BACK TO "MOVIE MADNESS"
Report
Exercises:
Nightwatch: For our first exercise we had to work from a script with two actors. The scene called for an actor to play cards, drink, react to noises and deliver a line of dialogue at the end while the second actor played the close up parts (opening a door, picking up a hammer, rattling chains and touching the first actor�s shoulder). We used a piece of music to suit the creation of suspense displayed in the variety of shots. Cutting from long and medium shots as well as a medium shot tilt up to a series of close ups throughout the scene. We also learned the role of floor manager, the hand signals and interacting with the studio floor by relaying information from the gallery. The final product showed a good use of music and early skills at directing and vision mixing at an introductory level.
Interviews: Utilising a presenter, guest and three cameras we experimented with constructing a simple interview. Camera 1 was used for tracking in and out as well as a two-shot while Camera 2 and 3 provided medium shots of guest and presenter respectively. Shots were varied with close ups and two-shots from different angles. Studio lights were also faded at the start and finish of the interview. In one instance the chromakey was used for a VT background to a news link. This exercise provided us with the basic skills to Direct, Vision Mix, shoot and take part in an interview. Music was also mixed into the interview at the beginning and end and mixing microphone levels was a new skill learned.
Talkback: This exercise provided the group with the necessary skills to produce a short magazine style show utilising all four cameras, VT inserts, music, lighting and chromakey technology. A VT intro against a chosen soundtrack was created by VT operator, sound and vision mixers, while Camera 1 was again used for tracking and two-shots. Framing of the shots was also important as looking distance was fully deployed during the interview itself. The presenter also used Camera 3 to provide links to both the VT insert and the news link, the latter of which employed the use of the VT operator to provide stills to cut to, which tested skills at timing as well as making a simple news link more interesting.
Talkback 2: This final exercise provided a refresh of skills for the group after three weeks pre-production and filming of the demonstration for the final show. A VT operator and sound mixer were again required. The presenter was also required to speak into three cameras, providing a test of timing for the vision mixer. Teams also tested techniques such as varying shots on all cameras throughout the interview as well as using controlled zoom and crabbing shots. Again a VT roll and chromakey effect were employed as well as turning a simple news link into a conversation with the presenter featuring reaction shots before moving said presenter into a new position off camera. Although rougher than previous exercises, the final product provided testing ground for different techniques, the knowledge of which was used in the final show.
Planning and Recording the Final Show:
The first stage of planning involved coming up with a basic idea of what our show was going to be. This took place in simple team brainstorming until an idea was decided upon. Myself and Louise (my team partner) discussed what type of show we would like to do and we thought about making a movie programme. However, the question remained of what could we do different from Film 2003 style shows previous groups had done � through further discussion and brainstorming it was decided that this could be a current affairs style show in a world where the movies are actually coming to life. The idea was to play on popular discussions in the media about film realism and particular groups worried about the effects films (especially violent ones) could be having on today�s �Jackass generation� society. From there we had to design and script a demonstration, which would become a VT insert in our final show.
The demonstration obviously had to be closely linked to your final programme. Again this meant team brainstorming, resulting in the idea of a 1950�s style �duck and cover� nuclear bomb survival training video. Having already decided as a group who would appear on camera, we wrote the part of presenter and assistant to suit the actor�s personalities. The demonstration script was organised into an introduction, a brief explanation of the effects of nuclear fallout (with diagram) and finally a practical three step guide using the assistant to demonstrate certain positions. The final product, on reflection, needed framing variations on the fallout effects segment, but despite this and occasional late cuts it worked well.
The planning of the rest of the show was split up within the team, delegating certain tasks (such as scripting a segment) to one another, keeping in constant contact via e-mail and meetings exchanging and adapting each others work on our final show. Adapting scripts into the desired television style proved awkward, as did breaking down each script to extract questions for the presenter as well as presenter lines for the Autoscript, but it proved to be a lesson in style and presentation for television. After this stage we improved on what we had as well as filled in the gaps with choosing a soundtrack for the show as well as producing a menu and sheets for the sound mixer and camera and VT operators describing their duties on the final show.
Through detailed planning we were ready for the final show, despite general group anxieties. We took this apprehension into account and checked our crew knew what they were doing. They were provided with sheets describing their duties. The sound mixer and VT operator were also provided duty sheets. Despite a brief Autoscript technical fault, the presenter had this and a hardcopy script from which to work.
We dressed the set with posters, magazines and cases for Jaws and 28 Days Later (for the interview and feature). We placed cameras into starting positions � Camera 5 on rostrum and a 2-shot, Camera 2 on various shots of the guest, 2-shot and news link up (requiring repositioning). Camera 1 did tracking shots, 2-shot and crabbing while Camera 3 provided various shots of presenter and the Autoscript.
