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.

Research and Development Journal 24/02/2016 (VT School Develppment)

On Monday the 29th of February I am set to direct my second VT Filmed at Greenfield  Community Primary School. I also had to make sure that our presenter for the piece will be good and ready when it comes to the script and actions she is prepared to do.

Our thoughts were that the teacher's pet (Tabitha) would be a spy, going tot he school and investigating the teachers who are getting prepared to participate in the show.
In order for this to work comedically, we had to film a private interviews between the children and Tabitha. The children would be giving their thoughts on their tutors. As children sometimes they can be unpredictable, so you have no idea what they could be thinking or what they could say which sometimes makes it cute and funny at the same time which some people love to see.

Coming up with a shot list was simple as the VT is only lasting for a minute and 15 seconds. Here is the draft of the shot list that I have made to show what will be happening on the day.

Shot List 1st Draft:

 List of what to do on Thursday the 25th on the location report:

• Get to know the 2 contestants  (If found)
• Get to know the kids
• Pick about 5 of the kids to interview
• Find a room for interviewing
• Get consent forms for the tutors to give to the children's parents (Just in case)
• Make sure to dress appropriately and act responsibly

Research and Development Journal 18/02/2016 (VT Shooting Day)

Before we planned the actual shoot we made a location report on what could be done about Jess, Plamen, and Alex's place to make it look like a World War 2 Bomb Shelter/ Air Raid Shelter.

Our first practice shoot went well apart from one thing... The sound, there was absolutely no sound what so ever. As humans we learned from our mistakes and we keep moving forward and I wrote down in my notebook so I wouldn't forget, REMEMBER SOUND.

 My crew set up the environment of the shoot and made this short footage:








The feel of the piece was great it felt like an air raid was about to happen and people had to find shelter and quick.



The shooting day:

The day of the shooting came and I had to make sure that I got there early as I had to make sure I was curtain of the shots I was going to use and also to make sure I was comfortable in the fully built set we arranged for the World War 2 setting.

The actresses were absolutely fantastic as their chemistry were like if they were middle aged ladies living in the war and trying to get by with old fashioned humor. Their ascents were spot on and their actions were just right.

The only thing that went wrong was some of our technical difficulties. our camera started telling us that we had low voltage and we didn't know how to fix it and what was even worse is that the camera wouldn't stop making a noise until we fixed the problem. But as it turned out, the low voltage meant that we just had to recharge the battery and so with that in mind we plugged the battery to the recharge and then plugged the recharge station into a separate slot and hey presto we were back in business and were ready to continue filming once more.

The next then was the sound, at one point it just vanished. We had the microphone in the right channel on the camera but yet there was no sound, we couldn't figure out what had happened. Then we discovered a button on the side of the camera and found out that one of us must of accidentally hit that button and then the sound turned off. But as instinks led us we press the button and re programmed the channel and suddenly the sound was back, yet another problem solved and thank goodness it was the last one.