Final Film

P5 Certification Classification Based on Feedback

Questionnaire

In order to gain a range of opinions with regards to certification of my production, I conducted a viewer questionnaire and a focus group, in order do gain both qualitative and quantitive data. Below shows my viewer questionnaire, in which i gained 32 responses. Each person watched the film beforehand, then completed a number of questions related to the certification of 'Wasted'. 

Focus Group Feedback on Certification 

 

Summary of Discussion and Questionnaire

After thoroughly analysing the data provided by the viewer questionnaire and focus group, it revealed sufficient information that will help me the certification of my production. Firstly 90.6% of those who completed the survey selected it would be inappropriate for those under the age of four, immediately ruling out the 'U' category. The second question included slightly more variety in responses, however the majority (68.7) indicated the film would not be appropriate for those under the age of eight, which suggested a 'PG' rating would be more unlikely for this production.
Next, I asked whether there was clear reference to alcohol abuse within the production, once again the majority highlighted there was visible alcohol abuse, and thus 87.5% agreed with 9.4% selecting 'Maybe', still indicating this could be quite clear in the film. The following question asked if any scenes contained sexual references, with 100% selecting 'No', which means the categorisation could be closer to a 'PG'. Furthermore the questionnaire asked whether those watching felt it the content may be unsuitable for viewers under the age of twelve. 28.1% said the content would not be unsuitable, along with 9.4% stating it would 'possibly' be inappropriate. Finally, I asked viewers to select the most appropriate age certification for 'Wasted'.  62.5% indicated that it would be unsuitable for all categories under the age of twelve, and believed a 12 rating would be most suitable. In addition to this, 37.5% selected a 'PG' would be appropriate for the production.

From the feedback shown in the focus group, questionnaire and my knowledge of the BBFC's certification, I believe the most suited category would be '12'. This is because the content does contain a large reference to alcoholism and slight depression (although not overly clear), as well a scene involving the death of a character and detailed voice-overs that describe the situation.

Below shows the certification logo for the BBFC '12' category 

P4 Focus Group Screening & Feedback

I completed a total of two focus groups. One involved gaining feedback on the overall film, gathering information about the editing and cinematography, helping me improve my final production. Secondly (Shown in P5 - Audio) I conducted a focus group to discuss certification of the production, asking viewers to discuss how appropriate it would be for a number of age categories, and give their suggested certification.

Production Feedback 

Below shows a viewer questionnaire in which I will send out in order to gain both qualitative and quantitative information with regards to the certification of my production. This survey includes a number of questions that asks viewers their opinions on various scenes within the film, helping them decide how they would categorise the film in terms of age rating.  

 

Meaning and Purpose - BBFC Guidelines 

Certificating media products and music videos is a vital part of the production process, before releasing the footage. This is to ensure viewers know what they are likely witness when viewing the video. It gives protection against younger viewers witnessing inappropriate and unsuitable footage for their age group, avoiding exposure of harmful footage to younger viewers.

Audiences may check the certification before making a final decision to watch a film, television show or music video, as it will indicate the type of footage the video contains.

BBFC (British Board of Film Classification) certificate films using a particular system, helping them to classify which category a piece of footage will come under. The categories range of U, (a universal piece of footage that is suitable for all ages and audiences) to 18 (a video only suitable for adults as it may contain harmful or offensive footage)

There are four of the five BBFC categories that 'Wasted' could potentially come under due to the range of content included within the film. After explaining each (U-15) I will then conduct a focus group questionnaire in which should provide me with the most appropriate certification for 'Wasted'. 

A 'U' certification means universal. This means the film is suitable for all audiences and although exceptionally hard to tailor for every single person, the content should not cause offence or disgust to those viewing. There will only be mild bad language and nothing obscene, with little reference to sexual behaviour and infrequent violence, in which will not be a main focus within the production and there will always be a positive outcome. Finally there will be minimal illegal drug references, unless used in anti-drug campaigns or documentaries. 

'PG' stands for Parental Guidance. This means the film will contain slightly more content involving references to sex, violence, drugs and bad language. Again this category will be suitable for the majority of viewers, however could be unsettling or inappropriate for young children, therefore it should be a subjective decision from young viewers parents as to whether it is suitable. In most cases the BBFC states it should not unsettle those over the age of 8. 

