Studio Reflection Report

Intro:

Within this report I will be demonstrating and reflecting on my experiences working on the live student commissioned television show, ‘Teach Em A Lesson’.  This will be showing the research and developments of my original pitch idea for the brief as well as covering my job roles involved in the show. A critical evaluation outlining my performance will also be included highlighting aspects of professional practice and areas of specialized interest that will enhance my future career within television production.

My Original Idea:

This idea was a game show targeted at a particular audience that has embraced the geek side of popular culture; meaning the people who are influenced by comic books, superheroes, fantasy and Si-Fi media. This is how I came up with the title “Geek or Unique”.

Fig.1. Geek OR Unique Logo. (2016).

I got inspiration for this game show by researching other television quiz show concepts. ‘Shooting Stars’ with duo host Vic Reeves and Bob Mortimer is a celebrity quiz show filled with laughs and absolute madness.

For another example the music TV game show “Never mind The Buzzcocks” has that same approach when it comes to their presenters. This is a comedy game show where the presenters and the producers are usually comedians and funny celebrities. This particular show gave me a vision of what I wanted my show to look like in terms of set design.

Fig.2. XL Supplies Video Screens For Never Mind The Buzzcocks. (2014).

From this image from the set of the show you can see that most game shows consist of lots of bright colorful and loud lighting. For this propose it’s mostly used in game shows to make them stand out and engage their audiences so they don’t become board.

Through further research this then led me to an online game show known as “I Can’t Even”. This show tackled all things that are geek related such as Sci-Fi shows, comics, video games and turns it all into a funny quiz show. With a hilarious and awkward host (Chris Kendall) aka Crabstickz on Youtube, he delivers a weird delivery that makes the studio audience engaged with the show.

Fig.3. I Can't Even. (2013).

What made this show stand out was the fact the team used their own studio and formed their set to suit the needs of the theme of the show which was geek related. Props such as wizard’s hats, action figures and comic books are used to decorate the set, along with the contestants themselves dressing up as their favorite fictional characters e.g. Doctor Who, Spiderman etc. All of which are elements which I found quite interesting, creative and above all else, unique.

The interview:

For this brief I had to pick my own job I wished to partake in the show.  Studio Director was my first choice mainly because I wanted to push myself out of comfort zone role. Once my job was chosen, an interview was to be issued to see if we were suited for our first chosen jobs. How I came to be prepared for the interview was mainly due to researching about the job.

An online search –

Sometimes it is good to learn from experts about the job your going for. BBC Studio Director Derek Livesey give out some pointers on the qualities and involvements when it come to the role of a studio director as well as giving out his personal experience.

Fig. 4 Derek Livesey, Studio Director, BBC. (2012).

From this video source he explains what the role involves  and what the requirements are needed for the job.

Generally the role involves –

·      Making Sure everyone on the crew team are doing their jobs and understanding the project, making sure that everyone is one the same page.

·      A visual idea of the show/ project and working closely with the producer.

·      Ensuring all briefs are dispatched in the studio based on individuals strengths and skills.

·      Creating a workflow structure.

·      Reviewing daily work schedules of the creative department.

·      Ensuring work is delivered on deadline.

·      Compiling studio schedules for the crew.

·      Updating studio schedules regularly to keep the team up to date on progress and changes.

·      Dispatching workload.

·      Managing annual leave of employees and finally resource management across both freelance and perm.

Requirements –

·      Not to panic – When something goes wrong the director must keep his/ her cool. If the director panics, then the whole team panics and something is likely to go wrong.

·      Communication skills

·      Professional organizational skills

·      Advanced knowledge of studio software

·      Proven leadership skills and ability to meet deadlines in a stressful environment

·      Motivate a team with a wide variety of skill sets.

·      He/she must also be able to think outside the box, have a high attention to detail and possess problem-solving skills.

Industry sources –

Using industry books and articles on your subject can teach you a lot, some of which really helped me get an idea of what directing can be like.

Show you can do the job–

Looking at my CV and making changes to help target my job role seemed effective. Showing your experience in the field of your chosen job shows how much you are confident and reliable to have the job. I made sure to put details of every directing job and experience I had so far in the industry to show how much I can do the task at hand.

Consider Appearances –

 In most job interviews you need to dress smartly, I went with a suit and tie to show professionalism and seriousness about wanting the job.

