Friday, 11 December 2015
FICTION ADAPTATION: CRITICAL REFLECTION
For me this unit has been a highly technical I have worked a lot on post production with After effects and Photoshop. They have been really interesting helpful aspects that helped my final film and will give me a skill for the future especially with after effects. Whilst filming I made use of a projector to produce an interesting range of shots which allowed me also to show what the poem was talking about without cutting away from the scene. Its been quite an interesting unit which tested my idea of what an adaptation was through the essay and what I did with the film. I think I'd say I wasn't that faithful to the source material in the end, but that wasn't the goal of the project. I found it a really enjoyable process to try and find different and original ways to adapt this spoken word poem which had its own underlying themes of patriotism or possibly ant-patriotism and even racism. This unit went pretty well for me I haven't encountered many problems the only thing I would say is that I had some problems with exporting in the correct aspect ratio, I believe this is because of my use of After effects and photoshop and inexperience in changing formatting between them and premiere.
Thursday, 10 December 2015
FICTION ADAPTATION: GETTING TO GRIPS WITH AFTER EFFECTS
Prior to beginning this unit I had not used Adobe After-effects before so this was an entirely new experience for me. It was first brought to my attention during our montage workshop in which I was made aware of the 2.5d technique where you take a still photograph and through the use of photoshop and after-effects create a moving image. I came to discover that After-effects can be a great tool which I used more than one for my final Fiction film.
2.5d is something I explored for the workshop a few weeks ago and I found it to be very effective at bringing to life still images. It is like a completely alternative medium somewhere between photography and film. When it came to making my fiction I wanted to portray the phone boxes, but not in the standard point and shoot way. One of the first things I said to myself once I chose the poem Red Phone Boxes was that I wasn't going to use a real phone box in any of my film. This was purely from a stand point of being different and original.
Now to go along with the 2.5d I wanted to do something that would be surprising and unexpected visually and so I thought back to when I tried doing light photography a couple of years ago. I was inspired by the photos I had seen others do, an artist I looked at was Darren Pearson a.k.a Darius Twin who specialises in this type of work as an art form doing light paintings as they are called. Here are some examples of his work:
As seen above this technique has quite a range of possibilities which is why I decided it would be an interesting way to show my phone boxes without actually showing a phone box. I haven't seen this kind of thing in films or television so I thought that would give me even more of an original touch.
I think the results I created were quite succesfull as it demonstrates the same style as Pearson at a basic level. This also shows me that it is pretty easy to achieve if you know the right steps to take. This technique combined with 2.5d has produced some really interesting dynamic shots created from still photos with the help pf after-effects.
After doing these I wanted to create a short sequence at the start of my film in which you would be taken deep into the woods. So I took inspiration from the film which uses a technique called Fractal zoom or Infinite zoom shown below:
This clever technique is effective in moving through a setting quickly whilst taking in the surroundings, which is why I have taken on the challenge for my opening shot. I had to look into some tutorials on Youtube, but once I found out the simple steps my basic knowledge of After-effects did the rest. It is amazing what you can find on the internet to help you learn these techniques like this clip here which helped me learn the fractal zoom:
So I have to say the thing I have learn't most in this unit is how to use After-effects and I believe it can be a real big influence on my future work.
2.5d is something I explored for the workshop a few weeks ago and I found it to be very effective at bringing to life still images. It is like a completely alternative medium somewhere between photography and film. When it came to making my fiction I wanted to portray the phone boxes, but not in the standard point and shoot way. One of the first things I said to myself once I chose the poem Red Phone Boxes was that I wasn't going to use a real phone box in any of my film. This was purely from a stand point of being different and original.
Now to go along with the 2.5d I wanted to do something that would be surprising and unexpected visually and so I thought back to when I tried doing light photography a couple of years ago. I was inspired by the photos I had seen others do, an artist I looked at was Darren Pearson a.k.a Darius Twin who specialises in this type of work as an art form doing light paintings as they are called. Here are some examples of his work:
As seen above this technique has quite a range of possibilities which is why I decided it would be an interesting way to show my phone boxes without actually showing a phone box. I haven't seen this kind of thing in films or television so I thought that would give me even more of an original touch.
I think the results I created were quite succesfull as it demonstrates the same style as Pearson at a basic level. This also shows me that it is pretty easy to achieve if you know the right steps to take. This technique combined with 2.5d has produced some really interesting dynamic shots created from still photos with the help pf after-effects.
After doing these I wanted to create a short sequence at the start of my film in which you would be taken deep into the woods. So I took inspiration from the film which uses a technique called Fractal zoom or Infinite zoom shown below:
This clever technique is effective in moving through a setting quickly whilst taking in the surroundings, which is why I have taken on the challenge for my opening shot. I had to look into some tutorials on Youtube, but once I found out the simple steps my basic knowledge of After-effects did the rest. It is amazing what you can find on the internet to help you learn these techniques like this clip here which helped me learn the fractal zoom:
So I have to say the thing I have learn't most in this unit is how to use After-effects and I believe it can be a real big influence on my future work.
Wednesday, 9 December 2015
FICTION ADAPTATION: BRITAIN CHANGE
The poem I am using Red Phone Boxes by Adam Kammerling:
Between Haywards Heath and Gatwick,
there's a trackside clearing deep in scrub
where thirty red phone boxes stand in an arc.
Their positioning, deliberate and deep in woods,
makes a Pagan ritual: red hoods, torches, prayers
to bygone England, a sacrifice of rabbit.
On Lewes Road in Brighton, a red phone box has been
nudged to death by a long, slow storm. 19 of 26 windows
smashed, chunks chewed out its frame, old conquest’s names
graff-tattooed on face and back. DIO, COST, MSG, ERKS.
Anti-fash stickers melt on its skin. At the box's top,
four waspish crowns glare out like weary compass points.
They don't know how their house got into such a state.
No one will ring their folks from this phone box,
pleading for a lift home from town. No one will make
emergency calls, no one will organise drug deals.
Children won't dial the operator, ask for McDonald’s delivered
to the bench up the street. The phone box thought itself
quite the host, but its stories dried up like we ran out
of coins. It remembers civilians queued, as it stood
proud red and British as 'sorry'. Baffled now
by Lewes Road, it can't understand the brightness of olives
in windows of the Turkish market, cannot pronounce 'baklava'.
It doesn't understand why people don't buy more crumpets!
Its skin is dirty, smudged with the 80's failures that won't wash out.