Categorising a film at '12' suggests the content will be unsuitable for those below this age. In some cases, films at the cinema will be rated at 12A, meaning they may be slightly more suitable for those under the age of 12, however they must be accompanied by an adult if they are to see the film in a cinema. In this category there may be increased references to sex and violence, with some horror films also being introduced at the 12 category. The major themes will not include either drugs, sex etc, however there may be discreet use throughout. Additionally more obscene language is permitted depending on how frequently it is used within the film. 

A '15' category allows a lot more within the content. In these films you could expect to see strong violence throughout, as well as increased reference to sex and nudity and drug abuse. Furthermore there may be frequent strong language and discrimination. The film will be unsuitable for those under the age of 15. 

BBFC Summary 

Below shows information provided about certification and how films are categorised into the various certificate ratings. This information allowed me to thoroughly observe how films would be certificated, and helped me choose the appropriate certification for my music video.  - All information has been sourced from http://www.bbfc.co.uk/

Certification - U 

What does U mean?

The U symbol stands for Universal. A U film should be suitable for audiences aged four years and over. However, it is impossible to predict what might upset a particular child, especially at this lower end of the category range.

What about works for children younger than four?

We rate films and videos aimed at very young viewers, such as Chuggington or Tinga Tinga Tales, U. However, we give them special BBFCinsight stating they are ‘particularly suitable for pre-school children’. Films or videos with this BBFCinsight should raise no significant issues in terms of discrimination, drugs,, imitable behaviour, language, nudity, sex, threat or violence.

Will there be any bad language in a U film?

At U we only allow infrequent use of very mild bad language (e.g. ‘damn’ and ‘hell’).

Might U works contain any sexual behaviour?

Characters may be seen kissing or cuddling and there may be references to sexual behaviour. However, there will be no overt focus on sexual behaviour, language or innuendo.

Sex and sex references are treated the same irrespective of sexuality so there could be mild or undetailed references at U.

Is violence or threat permitted in a U film?

Violence will generally be very mild. A U film may include brief fight scenes or moments where characters are placed in danger. However, moments of emotional stress or threat will be quickly resolved and the outcome will be reassuring.

There may be brief scary scenes and moments where the characters are placed in danger. As with violence, however, these scenes will be balanced by reassuring elements, such as comic interludes or music.

‘Baddie’ characters may carry or use weapons, but there will be no emphasis on these. Child or ‘hero’ characters are unlikely to use any kind of weapon outside, for example, historical settings.

What about behaviour which children might copy?

Potentially dangerous or anti-social behaviour which young children may copy, must be clearly disapproved of.

What sorts of films are usually passed at U?

A U film can explore a wide rang of themes, as long as the treatment is appropriate for a young audience. This doesn’t mean that all films rated U are children’s films.

A children’s work at U will generally contain positive messages about loyalty, honesty and friendship, particularly amongst children. The film or video may well have a happy ending for the child and the overall tone should be one of reassurance.

U films are unlikely to contain discriminatory language or behaviour unless it is clearly disapproved of.

Will there be references to drugs?

At U there will not normally be references to illegal drugs or drugs misuse unless there is a very clear anti-drugs or educational message which will be understood by a younger audience.

Drugs references which are unlikely to register with young children and are brief or passing may occasionally be passed at U – for example a verbal reference to ‘the Opium wars’ in an historical documentary.

Certification - PG

What does PG mean?

PG stands for Parental Guidance. This means a film is suitable for general viewing, but some scenes may be unsuitable for young children. A PG film should not unsettle a child aged around eight or older. Parents should consider whether the content may upset younger, or more sensitive, children.

Are all PG films made for younger audiences?

No. Some films are given a PG certificate but have not been made with a young audience in mind. A recent example of a film mostly enjoyed by grown ups but passed PG would be Saving Mr. Banks. However, the certificate means that any issues in the work are appropriate for the majority of this age group and nothing should upset a child of eight or over.

What sort of themes are passed at PG?

A PG film will not contain any theme which is inappropriate for a child. PG works can explore challenging issues such as bullying, bereavement or racism.

Will there be bad language in a PG film?

There may be mild bad language (such as ‘shit’ or ‘son of a bitch’) in a PG film, but the context and delivery are always important. For example, if the language is used aggressively or if there is a great deal of bad language, a work may be passed at a higher category.

What about sex?

Sex references are unlikely unless they are undetailed and infrequent. In addition, if a child is unlikely to understand a reference, we may allow it at PG. Comedy can also often lessen the impact of sex references and innuendo.

