Our most recent production work has been a round table discussion on conservation. I worked with a few other students to produce a 30minute news segment on environmental, and historical conservation.
We divided the workload fairly evenly. Originally, I was only working with one other student. The first day of this production process. We threw around ideas about what specific aspect of conservation that we would like our round table discussion to cover. Once we narrowed the topic to historical, and environmental conservation, we both started making phone calls to see who would be a good source, and willing to speak for us. I was able to get in contact with a previous employer who actually works for the National Park Service doing conservation work. That vsame day, my fellow student-colleague and I created a list of questions that we would ask our talent to discuss.
The next day of production, our group grew to a team of five. We spent a lot of class time discussing who would be able to do what task during the actual filming. I went to the police station with another team-member to see if we could get reserved parking for the talent coming in to speak for us. I was also able to confirm two of our talents, and email them the questions, and filming details. I also asked a few people from the other groups if they would help us during our production as floor manager, and switcher because there were not enough people in our group to fulfill all the roles. Finally, we discussed a few alternative talents, and prop choices if what we were expecting the day of production did not play out the way we would have liked.
Our team met the day before production to set-up the studio lights, and seating the way that we wanted it for the shoot. I helped move lights, and cameras, and we even put a shelf together as a prop. I also went back to the police station that day to confirm our parking reservations.
The day of the shoot, I got to class early to meet our talent, and to discuss the shooting process with them in person. I also helped set-up their mics, and explain were they could look during the shoot. Then, once the talent was in place, I directed the shoot.
This was the most painless shoot I have ever done. Generally in film we expect someone not to show up, or some piece of equipment not to work; fortunately, this went incredibly smoothing. I worked with an excellent team. I do not think any of us felt overwhelmed by what needed to be done because everyone contributed a different essential aspect. It was a great experience!
Showing posts with label Studio Production COMM 360. Show all posts
Showing posts with label Studio Production COMM 360. Show all posts
Tuesday, April 10, 2012
Wednesday, March 7, 2012
The Big Bang
-BIG BANG!?
- You mean like dem planets?
- No, we're not talkin' about a theory.
- Oh, do you mean the shootin'?
- Yea, we're talkin' about uh shootin'.
-Anyone diiie?
- Well, it ain't no action, and it ain't no western neither.
One of the greatest parts about learning how Studio Production works is that we have the ability to wear a a variety of hats, and are not confined to the same task. Since we have started shooting the Writing Center, I have been able to participate in a healthy variety of roles, and have learned from each of them.
On the first day of shooting, I was able to play the role as the director for about half of the class. This was a special learning opportunity because we were able to work with talent outside of the class. Until that day, I really took for granted having talent that understood what we could do through editing. It almost felt like we were a group of cowboys trying to teach Indians why we using guns and not bows. When the talent first came in, a lot of them wanted to make everything that was recorded look natural, but everyone else wanted those uncomfortable pauses between lines, and we wanted them to sit under the hot lights until the audio, and lights were just right. Being a director in this situation, I learned to take a few steps back, understand their desire not to be uncomfortable, and explain how in the end the uncomfortable way will eventual look the most natural. Once they understood, I think they rather than feeling like they were making mistakes, they were able to see that they were giving us exactly what we needed.
In almost every western there is one quick scene when the cowboy goes home just to say bye again. It does not matter what his wife says, he always leaves. On the second day, I got to use the camera for just enough time to record one talent reading the script. I felt a lot like the wife in the western that day. The shot was already aligned, the white balance was already set, and there really was not anything that I could do. Sometimes being somewhere is more important than having a say, just like the wife being there for her children might have been more important than having a say.
I also had the ability to work as floor manager for a different talent. Being the floor manager is like being put in the center of a draw. The director is asking one question, audio needs a sound check, and the talent is asking another question. I did not realize how important this roll was until we were really shooting. The person in this position has to be quick, and focused. They are stopping all the bullets, and shooting them right back were they need to be directed.
The day before we stared shooting in the studio I tried to set up lighting for the shoot. We set up the lights, ran to the camera, changed the lights, then changed them again. We even put up the umbrella lights for the first time just to practice. When I do lighting I feel like a cowboy who has lost his horse. I see so much potential with lighting, I think that lighting is an incredible aspect of film, but I still do not know were to start looking for the lighting shot I have in my head. Aside from becoming an efficient umbrella light setter-upper, I suppose the most important aspect of lighting that I've learned is that I have a lot to learn.
In between each titled job, I did do some miscellaneous work: I moved the board for the talents to read the script, and for the cameras checking white balance. I took the batteries out of the mic-pack, and I helped turn off lights, and lower them after each day of film way over. Doing the miscellaneous work is like being the 5 year old boy who wants to leave with his dad to fight the Indians, but is only big enough to clean the horses, not to ride them. Even so, every little task is important to the production, and if everyone did a little more of the maintenance production work could be a lot smoother.
