Wednesday, 12 July 2017
Friday, 30 June 2017
Schedule (remaining lessons)
Creative Media
Production
Friday – KAG
to cover Pre-production and planning
Josh, Kate, Rachel and Georgia
Jake, Lucy, Curtis and Ben
Frankie, Tom, India and Jed
Etienne, Ren, Billy and Matthew
Monday, 26 June 2017
'Conventions' of French New Wave
Deconstruction : Their movies deconstruct cinema, narrative, the separation between a actor and a character and the role of the audience as passive watchers of a movie and much of traditional storytelling.
Doing It for the Art : Believers and practitioners, who tended to keep pushing their limits and go against contemporary trends even when their films became the trend.
Downer Ending : Not big believers in the Happy Ending or endings on the whole. Gainax Ending was a common occurence.
Existentialism : Rougly contemporaries with Jean-Paul Sartre, he was a major influence on all their films, even a Catholic like Eric Rohmer.
The Face Of The Band : François Truffaut initially and then Jean-Luc Godard, especially after the former's death.
Follow the Leader: The directors of the new wave pioneered all kinds of production and editing techniques like the Jump Cut which went on to inspire the New Hollywood and much of the film-school graduated professionals who worked in advertising and music videos.
Foreign Culture Fetish: Hollywood and American culture (authors like Dashiell Hammett and William Faulkner, George Gershwin and Bob Fosse) were constantly identified as touchstones though the New Wave radically broke away from the classical style of film-making.
Genre-Busting : The French New Wave believed and practiced this, their films combing styles and themes and motifs from different genres.
Homage : A frequent claim for their film's many references.
Last of His Kind: With the death of Jacques Rivette in January, 29, 2016, Jean-Luc Godard is the last of the New Wave, having outlived all his friends.
Lets See You Do Better: They were pioneering film critics — one of the first to use tape recordersnote to interview film-makers and produce long-form detailed profiles that had never been done before, in addition to extensive research and cross-referencing by tracking names across movie credits. And they became pioneering film-makers.
Serious Business : As critics and as directors, they took film-making in all its aspects very seriously. Eric Rohmer stated that audiences who didn't like Howard Hawks didn't understand cinema and Jean-Luc Godard became famous for his many comments on a similar note.
"Shaggy Dog" Story / Shoot the Shaggy Dog : Their movies tend to have very thin plot and the story keeps subverting any narrative resolution. Jacques Rivette's Paris Belongs To Us is a conspiracy movie without a conspiracy, the atmosphere generally stemming from the Cold War Post-Historical Trauma.
Shadow Archetype : To the British Invasion as well as artists like Bob Dylan. They achieved in movies what The Beatles, The Rolling Stones and Dylan did in their music in the same time. Their works were widely seen and greatly influenced the same set. Marianne Faithfull made a cameo in a Godard film and Godard made a film documenting the recording of Sympathy for the Devil with the Stones.
Shout-Out : To the whole of film history, literature, art, history, architecture and contemporary advertising.
Small Reference Pools : French cinema tends to avert this, but the New Wave were even bigger aversions. The films of Jean-Luc Godard in particular engaging with everything from philosophy to science, fashion to contemporary advertising, to movies from every era, to Modernist architecture, fiction, painting and music.
Start My Own: The movement was created by some film critics who thought they could make better movies on their own.
Three Chords and the Truth: The New Wave were believers and practitioners in the cinematic equivalent. At a time when Hollywood were making the Epic Movie, expensive, big-budget blockbusters, they argued for smaller, intimate films about everyday life and problems, using real locations instead of giant sets, natural lighting instead of studio lighting (which the new cameras and improved film stock made possible) and direct sound instead of studio-produced soundtrack. It should be noted that this wasn't a total dogma for them and the New Wave would move away from them, but generally their credo is embodied by Godard:
Viewers Are Geniuses : Major believers in this. Their narratives did not wrap everything neatly, and many of them expected their films be seen twice to get the meaning and emotional force from their films.