Sex and sex references are treated the same irrespective of sexuality so there could be mild or undetailed references at PG.

What about violence or threat at PG?

Violence will usually be mild. There should be no detail of violence in a PG work, so while there might be some blood, we would not see how the injury was inflicted in strong detail. Violence is generally more acceptable in a historical, comedic or fantasy setting, because of the distancing that this provides. It isn’t uncommon for PG films to feature ‘roller-coaster’ action or set pieces, where the emphasis is clearly on the adventure or journey of the main characters rather than the detail of violence or fighting.

As far as threat and horror goes, we allow some 'jump' moments and frightening sequences as long as they are not prolonged or intense.. Fantasy settings may again be a factor in the treatment of such content.

What about behaviour children might copy?

In a PG work, potentially dangerous or antisocial behaviour which young children are likely to copy, such as bullying, or playing with electricity, will not be condoned or seen to go unchallenged, especially if it comes across as safe or fun. Realistic or easily accessible weapons, such as knives, will not be glamorised or focused upon in a PG work. Smoking and drinking will not be promoted or glamorised and if child characters are seen smoking or drinking, there should be a clear message that this is bad. If drugs are mentioned or seen, a PG work should either represent them in an innocuous manner or emphasise that they are harmful.

Will there be any drugs in a PG?

There might be innocuous or passing references to illegal drugs or drugs misuse in a PG work, although there should be no strong focus on this. In addition drug references may be permissible if there is a clear anti-drugs or educational message likely to be understood by children eight or over.

Certification - 12 and 12A

What does the 12A symbol mean?

Films classified 12A and video works classified 12 contain material that is not generally suitable for children aged under 12. No one younger than 12 may see a 12A film in a cinema unless accompanied by an adult. Adults planning to take a child under 12 to view a 12A film should consider whether the film is suitable for that child. To help them decide, we recommend that they check the BBFCinsight for that film in advance.

What's the difference between 12A and 12?

The 12A requires an adult to accompany any child under 12 seeing a 12A film at the cinema. This is enforced by cinema staff and a cinema may lose its license if adult accompaniment is not enforced for children under 12 admitted to a 12A film. Accompanied viewing cannot be enforced in the home, so the 12 certificate remains for DVD/Blu-ray, rather than the 12A. The 12 is also a simpler system for retailers. It means they cannot sell or rent the item unless the customer is over the age of 12.

Is there a lower age limit for a 12A film?

No. However, the BBFC considers the content of 12A rated films to be suitable for children aged 12 and over, and we would not recommend taking very young children to see them. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.

Adults planning to take a child under 12 to view a 12A film should consider whether the film is suitable for that child. To help adults make this decision, we provide BBFCinsight for all films.

How important is the tone of a film at 12A or 12?

The overall tone of a film or video, and the way it makes the audience feel may affect the classification. For example, a work which has a very dark or unsettling tone which could disturb the audience would be less likely to be passed 12A even if the individual issues in the film were considered acceptable under the BBFC Guidelines. Similarly, if a work is particularly positive or reassuring this may stop it being pushed up a category from 12A to 15.

Will there be uses of strong language in a 12A or 12 work?

The BBFC's Guidelines state that strong language (e.g. 'f***') may be passed at 12 or 12A, depending on the manner in which it is used, who is using the language, its frequency and any special contextual justification. Aggressive uses of strong language may result in a film or DVD being placed at the 15 category. There is some allowance for puns on strong language at this category.

There may be moderate language (e.g. uses of terms such as ‘bitch’ and ‘twat’ at 12 or 12A).

What about discrimination?

Any discriminatory language or behaviour will not be endorsed by the work as a whole. Aggressive discriminatory language (for example homophobic or racist terms) is unlikely to be passed at 12A or 12 unless it is clearly condemned.

Do 12A films contain sexual behaviour?

Sex may be briefly and discreetly portrayed at 12A or 12. Verbal sex references should not go beyond what is suitable for young teenagers. Comedy may lessen the impact of some moderate sex references or innuendo but frequent crude sex references are unlikely to be accepted at this category. There may be nudity in 12A films but nudity in a sexual context should only be brief and discreet.

Sex and sex references are treated the same irrespective of sexuality

What sort of violence can I expect in a 12A or 12?

At 12A, moderate violence is allowed but it should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if they can be justified by their context (for example brief sight of bloody injury in a medical drama).