Walk past. You'll catch a whiff of whatever administrative alkalines
are eroding the NHS's base, border control trucks, ganging round
tube stops, dopplegänged high streets, town to town, the dog shit gag
of business and its flatline swagger. No one wants to stand inside that smell.
This phone box loiters on Lewes Road in the robes of pre-war Britain,
humming like it hasn't washed for sixty-five years. COST and ERKS
hang their names with 'fuck you' tacks, will not be condescended to,
will not be scrubbed out, they scorch this square of ground,
guard it with spray cans, till a new totem stands in its place.
And when we are dead and passed
into History's sideways wink, a young woman, snorkeling in an underwater
forest, between the ocean and the old airport, will find an arc of phone boxes
standing on the lake bed and remembering them from books she read
as a child, dive down to see those bones of ancient Britain up close and move amongst them like fish through pillars of pink coral.
Researching Phone Boxes and Britain during the 20th Century
The underlying theme of the poem Red Phone Boxes by Adam Kammerling is Britain and how it has been changing immeasurably in the past century. There have been many iterations of what we know as red phone boxes there have been more than 6 main designs that emerged throughout the 20th century beginning with the K1 in 1920. The most circulated model though is the K6 which is the one people recognise. This model was first introduced in 1936 designed by Giles Gilbert Scott it was a cheaper smaller model that took up less pavement space. This is the model that Kammerling was most likely talking about in his poem.
This is most likely the model which Kammerling talks about being on Lewes road and in the arc of 30 phone boxes mentioned in the poem. This is therefore the one I had in mind when thinking in terms of time frame and how long the phone box might have been stood there on Lewes road. As this model was first produced in 1936 I have looked at this being the start point. So taking this into account there are big events that may have happened during the phone boxes tenure. World War II being the first major event, followed by such things as the Cold war, Suez Crisis, increased immigration, technologies meteoric change, the internet, the end of phone box usage al together. I imagine it would have started like the picture above and ended up today as this:
One of the big changes in Britain has been the increased immigration into the country from all over the world. This subject is touched on more than once in the poem which did lead me to believe there was possibly an anti-immigration type of reaction from the phone box. I have personified the phone box by making it a person instead of just an inanimate object. This does allow me a lot more room to work with, also gives an actor to try and play an inanimate object with emotional reactions. If I were to go down that route I could reference films like This is England or American History X which both show examples of people who are totally against immigration and welcoming different cultures.
However I do believe the poem is not anti-immigration or racist so I have got my actor to portray emotions more a kin to disbelief and confusion rather than negativity to the change.
I think reading through the poem the general feeling is one of sadness from the phone box as to what Britain has become in the past 80 years or so. The whole of Elizabeth II reign so far which has seen the most dramatic changes in what Britain means to us and to the rest of world. Loss of most of the once largest Empire on the plane has changed whether for the best or for the worse this is a matter of opinion, but all the while this phone box has looked on.
Between Haywards Heath and Gatwick,
there's a trackside clearing deep in scrub
where thirty red phone boxes stand in an arc.
Their positioning, deliberate and deep in woods,
makes a Pagan ritual: red hoods, torches, prayers
to bygone England, a sacrifice of rabbit.
On Lewes Road in Brighton, a red phone box has been
nudged to death by a long, slow storm. 19 of 26 windows
smashed, chunks chewed out its frame, old conquest’s names
graff-tattooed on face and back. DIO, COST, MSG, ERKS.
Anti-fash stickers melt on its skin. At the box's top,
four waspish crowns glare out like weary compass points.
They don't know how their house got into such a state.
No one will ring their folks from this phone box,
pleading for a lift home from town. No one will make
emergency calls, no one will organise drug deals.
Children won't dial the operator, ask for McDonald’s delivered
to the bench up the street. The phone box thought itself
quite the host, but its stories dried up like we ran out
of coins. It remembers civilians queued, as it stood
proud red and British as 'sorry'. Baffled now
by Lewes Road, it can't understand the brightness of olives
in windows of the Turkish market, cannot pronounce 'baklava'.
It doesn't understand why people don't buy more crumpets!
Its skin is dirty, smudged with the 80's failures that won't wash out.
Walk past. You'll catch a whiff of whatever administrative alkalines
are eroding the NHS's base, border control trucks, ganging round
tube stops, dopplegänged high streets, town to town, the dog shit gag
of business and its flatline swagger. No one wants to stand inside that smell.
This phone box loiters on Lewes Road in the robes of pre-war Britain,
humming like it hasn't washed for sixty-five years. COST and ERKS
hang their names with 'fuck you' tacks, will not be condescended to,
will not be scrubbed out, they scorch this square of ground,
guard it with spray cans, till a new totem stands in its place.
And when we are dead and passed
into History's sideways wink, a young woman, snorkeling in an underwater
forest, between the ocean and the old airport, will find an arc of phone boxes
standing on the lake bed and remembering them from books she read
as a child, dive down to see those bones of ancient Britain up close and move amongst them like fish through pillars of pink coral.
Researching Phone Boxes and Britain during the 20th Century
The underlying theme of the poem Red Phone Boxes by Adam Kammerling is Britain and how it has been changing immeasurably in the past century. There have been many iterations of what we know as red phone boxes there have been more than 6 main designs that emerged throughout the 20th century beginning with the K1 in 1920. The most circulated model though is the K6 which is the one people recognise. This model was first introduced in 1936 designed by Giles Gilbert Scott it was a cheaper smaller model that took up less pavement space. This is the model that Kammerling was most likely talking about in his poem.
 |
| K6 model phone box |
 |
| K6 looking slightly worse for wear |
I think reading through the poem the general feeling is one of sadness from the phone box as to what Britain has become in the past 80 years or so. The whole of Elizabeth II reign so far which has seen the most dramatic changes in what Britain means to us and to the rest of world. Loss of most of the once largest Empire on the plane has changed whether for the best or for the worse this is a matter of opinion, but all the while this phone box has looked on.
Tuesday, 24 November 2015
FICTION ADAPTATION - MAIN SHOOT
Shooting complete for now on the main bulk of my Fiction shoot I have left the door open for pick up shots if necessary. Although I have had no contact from the poet I had to go ahead with my shoot regardless. This was one of the biggest issues for me in shooting today was not having the timing that I wanted, I ended up having to read the poem out whilst my actor acted in the scene. However even with this slight hindrance I have managed to produce some really interesting and hopefully different imagery for my project, this is after what I always set out to do.
