Documentary Post-Production

I had a little involvement in post-production, but most of the work was done by the editor Ben and sound designer Lucy with the help of the director Ben.
Lucy spent a lot of time cleaning up all of the sounds before collaborating with Ben Wilson to synchronise the artist interview. Ben and Lucy then worked together to put together a good cut of the film with voxpops over the top, and then spent time turning this into a fine cut. Lucy then put this into Soundtrack Pro to mix the atmosphere and extra sound FX as well as sort out the levels of sound. This was then put back into Final Cut to produce the final edit ready to export.

I think that the film is gorgeous little slice of life from many different walks of life, and there are some really interesting interview pieces from Yasmeen that run all the way throughout.
We also had a friend of Lucy's compose a piano soundtrack to accompany the film, which really compliments the mood of the piece. I was really happy with this addition.

Only time (and the reactions of the viewers in our presentation) will tell if the film was a success or not.

All I know is that I am very proud of it :)

Documentary Production

On Monday 5th March we arrived in Liverpool and unfortunately it took a while to get settled in with rooms/keys etc. I called Dermagraffiti to let Lisa know we would be late, and she turned out to be off sick, so for that afternoon we went location scouting and shooting city cutaways.
On the Tuesday, we got up early and went to Dermagraffiti where we conducted a successful interview with artist in training Yasmeen. During these few hours my appointment with Jamie from Stigma Tattoo fell through so we strengthened our interview accordingly so that this could be the single interview running through the film.
After this we went out looking for voxpops. Initially, we attempted to pull in people from the high street, but this turned out to be problematic, because most people here were having a day out shopping with family and friends. We decided to head towards Bold Street, where there were a lot of tattoo shops and arty-type shops. We had much more success here, and pulled in plenty of subjects to film and record. We had a good range of people and tattoos, some old, some new, some bad, some good, and some with or without meaning. Here we also managed to get a group interview, which was visually interesting. Later on, we also went to Albert Dock, but we had our old problems here so we went to Lime Street to find more interview subjects. Here we gained two extra interviews, one of which was very bad covered-up tattoos, and our first subject who was older than 20 or so who had time to talk to us. By this time it was about time to go, so we headed back to the hostel, with plenty of voxpops under our belt.

Production Roles
On the day, we each had certain jobs to do to ensure successful production.

Me: I co-ordinated the shoot and movement from location to location. I ensured all collaborators had signed release forms. I set about pulling in members of the public.
Ben Brown: Ben directed the look of the shoot and conducted all of the interviews, attempting to get good dialogue recordings from the subjects.
Ben Wilson: As editor, on the shoot, Ben acted as a production assistant, filling out production logs, operating the clapper board for the interview at Dermagraffiti and assisting the camera and sound people with their set-ups and pack downs.
Connor Elliott: Connor used his own DSLR to direct the photography and shoot the subjects as well as cutaways.
Lucy Smith-Jones: Lucy spent a lot of time collecting good recordings both of dialogue and stereo atmosphere.

Evaluation
I think that the shoot went brilliantly, and we all had a successful and relaxed day. This reflected well on our work, the good atmosphere really helped the subjects to come out of their shell and contributed to the uplifting mood that we wanted to achieve.
I think that I fulfilled my role as producer well and this in turn helped the smooth running of the shoot.

Documentary Pre-Production

In preparation for our residential to Liverpool, there were elements of production that I had to prepare.

Firstly, I created a map with which we could find where we needed to be at all times, and could organise the most efficient order of production and routes.

Secondly, I had to complete a risk assessment in order to cover us as a production team during shooting.

Thirdly, I had to create a suitable schedule for us to follow (apologies for the difficult format):

Date	Time Set Up	Time Start Shooting	Location	D/N	INT/EXT	Equipment	Collaborators	Comments
Mon 5th March	03:00	03:30	Dermagraffiti	D	INT	Pentax KX, Marantz 661, Rifle Mic, Tie-clip Mic, XLR cable, Light reflector, Lenses	Lisa	Short interview with shop manager
LOCATION FINDING FOR PUBLIC INTERVIEWS
Tues 6th March	10:00	10:30	Dermagraffiti	D	INT	Pentax KX, Marantz 661, Rifle Mic, Tie-clip Mic, XLR cable, Light reflector, Lenses	Artists	Short interviews with artists + cutaways
Tues 6th March	11:30	11:45	Liverpool City Centre	D	EXT	Pentax KX, Marantz 661, Rifle Mic, Tie-clip Mic, XLR cable, Light reflector, Lenses	Members of Public	Short interviews with members of public with tattoos + cutaways + sound recordings
14:00 - 14:30 LUNCH
Tues 6th March	14:30	14:45	Liverpool City Centre	D	EXT	Pentax KX, Marantz 661, Rifle Mic, Tie-clip Mic, XLR cable, Light reflector, Lenses	Members of Public	Short interviews with members of public with tattoos + cutaways + sound recordings
Tues 6th March	16:00	16:15	Stigma Tattoo	D	INT	Pentax KX, Marantz 661, Rifle Mic, Tie-clip Mic, XLR cable, Light reflector, Lenses	Artists	Short interviews with artists + cutaways
Tues 6th March	17:00	17:15	Liverpool City Centre	D	EXT	Pentax KX, Marantz 661, Rifle Mic, Tie-clip Mic, XLR cable, Light reflector, Lenses	N/A	Location shots