Action sequences and weapons may be present at 12A or 12, and there may be long fight scenes or similar. Weapons which might be easily accessible to 12 year olds (such as knives) should not be glamorised in 12A and 12 works.

Sexual violence, such as scenes of rape or assault, may only be implied or briefly and discreetly indicated at 12A and 12. Such scenes must also have a strong contextual justification.

Can horror films be passed 12 or 12A?

Yes, some horror films are passed at this category. Moderate physical and psychological threat is permitted at 12A or 12A as long as horror sequences are not too frequent or sustained and the overall tone is not disturbing.

What about other issues like imitable behaviour or drugs at 12A or 12?

Dangerous behaviour (for example hanging and suicide) may be present in 12A or 12 works but will not dwell on detail which could be copied or present those activities in a manner that children are likely to copy.

Anti-social behaviour should not be endorsed.

There may be infrequent sight of drugs misuse in a 12A or a 12 but the portrayal should not be glamorised or provide instructional detail.

Certification - 15 

What does the 15 symbol mean?

No-one under 15 is allowed to see a 15 film at the cinema or buy/rent a 15 rated video. 15 rated works are not suitable for children under 15 years of age.

Are there any limits on what sort of theme a work can have at 15?

No theme is prohibited, provided the treatment is appropriate for 15 year olds.

What might I see in a 15 rated film or video?

Any of the following:

  strong violence

 frequent strong language (e.g. 'f***').

  portrayals of sexual activity

  strong verbal references to sex

  sexual nudity

  brief scenes of sexual violence or verbal references to sexual violence

  discriminatory language or behaviour

  drug taking

How much strong language is allowed in a 15?

There could potentially be a great deal. At 15 there is no upper limit on the number of uses of strong language (e.g. ‘f***’).

Occasionally there may be uses of the strongest terms (e.g. 'c***'), depending on the manner in which they are used, who is using the language, its frequency and any special contextual justification. However, continued or aggressive use will not normally be passed 15.

What about discriminatory or offensive terms?

There may be racist, homophobic or other discriminatory language, and the work could explore themes relating to this.

However, at 15 the work as a whole must not endorse discriminatory language or behaviour.

How much sex and nudity is allowed at 15?

At 15 sexual activity can be portrayed, but usually without strong detail. Some sex scenes can be quite long at this category.

Though nudity may be allowed in a sexual context there will usually be no strong detail. There are no constraints on nudity in a non-sexual or educational context.

There can be strong references to sex and sexual behaviour, but especially strong or crude references are unlikely to be acceptable unless justified by context.

Sex and sex references are treated the same irrespective of sexuality

Can there be strong violence?

Yes, at 15 violence may be strong. It should not dwell on the infliction of pain or injury, however, and the strongest gory images are unlikely to be acceptable.

Strong sadistic violence is also unlikely to be acceptable.

What about sexual violence?

There may be detailed verbal references to sexual violence (for example descriptions of rape or sexual assault in a courtroom scene or in victim testimony) but any portrayal depiction of sexual violence must be discreet and justified by context.

What about horror works?

At 15 there can be strong threat and horror as long as there is no sustained focus on sadistic or sexualised threat.

Can you see drugs in a 15 rated film or video?

At 15 drug taking may be shown but the work as a whole must not promote or encourage drug misuse (for example, through instructional detail).

The misuse of easily accessible and highly dangerous substances like aerosols or solvents is unlikely to be acceptable at 15.

What about dangerous behaviour or things teens might copy?

We consider the risk of potential harm to impressionable teenagers. For example, dangerous behaviour such as hanging, suicide and self-harming should not dwell on detail which could be copied.

Whether the depiction of easily accessible weapons is acceptable will depend on factors such as realism, context and setting.

P3(d) Linking Audio to Visuals and Applying Audio Effects

Sound Editing (diegetic & non diegetic) took up a large proportion of time, this is because ensuring all clips matched the audio getting correct sound balance/levels throughout the film involved a lot of work. 

There were various stages in which I had to complete with audio before publishing the final film. Firstly, every clip (shown above) had a separate audio output, and this also meant sound levels could vary for each piece of footage, therefore I had to go over each clips and reduce or enhance sound levels in order to maintain consistency throughout the production. Below shows an example of one clip with the audio levels enhanced to 3.7dB in order to match the rest of the production, this occurs when the sound recorded on a particular clip is either too low or too high, depending on how close actors were to the microphone and the sound taking place in each shot.