Doing It for the Art : Believers and practitioners, who tended to keep pushing their limits and go against contemporary trends even when their films became the trend.
Downer Ending : Not big believers in the Happy Ending or endings on the whole. Gainax Ending was a common occurence.
Existentialism : Rougly contemporaries with Jean-Paul Sartre, he was a major influence on all their films, even a Catholic like Eric Rohmer.
The Face Of The Band : François Truffaut initially and then Jean-Luc Godard, especially after the former's death.
Follow the Leader: The directors of the new wave pioneered all kinds of production and editing techniques like the Jump Cut which went on to inspire the New Hollywood and much of the film-school graduated professionals who worked in advertising and music videos.
Foreign Culture Fetish: Hollywood and American culture (authors like Dashiell Hammett and William Faulkner, George Gershwin and Bob Fosse) were constantly identified as touchstones though the New Wave radically broke away from the classical style of film-making.
Genre-Busting : The French New Wave believed and practiced this, their films combing styles and themes and motifs from different genres.
Homage : A frequent claim for their film's many references.
Last of His Kind: With the death of Jacques Rivette in January, 29, 2016, Jean-Luc Godard is the last of the New Wave, having outlived all his friends.
Lets See You Do Better: They were pioneering film critics — one of the first to use tape recordersnote to interview film-makers and produce long-form detailed profiles that had never been done before, in addition to extensive research and cross-referencing by tracking names across movie credits. And they became pioneering film-makers.
Serious Business : As critics and as directors, they took film-making in all its aspects very seriously. Eric Rohmer stated that audiences who didn't like Howard Hawks didn't understand cinema and Jean-Luc Godard became famous for his many comments on a similar note.
"Shaggy Dog" Story / Shoot the Shaggy Dog : Their movies tend to have very thin plot and the story keeps subverting any narrative resolution. Jacques Rivette's Paris Belongs To Us is a conspiracy movie without a conspiracy, the atmosphere generally stemming from the Cold War Post-Historical Trauma.
Shadow Archetype : To the British Invasion as well as artists like Bob Dylan. They achieved in movies what The Beatles, The Rolling Stones and Dylan did in their music in the same time. Their works were widely seen and greatly influenced the same set. Marianne Faithfull made a cameo in a Godard film and Godard made a film documenting the recording of Sympathy for the Devil with the Stones.
Shout-Out : To the whole of film history, literature, art, history, architecture and contemporary advertising.
Small Reference Pools : French cinema tends to avert this, but the New Wave were even bigger aversions. The films of Jean-Luc Godard in particular engaging with everything from philosophy to science, fashion to contemporary advertising, to movies from every era, to Modernist architecture, fiction, painting and music.
Start My Own: The movement was created by some film critics who thought they could make better movies on their own.
Three Chords and the Truth: The New Wave were believers and practitioners in the cinematic equivalent. At a time when Hollywood were making the Epic Movie, expensive, big-budget blockbusters, they argued for smaller, intimate films about everyday life and problems, using real locations instead of giant sets, natural lighting instead of studio lighting (which the new cameras and improved film stock made possible) and direct sound instead of studio-produced soundtrack. It should be noted that this wasn't a total dogma for them and the New Wave would move away from them, but generally their credo is embodied by Godard:
Jean-Luc Godard: All you need to make a film is a girl and a gun.
Viewers Are Geniuses : Major believers in this. Their narratives did not wrap everything neatly, and many of them expected their films be seen twice to get the meaning and emotional force from their films.
Breaking The Rules - The French New Wave
Excellent second video explaining the history and purpose (with clear examples) of The French New Wave.
https://www.youtube.com/watch?v=0R7R0JHvvgo
Wednesday, 21 June 2017
French New Wave (Editing Technique)
Please watch the following clip https://www.youtube.com/watch?v=3Iz3JTGHRh0
(What I Learned From Watching: Breathless (1960))
(What I Learned From Watching: Breathless (1960))
· - Take notes from
the YouTube video
· - What are some
techniques of French New Wave Cinema?