Fourthly, I had to create an equipment list and empty shot and sound logs to use on the day:

Equipment List:

Camera

Pentax KX DSLR

Lenses

18-15mm DAL Kit Lens

Asashi 50mm 1.7f Lens

Sound

Marantz 661 Recorder

Microphones

Audio Technica Rifle Mic

Dynamic Mic

Tie-clip Mic

Extras

1 x Tripod

1 x Light Reflector

1 x Camera battery charger

1 x Boom pole

1 x Headphones

2 x XLR Cable

1 x Clapper Board

Fifthly, I had to print out plenty of release forms in preparation for the day. In addition, I also got the director and cinematographer to create an ideal shot list for me, although the shots could not be fully determined especially where the voxpops were concerned.

Connor and Ben's Shot List

Artist interviews x 3

SHOT NO	DESCRIPTION – INT Shots for artist interview session
1	Establishing long shot.. tracking around room and artist
2	Macro pull focus of objects/ examples of work around room
3	Medium close up – facing forward. Artist face still – no vox
4	Close up. Tattoo example – arm? Pulling up sleeve to reveal etc
5	Extreme CU pan of tattoo.
6	Mid shot. Framed to the left. – Full interview. Tattoo equipment

Vox pops x 12

SHOT NO	DESCRIPTION –EXT interviews with people from the public on their tattoos / view on tattoos.
1	Long shot slow track. Member of public stood still looking at camera / smiling.  Pull focus from background to foreground (member of public)
2	Mid shot. Framed left. Person facing camera smiling.  (interview overlay upon this shot )
3	Close up of tattoo. High depth of field.
4	Mid shot (whole interview)
5	Extreme close up of face? Zoom lens.
6

For these vox pops members of the public will be stood in the foreground with background being a Liverpool landmark or a range of differing background to display a range of culture and variety.

e.g. Liverpool one, Albert dock, Liver building, Liverpool cathedral,  Radio city (low angle), Beatles museum, busy high street, Anfield (LFC), quiet ‘Grassy’ location (open field next to Liverpool one), Skate park – skate location, Office building, single framed shop (for shop owners) The river Mersey, construction site.

Liverpool Location landscape shots 

SHOT NO	DESCRIPTION – Shots of Liverpool as a place – could be used for cutaways / filling. EXT
1	Long shot pull focus. Albert Dock à liver building in the distance
2	Mersey river long shot.. of ferry
3	EXT Beatles story museum. CU à Mid shot logo upon wall. Pull focus
4	Matthew street (busy high street) long shot and long take (for time lapse)
5	Cathedral long shot.
6	Anfield long shot pull focus from gates.
7
8

Documentary Roles

This is the first time that I have worked with any of the people in the team. The roles are as follows:
Katie Watts: Producer
Ben Brown: Director
Benjamin Wilson: Editor
Connor Elliott: Cinematographer (DOP)
Lucy Smith-Jones: Sound Recording and Design

For my role as producer, I decided to research what my responsibilities and duties would be. I read the book 'What a Producer Does: The art of moviemaking (not the business)' by Buck Houghton.

I identified my main duties as follows:

• To research the subject and arrange collaborators for the film.
• To schedule shooting times from location to location with various collaborators.
• To complete a risk assessment in order to be covered and prepared for all eventualities.
• To act as a production manager and co-ordinate the rest of the team.
• To organise the booking-out and acquisition of equipment and props.
• To create shot and sound logs that can be filled in during shooting to make the editing process easier. 
• To ensure that all collaborators and location managers have signed release forms to cover us and the collaborators themselves legally.
• To co-ordinate the post-production process, during which regular tutorials will be organised and regular production meetings with the whole team would occur. 

In addition I took on an extra role of DVD authoring. I felt that my role had very little creative input, so I asked Ben Wilson (editor) if I could help a little with the post-production process and author the DVD on DVD Studio Pro (a programme with which I have become adept). 

Documentary Final Idea

As a group, we began to search for news stories in the Liverpool area that would reflect all of the research that we had done into portrait video and personal stories.
Many ideas came across, but the one that really caught our eye was to do with the upcoming Liverpool Tattoo Convention in May. We thought that we could explore personality and personal experience through body art, much like the style of James Lees' 'Pockets', but with tattoos.
Liverpool Tattoo Convention Website
On the 29th February, as Producer of the film, I travelled to Liverpool to try and talk to some tattoo artists, in particular those from Design 4 Life studio, who were organising the convention. However, Design 4 Life had too many commitments to do with the convention and decided to decline participation in our film with respect and well-wishes.