The whole set up took quite along time it included the jib, track and dolly, 2 projectors, 4 C-stands, lighting kit, props, 2 tripods and a laptop. It really shows that even on a small student shoot like this with 2 crew and an actor there is still a huge amount to get right and set up before even pressing record. This was our basic starting point to our set up:
Once we had the basic set up I had envisioned it was time to work on the jib and dolly to create the shots required. The jib use was really an experiment and I think I can say it failed with its consistency, we managed to get the right shots however the tripod holding the weight of the jib + sandbag on numerous occasions buckled under the weight. We did get the shots needed from the jib despite this issue.
I had the whole shot planned out on a storyboard, but being me I decided there was some need for improvisation which I have so far seemed to do on all my shoots. Then again I can't believe that all films are made exactly to their storyboards. I like to change things according to how the look is on the day and how the lighting has worked out, I am not one for elaborate pre-planned shot lists.
The whole set up took quite along time it included the jib, track and dolly, 2 projectors, 4 C-stands, lighting kit, props, 2 tripods and a laptop. It really shows that even on a small student shoot like this with 2 crew and an actor there is still a huge amount to get right and set up before even pressing record. This was our basic starting point to our set up:
 |
| Set up to start with testing different lighting techniques |
 |
| Set up + jib |
Projector
Use of the projector was an aspect I have developed through research prior to shooting. It turned out to be an inspired move as the pictures so far have shown some great results with how I lit the shoot combined with the use of projection. I used the projector already in the lecture room to begin with to depict the exterior of the phone box however the rest of it was using the portable projector from the equipment store. I found it a really good looking expressive and most of all adaptable way of adding something to the image. I mainly used it for the words mentioned throughout the poem and as you can see below it came off quite well:
It really that something extra that I am always striving to find.
So overall a fairly relaxed and interpretive shoot that went along with few issues. I have now got to get the recording of the poem done once hopefully my poet replies to my emails, either that or I make of it what I can. The other things to do are shooting the opening and closing of the poem which will hopefully be shot in the few days or early next week. They should not take very long and will definitely not be as high brow as the shoot today. Then it will be into the edit to colour correct (a lot) and to assemble a successful piece of work.
FICTION ADAPTATION - PREP
Getting ready and pre planned for my main shoot Tuesday the 24th November. The biggest help for me in preparing has been the storyboard as being a visual person I always associate better with images rather than words. So taking this into the shoot I only took the storyboard and poem for reference. I only did a short storyboard for the aid of this main bulk of my film with lots of annotations and shot plans.
Its only aa really a small amount of shots however they are complex in lighting, camera movement and use of 2 projectors to create the living embodiment of a red phone box.
I also completed the script as this will come in handy for the beginning and ending of the poem which will be shot on separate days in completely different surroundings. I do feel that without the use of script and storyboard I would have struggled to finish my shoot in less that a day.
Its only aa really a small amount of shots however they are complex in lighting, camera movement and use of 2 projectors to create the living embodiment of a red phone box.
I also completed the script as this will come in handy for the beginning and ending of the poem which will be shot on separate days in completely different surroundings. I do feel that without the use of script and storyboard I would have struggled to finish my shoot in less that a day.
Friday, 20 November 2015
FICTION ADAPTATION - MONTAGE WORKSHOP FINAL
Finished montage piece which I would describe as under the themes of fear and despair. I have continued to progress with 2.5D doing a good number of them working to try and make them better and more effective. They have been a very good way of adding depth and movement to a still image making it almost deceptively like camera footage. The main thing I had to work on for 2.5D was cutting out the images on Photoshop and then replacing the background by painting it in. This was by far the most difficult aspect of this workshop. Here are a couple of the more successful 2.5D animations I created using images:
Probably the best one I managed above of this man during the 2011 London Riots.
Really good thing to try and definitely something I will take onto future projects and even my Fiction adaptation. I have already planned to use it for my opening verse.
Here is the final montage clip put together using the famous speech from the 1976 film Network performed by Peter Finch:
Probably the best one I managed above of this man during the 2011 London Riots.
Really good thing to try and definitely something I will take onto future projects and even my Fiction adaptation. I have already planned to use it for my opening verse.
Here is the final montage clip put together using the famous speech from the 1976 film Network performed by Peter Finch:
FICTION ADAPTATION - TESTING SET-UP
I needed to see how my whole set up would work for the main bulk of my film. I plan to film this in the studios in lecture room 1 where I will have space and control over light. There have been many changes to the set up as planned as I was at one point going to have red curtains behind my actor opening and closing, instead I have gone for the option of having my actor sitting in what would appear to be a red corner (phone box).
The next stage of this was to think about projection. I looked into this with research as shown in previous blogs, and have come to the conclusion that its the right route to go down. It will give me options and allow me to project images when they are cued by the voice over.
The test was quite successful and only confirmed my suspicions that this can be very effective and if I pull it off I will have a great piece of work to present.
I plan to do another final practise on Monday before shooting on Tuesday.
I will be shooting the beginning and end of the poem in separate locations with the help of Jess and Plamen. Opening in a park with my arc like a pagan ritual and then somehow recreating the sense of being under-water for the final scene.
 |
| Red non-woven fabric making up one side of my corner |
 |
| Demonstration of the effect possible using the projector |
 |
| Another example |
 |
| One half of the full set up |
I plan to do another final practise on Monday before shooting on Tuesday.
I will be shooting the beginning and end of the poem in separate locations with the help of Jess and Plamen. Opening in a park with my arc like a pagan ritual and then somehow recreating the sense of being under-water for the final scene.
Wednesday, 18 November 2015
DIGITAL NEWS CRITICAL ANALYSIS
INTRODUCTION
News by definition is newly received noteworthy information primarily about recent events. News is important to people as it provides information on current events as a 'window on the world'. It is revealed to us in a transparent form which is meant to be impartial and accurate in accordance with the Broadcasting Act (1997). Without news people would not be able to find out about the constantly changing modern world we live in. Digital news set us the challenge of creating a news channel about a topic of our choice and to make it entertaining, noteworthy and current. I will be critically analysing our news channel FilmHouse News and comparing it with relevant examples of news content including BBC and ArtsJournal News.
