Saturday, 13 May 2017

Professional Practice: Editing Rough Cut

Once all the filming was complete, and the A/V script had been produced, I began to edit the rough cut together.


EDITING ROUGH CUT

 I began this process by importing all of my footage into Adobe Premiere Pro. I used bins to organise the interviews, actuality, music, titles, images etc. I also created a series of sequences for the final cut, the multicams, the interviews etc.

My bins
Next I watched back all of the footage and began to create in and out points on my interviews using the timecodes I had noted down whilst creating the A/V script. I also created in and out points on my actuality footage so I could being storing shots of what my interviewees were talking about in their interviews.

Assembly

The hardest part of the assembly process was going to be editing the multicam footage, so I did that first. I used the timecodes on my footage to sync the cameras up for each lesson I filmed. I then used Premiere's built in multicam editor to watch through the footage and choose which shots I wanted and when I wanted to cut to them. It works a lot like vision mixing, but using pre-recorded footage instead of live feeds. I did the same process for each lesson I filmed. What I like about using this set up is that the cuts are not permanent, instead Premiere creates a sequence, meaning you can go back and adjust cuts if need be.

Editing multicam footage in Premiere
Next I began transferring all of my interview footage into one IV sequence, using the in and out points I had created earlier. I then watched through each clip and cut it down even more if I needed to. I did this because on second viewing I noticed small things I didn't like and wanted to remove, like bad camera adjustments, or unneeded dialogue.

Then I began putting the final video together, starting with the opening title screen, and the headteachers opening dialogue. I worked through the sequence, assembling the interview footage for each section, not worrying about covering any edits with actuality just yet.

Fine Tuning

Once I was happy with the assembly cut, I watched back through the film and started inserting actuality at points when the interviewees mentioned it, still not worrying about covering edits yet. I then used additional actuality to cover edits in the interviews.

Finally I fine tuned some of the edits and added the logo end card.

Next I added all of the lower thirds. These were important as the told the audience the relevant information about the person speaking on screen. I used the information given to me by each interviewee at the start of each interview, and the lower third template I had created in photoshop as part of the branding process. I didn't need to position the lower thirds as I had already done that in photoshop using a 1920 x 1080 pixel canvas.

One of the final lower thirds
Sound Design

As this film was a documentary type production, it didn't require a lot of sound design, but I did need to insert some music and level the sound. I also had to blend any cuts in the sound I had made whilst cutting the interviews together.

Once all the sound had inserted and edited together, I used the track and clip mixers to level everything until I was happy with how it sounded.

Using the track mixer
Colour Correction

The final stage of the edit was to colour correct all of the footage, especially the multicam footage as the two cameras produced slightly different looking images. I started this process by first correcting the footage using the Lumetri Scopes and the RGB curves. I went through each shot and balanced the RGB levels, and the black and white levels, by adjusting the shadows, midtones, and highlights. Once I was happy with it, the edit was complete. I corrected all of the footage so it would look nicer, more natural, and more professional, something I thought the commissioners would appreciate.

Colour correcting the footage
Using the Lumetri Scopes
The process of editing involved a few smaller details than mentioned here, but they're so minor they didn't need to be mentioned. The final step was to add a timecode so I could reference any feedback given to me during the rough cut viewing.

A screenshot from the timecoded video
Below is the final timeline for the film:

The final timeline


Professional Practice: Branding

In preparation for the edit, I produced some branded content I could use to give the film an overall King Ethelbert School look.

BRANDING

 I felt having branded content was important so it would be very clear who this film is about, made by/for, and owner by. To brand the video I produced:

- A background image to be used for title cards
- Lower thirds
- A logo end card

The logo for the school is purple, navy blue, and white, so I used these three colours in each item of branding.

BACKGROUND IMAGE

 I didn't want the branding to be over the top and excessive so I kept it simple. For the background I brought the logo into photoshop. I then added a white background, and lowered the opacity of the logo so it appeared as watermark. Finally I placed it in the bottom right hand corner so the center was free from distractions for text to be overlaid.

The background image is simple, fits the schools brand, and can be used in video productions, presentations etc...

Here is the final background:


LOWER THIRDS

To create the lower thirds I started by setting up a 1920 x 1080 pixels canvas in Photoshop. This would allow me to create and position the lower thirds so I could see how they would look in the final video production.

I create a white rectangle, and placed the logo onto it as a watermark to follow the theme set by the background image.

Finally I added a text layer for the title, and subtitle, using the schools font and colours. Below is the final design used in the video:


LOGO END CARD

 I thought it was important that the film had a logo end card because it would act as a sign of copyright on the video. It would also feature the schools logo, and website address.

I started by bringing the logo and background image created earlier into After Effects. I split the logo into small sections on different layers so I could animate each bit independently. I then added a few position key frames and animated each section so it came onto screen in an engaging manner. Finally I added the website address and copyright information using the schools font and colours.