In addition to linking the initial audio to visuals and altering sound levels, I also had to apply additional sounds to the production. An example of this is the enhanced piano audio scene in the car crash scene. This audio was recorded using Garage Band on my computer, and helping provide n extra dimension to the scene, thus creating a more dramatic effect, helping to engage the audience and inform them about the extent of the situation that is occurring on screen. 

P3(c) Applying Visual Effects and Transitions

My aim was to make every cut seem almost seamless, I feel as though the shots we had taken allowed us to use continuity editing efficiently, making every cut cohesive.
One example of this would be in the first scene, where Oliver is writing in his notebook, the cuts are almost undetectable. Also when ʻMiddle Aged Ollyʼ appears in a TV interview, When he is reaching for his drink there is a very smooth cut within this. Overall I spent hours editing clips to make sure the match on action was as good as possible, it was arduous yet satisfying. Fig 1 shows the editing timeline of the production, showing various effects and non-diegetic audio.

Fig 1 

I used many cross fades to convey the idea of time passing, this was used throughout the film, including the montage, and in Ollyʼs office including a series of close ups of the protagonist. Also, using these transitions made the film flow, keeping the audience captivated throughout. The use of ʻfade to whiteʼ connoted death to the audience, this also appears in the final scene representing a near death state.
Nostalgia scenes were created by the use of montage and many fades showing the aging of the two boys. Fig 2 shows the effect used to create the fade to white.

Fig 2

I do wish there had been more shots of the TV interview, due to the fact I think the same shot continues for too long, which I found boring.
For the scene consisting of magazine covers coming in, I used Adobe After Effects to control where and when they were visible, this process did not take too much time, however I spent a long time creating the magazine covers. The 6-second sequence creatively compresses time and that it is a well recognised filmic motif indicating to the audience that the author has experienced meteoric success. Fig 3 shows every magazine transformation to show on screen.

Fig 3

Adding a Vignette 

In order to create a flashback type atmosphere, I added a white vignette to the clip. This vignette made the clip seem as though it was more in a dream state rather than the present, indicating to the audience that the protagonist was thinking about his past.

Firstly I added a 'circle' from the Generate tool in 'Video Effects'. This brought up a small circle shape in the centre of the screen.

 Example of the circle seen when applying the effect

The next process involve resizing the radius of the circle in order to create a large vignette. I altered the radius to 901.0, then simply added the outer feather and increased to 97.0. Furthermore I then selected 'invert circle' which then saw the vignette take shape for the first time.

Lastly I changed the blending option to normal, the revealed the footage behind the circle, which created the vignette effect for the final production, giving a more dreamlike effect.

Example of white vignette used in final production.

Tint

Another way in which I create more engaging footage was through using the 'tint' tool for part of the flashback montage. The clips of the two boys as children were shown with a sepia tone and a dust and scratches effect. This was applied to create a home video type montage, showing the friends growing up together. Below shows the process in which involved applying the tint filter, selecting the colour that mapped to black and simply altering the percentage the tint amounted to, in this case 70% was effective in creating a sepia tone for the footage.

P3(b) Producing and Reviewing an Off Line Edit

In order to achieve the desired results of the director, the editing process must be completed with exceptional care, tweaking and altering individual clips in order to gain the best results. Editing involves working with each clip that is seen in the final cut, applying visual and audio effects to create more captivating footage and creatively form a seamless production that meets the requirements of the original plan.

Completing an offline edit is usually the longest stage in the production processes. Post production is where the storyline is brought to life through the initial edit, then additional features and effects will be added to keep viewers engaged throughout, in hope of bringing the story to life and having an effect on viewers. In order complete the edit, I had to place all raw footage on to the editing timeline, giving the first glimpse of the film outlook, showing rough timings and how it would flow without added special effects. Rushes had to be cut down to make every scene more effective and professional looking, and the individual audio clips were checked for sound levels, then linked to form one audio bar. 

Creating Meaning

Meaning can be created and presented in film through a number of methods. The aim of most films will be to tell a story and thus present a meaning to the audience, examples of this would be through audio levels, type of audio and sound (diegetic/non diegetic), a variety of shots, and visual effects, helping to alter the pace and intensity of each scene.

The offline edit does not involve visual effects that would appear in the final production, however the initial stages are important in order to present the true storyline that was envisaged in the planning stages. Through fine cutting, I created the first offline edit, portraying the films storyline for the first time.