CONCEPT/BRAND DEVELOPMENT
Branding is a key component of any company that wishes to be recognised, it is an element of news channels but also for example production companies, food chains, sports teams essentially if you have a company you need a brand. When it comes to branding it is about competition with other companies your logo needs “to stand out unless you literally have no competition” (Alton, 2015). It can be the difference between a profit or a loss for a company, which is why they work tirelessly on the area of branding. A great example of a logo that is recognisable in the news industry is 'The New York Times' with its ornate calligraphy with a stark black and white colour scheme. The black is a symbol of excellence, strength, innovation, elegance and a dynamic attitude. It has a traditional and recognisable look and this coupled with the tagline below it 'Expect the world' immediately tells readers it is a paper that reports on news of the world. It is a testament to the logo that it has become so synonymous with newspapers in general. |
| Fig 1: New York Times logo (1960's) |
The topic of film and cinemas was the basis for our channel, so we developed many ideas of branding which included cameras, cinemas, popcorn and film tickets. Finally ending up with the logo below which immediately tells the viewer what they are about to be told about. The idea here was to use the name to say that we were talking about the places films are shown cinemas, with the use of the word 'House' and we backed this up with the imagery of the logo on the channel website and all the visual content we produced.
 |
| Fig. 2: FilmHouse News logo (2015) |
AUDIENCE RESEARCH
"Each person in (an) audience may have a news service that he or she uses regularly...the people who run news stations know that" (Boyd, 2000) so we as a FilmHouse news had to find the audience who would tune into hear the cinema news. When looking into this we had to look at our themes and subject matter and target an audience to aim at. We would have to be looking at creating a channel that was a kin to the entertainment sections for news channels such as BBC's entertainment section and CNN's entertainment section. With such a niche subject about a small local region such as Kent we had to think that our audience would be small and especially interested in going to cinemas. We had to think of people who might want to know about new cinemas popping up in the region so as they might be able to get better prices and screenings. Our channel would divulge the details on all local cinemas and screenings so that people can have a quickly accessible channel to visit for all their specific needs in cinema. When looking at entertainment and information they "are often held in tension...where news ends entertainment begins is more than a matter of house style...Where that line is drawn will depend on the target audience"(Boyd, 2000).
Entertainment will always be pushed down the pecking order if for example a terrorist attack has occurred, the arts would go under the same importance as entertainment. However when a news channel is thinking about its ratings it almost certainly needs entertainment and arts to keep it going. If a news channel only puts out broadcasts which only talk about death and destruction there is only a certain amount your average audience member will be able to take. This is why they insert little human interest and entertainment stories 'Duck on a Skateboard' being a classic line as it is something that would intrigue, astonish and entertain. These are the types of stories that keep a news channels audience coming back, especially if these stories are at the end of a broadcast. The torrid truth of the news is that, as Armstrong Williams says "If it bleeds, it leads" which means if their is tragedy and destruction it will be at the top of the bill in a broadcast.
What we created was a channel that specifically caters for the arts with a niche audience and a small range of stories staying in a local area. The channel won't report on tragedy and destruction instead would just go on discussing cinema and film screenings. The channel would go under the title of special local interest as it is focussing on small region and therefore talk about job opportunities involved with the cinemas popping up around the area. National news programs would very unlikely report on stories such as these. "Audience loyalty is built when a station is seen to be providing a truly local news service" (Boyd, 2000) our channel aimed it locally by focussing on the 2 stories 1 in Maidstone and the other in Sittingbourne, both fairly close to each other in Kent. It is necessary to state that we did originally film an interview concerning the London Film Festival however it was decided that the channel would be more suited to a local audience.
What we created was a channel that specifically caters for the arts with a niche audience and a small range of stories staying in a local area. The channel won't report on tragedy and destruction instead would just go on discussing cinema and film screenings. The channel would go under the title of special local interest as it is focussing on small region and therefore talk about job opportunities involved with the cinemas popping up around the area. National news programs would very unlikely report on stories such as these. "Audience loyalty is built when a station is seen to be providing a truly local news service" (Boyd, 2000) our channel aimed it locally by focussing on the 2 stories 1 in Maidstone and the other in Sittingbourne, both fairly close to each other in Kent. It is necessary to state that we did originally film an interview concerning the London Film Festival however it was decided that the channel would be more suited to a local audience.
PLATFORM RESEARCH
News is distributed in many forms, but primarily today on computer and phone. Today news companies produce news for newspaper, website, phone app and Youtube channels. Ever since the first television news broadcast in 1930 and then the increase in influence of World Wide Web in the 1990's news has been changed into something entirely different. As demonstrated by Reuters 2015 Digital news report a large proportion of people now use Computers (83%), Smartphones (66%), Tablet (57%) proportion checking the news weekly (global). Looking alternatively at daily newspaper sales in the UK which dropped by half a million in a year, so where last year the figure was 7.6million a day it was recorded at 7million a day this year. The Guardian reported a large drop with a 9.5% decrease in daily sales from March 2014 to March 2015. These figures back up the case that newspapers are an increasingly disregarded form of getting news to people. This is in large part to do with the meteoric rise of social media.
News companies are continually having to adapt to the way in which we receive news. In this modern environment it could be argued that "the growth of social media has made us all into citizen journalists" (Greenslade, 2015). Social media has played a big part in how news is spread to people around the world. It is a tool that is being used by news channels now not out of choice, but out of necessity to continue to keep their audience and compete in the competitive world of digital news.
When you look at how news channels have gone down the social media route to get the word around, our news channel FilmHouse News has done a similar thing in terms of platforms. For our channel we created a website, Youtube Channel, Twitter, Facebook and even Snapchat page to make sure our channel was on the right platforms for todays modern environment. With this combination we have a Youtube channel and website to present content and social media to take people to the content as well as get the brand out there.
Case Study: Secret Cinema
This is not so much a specific news article, but instead a cinema that uses techniques such as social media to make people aware of what is happening. The Cinema is as the name suggests completely secret, the company make great use of social media to put out cryptic messages which keep people guessing what films will be screened. The Evening Standard has reported on the most recent date announcements and ticket prices which have been extremely high especially for an unknown film. In the past the company have shown such films as Back to the Future (1985) and Casablanca (1940). Whats evident here is that social media is key because all news companies can report on is the price and location prior to the event, the real power is with social media where they post their secret messages. In a way this can be linked to our channel in that we are making people aware of cinemas that may not have necessarily got the attention before through the power of social media.
News companies are continually having to adapt to the way in which we receive news. In this modern environment it could be argued that "the growth of social media has made us all into citizen journalists" (Greenslade, 2015). Social media has played a big part in how news is spread to people around the world. It is a tool that is being used by news channels now not out of choice, but out of necessity to continue to keep their audience and compete in the competitive world of digital news.
