we were able to shoot Wolfie singing the song all the way through as we need to sink his miming to the recording. We discussed with the band whether or not they should do a live performance or for Wolfie to mime. Wolfie showed a preference to a live performance, believing we will be able to cut it correctly, however, this may not be as accurate as if he was miming to the actual recording, as the timing would vary. We were advised by Mr Sheppard, who arrived on set for half an hour to check how we were progressing, that it was important for Wolfie to mime along with the track for the close up shots, as this would be the most accurate method. The instrumental was not as important, it was the lip sinking that we were most concerned about. As a compromise, they played live, but used an I pod with the recording on and turned their instruments down in order to hear the track and ensure that they were in time.
I found that the band were very co operative when it came to the photo shot. They seemed very eagar to hear our ideas and also pitched their own ideas. We wanted to produce creative and unique stills, which are keeping in their genre and considering the researching previously found. I wanted a shot which can convey their closeness as a band, a reassurance for the audience, which is very important for bands, especially new ones. Wolfie needed to stand out to a certain extent as he is the leader of the band, and he enjoys this role.
The interview
I though it would be a good idea to have a informal set up for the interview. The band may have felt more confident answering questions in their group, rather than individually. I believed if we simply sat with a hand held camera in a comfortable set up on the stage the band would be more willing to talk freely of their experience of working on the video, their relationship with music and information about the band.
The questions we asked:
How did The Vees form?
The questions we asked:
How did The Vees form?
How long have you been a band?
Why do you prefer playing in the pub scene?
Do you write many of your own songs?
What’s your preferred genre?
Do you write many of your own songs?
What’s your preferred genre?
Have you enjoyed this process?
Have you made a music video or do anything like this before?
Friday, 21 January 2011
The stage placements
For the set design I researched the usual set out for The Vee's. I went for a conventional design, where by the singer is at the front, the main focus, whilst the musicians are all in shot, just to a lesser extent. The set up accommodated many of our shots, in particular when focusing on a two shot, or using a close up of the main singer with a depth of field of the drummer. I also had to make sure that they were not too close together, ensuring that there was enough space for the singer to perform and for the necessary lights to fit on the stage creating the right image.
The lighting will be situated at the back and sides in order to highlight the group from behind. This would create a bold image, making the band stand out. This placements of the lights is also important in drawing attention to the instruments, espcially the drums as they were on the same level. For close up, low angel shots, these positioning of the lights needs to be able to bring out the neccesary objects within the frame.
The band members need to be lit in a way which can present the intended image of the idividual band member. Both in the prdocution and the stills, the lighting needs to have the power to place the band in a position of power, whilst still connecting with the audience. The connection and appearance of the band is highly important, and the lighting is a large contributer to these elements. For the head shots or close ups for example, the eyes should be highlighted to have to ability to connect with the audience, without using words.
The lighting of the stage needs to be in keeping with the tone of the song. However, it needs to be remembered that performances and concerts have got a lighter tone than the narratives, and that the band needs to remain attractive to their target audience. The band uses a number of different coloured lights, which flash alternatively. These lights are relatively dark and consist of a blue lights, which addresses the solemn tone and the need for an attractive stage.
Thursday, 20 January 2011
My narrative ideas
Sarah suggested possibly having flash backs of the couple at a happier time in their relationship. I think this is a very good idea as it would show the love which they once and emphasis the sadness and heightened emotions they must be feeling. It would allow the audience to connection and feel more sympathy with the couple, as it is almost like a journey, which they are able to travel together. I looked again at the lyrics and listened to the song to make sure that this idea would fit, which after checking, I believe it will.
Scene 1
Scene 2
-Camera 1: Long shot (from behind)
-Camera 2: Long shot (behind the trees)
-Camera 2 (take 2): Mid-close up
Setting: Garden
The couple would walk hand in hand through the garden in which the bench was situated. This is a typical setting for romance and happiness, as they are surrounded by nature. Long shots are more appropriate in this scene as it is about capturing the couple and their body language, as well as their surroundings, rather than close ups which would reflect the emotions.