Below is the final end card used in the film:



The school loved my branded content and have asked that I provide them with it so they can use it in other video productions, something I'm happy for them to do.

Professional Practice: A/V Script for Editing

After I had finished all of my filming, I watched my footage back, and created an A/V script to use during the editing process.

 A/V SCRIPT

I decided to produce this because I thought it'd save time during the editing process because I had already planned it out, word for word, on paper. On a separate piece of paper I kept notes on timecodes so I could easily find the sections of dialogue I had written into the script. If I was working with an external editor, they would need this script to understand what I want, and don't want, from the interviews, and how I want it to be cut together.

Below is the final A/V script:

Professional Practice: Filming Days

I turned up early on day one so I would have extra time to set up my interview location. Upon my arrival I was informed of a small schedule change, so I immediately updated my filming timetable and shared it with my contributors.
The new timetable
The interviews for this film are very important so I wanted the location to look good. I started by clearing out the meeting room I was provided with. I then put a chair in place for my interviewees. It was important I did that first, as everything would be built around the chair placement. I decided to put the chair by the window so I could use the natural light as a key light, a decision made because I only had two lights. Next I dressed the background behind the chair as it was just a plain white wall, and it needed to relate to the subject more. As it was a school, I found some education related items, like dictionaries and books, and a nice plant, and arranged them behind the chair. Eventually I ended up with something that didn't look too bad.

Once I had sorted the room out, I set the camera up as it would help me to see the final image whilst lighting. I placed the camera a good distance away from the chair so I could achieve the desired blurred background. I then leveled the camera so it matched the eyeline of the interviewee. I used myself as the subject to do this. I will frame the camera once I have lit the room.

To light the room I started with the backlight, placing it behind the chair and off camera. I used the camera's viewfinder to see how the light was affecting the scene. Once I was happy with it, I marked it's position so I easily put it back in place on my other filming days. Next I set the key light up, placing it next to the camera, and bringing it down to eyeline level. By doing this, I should achieve an eye light. Once I was happy with it, I marked its position. Finally, I asked a receptionist to stand it for me so I could frame the camera. I framed my subject in the left side of the screen so they were looking away from the window, not into it. I ensured the headroom was good, and I left space at the bottom of the screen for lower thirds.

The final interview set up
The final interview set up
Whilst I still had the receptionist I set the on camera mic, and the clip mic up so I could test sound levels. I had already done a bit of this at home prior to this day, so it only took a bit of minor tweaking to get it right. Once I had set everything up, I put markers down so I could set up quickly on my other filming days. I also requested that the school not let anyone else use the room during my filming week so my background would not be moved.


Framing the shot
Setting the sound levels
Because I spent time setting all of this up, when my first interviewee arrived, they didn't have to wait for me to prepare for them. They came in, sat down, and we got on with it. I started by asking them to say and spell out their name so I could get the information on the lower thirds correct. I then followed my list of questions, rewording, and expanding on them when required. I followed the same process for every interview I shot during the week.

In the afternoon of day one I had to shoot some actuality. I decided to film this handheld as I felt this was the most practical way to shoot actuality. I also felt the camera movement would make the footage more visually interesting. To shoot the handheld footage I used a PMW mounted on a shoulder rig to reduce strain on my arms and back. I also decided to use a second camera, on which I would get a static wide shot of the actuality that I could cut into during the edit when I reframe on the handheld shot. To get this shots I used a Canon EOS M1 on a tripod.

I turned up to the location early so I could set up the cameras, and mic up the teacher before the students arrived and the lesson started.

I followed the same process across my other four days filming interviews and actuality of lessons.

Professional Practice: Shooting Interviews

As this film would mostly be made up of interviews, I felt it was important I did some more research into shooting interviews.

SHOOTING INTERVIEWS

 First I had to decide what type of interviews I wanted to use for the film. The main types are:

- Location interview- Prepared interview filmed at a location, usually one related to the topic.
- Studio interview- Prepared interview filmed in a studio setup. Background that probably isn't related to the topic.
- Vox pop interview- On the spot interview filmed on location. Used to gather immediate reactions. Requires less preparation and scheduling.

For this project I have decided shoot my interviews on location. I will find a location at the school that is easily accessible, has good lighting, limited background noise, and has some relation to the interviewee or topic.

One thing I need to think about is how many cameras I will be using as this will affect how I frame the interview. As I am only filming the interviewees responses, I will only use one camera. If I had two cameras, I could get a MS and a CU of the interviewee, which can be useful in editing, but I have chosen to use one camera.

In terms of lighting, I have decided to use a three point lighting set up. This set up involves using three lights to light the subject: a key light, a fill light, and a backlight. I will only be booking out two lights for this project, so I will find a location with a large window so I can use the natural light as my key light. I will also find a room that has good practical lighting already in place. It is important to use this lighting set up as it helps to "achieve satisfactory levels and appearance" (Musburger, 2010:148), something that will make the interviews look more natural and professional. Using a backlight is also important as it "adds a rim of light around the subject to separate it from the background" (Musburger, 2010:148), but only if it is positioned well. One final thing I will aim to achieve when lighting the interviews is an 'eye light'. This is the "point of light, visible in the talents eyes" (Bowen, 2013:200), which helps draw the audience's attention. It also helps to make the subject look alive and natural.