Finally, I was able to do some of the filming outside of class. The first day, we went to the writing center, shot some 'potential idea shots', spoke to people in the writing center about how they wanted this filmed, and even made note of lighting situations that would needed some attention. The second day of outside of class filming, we filmed the Center. I helped set up lighting, and acted as the student walking into the center. This was like finding a new cattle herd rounding them up, and taking it home. New footage for the entire class to enjoy!
-Yes'em, we are talkin' bout a real good shootin'. Dun learned a lot.
- You mean like dem planets?
- No, we're not talkin' about a theory.
- Oh, do you mean the shootin'?
- Yea, we're talkin' about uh shootin'.
-Anyone diiie?
- Well, it ain't no action, and it ain't no western neither.
One of the greatest parts about learning how Studio Production works is that we have the ability to wear a a variety of hats, and are not confined to the same task. Since we have started shooting the Writing Center, I have been able to participate in a healthy variety of roles, and have learned from each of them.
On the first day of shooting, I was able to play the role as the director for about half of the class. This was a special learning opportunity because we were able to work with talent outside of the class. Until that day, I really took for granted having talent that understood what we could do through editing. It almost felt like we were a group of cowboys trying to teach Indians why we using guns and not bows. When the talent first came in, a lot of them wanted to make everything that was recorded look natural, but everyone else wanted those uncomfortable pauses between lines, and we wanted them to sit under the hot lights until the audio, and lights were just right. Being a director in this situation, I learned to take a few steps back, understand their desire not to be uncomfortable, and explain how in the end the uncomfortable way will eventual look the most natural. Once they understood, I think they rather than feeling like they were making mistakes, they were able to see that they were giving us exactly what we needed.
In almost every western there is one quick scene when the cowboy goes home just to say bye again. It does not matter what his wife says, he always leaves. On the second day, I got to use the camera for just enough time to record one talent reading the script. I felt a lot like the wife in the western that day. The shot was already aligned, the white balance was already set, and there really was not anything that I could do. Sometimes being somewhere is more important than having a say, just like the wife being there for her children might have been more important than having a say.
I also had the ability to work as floor manager for a different talent. Being the floor manager is like being put in the center of a draw. The director is asking one question, audio needs a sound check, and the talent is asking another question. I did not realize how important this roll was until we were really shooting. The person in this position has to be quick, and focused. They are stopping all the bullets, and shooting them right back were they need to be directed.
The day before we stared shooting in the studio I tried to set up lighting for the shoot. We set up the lights, ran to the camera, changed the lights, then changed them again. We even put up the umbrella lights for the first time just to practice. When I do lighting I feel like a cowboy who has lost his horse. I see so much potential with lighting, I think that lighting is an incredible aspect of film, but I still do not know were to start looking for the lighting shot I have in my head. Aside from becoming an efficient umbrella light setter-upper, I suppose the most important aspect of lighting that I've learned is that I have a lot to learn.
In between each titled job, I did do some miscellaneous work: I moved the board for the talents to read the script, and for the cameras checking white balance. I took the batteries out of the mic-pack, and I helped turn off lights, and lower them after each day of film way over. Doing the miscellaneous work is like being the 5 year old boy who wants to leave with his dad to fight the Indians, but is only big enough to clean the horses, not to ride them. Even so, every little task is important to the production, and if everyone did a little more of the maintenance production work could be a lot smoother.
Finally, I was able to do some of the filming outside of class. The first day, we went to the writing center, shot some 'potential idea shots', spoke to people in the writing center about how they wanted this filmed, and even made note of lighting situations that would needed some attention. The second day of outside of class filming, we filmed the Center. I helped set up lighting, and acted as the student walking into the center. This was like finding a new cattle herd rounding them up, and taking it home. New footage for the entire class to enjoy!
-Yes'em, we are talkin' bout a real good shootin'. Dun learned a lot.
Monday, February 20, 2012
Shooting the Writing Center
-Hands up!! There is a shooting!
-A What!
-A shooting!
-Where!?
- In the Writing Center!
- What do we do!? Oh, What do we do!?
- We plan the shots, edit our footage, and make the Writing Center look as good as possible!
-A What!
-A shooting!
-Where!?
- In the Writing Center!
- What do we do!? Oh, What do we do!?
- We plan the shots, edit our footage, and make the Writing Center look as good as possible!
We are making a short advertisement for the Writing Center. Through class discussion, I have heard some really great ideas as to how this could be shot.
I believe we have a general consciences that the class would like to see a variety of people speaking about the Writing Center: When it is open, where is is, and how it has helped them.