Remember Manners –

I came in to the interview with a smile on my face and shook my interviewer’s hand to indicate that I was confident. While I sat in a chair to begin the interview I remained clam and didn’t fidget, showing my interviewers that I wasn’t nervous.

Our chosen TV Show: ‘Teach ‘Em A Lesson’ produced by Wesley Denne.

Fig.4. Teach ‘Em A Lesson Logo. (2016)

The show was targeted at a younger audience and was going to be made for the Channel CBBC. In order to get the feeling of making a children’s TV show I had to research children’s television programmes and explored and examined how they are commissioned and also the style and content, as well as duration in order to include similar features within our chosen show.

Commissioning for CBBC:

The research into children’s game shows had to fit the commissioning criteria that CBBC had.

CBBC’s audience are targeted to primary school children with the age range of 6 to 12 years old.

‘CBBC's tone is funny, energetic, unpredictable, upbeat, clever and most importantly infused with laugh-yourself-smart appeal. We take our public service remit seriously and are proud that many of our most popular brands (Horrible Histories, The Dumping Ground, Operation Ouch, Dixi and My Life) have clear public service spines’ (BBC, 2016).

Children’s Television Research:

One show I looked at was the show 50/50. The children’s quiz show that pits two randomly selected teams of 11- and 12-year-old primary schoolchildren from across the country against each other. Are You Smarter Than A 10 Year Old? Was another interesting example of a children’s television show based around adults proving their knowledge against 10-year-old school children, a concept similar to our show.

Key elements within these shows are the use of bright colors, upbeat music, happy young enthusiastic and clever presenters, but most importantly for children’s game shows there are children involved.

Job Role: VT Director

Like a director, my role involved making videos for our chosen show, they are known as VTs or (Video Tapes). Research from the website Media College showed these facts about the job role of a VT Director.

            The VT (video tape) director oversees and directs VT operators. This position is only found        in larger production units which have a number of VT operators. In these situations the VT       machines are usually located in a room (or truck) separate from the control room.

            The VT director decides which sources are to be recorded on each machine and which        replays to offer the main program director. Throughout the program, the VT director is in      close contact with the director, coordinating the accurate playback of VT material.

            The VT director may operate one or more VT machines themselves, or s/he may act purely          as a director. (Media College, 2016)

The traits that a VT Director in the industry must have:

·      Highly know about the job of VT operator.

·      Understand the concept and requirements of the TV show your working on, including the aim and subject matter.

·      Be comfortable when it comes to organizing and directing cast and crew.

·      Be confident and decisive.

To compare my efforts to the VT Directors job to industry professionalism, I feel I could have done better.

In television when a show starts of live in the studio they would then eventually cut to a VT showing something related to the show.

A ‘VT’ is transmitted from the control room and is inserted into the live show. ‘Ant and Dec’s Saturday Night Takeaway’ uses VT’s on stand by and ready to be cued when the director says. This use of VT on the show is done as a technic where they would play the VT but insert live coverage from the studio to see a guest’s reaction. 

Fig.6. ‪School Children Sing to Their Teacher with Ant & Dec - Saturday Night Takeaway. (2015).

• Fig 5. We see the show live in the studio with a VT standing by to show the audience the reaction shot to their guest on the sofa.

Fig.7. School Children Sing to Their Teacher with Ant & Dec - Saturday Night Takeaway. (2015).

·      Fig 6. shows the VT that was shot and edited and now is on screen for the audience. At the bottom left of the picture you can see the window of where the control room transmitted live footage from the studio into the VT.

What did my role involve in our show:

·      Being in charge of the filming process of a VT, so it is then submitted to the editor to be ready for the production to transmit that videotape onto the live show.

·      Working with the actors and getting the best out of them.

·      Working with school children and giving instructions of behaviors on camera and how to answer questions.

·      Looking at locations and doing recces with the VT Producer and some of the crew.

Second Job Role Studio Camera Operator:

Fig.8. ‪TVPlay Episode 20: Behind the scenes of Teach Em a Lesson. (2016).

What was vital to my role as camera operator was that each person assigned to a camera had to be in charge of making sure that:

1. All batteries for each camera were charging at all times. If something goes wrong in terms of one of the battery packs failing on the day, the camera op can simply swop batteries and make sure that the camera has the right amount of charge to record the whole show.
2. When on breaks the camera operator must make sure to secure his/ her camera and put the intercom system back onto it’s station for charging.