· - How are some of
the techniques still used in contemporary cinema?
· - What are the
benefits of using this editing technique?
Wednesday, 14 June 2017
EVENT: Melody Bridges - Guest Speaker
Melody Bridges, who is the co-editor of a book on female pioneers in cinema
‘The stories which we watch unfold - on the big screen, on our televisions and, more recently, on our phones and tablets - help shape the way we view the world (and the decisions we make). The people who make the films and programmes we watch therefore have a powerful influence on us. Sadly, a relatively small number are women.
They control what we see and male characters and heroes dominate the screen (even the crowd scenes). But it wasn't always so:
• Women of early cinema were both powerful and successful.
• But they have all but been expunged from modern history*.
*Melody is co-editor of an important work on female pioneers of early cinema - Silent Women - http://www.londonbookfair.co.uk/en/Exhibitors/1574856/ Aurora-MetroSupernova-Books/ Products/937339/Silent- WomenPioneers-of-Cinema
The expunging of women from this history has had a profound influence on aspirations of younger generations of women, bereft of role models and tricked into thinking there is no precedent for their ambitions.; or who focus on screen roles rather than the power to be found behind the camera, as well as in others areas of production, distribution and transmission.
Work in schools is extremely important. Girls watch an average of 7 hours screened media every day. Such a workshop get them questioning who makes TV/film right now, and which voices/ faces do they see on screen and how representative is this. The response to these workshops thus far has been incredibly positive.’
Friday, 26 May 2017
Wednesday, 17 May 2017
M://
Hello all,
I've spent the morning checking your M:// to see what work is accessible and what work is missing (electronically).
Please ensure all work is submitted to the M:// before the 26th May.
I will scan in your pre-production and add it to the relevant folder. You just need to sort the rest out!
You might need to ask the technicians to transfer your exported production to your M:// OR you can just put it on a USB and transfer it yourself.
For ease of folders if you all can set them out with the relevant work inside each folder.
Unit 27
Ass. 1 - Induction Task
Ass 2. - Contextual Study
Ass. 3 - Pre-production & Pitch
Ass. 4 - Production & Evaluation
Unit 29
Ass. 1 - Contextual Study
Ass. 2 - Pitch
Ass. 3 - Pre-production
Ass. 4 - Production & Production Role document
Attached is a spreadsheet with what I can see is in your folders, so you know what you need to add/tidy up.
One final part of the course is to sign off all documents!
Well done on nearly completing the year!
I've spent the morning checking your M:// to see what work is accessible and what work is missing (electronically).
Please ensure all work is submitted to the M:// before the 26th May.
I will scan in your pre-production and add it to the relevant folder. You just need to sort the rest out!
You might need to ask the technicians to transfer your exported production to your M:// OR you can just put it on a USB and transfer it yourself.
For ease of folders if you all can set them out with the relevant work inside each folder.
Unit 27
Ass. 1 - Induction Task
Ass 2. - Contextual Study
Ass. 3 - Pre-production & Pitch
Ass. 4 - Production & Evaluation
Unit 29
Ass. 1 - Contextual Study
Ass. 2 - Pitch
Ass. 3 - Pre-production
Ass. 4 - Production & Production Role document
Attached is a spreadsheet with what I can see is in your folders, so you know what you need to add/tidy up.
One final part of the course is to sign off all documents!
Well done on nearly completing the year!
Monday, 15 May 2017
BTEC Editing Days
Hello all,
I'll put on two editing sessions next week in room 164.
Monday 22nd at 13:30 - 15:30
Wednesday 24th at 13:30 - 15:30
Deadline: Friday 26th May
Production and 'role' document needs to be submitted to the M://
I'll put on two editing sessions next week in room 164.
Monday 22nd at 13:30 - 15:30
Wednesday 24th at 13:30 - 15:30
Deadline: Friday 26th May
Production and 'role' document needs to be submitted to the M://
Tuesday, 9 May 2017
Production role - evidence
Hello all,
To make it clear what production role you have taken during planning, filming and post-production, we require some evidence.