When framing my shots, I will keep the 'Rule of Thirds' in mind. This rule states that "the most atheistic location for a predominantly vertical form is one third away from either the left or right side of the frame" (Musburger, 2010:170). Because of this I will probably frame my subjects in either the left, or right side of the frame, not the center. I will also consider placing the subject a good distance from the lens because if you "expand the camera to subject distance ... [you get] a shallower depth of field" (Bowen, 2013, 242), which helps to separate the subject from the background and draw the audience's attention to what's in the foreground.

I believe this research I have carried out into shooting interviews will ensure the interviews are film for this project are of a high and professional standard, which is important as the film is mostly made up of interviews.

Sources:
Musburger, Robert B (2010) Single-Camera Video Production (5th Edition) UK: Focal Press
Bowen, Christopher J (2013) Grammar Of The Shot (3rd Edition) UK: Focal Press

Thursday, 11 May 2017

Professional Practice: Shot List & Questions for Interviews

As part of my preparation for my commission project, I produced a shot list and a list of questions to use whilst filming the interviews.

 SHOT LIST

 This shot list is not very long, and not extremely detailed because it is difficult to know who the actuality will plan out, hence you can only plan certain shots, and do the rest on the fly. The shot list details information on shot descriptions and framing. This will help me during the shoot because it will hopefully ensure I get the minimum amount of coverage I need to put a film together. As I will be shooting actuality, I will likely film more than this shot list calls for. If I were working with others on this production, this shot list would be essential in helping them understand the types of shots I want for the final film.

Below is the final shot list:



QUESTIONS FOR INTERVIEWS

 I have produced a list of questions I will use during my interviews to ensure I get all of the information out of my interviewees that I need to successfully tell the story this film aims to tell. This list also includes a reminder to me to get my interviewees to say and spell out their names at the start of each interview. This will ensure I get all of the information on my lower thirds correct.

These questions have been written based on what the teachers have already told me about their techniques and what the school have told me they want to be included in the final film. I have also written questions for the student interviews to again ensure I get the information out of them that I need to tell the story. I am prepared to reword questions on the spot to push the interviewees in the right direction. I am also prepared to tell them what to say if they still are giving me the information they have given me before. I will also remind all interviewees to answer questions in a manner that allows viewers to work out what the question was asking, e.g. saying "I enjoyed the lesson" not just "yes" in response to the question "did you enjoy the lesson?".

Below is the final list of questions I produced:

Thursday, 4 May 2017

Professional Practice: Commission Treatment

Commission Treatment

Brief:
Produce a 10-15 minute teacher training film about questioning techniques used by specific teachers in English, Maths, Science, & P.E. Include reactions from students to these techniques and details from the teachers on why they do it, how it helps the students, and what advice they have for other teachers who want to do it too.

Contributors:
- Kate Grieg, Headteacher
- Dominic Chidlow, English Teacher
- Andrea Vargova, Maths Teacher
- Joss Rebera, Science Teacher
- Chris Franks, P.E. Teacher
- Student contributors to be chosen by teachers during filming

Structure:
- TITLE: King Ethelbert School: Questioning in Lessons
- Interview with headteacher setting the film up and describing what the audience is about to see and learn more about.
- TITLE: Questioning in Lessons: English
- Interview with English teacher with actuality from the lesson.
- Interview with student from that lesson
- TITLE: Questioning in Lessons: Maths
- Interview with Maths teacher with actuality from the lesson.
- Interview with student from that lesson
- TITLE: Questioning in Lessons: Science
- Interview with English teacher with actuality from the lesson.
- Interview with student from that lesson
- TITLE: Questioning in Lessons: P.E
- Interview with P.E teacher with actuality from the lesson.
- Interview with student from that lesson
- TITLE: King Ethelbert School: Questioning in Lessons
- Interview with headteacher closing the film and setting out what the viewers should've just learnt.
- KES LOGO END CARD

Filming Dates & To Film:
- Tuesday 18th April: Kate Grieg interview. Joss Rebera lesson.
- Wednesday 19th April: Andrea Vargova lesson. Dominic Chidlow lesson. Joss Rebera interview.
- Thursday 20th April: Dominic Chidlow interview. Andrea Vargova interview.
- Friday 21st April: Student interviews. Chris Franks lesson. Chris Franks interview.

Interview Details:
- To be filmed in Meeting Room 1 in the reception area.
- Set dressing needed: educational related.
- Questions to be written based on information from initial meetings.

Actuality Details:
- English: To be filmed in M1.
- Maths: To be filmed in R7
- Science: To be filmed in G6
- P.E: To be filmed on the tennis courts.