When assigned to a studio camera you are not referred to by your name, but rather the camera number you are put on. I was put on camera 2 and would remain on camera 2 until the day of the live shoot. This was one of my first experiences wearing an intercom headset in the studio. At first hearing the feedback from my director and others was quite distracting but still it's something I knew I had to get used to.

Once a camera is ready to go, the camera operator will need to locate an intercom unit in order to communicate with the control room and the rest of the production crew. (Utterback: 2013, 84)

Unlike some of the crew wearing headsets cameramen are not allowed to talk back on the headsets as the microphones on the cameras will pick up your sound and ruin the whole show. But there is a way to communicate with the director but only when he gives instructions.

As a cameraman you need to pay attention and listen to instructions carefully from the director through this intercom. When our director needed to know if anyone was on a camera in the studio, the response is a simple nod with the tripod and the camera up and down as if to signal yes to the director who will be watching the camera activity from the control room with the vision mixer.

The director’s knowledge of actual shot opportunities is mostly derived from what the cameras reveal and on the-shot assistants (usually called spotters). The director guides selection, adjusts shot sizes, suggests desirable shots, and chooses from the available material (Owens, Millerson: 2009, 330).

Critical Reflection:

On reflection I can now appreciate and understand other crewmembers roles involved with making a TV show, from keeping your audience happy and excited by hiring warm – up acts to working efficiently as a team. I have worked out more about the Sony EX camera and feel more confident about putting it on my CV when it comes to looking for a job in the industry. Pitching an idea is so important, and its vital to make sure that it is to the point and interesting and engaging to the panel of people you are showing your vision to.

My contribution to the team helped with the further development of the project and I also demonstrated communication and teamwork skills by helping a crewmember with editing difficulties. When directing I kept a cool head and concentrated on the task at hand when it came to filming at the school and for the World War II VT. Completing Risk Assessments was something I was already familiar with however, looking at new locations for each shoot I had to be prepared to assess for what might happen if something goes wrong.

The biggest challenge I encountered on the live show was that I kept shaking the camera due to being too nervous and hoping that I wouldn’t mess up the production.

When recording the school children for my 2^nd VT, I wished I had used more shot types such as, Close ups and mid shots of the children and getting some more reaction shots.

In the world war II VT I wished I had a better vision and better way to shoot the beginning shot transitioning into introducing the two characters.

Ways in which I can improve and develop for the future are by focusing more with the technical aspects of the industry standard cameras used on our show and I most importantly I need to remain clam when it comes to a live show. By being more confident with my decisions when it comes to directing and listening to feedback from my colleagues I will enable myself to improve my any role I decide to embark on within television and film. 

Image List:

Fig.1. Geek OR Unique Logo. (2016) [Screenshot] At: http://lawrencematthewsedgwick.blogspot.co.uk/2016/01/research-and-development-journal_25.html (Accessed on 13/04/2016)

Fig.2. XL Supplies Video Screens For Never Mind The Buzzcocks. (2014) [Online image] At: http://livedesignonline.com/xl-supplies-video-screens-never-mind-buzzcocks (Accessed on 13/04/2016).

Fig.3. I Can't Even (2013). [Online Image] At: https://twitter.com/chris_kendall_/status/359728683398864898 (Accessed on 12/01/2015).

Fig. 4 Derek Livesey, Studio Director, BBC. (2012) [Screenshot] At: https://www.youtube.com/watch?v=y0qIB_phKHM (Accessed on 20/14/2016)

Fig.5. Teach ‘Em A Lesson Logo. (2016) [Online Image] At: http://lawrencematthewsedgwick.blogspot.co.uk/2016/02/research-and-development-journal_9.html (Accessed on 15/04/2016)

Fig.6. ‪School Children Sing to Their Teacher with Ant & Dec - Saturday Night Takeaway. (2015). At: https://www.youtube.com/watch?v=kr2d--1ekwM (Accessed on 15/04/2016).

Fig.7. ‪School Children Sing to Their Teacher with Ant & Dec - Saturday Night Takeaway. (2015). At: https://www.youtube.com/watch?v=kr2d--1ekwM (Accessed on 15/04/2016).