Examples of effective shots used in the media:
Scene 3
-Camera 1: Mid-close up
- Cameras 2: Long shot
Setting: lounge
The couple dancing in the lounge. I want a long shot to show their close body language and set the scene of happiness. Obviously the audience would need to be able to see the actual dancing and movement in order to make the shot effective.The mid-close up would enable the audience to see the emotions and love in the faces of the couple, whilst still capturing the movement. Dancing is typically related to happiness and letting go, therefore, I thought it was important to involve such a symbolic scene.
I have therefore started to generate possible ideas:
Flash backs;
Scene 1
- Camera 1: Mid shot (front view)
- Camera 2: Close up (two faces, left angle)
Setting: Garden
The couple of the bench in a garden. This would establish the couple, as they were, in a seemingly happy and relaxed setting, it would show the audience what an onlooking may see when walking past, an image of perfection.The girl will be in the boys arms, his arm around her, holding hands. close up on their hand. Eye contact, smiles and relaxed conversation, close up on their smiles and eyes. This would emphasis the relaxed nature of their relationship, which is juxtaposed with the new scenes of their current unsettled and distressing set up.
- Camera 2: Close up (two faces, left angle)
Setting: Garden
The couple of the bench in a garden. This would establish the couple, as they were, in a seemingly happy and relaxed setting, it would show the audience what an onlooking may see when walking past, an image of perfection.The girl will be in the boys arms, his arm around her, holding hands. close up on their hand. Eye contact, smiles and relaxed conversation, close up on their smiles and eyes. This would emphasis the relaxed nature of their relationship, which is juxtaposed with the new scenes of their current unsettled and distressing set up.
Scene 2
-Camera 1: Long shot (from behind)
-Camera 2: Long shot (behind the trees)
-Camera 2 (take 2): Mid-close up
Setting: Garden
The couple would walk hand in hand through the garden in which the bench was situated. This is a typical setting for romance and happiness, as they are surrounded by nature. Long shots are more appropriate in this scene as it is about capturing the couple and their body language, as well as their surroundings, rather than close ups which would reflect the emotions.
Examples of effective shots used in the media:
Scene 3
-Camera 1: Mid-close up
- Cameras 2: Long shot
Setting: lounge
The couple dancing in the lounge. I want a long shot to show their close body language and set the scene of happiness. Obviously the audience would need to be able to see the actual dancing and movement in order to make the shot effective.The mid-close up would enable the audience to see the emotions and love in the faces of the couple, whilst still capturing the movement. Dancing is typically related to happiness and letting go, therefore, I thought it was important to involve such a symbolic scene.
Argument;
Scene 1
-Camera 1: Long Shot
-Camera 2: Close up
-Camera 2(take 2) : Mid low angle
Setting: Kitchen
The couple in a kitchen, the girl clearly distressed, holding her hands on her head, whilst the boy looks angry, constantly shacking his head, contrasting the two gender stereotypes. The girl is typically the mellow dramatic, emotional, one in the relationship, where as the man generally expresses anger and aggression rather than solemn emotions. The body language needs to be shown, but the emotions and anger of both people are just as important, therefore, we want to get a variety of differing shots.
Scene 2
-Camera 1: Mid shot (for both girls and boys room)
-Camera 1 (take 2): High mid shot (girls room)
-Camera 2: Close up (girl and boy)
-Camera 2 (take 2): Long shot (girl and boy)
Setting: bedroom
We needed a range of shots in order to really convey the heightened emotions within the scene. The mid shot, for both the female and male, was good as we were able to capture their body language. This would aid the reflections of emotions, and also be a good comparison of the couple. It would also allow the audience to see the outfit change, to that which portrayed the solemn tone intended.
The high mid shot was used for the girl in order to show her on a smaller scale. I thought she would look more vulnerable and effected with this shot.
The close up is obviously to present the different emotions in the couples' faces, possibly addressing the male and female stereo types. For example, the male showing anger and annoyance, where as the female sorrow and tears. I also tried an extreme close up on the girls eyes in order to capture the raw emotion.