One way in which I created a meaning in the sequence was through putting together the montage scene. This included two flashbacks that presented exactly why the protagonist author was writing the novels and what instigated the idea to do so. This part of the film has one of the greatest meanings, helping the audience empathise with the author and thus feel more engaged with the film.

Fig 1

The storyboard shown below relates to the scene in the timeline presented in Fig 1. The montage scene is set to include a number of different clips as a flashback to the protagonist's past, showing childhood memories and the two boys growing up together, then cutting to the day of a fatal car crash that separates the young friends. The storyboard image shows the first montage layout, with a number of clips overlapping the others, the editing timeline above does not include the visual affects added in post production simply the initial layout of how the montage will appear. Meaning is shown in this montage through the pace, firstly the young flashbacks have a slower pace, presenting a variety of shots from when the two boys were growing up, with calmer music in order to convey the happiness experienced from the boys,  however the audio changes rapidly which then increases the pace of music and thus clips become shorter, raising the intensity of the situation and perhaps causing more fear in the audiences mind. 

P3(a) Logging Rushes and Creating Edit Decision List

Meaning & Purpose

Before creating an edit decision list and progressing with the major section within post-production, it is important to load rushes onto the computer and watch through the individual clips, identifying the strongest footage and then logging this into a folder, in which can be transferred to Adobe Premiere Pro in order to create an offline edit. The metadata from the clips should be analysed which can give indications to the quality and look of each clip. Importing the clips from SD card to Mac OSX was a simple process, enabling rushes to be individually named and therefore easily identifiable when editing begins. 

Below shows a screenshot of some of the logged rushes:

Developing an edit decision list (EDL) is an important tool used in production processes. The list enables the editor to order the clips within the editing timeline as it contains ordered content in which has details regarding every shot and what it should look like, thus giving the editor a clear guide as to what they should be producing in post-production.

Setting up Premiere Pro 

Below shows the steps involved in setting up the initial Premiere Pro file in order to start putting together and editing the film. Firstly, I opened Premiere Pro and selected 'New Project', this selection brings up a new screen, in which the location of the file is chosen to be saved, and the production is named.  

In this section the the display, audio and capture formats are selected, this will be left to the presets as they are most appropriate for my production. After the production will be save into a specific folder, helping the editor easily gain access to this, in addition to saving all footage to this area, keeping it all together and organised. 

Next, the HDV presets must be selected. In order to make correctly set up the production in Premiere Pro, it is important to select HDV 1080p24. This means the setup will be at 1080p resolution X 1920, giving the best quality results and the correct ratio due to the fact the footage is taken in HDV. Additionally the film will run at 24 frames per second 

Below shows the initial timeline in which I created during post production. In order to stay organised, I selected the appropriate clips and placed them into the editing timeline in the correct order before adding any special effects. This was to ensure I had sufficient footage to complete the final production, in addition to helping me choose exactly what clips to use in each scene. 

P2(d) Following Production Processes

Production Journal 

'Wasted'

Sam Sherwood

Day 1:
Scene 1 - The first day of our film shoot, consisted of filming Scenes One, Three and a very brief shot of Oliver Harrow's House. Our set had been set up prior to day one, therefore that allowed us to prepare for the whole day without rushing first thing in the morning. From 9 til 11 we did not film anything apart from tests for sound and footage. At 11 we planned to take the crane to a large house to film the exterior. We reached our destination, however we had left the bottom half our our crane at our original set for 1 and 3. This caused delay in our schedule as we had to return to collect the other piece. In this delayed time we did however get the camera set up and ready to go, so as soon as the equipment arrived we could film. After taking many shots of the exterior of the house, we made it back to school in relatively good time. Although having to make our actor wait longer than we originally intended, our set was ready to film back at school. We took a large variety of shots from many different angles to we had a lot to work with in the editing stage, just incase we lost one of our clips that we wished to use, we had back ups!
We managed to film all of Scene 1 by one o'clock, giving us time for a quick lunch and straight back ready for Scene 3.
Scene 3 - Scene three was quite similar to scene one. There was no speaking roles in these scenes, so we managed to get it all done in very good time. Allowing us to begin recording the voiceovers for certain scenes. Again we filmed the scene from more than one angle, giving us variety and safety shots. These shots allowed us to do match on action edits throughout the film, making it more interesting and keeping the audience drawn in.