Fig.8. ‪ TVPlay Episode 20: Behind the scenes of Teach Em a Lesson. (2016) [Screenshot] At: https://www.youtube.com/watch?v=ZXM9ktTG9u8 (Accessed on 15/04/2016)

Bibliography:

‪

Douglas, Pamela (2015) The Future Of Television. Studio City: Michael Wiese Productions.

Owens, J and Millerson, G. (2013) TELEVISION PRODUCTION 15^TH Ed. Burlngton: Focal Press.

Perebinossoff, Philippe (2008) REAL-WORLD MEDIA ETHICS Inside the Broadcast and Entertainment Industries. Burlngton: Focal Press.

Utterback, Andrew (2013) Studio television production and directing. Burlngton: Focal Press.

Web Sources:

Shooting Stars Season 7 Episode 1. [Online] Youtube. (2015) 29 mins 10 secs At: https://www.youtube.com/watch?v=rqf4hGf3aPo (Accessed on 12/01/2015).

I Can't Even: Geek week Special! [Online] Youtube. (2013) 20 mins 25 secs At: https://www.youtube.com/watch?v=AQy-834HY3M (Accessed on 12/01/2015).

Derek Livesey, Studio Director, BBC (2012) [Online] At: https://www.youtube.com/watch?v=y0qIB_phKHM (Accessed on 21/01/2016).

BBC. (2016) The CBBC Channel. At: http://www.bbc.co.uk/commissioning/tv/articles/cbbc-channel (Accessed on 19/04/2016).

Studio Production Reflections

I really enjoyed actually making a TV show and the collaboration from all of us as team totally showed in the final recording in my opinion.

What went well:

• The preparation for the show went smoothy, the team were there early and we all worked together to azure that the set was ready for the final rehearsals and then set up ready for the guest/ audience.
• The second half of the show for me went very well, I kept the camera steady and gave the director as well as the audience the shots they needed to see in the show. I admit I was reasonably shaky and nervous at the beginning.
• I felt proud knowing that I managed to organise my camera batteries and having the responsibility to manage my own equipment.

What Went wrong:

• I felt that a particular shot at the beginning of the show went wrong as I had to move back to Tabitha for the scores. As I moved over to change shots the director changed to camera 2 (my camera) because I think that he needed another close up of the contestants but I moved to soon.
• At the start, I didn't really act like a camera operator, I went to other duties instead of setting up my camera equipment at one point but then I learned my lesson.

On reflection I can now appreciate and understand other crewmembers roles involved with making a TV show, from keeping your audience happy and excited by hiring warm – up acts to working efficiently as a team. 

I have worked out more about the Sony EX camera and feel more confident about putting it on my CV when it comes to looking for a job in the industry. Pitching an idea is so important, and its vital to make sure that it is to the point and interesting and engaging to the panel of people you are showing your vision to.

My contribution to the team helped with the further development of the project and I also demonstrated communication and teamwork skills by helping a crewmember with editing difficulties. When directing I kept a cool head and concentrated on the task at hand when it came to filming at the school and for the World War II VT. 

Completing Risk Assessments was something I was already familiar with however, looking at new locations for each shoot I had to be prepared to assess for what might happen if something goes wrong.

The biggest challenge I encountered on the live show was that I kept shaking the camera due to being too nervous and hoping that I wouldn’t mess up the production.

When recording the school children for my 2^nd VT, I wished I had used more shot types such as, Close ups and mid shots of the children and getting some more reaction shots.

In the world war II VT I wished I had a better vision and better way to shoot the beginning shot transitioning into introducing the two characters.

Ways in which I can improve and develop for the future are by focusing more with the technical aspects of the industry standard cameras used on our show and I most importantly I need to remain clam when it comes to a live show. 

By being more confident with my decisions when it comes to directing and listening to feedback from my colleagues I will enable myself to improve my any role I decide to embark on within television and film. 

OFCOM Homework

OFCOM's Rules and regulations:

Fairness

Foreword

This section and the following section on privacy are different from other sections of the Code. They apply to how broadcasters treat the individuals or organisations directly affected by programmes, rather than to what the general public sees and/or hears as viewers and listeners.