Scene 1
-Camera 1: Long Shot
-Camera 2: Close up
-Camera 2(take 2) : Mid low angle
Setting: Kitchen
The couple in a kitchen, the girl clearly distressed, holding her hands on her head, whilst the boy looks angry, constantly shacking his head, contrasting the two gender stereotypes. The girl is typically the mellow dramatic, emotional, one in the relationship, where as the man generally expresses anger and aggression rather than solemn emotions. The body language needs to be shown, but the emotions and anger of both people are just as important, therefore, we want to get a variety of differing shots.
Scene 2
-Camera 1: Mid shot (for both girls and boys room)
-Camera 1 (take 2): High mid shot (girls room)
-Camera 2: Close up (girl and boy)
-Camera 2 (take 2): Long shot (girl and boy)
Setting: bedroom
We needed a range of shots in order to really convey the heightened emotions within the scene. The mid shot, for both the female and male, was good as we were able to capture their body language. This would aid the reflections of emotions, and also be a good comparison of the couple. It would also allow the audience to see the outfit change, to that which portrayed the solemn tone intended.
The high mid shot was used for the girl in order to show her on a smaller scale. I thought she would look more vulnerable and effected with this shot.
The close up is obviously to present the different emotions in the couples' faces, possibly addressing the male and female stereo types. For example, the male showing anger and annoyance, where as the female sorrow and tears. I also tried an extreme close up on the girls eyes in order to capture the raw emotion.
The long shot used for both is to establishing them in their room setting.
Scene 3
-Camera 1: Long shot
-Camera 2: Mid shot
-Camera 2: Close up (boy looking back in the mirror)
Setting: Road-street
This is the punultimate scene when the boy leaves, driving away. This needs to convey the ultimate sorrow of the girls, and the closure of the boy, as he finally leaves. The road represents the 'end of the road' in the couples relationship. The audience was able to follow them on a journey, which has now come to an end. The long shot is therefore very important as it shows the whole scene, as the car drives away and leave the girl. The closer shots are obviously needed in order to portray the intense emotions, of both individuals.
-Camera 2: Mid shot
-Camera 2: Close up (boy looking back in the mirror)
Setting: Road-street
This is the punultimate scene when the boy leaves, driving away. This needs to convey the ultimate sorrow of the girls, and the closure of the boy, as he finally leaves. The road represents the 'end of the road' in the couples relationship. The audience was able to follow them on a journey, which has now come to an end. The long shot is therefore very important as it shows the whole scene, as the car drives away and leave the girl. The closer shots are obviously needed in order to portray the intense emotions, of both individuals.
Tuesday, 18 January 2011
Booking equipment
We will be filming the performance in the hall on Saturday 21 January. For this we booked out the necessary equipment in plenty of time to make sure we were organised. Lucy and I booked out the equipment on Monday 10 January, giving us plenty of time to plan and get a good choice.
We hired out: three camera's, three tri pods and one lighting kit.
We also made a list of what we will need on the day, for example; the production schedule (one for each of us, including the band), the ipod with the bands song and speakers, digital camera's to take promotional pictures, the story board, lyric sheet with the timings on, and list of questions prepared to ask the band in the interview for the behind the scenes.
We need three camera's because we want to have three for the performance and one for behind the scenes. We will get a member of another group to come and film the behind the scenes for us, I did it for another group, so hopefully a member of that group will return the favour. Sarah has made a shot list noting down the shots and positioning we will use for the different camera's.
We hired out: three camera's, three tri pods and one lighting kit.
We also made a list of what we will need on the day, for example; the production schedule (one for each of us, including the band), the ipod with the bands song and speakers, digital camera's to take promotional pictures, the story board, lyric sheet with the timings on, and list of questions prepared to ask the band in the interview for the behind the scenes.
We need three camera's because we want to have three for the performance and one for behind the scenes. We will get a member of another group to come and film the behind the scenes for us, I did it for another group, so hopefully a member of that group will return the favour. Sarah has made a shot list noting down the shots and positioning we will use for the different camera's.
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