Please submit to your M:// under 'Unit 29 - Assignment 4' a breakdown that covers:
Production role: director
To make it clear what production role you have taken during planning, filming and post-production, we require some evidence.
Please submit to your M:// under 'Unit 29 - Assignment 4' a breakdown that covers:
- The pre-production work you created.
- The shoots you attended and your role on this shoot. What did you do i.e. camerawork, sound, directing etc? You can have multiple roles and can evidence different parts of the shoot to reflect your experience. Give the dates of the shoots and be specific!
- please do not state shoots that you did not attend.
- Everyone is creating their own edit. For post-production, I can create an observation record, which you will need to sign-off.
Example
McCashback shoot one (02/04/16)
Production role: director
During this shoot, I took the role of the director. I ensured that we had the storyboard and were able to follow the plan to help support the future edit. I checked footage on location to ensure it reflected the quality we wanted. I was displeased with a few shots (particularly the lighting) and ensured we did a re-shoot in a different location with more natural light. I supported the camera-man by acting as a runner, moving equipment and ensuring the frame was clear of tripods and equipment. This role also ensured I could focus on keeping continuing as I could focus on the overall mise-en-scene, reminding our talent to keep the costume consistent throughout the shot.
Wednesday, 26 April 2017
Risk Assessment Header
Attached is a version of the risk assessment header.
BHASVIC CMP (Studio) Unit 29
BHASVIC address
Producer/Editor - Your name
Outline of risk assessment - where you are going to do the risk assessment
Team members - names of each member of the group
Site/office - the address of the location
Assessor - Your name (the person completing the form)
Authoriser - Me
BHASVIC CMP (Studio) Unit 29
BHASVIC address
Producer/Editor - Your name
Outline of risk assessment - where you are going to do the risk assessment
Team members - names of each member of the group
Site/office - the address of the location
Assessor - Your name (the person completing the form)
Authoriser - Me
Pre-Production
What does your pre-production need to contain?
- Pitch
- Storyboard - 20 - 40 frames. Please download the exemplary storyboard in the previous post to see what we would expect from each frame.
- The production schedule for each day's shoot.
- Location scouting for each location.
- Risk assessment for each location.
- Cost for the overall production (actual cost)
- Cost for the overall production (what it would cost - Use BECTU rates)
- Talent release forms for each person featured (extras not needed)
- Camera shot list - what shots do you plan to use and why.
- E-mail correspondence between the band and the group.
- Anything else that you think helped you plan for the shoot.
Please submit this in a folder with a content page at the front. Make sure it is presently neatly and in full detail.
Monday, 3 April 2017
Excellent Work Experience Opportunity
Details
The BTEC Awards Backstage Report Competition is open to all current BTEC students aged 14 or over. Teams may comprise of up to 5 members and must include a presenter/reporter and a cameraman who are able to come to the BTEC Awards 2017 on Thursday 6th July 2017 to film the backstage report.
What now?
If you are interested let me know via e-mail (k.gill@bhasvic.ac.uk) and we will get a crew together to make the short video.
Pre-production
This is the same powerpoint as before - same amount of work required.
Dates are different, so be aware. The deadline for your pre-production is 28th April and it needs to be uploaded to your individual M://
Dates are different, so be aware. The deadline for your pre-production is 28th April and it needs to be uploaded to your individual M://
Monday, 27 March 2017
Thursday, 23 March 2017
Monday, 13 March 2017
Unit 29 - Production Crew List
Group 1 - Other – Frankie and India (duo)
Group 2- Other 2 – Morgan (solo)
Group 3 – FGB – Lucy, Jake and Jed
Group 4 – Gramski – Curtis, Ben and Tom Anson
Group 5 – Chris Martin – Billy, Ren and Oscar
Group 6 - Thieves – Kate, Rachel and Josh
Group 7 – Outlaw – Etienne, Georgia and Emily
Group 8 – Alexi – Matt, Lewi, Alex and Sam
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