As well as containing a principle and a rule this section contains "practices to be followed" by broadcasters when dealing with individuals or organisations participating in or otherwise directly affected by programmes as broadcast. Following these practices will not necessarily avoid a breach of this section of the Code (Rule 7.1). However, failure to follow these practises will only constitute a breach where it results in unfairness to an individual or organisation in the programme. Importantly, the Code does not and cannot seek to set out all the "practices to be followed" in order to avoid unfair treatment.
The following provisions in the next section on privacy are also relevant to this section:


To ensure that broadcasters avoid unjust or unfair treatment of individuals or organisations in programmes.

Rule

7.1 Broadcasters must avoid unjust or unfair treatment of individuals or organisations in programmes.

Opportunity to contribute and proper consideration of facts

7.9 Before broadcasting a factual programme, including programmes examining past events, broadcasters should take reasonable care to satisfy themselves that:

• material facts have not been presented, disregarded or omitted in a way that
  is unfair to an individual or organisation; and
  
• anyone whose omission could be unfair to an individual or organisation has
  been offered an opportunity to contribute.
  

7.10 Programmes - such as dramas and factually-based dramas - should not portray facts, events, individuals or organisations in a way which is unfair to an individual or organisation.

7.11 If a programme alleges wrongdoing or incompetence or makes other significant allegations, those concerned should normally be given an appropriate and timely opportunity to respond.

7.12 Where a person approached to contribute to a programme chooses to make no comment or refuses to appear in a broadcast, the broadcast should make clear that the individual concerned has chosen not to appear and should give their explanation if it would be unfair not to do so.

7.13 Where it is appropriate to represent the views of a person or organisation that is not participating in the programme, this must be done in a fair manner.




Product Placement

Product placement is now allowed in UK television programmes.
Ofcom is responsible for the rules governing product placement, including what can and can't be shown on TV screens.
The following gives an overview of these rules and explains how you can tell whether a programme contains product placement.

What is product placement?

Product placement is when a company pays a TV channel or a programme-maker to include its products or brands in a programme.
So, for example, a fashion company might pay for a presenter to wear its clothes during a programme, or a car manufacturer might pay for a character to mention one of its cars in a scene in a drama.

Is it allowed in the UK?

Product placement in films and international programmes (such as US drama series) has been allowed on UK television for many years.
From 28 February 2011 TV programmes made for UK audiences can contain product placement as long as they comply with.

These rules apply to all programmes broadcast on channels licensed by Ofcom and include some channels that broadcast outside of the UK. 

Does this mean that all products I see in a programme made after this date have been paid for?

No, programme-makers also use ‘props' (for example, to ‘dress' a set in a TV soap).
The difference between product placement and the use of props is that the TV channel and the programme-maker don't receive any payment for including props. They pay to use them or get them free, rather than being paid to include them, so they're not product placement.
It's also possible that a product could appear in a programme by chance, not because the company has paid for it to be included – for instance, a member of the public interviewed in the street might be wearing clothing that shows a company's logo.

What are the rules for product placement?

contains rules about what type of products can be placed in programmes, where product placement is allowed, and how placed products can be featured.
These rules are required by both European and UK law.

Which programmes can contain product placement?

Product placement is allowed in films (including dramas and documentaries), TV series (including soaps), entertainment shows and sports programmes.

Will there be product placement on the BBC?

Under the terms of the BBC Agreement product placement is not allowed in programmes made for BBC licence fee funded services.
However, Ofcom's rules apply to any product placement in programmes which the BBC acquires from elsewhere and those made by the BBC's commercial TV services

What products can't be placed?

Cigarettes and other tobacco products, along with medicines that are available only on prescription, can't be product placed in any programmes.
Alcoholic drinks, gambling products, all other types of medicines, food and drink that is high in fat, salt, or sugar and baby milk can't be product placed in UK programmes.
Also, products that can't be advertised (such as guns and other weapons) can't be product placed in UK programmes either.

How you will know if a programme contains product placement?

If a UK programme contains product placement, the TV channel has to show a special logo.
This will let viewers know that the TV channel or the programme-maker has been paid to include products in that programme.
The logo is pictured below - there are two versions so that it can be used on a light or dark background.
The logo has to be shown at the beginning of the programme, and repeated after any advertising break during the programme. It also has to be shown again at the end of the programme.
TV channels don't have to show the logo on programmes that were originally broadcast outside the UK (for example, a US drama series that is then shown in the UK). Any programme that is made to be shown on an Ofcom licensed channel, including those that broadcast outside of the UK, must include the product placement logo where necessary.