When you look at how news channels have gone down the social media route to get the word around, our news channel FilmHouse News has done a similar thing in terms of platforms. For our channel we created a website, Youtube Channel, Twitter, Facebook and even Snapchat page to make sure our channel was on the right platforms for todays modern environment. With this combination we have a Youtube channel and website to present content and social media to take people to the content as well as get the brand out there.
Case Study: Secret Cinema
This is not so much a specific news article, but instead a cinema that uses techniques such as social media to make people aware of what is happening. The Cinema is as the name suggests completely secret, the company make great use of social media to put out cryptic messages which keep people guessing what films will be screened. The Evening Standard has reported on the most recent date announcements and ticket prices which have been extremely high especially for an unknown film. In the past the company have shown such films as Back to the Future (1985) and Casablanca (1940). Whats evident here is that social media is key because all news companies can report on is the price and location prior to the event, the real power is with social media where they post their secret messages. In a way this can be linked to our channel in that we are making people aware of cinemas that may not have necessarily got the attention before through the power of social media.
NEWS GENRE RESEARCH
The genre of news is a category of media in itself that is arguably a hugely necessary part of the way we go about our daily lives. To talk about the genre as a concept it is first important to talk about what constitutes news. News may come in many forms from town cryers to Twitter news has been reaching us throughout history. The question to ask here is What constitutes news? Certain criteria should be looked at: Is it new, Is it unusual, Is it interesting or significant, Is it about people? These are the criteria journalists will have to address before putting out news to people. The information has to be new first and foremost, if you are reporting on a natural disaster that happened a month ago it is not news, unless there is cause to return to the incident for new information. What news channels present varies from channel to channel and can is altered by the "beliefs within a news organisation" Creeber (2001). There are always altering views even within one company so to be completely impartial is a thankless task especially for a corporation like the BBC.
Case Study: British Broadcasting Corporation (BBC) - Article - Impartiality: the impossible battle that the BBC cannot win
The BBC is a large company which not only dominates viewing in the UK, but also operates globally with the world service and BBC worldwide. It is a company which has been going for 93 years with views and opinions changing throughout its history. In a recent article by Peter Preston for the Guardian he talks about the impossible battle the BBC faces to stay impartial. Preston says in the article "Impartiality...silence and/or discreet boredom" whilst talking about our current monarch who we have "praised for never saying anything interesting or remotely controversial" (Preston, 2015). He is basically saying that to be completely impartial we the BBC would not be able to broadcast news. Preston's article comes off the back of an inquest into sexism and ageism at the BBC, after 'House of Cards' (Novel, 1989) author Michael Dobbs brought up the topic. What Preston is arguing in the article though is that the BBC would have to become like the Queen to be completely impartial as she hasn't some out with comments for people to disagree with during her reign. The other factor for the BBC is that it is a public service broadcast which means anything they do that is controversial can bring out complaints from the paying customers.
Case Study: British Broadcasting Corporation (BBC) - Article - Impartiality: the impossible battle that the BBC cannot win
The BBC is a large company which not only dominates viewing in the UK, but also operates globally with the world service and BBC worldwide. It is a company which has been going for 93 years with views and opinions changing throughout its history. In a recent article by Peter Preston for the Guardian he talks about the impossible battle the BBC faces to stay impartial. Preston says in the article "Impartiality...silence and/or discreet boredom" whilst talking about our current monarch who we have "praised for never saying anything interesting or remotely controversial" (Preston, 2015). He is basically saying that to be completely impartial we the BBC would not be able to broadcast news. Preston's article comes off the back of an inquest into sexism and ageism at the BBC, after 'House of Cards' (Novel, 1989) author Michael Dobbs brought up the topic. What Preston is arguing in the article though is that the BBC would have to become like the Queen to be completely impartial as she hasn't some out with comments for people to disagree with during her reign. The other factor for the BBC is that it is a public service broadcast which means anything they do that is controversial can bring out complaints from the paying customers.
NEWS STORY RESEARCH AND DEVELOPMENT
When looking into stories for our channel we stayed local as this would be more accessible to us. We found stories on Sittingbourne's New Century cinema through word of mouth and then going to the cinema to see first hand which we did 2 times prior to the interview. In this way we had time to prepare which may not be the case with a fully fledged incredibly busy news channel which has to put out news every day.
For our other story on the Maidstone film society I personally went to the cinema to attend a screening and to see the set up. Our second trip involved meeting with Michael Caine the chairman and agreeing on a date to talk. So again we had multiple weeks and plenty of time to do our research, we could even tell our interviewees what they might be talking about weeks before their interviews. Compare this with a large channel like BBC who will find out about a story and within the hour have to have someone on the scene all be it a reporter close to the incident.
SCRIPTING AND STORYTELLING
When it comes to scripting and storytelling in the news it ultimately comes down to decisions made by people such as the news editor. He/She makes decisions on which stories to put out and where on a news broadcast. Scripting on a channel is about ordering things and choosing length in terms of the running time of the broadcast, these all depend on certain aspects in the short time they will have there will be items that will miss out due to items deemed more important. This however is where the term agenda-setting comes into play. The term first arose in 1968 with the Chapel Hill study by Maxwell McCombs and Donald Shaw, the two of them began to suggest this agenda-setting theory. It was during the Humphrey/Nixon election in 68' where they wrote about how the media was being controlled in certain ways from the behind the scenes.
On our news channel we used a few separate examples of cinemas and screenings to talk about, but as we made channel about such a niche subject it is difficult to create an agenda. An extreme example for our channel would be to only focus on 1 cinema, but as shown we varied our cinemas and screenings.
CRITICAL REFLECTIONS & CONCLUSIONS
In conclusion the channel FilmHouse News is a channel that should well and truly sit under the heading of arts & culture. It is still appropriate to adhere to the rules of news broadcasting even if it is a cultural program. In the grand scheme of a news channel it can’t be denied that FilmHouse would be pushed down the pecking order to natural disasters and famous deaths, but it is still an important part of the news. Arts and culture are important for a news channel to keep its audience coming back so they can find out about the pressing issues at the top of the news.
In reflection I would say that our channel lacked the real cutting edge story that we needed to grip an audience. We had positives to look at in the aesthetics and branding to an extent, and we knew which direction we wanted to go with channel. However as I mentioned the stories were what prevented us from taking our channel to the next step. We did make a recognisable news channel with a wide variety of platforms and a topic for locals and film lovers to be informed as well as entertained.