In preparation for the recce trip, I had compiled a list of tattoo studios in Liverpool and so I carried on talking to artists and shop managers, and most studios were wary of taking part in our film because the equipment and interviewing would distract from the work that the artists are trying to do. However, I met a lovely lady named Lisa who ran a studio called Dermagraffiti, and was planning to set up a Liverpool Tattoo museum with her husband. She agreed to allow us to interview her and one of her artists, Yasmeen, and both would be visually dramatic to look at in the film.

Dermagraffiti Website
Returning to the team with just one studio confirmed, we decided to use the ladies at Dermagraffiti as a thread throughout the film, and would use voxpops for the main bulk.
Artistically we decided to only include visuals of the subject speaking from the tattoo artists, coming from a metaphorical point that the artists are the ones with the power to make or break a tattoo and are the ones with the voice. For the voxpops we would film visuals and record interviews separately and layer the voice over naturalistic behaviour of the subject.
I arranged to meet Lisa on the afternoon of our arrival in Liverpool and meet Yasmeen the next morning, and for the rest of the day we would go out looking for normal people to film and talk about their tattoos.
Stylistically, we decided to take severe inspiration from 'Pockets', and in fact produce a homage to it. We would use soft lenses to focus on the subjects and blur the backgrounds, and felt that this would bring out colour in the tattoos and the people. The fact that the piece would be optimistic was important to us because we want the viewer to feel lifted from the start of the film, and listen to the stories behind the art that contributes to who the people are today.

Documentary Experiments with Photography

(text copied from the handwriting on the pages of my sketchbook)

Experiments in Instant Photo
For the documentary project, it is important to 'document' life as it can really be seen, even if that means showing something real from a specific or constructed view.
I have my own Fujifilm Instax camera and I felt that the medium of instant photography really epitomised the capturing of life in one opportunity.
I decided to capture people in an environment in which they don't know that they are being photographed.
This first experiment is a technical one - searching for settings on the camera that would create a well-shot photograph. Composition is also important here and I have tried to set up a shot with meaning beyond what you can see in the frame.

 This was my first attempt to capture a moment of life and people in their own day. I used the 0.9-3m distance setting and the 'lighten' function on the camera. This made the branches in the foreground clear while the background is blurred. The exposure function seems to have had little effect due to the confusion of light areas and dark areas.










The second photo was taken using the 3-infinity m function and the 'normal' exposure setting. All elements of the picture are clearer and the sunny areas are not too hot, however the foreground is still quite dark compared to the rest of the frame.

Composition: I used the branches and wall in the foreground to represent a surveillant mood. I like how you cannot see any faces - it disconnects the subjects from the viewer of the photograph. I think that the geometry of the photo is also interesting: the lines all lead to a perspective point on one side of the frame, and on the right of the frame all of the lines are horizontal.











Experiments in Landscape

People and Places. I decided to do two experiments with my instant camera. The first was to take in movement and personality within a particular landscape in which that environment is prevalent. The second was to capture an empty environment and experiment with man-made habitat and industrial shapes.









I like the sense of being in this place that comes across in the photograph. There is a sense of life in motion and the circular lines on the floor draw the eye to the fountain in the centre and the children playing around it. There is a sense of off-screen activity with the person walking into the frame and this makes us aware of what is outside the frame as much as what is in it.








This photograph was taken from a moment of beauty and inspiration where the light blinded me and the camera shows more than I can see. I like the juxtaposing lines in the buildings and paving slabs and how the light hits the floor (despite the technical fault in the centre of the sun). The bird in the foreground makes the bottom half of the photo seem more three dimensional than the top half. This was the first time I had turned the camera sideways.

Experiments with Light and Dark

In these photos I experimented with shadows in order to explore the theme of identity - a theme that comes hand in hand with portrait photography and video. I decided to explore the issue of race, inspired by Eve Arnold's art photography from the American Civil War. I used the brick wall as a background to represent the building blocks from which our ethnicity is created.

Here I used a white man laughing into shadow to represent old fashioned ideas about race and ridicule.

Here I used light and shadow to represent the mixed race heritage of this girl's skin.

In the third photo I used a harsh shadow line in combination with a stand-offish pose to represent racial angst.

Identity and Opposition

Following my experiments with light and dark, I decided to play with the oppositions of black and white. I collaged a negative version of an eye and nose. 

I used charcoal to make a copy of the image I photographed of the girl of mixed race ethnicity.

Documentary Research - The Family in British Art

Have been to see the Family in British Art exhibition at the Millennium Gallery in Sheffield. Two pieces in particular caught my eye.

Firstly, a photographer called Jonathan Turner was commissioned to photograph Sheffield Families and what 'family' means to them.
Unfortunately I can't show any photos on here as the collection is not available online yet.

Secondly, one piece of video art gave me the idea to play with sound in the film. It was a piece in which two brothers are talking about their mother and a mother talking about her boys, but the voices had been recorded and the opposite party had lip synced what they were saying (so we would see the mother speaking in the boys' voices). I would like to play with sound so that the portraits in the film are more visually interesting: we are not just watching one person talking about themselves. This could possibly mean seeing the people acting naturally and hearing their voices over the top. It could also involve some sort of juxtaposition in which the person's face does not reflect the manner in which they are speaking.

Again, the video is unavailable online.