PRODUCTION SCHEDULE:
WHEN :
Thursday 11th November @ 11.15
WHO:
Actors - Jamie Stanton
Filming: Harriet Matthews
Props: Clapper board for first shot, cap, chalk (for clapper board)
ALSO DV camera, tripod.
WHAT:
I will be filming the opening shot of the clapper board. The song has three beeps at the beginning, on the third beep the clapper board will clap. I am also going to be filming shots 2,3,5,6 and 7, the boy will be performing in all of these shots. Shot 2 will include 4 separate shots of the male, the first of his feet and the floor, the second of his feet and trousers, the third of his trousers and top and the fourth of his head facing towards the ground. Shot 5 will be a long shot of the male, he will face the opposite way so his back is towards the camera and will throw his cap on the floor. The cap could have been a present from his girlfriend, or something that reminded him of her. For the sixth shot i will use a close up shot of his cap on the floor, as he is walking away. This could symbolise that he is ready to move on and leave the past behind him. For the 7th shot I will place the cap on the floor and will spin in stop motion, so between shots i will have to move the cap.
WHERE:
I will be filming all of these shots in and around Sutton, some may be filmed in Sutton Park and others on the streets, and town center. I shall film all the shots outside before it gets dark.
HOW:
For shots 2 and 3 the boy will be static, for shots 5 and 6 he will be facing the opposite direction and walking away.
Camera Angles I will use:
Vertical Tracking - I will move the camera up and down on various shots, so you can see the full view of the boy or of the scene.
WHEN:
Tuesday 16th November @ 1.30pm
WHO:
Actors: Jamie Stanton
Filming: Harriet Matthews
Props: Different changes of clothes to show the passing of time
ALSO DV camera and tripod
WHAT:
I will be filming all of the shots that the male actor is in on his own. This will include shots 2,3,4,5,6,9,11,12,14,15,16,18,20,21,22,23 and 24. I will be using a variety of different shots to capture the actor from as many different angles as possible. I also wish to film some extreme close ups and close ups of the actors face to show the emotion been protrayed. Whilst filming, i may also try some shots I havent used before, such as high angle and low angle shots.
WHERE:
I will be filming the majority of these shots in Sutton Park, not far away from college. This is an ideal location as it has many different elements and a variety of looks within the park as it covers such a large area. As its so big, hopefully we wont get any interruptions of people walking past like I previously have. The location is very open and spacious, helping to create a sense that the actor is alone in the wilderness and lonely.
HOW:
Camera Angles I will be using-
Medium Shot: My first few shots will be medium shots of the actor, showing his whole body in three different shots: One shot of his feet, one shot of his legs/trousers, and the third shot of hiss upper body with his head facing down.
Long Shot: Long shots will be used quite often as i intend to capture the whole of the actor. As its a performance based music video he will be moving around a lot.
Hand Held: I will use some hand held shots to give a shaky effect as if someone is actually with him filming.
Extreme Close up: I will use this for shot number 22, where you see tears dripping down his face, This gives the actor the chance to shot the audience his true emotion.
WHEN: Tuesday 23rd November @ 1.30pm
WHO:
Actors: Jamie Stanton
Filming: Harriet Matthews
Props: Different changes of clothes to show the passing of time
ALSO DV camera and tripod
WHAT: I will be filming all of the shots that both the male and female are in, this will include shots 8,10,13,17 and 19. All the footage will be made into black and white to show that it was in the past, almost as if they are reminiscing.
WHERE: I will be filming all of these shots in Sutton Park, not far away from college. However I will travel to a different part of the park, so I dont have the same background and surroundings as the shots I captured last week. I have found a bench in the park that I am going to use for shot 19, when editing I will create a layering effect, so there are two different shots shown together.
HOW:
Camera Angles I will be using-
Long Shot: The majority of these shots will be long shots, so that the audience can see exactly what is happening and be able to follow the story. Also i have to use these shots as I will be trying to create a layering effect on two of the shots, and will need the space in the shot to help me do this.
Close Up: I will be using a close up shot for shot 17. The actors will be holding the camera infront of them and talking to each other, smiling and laughing. By doing so this gives a really nice effect that they have captured their own footage.
Tuesday, 9 November 2010
TASK 9: CASTING
Harriet Matthews will be playing the part of the 'ex girlfriend'. I will be taking part in the archive footage from when the couple were happy together.
Props needed: none.
Jamie Stanton will be playing the part of the male in the music video. He will envolved in a lot of the acting.
Props needed: Change of clothes for different shots to show the passing of time.
Props needed: Change of clothes for different shots to show the passing of time.
TASK 8: Final Proposal
KELE-EVERYTHING YOU WANTEDWorking title: The working title for our music video production is Kele-everything you wanted.