Bibliography:
Alton, Larry (2015) 4 Distributors that made superior branding their competitive edge, Entrepreneur Magazine
Boyd, Andrew (2008 edition, originally published 2000) Broadcast Journalism, Focal Press
Creeber, Glen (2nd edition, 2008, originally published 2001) The Television Genre Book, London: Palgrave Macmillan
Greenslade, Roy (2012) Local News Crisis: why newspapers remain so important to the public, The Guardian
Jackson, Jasper (2015) National daily newspaper sales fall by half a million in a year, The Guardian
Newman, Nic (Research associate) (2015) Executive Summary and key findings of the 2015 report, Reuters Institute
Preston, Peter (2015) Impartiality: the impossible battle that the BBC cannot win, The Guardian
Illustrations:
Figure. 1
Benguiat, Ed
The New York Times Newspaper Logo
(1960's)
http://www.andrewmuthlaw.com/
(Accessed on 8.12.15)
Figure. 2
FilmHouse News Logo
(2015)
Friday, 13 November 2015
FICTION ADAPTATION: MONTAGE WORKSHOP/EXPERIMENTING
So Fergus introduced us to 2.5D animation and I have spent the week attempting to crack it. After about 3 separate attempts on photoshop to cut an image and then use after effects to move it in a 3D space. The original clip we were shown was this one from the creators project, which may I add made it look very easy.
However I discovered that this didn't really tell me enough, so I had to find a more in depth tutorial on how to do it. This more lengthy clip was very helpful and has pretty much taught me everything I need.
So after almost a week I have managed to get a first result of what resembles this effect. Although the issues for me were the cutting around the subject in photoshop which I failed at miserably although if I can get it right next time I will be in a very good place to create something very professional.
Heres my first attempt:
Using Photoshop to cut out the subject:
Then taking it into a 3D space in after effects:
However I discovered that this didn't really tell me enough, so I had to find a more in depth tutorial on how to do it. This more lengthy clip was very helpful and has pretty much taught me everything I need.
So after almost a week I have managed to get a first result of what resembles this effect. Although the issues for me were the cutting around the subject in photoshop which I failed at miserably although if I can get it right next time I will be in a very good place to create something very professional.
Heres my first attempt:
Using Photoshop to cut out the subject:
Then taking it into a 3D space in after effects:
Really pleased with the first outcome and will probably look to use this in my montage workshop piece and then even possibly further into my Fiction project.
Monday, 9 November 2015
FICTION ADAPDATION: VERSE BY VERSE
Trying to break down the poem so that I can write a script from it. Also need to give the poem content in it rather than just a bunch of mismatched ideas floating around.
VERSE 1
Between Haywards Heath and Gatwick,
there's a trackside clearing deep in scrub
where thirty red phone boxes stand in an arc.
Their positioning, deliberate and deep in woods,
makes a Pagan ritual: red hoods, torches, prayers
to bygone England, a sacrifice of rabbit.
I'd like to start by going deep into the woods possibly using a time lapse moving forward. Setting early evening when just turning dark. To create the arc of red phone boxes I have looked to recreate the pagan ritual description. I want to have 30 hooded figures in an arc holding flames (torch or candle?). To create this I have looked back in my memory to when I attempted to create long exposure photography by myself during my time on the foundation course at Epsom.
VERSE 1
Between Haywards Heath and Gatwick,
there's a trackside clearing deep in scrub
where thirty red phone boxes stand in an arc.
Their positioning, deliberate and deep in woods,
makes a Pagan ritual: red hoods, torches, prayers
to bygone England, a sacrifice of rabbit.
I'd like to start by going deep into the woods possibly using a time lapse moving forward. Setting early evening when just turning dark. To create the arc of red phone boxes I have looked to recreate the pagan ritual description. I want to have 30 hooded figures in an arc holding flames (torch or candle?). To create this I have looked back in my memory to when I attempted to create long exposure photography by myself during my time on the foundation course at Epsom.
 |
| Use of a lighter and glowsticks |
 |
| Not particularly safe option, but using a can of deodorant and a lighter (I can attest to that as I was burned)
This is obviously the efforts of an amateur and inexperienced photographer, I have really taken inspiration from such shots as these below call it a mood board of imagery:
   
These photos are testament to what is possible with photography which is a great source of imagery. However I want to take it a step further and try and do a similar kind of thing with moving image, using a static camera on a tripod.
|
Sunday, 8 November 2015
FICTION ADAPTATION: PROPS & SET
My main location will need some setting up into the way I want it to look. I have already looked heavily into getting large bits of red fabric for the background, the idea being to use the stands to set up a box shape around my actor who will be sitting on a chair holding an old style phone.
I have already managed to get hold of a phone which looks great:
The other thing for me is probably getting a projector if I am not going to use the lecture room, as this will now make up a large part of whats on screen.
DEVELOPMENT
Lightbulb moment came today when I saw a set of red curtains in town. I thought this could work well as the back wall to my phone box allowing me to draw them back to make better use of the projector on a different colour wall. I would still have the sides red, in fact I have already ordered red fabric for the sides which should be here on Thursday.
I have already managed to get hold of a phone which looks great:
 |
| Replica 1929 telephone |
DEVELOPMENT
Lightbulb moment came today when I saw a set of red curtains in town. I thought this could work well as the back wall to my phone box allowing me to draw them back to make better use of the projector on a different colour wall. I would still have the sides red, in fact I have already ordered red fabric for the sides which should be here on Thursday.
Wednesday, 4 November 2015
FICTION ADAPTATION: PLANNING, FINDING A VOICE AND LOCATION
I have narrowed down my choices for a voice I began with different ideas for a voice type, but have now settled on the voice that will suit and be most interesting. I have based these choices from the type of recordings they have on their voices pro pages.
The choices:
If I can pull it off I can see it being successful and also be a way for me to show the other images in the poem on the background or on the actor, much like they do in the adverts. Definitely not going for same kind of suave style shown in these ads although I would love to, my poem has a different type of story.
Location
For my location the most important thing is space and time to be able to pull off something like this. I have looked into 2 options:
The choices:
- Robert Blythe: voice similar to Richard Burton and Anthony Hopkins, traditional English.
- Jeremy Greenaway: More presenter type for radio and tv
- Terence Pickering: the voice I will probably use if I can get him of course, he does a perfect Herbert Asquith WWI announcement much like the radio of the time which I think will be an interesting voice for my project.