I really like the idea of having many different students speak about the center. However, I would definitely like to see a shot of the Writing Center in the advertisement.
I think that we should film the Center, and at half fade with a warm color, we should have different students speaking about the center. I think that each student should get a different color, to make them each stand out as individuals, but put them over the Center together in a final shot to show that though they are each different they have a common place: the Writing Center.
Block 1 would be an establishing shot, and it could even be a quick pan, over the first voice. Then each person would say a line or two about the center (Block 2 and Block 3) Finally, the very last shot could be everyone saying the final line.
This could even build progressively. Instead of one person at a time it could even have two people in the second shot, three in the third until the screen is filled such as in the 4th Block.
Regardless of our final outcome, we are still shooting the Writing Center. Fortunately, there is no need for bullet proof vests!
Thursday, February 16, 2012
My Favorite Roll
You have probably had a brilliant original idea that you were excited to pursue. Perhaps, your brilliant idea has become a reality, or maybe it is still like a clump of snow rolling into a solid base for a handsome snowman. Nonetheless, you are familiar with the excitement of a new idea.
When I think of new camera shots, and new editing ideas, I have a tendency to build upon those exciting ideas. Recently, I have been doing studio production, at first, I was disappointed to realize that my shots could not vary as much as they could in a film, nor is editing as intricate. Then, I discovered a role in studio production that combines the two!
The role as a director in studio production means being able to see shots, and to do live editing!! Although the director is not physically moving the camera, he, or she literally calls the shots. The director speaks to the people behind the cameras, and asks them to shoot the angel they see. The best 'task' about being behind the camera is finding those nice angels, and lining up the shots which is what the director gets to do! Not only does the director call the shots, but he, or she also gets to direct which camera is being used when. An editor might have 10 clips of the same scene, or speech, and they choose which ones are the most appropriate, and how each could be altered to relay a different idea. The director in studio production is doing the same thing as a movie editor would do, except he, or she does it as the camera is recording!
I have learned a tremendous amount about this roll:
I have learned a tremendous amount about this roll:
- What the duties of this roll entail, as well as how to grow as a director.
- How to communicate with the people working with the cameras, as well the technical director.
- And, how to coordinate shots even if I have to switch cameras twice, or three times.
The role as a director was not making be think about handsome snowmen, in fact, I could not even see the heap of snow in front of me, but now, new ideas are rolling really nicely.
Thursday, February 2, 2012
Camera 1... Camera 2...Bring on Camera 12!
Have you ever seen a beautiful painting, and felt inspired to paint? Perhaps you've watched someone dance, and said "Ahhh, I want to dance like that?" Then, you found out you did not have any paint brushes, or a room to dance in?
For a long time I have had that "Ahhh, I want to dance like that" desire to do some some multi-camera shooting. Every time I go to film something, I always say to myself, "I really wish I had a few other cameras."
Recently, I have had the opportunity to to do multi-camera shooting in a studio, and it has been like dancing on an open floor for the first time. I have watched some of Hamilton Hamish's work, and can not stop thinking, "Man, when do we get to use that equipment."
Although I am still twirling in circles of excitement, and gratitude, we have not started moving our cameras, or have had to face some of the lighting challenges that someone like Hamilton Hamish would have to face when shooting a concert. Also, the magnitude of his work is on a far greater level than that of which we have experienced. He is probably sometimes working with over ten cameras, where we have only used two.
Nonetheless, this has been an exciting experience, and I hope that anyone inspired by painting is blessed with a paint brush.
Here is a link to some of Hamish's work: http://www.youtube.com/watch?v=45GluwLCvao
For a long time I have had that "Ahhh, I want to dance like that" desire to do some some multi-camera shooting. Every time I go to film something, I always say to myself, "I really wish I had a few other cameras."
Recently, I have had the opportunity to to do multi-camera shooting in a studio, and it has been like dancing on an open floor for the first time. I have watched some of Hamilton Hamish's work, and can not stop thinking, "Man, when do we get to use that equipment."
Although I am still twirling in circles of excitement, and gratitude, we have not started moving our cameras, or have had to face some of the lighting challenges that someone like Hamilton Hamish would have to face when shooting a concert. Also, the magnitude of his work is on a far greater level than that of which we have experienced. He is probably sometimes working with over ten cameras, where we have only used two.
Nonetheless, this has been an exciting experience, and I hope that anyone inspired by painting is blessed with a paint brush.
Here is a link to some of Hamish's work: http://www.youtube.com/watch?v=45GluwLCvao
Wednesday, November 30, 2011
Dear Technology, please slow down so we can make some laws
Dear Technology, though you treat us very well, and we are constantly pressuring you into doing more, faster, to satisfy our impatient, demanding, desires,you have surpassed our control; thus, we ask so contradictorily if you could please wait for us to catch up.