Advertisement

About this document

Ofcom sets rules that restrict the amount of television advertising that broadcasters can transmit and where such advertising can be scheduled. These rules are intended to protect viewers and, in some cases, are based on requirements stipulated in European law.
In July 2014, Ofcom published a consultation on: i) options available to secure effective and consistent enforcement of rules that restrict advertising interruptions in programmes; and ii) changes to the advertising scheduling rules, designed to make them clearer and easier to follow.
This document sets out Ofcom’s decisions on the issues set out in the July 2014 consultation.



Premium rate services (PRS)

Premium rate services are a form of micro-payment for paid for content, data services and value added services that are subsequently charged to your telephone bill. They tend to cost more than a normal phone call or text message. They usually operate on numbers beginning 09, 118, 0871/2/3 or five or six digit mobile text shortcodes.

The premium rate industry in the UK incorporates a diverse number of services, such as:

• Directory Inquiries
• 087 business information lines
• Mobile games
• Competitions and quizzes
• Charity donations
• Adult entertainment
• Chat services

Ofcom has overall responsibility for regulating premium rate services. PhonepayPlus is appointed by Ofcom to carry out the day-to-day operations.


The role of Ofcom

There is a separate set of regulations in place for PRS, the key elements of which are:

Section 120 of the Communications Act 2003. This defines all PRS and provides Ofcom with the
power to set conditions for the purpose of regulating the provision, content, promotion and
marketing of PRS;


The PRS Condition. A subset of PRS are so called "Controlled PRS" and are subject to the rules
set out in the PhonepayPlus Code of Practice.


The PhonepayPlus Code of Practice. This outlines wide-ranging rules to protect consumers as
well as the processes PhonepayPlus applies when regulating the PRS industry.

Ofcom has responsibility and accountability for the regulation of premium rate services under the terms of the Communications Act 2003.

Ofcom has designated PhonepayPlus to deliver the day-to-day regulation of the market, by approving the PhonepayPlus Code of Practice. Regulatory strategy, scope and policy are developed in dialogue with PhonepayPlus, but final decisions will rest with Ofcom.

The relationship between Ofcom and PhonepayPlus is set out in a Memorandum of Understanding.


The role of PhonepayPlus

PhonepayPlus regulates the content, promotion and overall operation of all PRS through its Code of Practice. Its role is to develop a Code of Practice for providers of PRS with the aim of producing a regulatory framework that protects consumers. For example, the Code requires clear and accurate pricing information, honest advertising, and appropriate and targeted promotions.

It investigates all complaints received about the PRS numbers it regulates. If PhonepayPlus thinks a provider may have breached the Code of Practice, it will investigate. 





Bibliography:


OFCOM. (2016) Section 7: Fairness. At: http://stakeholders.ofcom.org.uk/broadcasting/broadcast-codes/legacy/broadcast-code-september-2010/fairness/ (Accessed on 14/04/2016)

OFCOM. (2016) Premium rate Services. At: http://stakeholders.ofcom.org.uk/telecoms/policy/premium-rate-services/ (Accessed on 14/04/2016)

OFCOM. (2016) Regarding the quantity of advertising on television. At: http://stakeholders.ofcom.org.uk/broadcasting/broadcast-codes/advert-code/ad-minutage (Accessed on 14/04/2016)

Consumers. (2016) Product placement on TV. At: http://consumers.ofcom.org.uk/tv-radio/television/product-placement-on-tv/

Commission Update and research

With a couple of setbacks from my Client having trouble with the band, the song was finally set for me to work around getting ready for the music video.

The song is called "All I Ask"

The song is slow and seems to be very romantic and nostalgic with nice acoustic guitar and sweet vocals from Verity (my client).

After that I decided to get her a nice studio for the band to play in while the recording session is happening. I looked at a couple of local studios and one studio I came across looked very nice and was near Chatham Dockyard, the studio was named DEF Studios.
The environment seemed very wide spaced and looked really nice for a music video.

The reason for a studio shoot is that most band have a studio session to show who they are but also a cleaver that some studio shoots do is behind the scenes of how they make their music. An example of this is Justine Timberlake's music video for his song "Suit & Tie" ft. JAY Z.