Channel for broadcast: The best suited tv channel for our video would mtv one. MTV one shows current, popular music with a diverse mixture of different genres played on the same channel; this fits our song because it does not follow the conventions of a single music genre. In comparison, most other competing music channels which stay specific to one/or a small number of closely related genres. Vh1 for example is known for playing old school hits, and channel aka is regarded as the channel for more underground and urban music genres such as grime, funky house, hip-hop and R&B. Our choice to select mtv one as our broadcast channel was also influenced by the existing Kele video which regularly appeared on the channel when it was released.Target audience: the target audience for our music video will be older teenagers and young adults, who can relate to issues that the video focuses on i.e. the breakup of young a romance and the changing relationships between young adults of the opposite sex. I think our music video would be appealing to a wide social demographic, in particular the working class who can relate to the setting which will be used such as the canals, high street , parks etc. Also the actors will be dressed and acting in a stereotypical working class manner and this will be more appealing to a working class demographic as they can see the parallels.
Genre: the genre of our music video will be a narrative/ performance hybrid. We have chosen to produce our video in this style because the lyrics are telling the story of an aching heart which we felt should be reflected through a story which tells us why he has experienced this heartbreak. In the same way the chorus is very uplifting and fast and we felt this would best be visually reflected through performance. Also we felt that the song was singing about memories, so this could be shown as a literal trip down memory lane, which we want to show as him performing whilst walking through different locations.
Style: our video will focus on using tracking and crab shots to follow the performorer as he walks through the different settings performing his song. however, our video will also have several different uses of layering and ontagesof memories which will appear in black and white. there will be some use of POV shots and over the shoulder shots. also we will use some colour shots and some grey scale inorder to show the contrast between the performers memories and the present time.
TASK 7: Role Allocation
I will now identify who is doing what role in the production team.
Written by: Harriet Matthews
Cinematography by: Jamie Stanton
Edited by: Harriet Matthews
Music by: Jamie Stanton
Produced by: Harriet Matthews
Directed by: Jamie Stanton
In film criticism, the 1950s-era auteur theory holds that a director's film reflects the director's personal creative vision, as if he or she were the primary "auteur" (the French word for "author"). In spite of—and sometimes even because of—the production of the film as part of an industrial process, the author's creative voice is distinct enough to shine through all kinds of studio interference. In some cases, film producers are considered to exert a similar "auteur" influence on films they have produced.
In law, the film is treated as a work of art, and the auteur, as the creator of the film, is the original copyright holder. Under European Union law, the film director is considered the author or one of the authors of a film.
Auteur theory has influenced film criticism since 1954, when it was advocated by film director and critic François Truffaut. "Auteurism" is the use of auteur theory to analyze films or to understand the characteristics that identify the director as auteur.
Auteur theory draws on the work of a group of cinema enthusiasts who wrote for Cahiers du Cinéma and argued that films should reflect a director's personal vision. They championed filmmakers such as Howard Hawks, Alfred Hitchcock, and Jean Renoir as absolute 'auteurs' of their films. Although André Bazin, co-founder of the Cahiers, provided a forum for Auteurism to flourish, he explained his concern about its excesses in his article "On the Auteur Theory" (Cahier # 70, 1957). Another element of Auteur theory comes from Alexandre Astruc's notion of the caméra-stylo or "camera-pen," which encourages directors to wield cameras as writers use pens and to guard against the hindrances of traditional storytelling.
Truffaut and the members of the Cahiers recognized that movie-making was an industrial process. However, they proposed an ideal to strive for, encouraging the director to use the commercial apparatus as a writer uses a pen, and, through the mise en scène, imprint his or her vision on the work (minimizing the role of the screenwriter). Recognizing the difficulty of reaching this ideal, they valued the work of directors who came close.
Written by: Harriet Matthews
Cinematography by: Jamie Stanton
Edited by: Harriet Matthews
Music by: Jamie Stanton
Produced by: Harriet Matthews
Directed by: Jamie Stanton
In film criticism, the 1950s-era auteur theory holds that a director's film reflects the director's personal creative vision, as if he or she were the primary "auteur" (the French word for "author"). In spite of—and sometimes even because of—the production of the film as part of an industrial process, the author's creative voice is distinct enough to shine through all kinds of studio interference. In some cases, film producers are considered to exert a similar "auteur" influence on films they have produced.
In law, the film is treated as a work of art, and the auteur, as the creator of the film, is the original copyright holder. Under European Union law, the film director is considered the author or one of the authors of a film.
Auteur theory has influenced film criticism since 1954, when it was advocated by film director and critic François Truffaut. "Auteurism" is the use of auteur theory to analyze films or to understand the characteristics that identify the director as auteur.
Auteur theory draws on the work of a group of cinema enthusiasts who wrote for Cahiers du Cinéma and argued that films should reflect a director's personal vision. They championed filmmakers such as Howard Hawks, Alfred Hitchcock, and Jean Renoir as absolute 'auteurs' of their films. Although André Bazin, co-founder of the Cahiers, provided a forum for Auteurism to flourish, he explained his concern about its excesses in his article "On the Auteur Theory" (Cahier # 70, 1957). Another element of Auteur theory comes from Alexandre Astruc's notion of the caméra-stylo or "camera-pen," which encourages directors to wield cameras as writers use pens and to guard against the hindrances of traditional storytelling.
Truffaut and the members of the Cahiers recognized that movie-making was an industrial process. However, they proposed an ideal to strive for, encouraging the director to use the commercial apparatus as a writer uses a pen, and, through the mise en scène, imprint his or her vision on the work (minimizing the role of the screenwriter). Recognizing the difficulty of reaching this ideal, they valued the work of directors who came close.
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