Once everyone was ready to begin, we remained in the gallery (Louise Directing and myself Vision Mixing) to begin rehearsing. To keep it simple, we made sure the camera, sound and VT operators were capable of what we required, answering any questions they had.
We ran through the show chronologically in small chunks practising the intro/outro, links and voice overs for other segments. During these segmented rehearsals we included sound and VT so the final show could be recorded without major problems. After rehearsing the various links, cuts to VT and so on, we answered questions from the crew and from the presenter. Finally we amended any script elements � e.g. deleting a question or two from an interview that proved to be too long on the day.
We were able to cover all aspects of rehearsing within the set time and were ready to begin filming when the time came. Each member of the crew proved capable of doing what we asked and we met only small slip ups. The previous week�s exercise �Talkback 2� afforded us all opportunity to �get it right� on the day as we had gotten rusty at making TV throughout planning periods.
The Final Show:
We were pleased to see that the final show came out well. We picked a fitting soundtrack to open (and close) the show which played during the VT intro before cutting to the track in (as lights faded up). Previous exercises had shown that tracking shots were not always pulled off smoothly, but we chose a crew member we knew to be well versed in the move and thus, achieved a smooth tracking shot to bookend our show �Movie Madness�. In rehearsal the cut from track in to presenter intro proved uneven, but the recorded attempt was well achieved, adding to the smooth introduction to the show after having already established the physical space and set up of the studio. The menu was well framed, incorporating the border around the image (which called for precise camera work, which in reflection should have been �locked off�, but movement is minimal during the menu rundown).
Sound was an integral part to our final show and we used it throughout. One example however was the small inclusion of one note from John William�s score for Jaws during the intro. Richard asked the viewer �are you afraid of the water?� providing a gap for the note, he then reacts to it (low volume sound was provided on the studio floor for cast and crew) before proceeding with the link to VT, the cut to and from was smooth. During the interview with �Jerry Jones� on the film, we used a variety of 2-shots from different angles as well as varying shots on presenter and guest themselves. The script for the interview was written to provide fertile ground for improvisation (making the interview feel more organic) and added to the comical side of the show. During this interview we also zoomed in on the guest (a move we practiced in Talkback 2).
Further technical achievements came in the form of a crabbing shot which required the presenter to make a link whilst talking to the camera, following it. This was practiced in Talkback 2 and improved upon in long shot rather than close up. At one point during the interview we did catch camera movement and were unable to cut away in time, but this does not detract too much. The demo, filmed beforehand, was made more interesting with the inclusion of a classical track which added to the happy-go-lucky nature we wished to achieve as the demonstrators discussed potential, widespread death and destruction and ineffective survival techniques (parodying 1950�s informational films).
To bookend the demonstration, we repeated the crabbing shot (but moved in the opposite direction) and again this proved successful. There was then a quick link to the following piece of VT (the operator accomplished fast repositioning) and a subsequent voice over to accompany the VT (upon which the feature was based from a selection of five clips). Unfortunately the voice over went much quicker than prior scripting and rehearsal that day suggested, but fortunately a soundtrack over VT kept it interesting.
Our feature guest, despite having been secured at late notice (due to previous actor�s cancellation), achieved the desired �hippy protestor with nothing smart to say� idea we searched during scripting, which was again made more organic through a script which allowed improvisation. The following news link used a chromakey background. During this segment both presenter and reporter can be seen looking at scripts at certain points, unfortunately at the time there was a camera repositioning as they both looked at their following lines, there was nothing we could do to hide this in the vision mixing unfortunately. The show then had a smooth outro under soundtrack and a final fade out after credits.
During the course we viewed television magazine, current affairs and talk shows in a new light. We noted editing, camera placement and Direction. We watched the editing style to understand how to cover interviews and throughout pre-production we considered our show for a 9:30pm time slot. We labelled it a current affairs talk show, keeping a balance on comedy, but also referencing serious issues such as Weapons of Mass Destruction to film censorship. An age range was not specifically defined, but we felt it was not for people under 16.
Upon further viewing and considering our timeframe in which to learn the skills as well as create an entire show, it stands as an accomplished piece of television. The set will never be as inspiring as a professional show such as Parkinson and neither will the final execution. But even professional live television magazine shows make mistakes (such as the early morning RI:SE) and to get to this level of television production, it takes years of practice.
The course has made us appreciate what goes into making a television show and how team work is an essential part of this. As a group we were able to emulate a professional atmosphere and considering our short timeframe, Movie Madness works well as a piece of television.