Screen Shot examples from the video:

• In this shot it would be good to see the singer at work when he/ she is singing.

• In this shot it's nice to show close ups of the instruments being played by the band members, might be very nice to see on the acoustic guitarists.

• This type of shot would be nice showing the sound levels go up and down, if I can find a way to show this in the music video that would be pretty cool.

Bibliography:

justintimberlakeVEVO. (2013). Justin Timberlake - Suit & Tie (Official) ft. JAY Z. [Online Video]. 14 February. Available from: https://www.youtube.com/watch?v=IsUsVbTj2AY. [Accessed: 04 April 2016].

DEF Studios. (2016). DEF Studios Gallery. [Online] At: http://www.defstudios.co.uk/our-studios.php  [Accessed: 04 April 2016]. 

TV Play (My Journey the to the 2016 Southapmton fim expo)

A while ago a friend of mine and fellow TV production student Ida Frank, won a chance to have a ten page script she made into a full film by a panel of judges at the 2016 Film Expo South. She had won two tickets and offered me to come along, mainly because I was one of the only people she knew who had a car. But with a great opportunity to meet people and gain some amazing contacts I couldn't refuse so me and Ida planned our journey to Southampton to take part in the Film Expo.

When we got there there were more people then we expected, with workshops on working with actors to film screenings to all sorts of companies involved in locations for films, items and clothing for films, and all sorts of high tech gadgets and gizmos intending to make your film look as amazing as possible.

The people were friendly and passionate about their work and what was great about the people where the fact that you can walk up to them just to say hello and end up having an hour conversation not even know as you are so invested into what they do and say.

What was really call was that one of the film screenings was a premiere of a new film called 'Never Let Go' directed by Howard J. Ford.  A film about a single mother trying to rescue her baby who was abducted  whist on holiday.

The film itself was very atmospheric in a sense that you feel the way the mother feels and you are with her throughout this journey and are rooting for her all the way till the end of the movie. The sound design was incredible and very to detail in terms of the culture of where it was filmed which was mainly in Morocco as well as Spain, the US and the UK. The shots where very high quality, but to the point where to me it seemed way to noisy and some of the shot did not stay still enough for me to take most of the film in, it was an adrenaline rush till the end.

The acting for the cast was very well put together, the directer said he wanted something unique out of the main character like a middle aged single mum as that would be the last person you would see doing an action film. But the main character (Angela Dixon) done her job and I really enjoyed her performance.

Here is the trailer for the film:






NEVER LET GO TRAILER 16x9. [Online] At: https://www.youtube.com/watch?v=J_LEoMcH4tE (Accessed on 09/03/2016)


Here is an interview with the director of the film Howard J. Ford:

 Director Howard J. Ford Interview Never Let Go Premiere. [Online] At: https://www.youtube.com/watch?v=a6m6Fwg_Bgk (Accessed on 09/03/2016)



Finally here is the final edit of the TV Play episode filmed by me and Ida:

Research and Development Journal (Cameraman Research and others)

A handy tip for any cameraman on a TV set, is to have a cue card at the ready. What is a cue card?

As it's name suggests a cue card is a helpful item to aid the camera person remembering where they are next positioned and what shot to use and where to shoot it. 

For example here is my one for our show 'Teach Em A Lesson':

I have learned many thing on our production such as the job roles involved with in the show, here a few that I have observed:

The Director:
I went for this role thinking I had what it took but when I saw what went on behind the scenes of our show I couldn't have been more wrong. The role of the director was harder then I was led on to be, the director has to not only cue the cameras but also the VTs, sound effects and music, captions and animations, the director has to take full control and cue everyone in and in time of the show while the production is happening live.


The Floor Manager:
The floor manager's job is to make sure everyone on the studio floor outside the control room is given the instructions by the director and cuing the talent, camera people, and all other on the studio floor when and how long till we are on the air and how long between each VT shown before we are to resume filming again.


The Vision Mixer:
This person's job is one of those jobs where the saying 'don't judge a book by it's cover' is truly given. It is more then just pushing some buttons, this person is under full control of the director and must listen to his/ her every command. He/ she must not only push the button to switch between preview and transmitted cameras but only activate the captions and animations when given the cue so there are a lot of things on their mind when this role in the gallery is taken.