I think with my poem its about contrasts between the traditional British phone box and the changing environment surrounding it. So I think the use of a projector in my red room will be quite effective. The idea brought me back to the Jaguar adverts released in the last couple of years.
If I can pull it off I can see it being successful and also be a way for me to show the other images in the poem on the background or on the actor, much like they do in the adverts. Definitely not going for same kind of suave style shown in these ads although I would love to, my poem has a different type of story.
Location
For my location the most important thing is space and time to be able to pull off something like this. I have looked into 2 options:
- Barming Parish Hall where Michael Hoad filmed his fiction a year ago which I was a part of. It would cost me something, but is a a really nice open space to play with also with plug sockets
- Cheaper option would be lecture room 2 in our base room. As it already has a projector in it and could be easily transformed into the red box I need. Less space in the room however would possibly prevent versatility.
Friday, 30 October 2015
NEWS UNIT: THE EDIT
So It was my job to compile the footage into the package and live as well as incorporate our studio presenter using after effects on the green screen.
Obviously the live speaks for itself as it can't be adjusted except from lower thirds and any other logos and such like.
The package took a bit more care and attention as it required me finding the bits of the interview with Terry that would be best for the story as well as linking this with the odd bit of music and actuality.
In general the edit didn't produce too many problems which is a first for me. Although I have been using premiere now for quite a while so I am pretty used to it.
The learning experience on the edit for me was on After effects which I haven't used yet. The workshop we got from Fergus was a lot of help as otherwise I don't think I would have known where to start. I learned a new skill from this project and that was definitely green screen and after effects work.
Obviously the live speaks for itself as it can't be adjusted except from lower thirds and any other logos and such like.
The package took a bit more care and attention as it required me finding the bits of the interview with Terry that would be best for the story as well as linking this with the odd bit of music and actuality.
 |
| In the edit suite for the package
I edited everything together as one long news show.
I had to edit the promo as a separate piece which worked out well.
 |
The learning experience on the edit for me was on After effects which I haven't used yet. The workshop we got from Fergus was a lot of help as otherwise I don't think I would have known where to start. I learned a new skill from this project and that was definitely green screen and after effects work.
 |
| Original before keying |
 |
| Final keyed presenter with moving background |
NEWS UNIT: CRITICAL REFLECTION
Finding a starting point
I have to say it took me a little while to get into this unit, we begun with a news story about the BFI film festival which it turned out didn't really have a direction to make a story from. We did however still produce an edit and use it as a substitute TVPlay.Learning from this we knew we had to go for something that would really have a good story to talk about so we wound up discovering the Maidstone film society which has lasted for so long in a cinema climate that has not particularly suited. So this was a great starting point and then we were told about the New Century Cinema in Sittingbourne which is the only cinema in Sittingbourne. These 2 stories were great stories to talk about and so our channel became FilmHouse News "Film Theatres worth visiting".
Once we got the stories we had to get the contacts so this, although it took a bit of time due to the fact that it took us a while to get to the right story and brand in the first place was a relatively easy process. This was mostly helped by the people being helpful and willing to aid us in our channel.
Developing a brand
We needed our channel to have a professional brand so I spent some time coming up with a logo which up until this week was this: |
Unfortunately for this logo there were difficulties when creating an opening title sequence as we aren't quite knowledgable enough yet on After Effects. So the logo became this: It works well and is now the brand on our Twitter, Facebook and Youtube channel. https://twitter.com/filmhousenewsuk https://www.facebook.com/FilmHouse-News-882190825190202/?fref=ts https://www.youtube.com/channel/UC6q2sgmcdtk4OIJGEgmF7jQ and of course our website which has all the info above as well as the news stories: http://filmhousenews.weebly.com/ This is thanks to Lawrence and Patricia who worked on the website and social media. Plamen worked on the Opening titles and the scripting whilst I have spent most of this week editing together the final production of the channel. Final Day changes (tweaking things)
Last discussion and feedback was generally good. The things to work on were the opening to the package as the words there didn't quite work for the piece. So we went into the sound booth and re-recorded the sound with Lawrence after we had re-written the script from our very false opening statement.
The new script:
Once a small town on the A2, Sittingbourne is rapidly growing in size and number. For about 30 years Sittingbourne has been left without a cinema, locals have had to travel nearly half an hour to watch the latest film releases. But now theres a new hope.
This was the main part to the changes, but there are a few little things to adjust as well like adding lower thirds and linking the pictures with sound in a more free flowing way. We managed to do this and its now looking much better in just a few hours.
Reflecting on the whole experience it worked out very nicely in the end and I think we produced some good work with worth while stories. There are definitely areas to learn from mainly shot sizes, structuring sequences, making sure to brainstorm the script as a group so everyone has a say. These are all things to take into the next project what ever it may be.
|
Thursday, 29 October 2015
NEWS UNIT: CONTACTS/RECCES
Something that I failed to talk about here earlier was the pre planning we did to get contacts and to check out where we would be doing things.
We then agreed a date and time which best suited him and the Hazlitt theatre for us to film our live shoot. We agreed on Last Friday the 23rd morning.
Hazlitt Research
I have to look a long way back, but to begin with I personally went to the Maidstone Film Society to attend a screening of the film Leviathan (2014) on Monday the 28th of September. This was really to check out what the place looked like and how they ran the society. Then myself and Plamen went to meet them personally and try and see if someone would be willing to do an interview, luckily Mike was very helpful and willing to talk.We then agreed a date and time which best suited him and the Hazlitt theatre for us to film our live shoot. We agreed on Last Friday the 23rd morning.
New Century Research
This was a slightly longer process as we had to drive to Sittingbourne to get to the New Century. Myself and Plamen went along first to get in contact with a manager or owner, and we were given a contact by the and told that the manager would be in at a certain time, whilst there we decided to do a bit of filming so that we could have some coverage of Sittingbourne for when it came to the edit. We returned then to talk to Terry the co-owner and manager. He was very helpful to us and gave us a time and date he would be able to do which also happened to be Friday but the afternoon.
Looking at these two people we were quite lucky because they were very kind and willing, but I know from experience that it may not always be like this.
NEWS UNIT: STUDIO SHOOT
What I think will give us that extra bit of punch is the use of a professional who knows what they are doing. We managed to get Jennie Delaney on a last minute call on Monday, she was very willing and patient with us and has helped our channel 10 fold. Her sophisticated yet friendly voice was exactly what we were missing on Monday, but with the studio shoot on Wednesday we put that right.