As oxymoronic as this may sound I believe current copyrights protect media producers, harm media producers, as well as represent a third option.
After taking a course in Media Law, and ethics, I have realized how incredibly intricate the First Amendment delves into very specific scenarios. the law, and the precedence in such scenarios seems reasonable, and very well grounded. the foundation of our copyright laws does truly seem to protect media procedures.
Granted, I think that technology is moving far more quickly than our ability to create new copyright laws. everyday there are new opportunities to express ourselves, and be creative. the means by which we have new opportunities whether it is through paper and pencil, the web, or new apps there are more, and more each day and though our opportunities are spreading like wildfire, our ability to create copyright laws is comparatively stagnant. thus, media procedures do not have the same kind of specific safety as they once did.
However, we might be moving into an age were copyright does not have the same power as it use to. today, we can make a digital copy of something, and it is as great as the original, whereas before, a copy did not have the same quality as the original. perhaps we are moving into a time when the original copy is no longer as important as what it can become. when we add to an original work today, we add to something that was someone else's finished product. instead of sharing our work and watching each copy fade,we now have the option to watch every use grow into something greater.
As oxymoronic as this may sound I believe current copyrights protect media producers, harm media producers, as well as represent a third option.
After taking a course in Media Law, and ethics, I have realized how incredibly intricate the First Amendment delves into very specific scenarios. the law, and the precedence in such scenarios seems reasonable, and very well grounded. the foundation of our copyright laws does truly seem to protect media procedures.
Granted, I think that technology is moving far more quickly than our ability to create new copyright laws. everyday there are new opportunities to express ourselves, and be creative. the means by which we have new opportunities whether it is through paper and pencil, the web, or new apps there are more, and more each day and though our opportunities are spreading like wildfire, our ability to create copyright laws is comparatively stagnant. thus, media procedures do not have the same kind of specific safety as they once did.
However, we might be moving into an age were copyright does not have the same power as it use to. today, we can make a digital copy of something, and it is as great as the original, whereas before, a copy did not have the same quality as the original. perhaps we are moving into a time when the original copy is no longer as important as what it can become. when we add to an original work today, we add to something that was someone else's finished product. instead of sharing our work and watching each copy fade,we now have the option to watch every use grow into something greater.
Sunday, October 30, 2011
Do, don't think, just get it done!
Produce, Produce, don't think, do... Faster! Our modern lifestyle is slowly consuming the need for critical thought. In many of our schools systems it doesn't seem to matter how anyone thinks through point 'A' to get to point 'B' so long as the correct bubble is shaded. In many work places quantity is far more important than quality. Even our personal interactions have become thoughtless connections.
Facebook connects the world in a way that is so much more convenient than ever. It is genius, it is easy, but it kills critical thinking.
The pyramids above divide critical thinking into six crucial groups. If we were to compare an everyday technology, such as facebook, to the various ways of critically thinking how do you think they would compare? When we use facebook do we have to remember anything? No, we don't. Every thing is posted: All our event dates, the times, all of our comments, all of our conversations, and even our memories are documented through pictures. What is to understand on Facebook? If you want to comment, Facebook says "comment," there is not much understanding needed. You don't even need to create. If you want to tell someone you like something,you don't even need to type " I like this." You press a thumps up.
As convenient as new technology is, it destroys the need to think critically. New technology caters to our fast pass go, go, go society. It caters to our desire not to have to think, and to simply do. Is it fair to say that if technological advances, such as Facebook, actually encouraged critical thinking that they would never become popular?
Photo: http://projects.coe.uga.edu/epltt/index.php?title=Bloom%27s_Taxonomy
Facebook connects the world in a way that is so much more convenient than ever. It is genius, it is easy, but it kills critical thinking.
The pyramids above divide critical thinking into six crucial groups. If we were to compare an everyday technology, such as facebook, to the various ways of critically thinking how do you think they would compare? When we use facebook do we have to remember anything? No, we don't. Every thing is posted: All our event dates, the times, all of our comments, all of our conversations, and even our memories are documented through pictures. What is to understand on Facebook? If you want to comment, Facebook says "comment," there is not much understanding needed. You don't even need to create. If you want to tell someone you like something,you don't even need to type " I like this." You press a thumps up.
As convenient as new technology is, it destroys the need to think critically. New technology caters to our fast pass go, go, go society. It caters to our desire not to have to think, and to simply do. Is it fair to say that if technological advances, such as Facebook, actually encouraged critical thinking that they would never become popular?
Photo: http://projects.coe.uga.edu/epltt/index.php?title=Bloom%27s_Taxonomy
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