We had a script produced and ready for her which stayed the same and wasn't altered too much during the shoot as in the package:
We had a script produced and ready for her which stayed the same and wasn't altered too much during the shoot as in the package:
We spent about 40 minutes prior to our shoot making sure the light was just right on the green screen as well as on our presenter. This was most certainly a learning process as this was not enough time and so put a lot of pressure on us to get it right even as our presenter arrived in the lobby. In the end we got it pretty right in the eyes of us and Fergus so we are satisfied with the end result.
 |
| Lighting came of quite well, balancing green screen lights and presenter lights |
 |
| With a bit of manoeuvring and with the help of a background we have a great platform to present our channel. |
What I would say about the shoot was that it would have been better to shoot longer takes as the cuts are not great for taking it into the edit. The reason we did this however was that we tried originally using a prompter, but this noticeably lowered her eye-line so we got her to memorise short parts and read them out from memory. This is what is above and here is an example of the earlier attempts:
 |
| Low eye-line from earlier shots |
 |
| Cameras rolling (makeshift prompter) causing low eye-line |
Plus the added bonus during the shoot was the employment of the jib, which I think gives us another little edge towards the success of our news channel. We have used that on the intro and the outro tying the whole piece together really nicely.
 |
| Testing the jib prior to shoot |
Wednesday, 28 October 2015
NEWS UNIT: PROMOTION
Lawrence has done some great work on creating our website. It portrays our brand and our image showing we are a film related news channel. Myself and Patricia wrote short articles for the page about Sittingbourne's cinema and about the secret independent cinema revolution. Our aim for the website was really to clearly outline what we are about with articles and promo video which is still to come and I think we have done that now. The link for the website is:
http://filmhousenews.weebly.com/
We have also created a Youtube channel where we can upload the finished edits, and we have also created a Facebook page for more promotion for our brand to get our channel out there.
https://www.youtube.com/channel/UC6q2sgmcdtk4OIJGEgmF7jQ
https://www.facebook.com/FilmHouse-News-882190825190202/?fref=ts
Patricia is running the social media aspect of our channel so we can expect very regular updates.
http://filmhousenews.weebly.com/
We have also created a Youtube channel where we can upload the finished edits, and we have also created a Facebook page for more promotion for our brand to get our channel out there.
https://www.youtube.com/channel/UC6q2sgmcdtk4OIJGEgmF7jQ
https://www.facebook.com/FilmHouse-News-882190825190202/?fref=ts
Patricia is running the social media aspect of our channel so we can expect very regular updates.
Tuesday, 27 October 2015
TVPLAY
Although our film wasn't used on the TVPlay channel which was very well explained and understood by us, I still think it is worth talking about considering the effort and time we put in.
It was an interesting process coming up with the idea I originally put forward the idea of juxtaposing images with the use of Vivaldi's Summer as a soundtrack. I took inspiration for this from the film Force Majeure (2014) which uses Vivaldi's Summer, but on a much larger feature film level. Then we had to think what we would use as content, so Plamen came up with the struggle to thread a needle. Then we had to think of an ending so I came up with the idea of having a wound in his leg that he would sow up instead of the clothing or toy that would be shown throughout the film. Plamen took this a stage further and said why not take the leg off, this would obviously require some prop work which he did himself.
I then put together a quick screenplay heres a couple of page:
Then after this we had to go out and buy all the things we needed for the shoot including: a needle and thread, a false leg, a pair of large jeans, innumerable items from art shops and a hip flask.
I think this was all for a good cause though because we have not put it up on TVPlay we have already entered the film into the WaterSprite Film Festival and plan to enter it into 2 more.
It was an interesting process coming up with the idea I originally put forward the idea of juxtaposing images with the use of Vivaldi's Summer as a soundtrack. I took inspiration for this from the film Force Majeure (2014) which uses Vivaldi's Summer, but on a much larger feature film level. Then we had to think what we would use as content, so Plamen came up with the struggle to thread a needle. Then we had to think of an ending so I came up with the idea of having a wound in his leg that he would sow up instead of the clothing or toy that would be shown throughout the film. Plamen took this a stage further and said why not take the leg off, this would obviously require some prop work which he did himself.
I then put together a quick screenplay heres a couple of page:
This was really just to give us some kind of plan before we shot.
Then after this we had to go out and buy all the things we needed for the shoot including: a needle and thread, a false leg, a pair of large jeans, innumerable items from art shops and a hip flask.
I think this was all for a good cause though because we have not put it up on TVPlay we have already entered the film into the WaterSprite Film Festival and plan to enter it into 2 more.
Overall really pleased with this piece of work even though it doesn't count for anything. Really think the whole thing came together really well with use of music and editing a key component.
Monday, 26 October 2015
NEWS UNIT: RESEARCH SKY NEWS
Sky news have a very good youtube channel that has a constant live stream of sky news as well as a plethora of content to view on demand. I just clicked on it and found they were doing a brilliant live piece from a Pumpkin farm where children were carving pumpkins. They linked this very well with the story that there is a pumpkin shortage around the country.
The great thing about the report is that it was all done live and felt so smooth and well organised despite this fact. The reporter started outside the pumpkin tents introducing the place and what its purpose is, and he then proceded to enter one of the tents whilst the camera followed him in.
The great thing about the report is that it was all done live and felt so smooth and well organised despite this fact. The reporter started outside the pumpkin tents introducing the place and what its purpose is, and he then proceded to enter one of the tents whilst the camera followed him in.
 |
| Introduction outside
He then does an interview with the owner of the farm who is very appropriately dressed as a witch. This has obviously been pre determined, but the interview seems very ad lib although at the same time smooth and interesting.
|
 |
| Interview with farms owner After this he goes for the heart of the viewer by interviewing a child who is enjoying the carving process. He links this all very nicely into the story of the pumpkin shortage and the fact that some people have returned to the turnip carving tradition that we used to do. |
 |
| Very well conducted interview with a child
I feel like this would have been a nice example to take and its a great reference for future projects of this type. Even though the camera follows behind him as he enters the tent he keeps it interesting by talking, as well as the camera man playing his part by panning onto some pumpkins on a table. Also have to mention the way he keeps the mic below the level of the camera so as not to obscure the persons face. Overall a really well presented live report that I think we should take head of as a group.
|
Subscribe to:
Comments (Atom)