Day 2
Scene 2
Day two was extremely busy, Livvy and I managed to film extra scenes that were planned for day 3! We first traveled to Chestfield, to film Young Olly and Young Andy's argument and the car crash!
Our two young actors arrived enthusiastic and ready to go! However when we got to our set, it did take a while to express to them exactly what we wanted to do, but we achieved this eventually! The car crash scene was quite hard to film in my opinion. At times it did get confusing and we had to be extremely careful for the safety of our actors, ourselves, and the equipment. We managed to get a shot that did look good, and with some tight editing I was sure I could make it look somewhat close to a car crash!
Scene 5 was the award ceremony for Oliver Harrow, this scene did not take very long to film, however we did have a problem with the camera settings, however that was corrected quickly, I set up the lighting just to  reveal the actress and the award, and then Oliver harrow, I liked how this looked on the camera and it gives a very interesting contrast to the film.
Scene 6 - Scene six was the final scene of the film. This consisted of filming the exterior and interior of Waterstones book store, and then we filmed mostly in the library. We had to round up many extras to get their book singed by Oliver Harrow. This did not take too much time, however due to the fact many people were in the library at the time, it was hard getting everyone to be silent as we filmed. Then, at 4:15, five minutes before the end of the day, with one shot left to film, our camera died! So we had to run back to our storage room, get another battery, and get the shot done. Luckily we managed to accomplish this! With a great amount of stress and running around.

Day 3
Home Videos - This may have been one of the hardest scenes to film, plainly because there were young (hyper) boys from around the age of six to ten, running around playing games, kicking balls, etc. They were extremely hard to control, which slightly delayed us, however we did manage to get all our montage and home videos filmed. One problem we did suffer was transportation of the crane, (again!)
Due to the fact it did not fully fit in our car, we had to leave the boot slightly open. There was a steep hill en route to our destination, leaving us limited choices to keep the boot shut! However one extremely uncomfortable position for myself allowed us to reach the set with all the contents from the boot!
Scene 4 - Scene four was the Television Interview for middle aged Olly. We set up a simple television set, using white backgrounds, and placing unused cameras around the set. We only used two shots in this scene, which maybe should have been increased as the scene does seem to go on for slightly longer than I first thought it would. However the is a match on action straight away. I have struggled matching sound with this scene, due to the fact we re shot it many times from one angle, and used a separate voice recorder.

Overall I believe Livvy and I managed to capture a large amount of footage throughout the three days.  The planning processes enabled us to keep production flowing efficiently, having a guide as to what should be accomplished throughout each day of filming. In addition to this we saw the importance of contingency plans, this is because some clips that we wished to include could not always be filmed in the scheduled time, thus contingency plans and alternative processes are exceptionally important.

How I Achieved The Final Product

After establishing my initial ideas, I then began planning developing a thorough plan that would eventually allow me to create a high quality short film. The planning stages were essential in the success of my production, helping me identify the ways in which I should present the theme, as well as constructing the foundational overview of my final production.

The recce was again a vital part of my production. Visiting locations and ensuring they are appropriate for the film was crucial before actually proceeding with the filming. This is because failing to plan the specific locations could lead to poor footage due to disorganisation, as I could arrive at locations and find out it is unsuitable to film, thus having to relocate and jeopardise the quality of my final film. As well as this, it helped instigate initial thoughts on the shots I would be taking, allowing me to plan camera angles, lighting and what footage would look good in different locations. 

Mise-En-Scene was used throughout the film to emphasise and create the theme. For the opening scenes and in the office,  I ensured a number of different shots were taken with a variety of angles to present all the props that were used, including a whisky decanter, broken beer bottles, an ash tray and the book Oliver Harrow was writing in. These all helped introduce the film and gave an insight to the protagonist's life. 

Additionally I had to organise and select the most appropriate equipment to use for my film shoot. After creating my shot list I had an idea of what lenses I would require to create the most professional looking shots. Using a 50mm lens for many of my clips allowed me to create a 'human eye effect', giving the audience a true perspective of what is occurring on screen, keeping them engaged and involved with the short film. 

In order to realise and therefore create my visualisation of the pre-production material, the filming stage had to exceptionally precise. Through following the storyboards efficiently, I used the camera equipment to recreate what I had initially planned. The different lenses and equipment helped me to achieve this, enabling me to film wide establishing shots with the crane and the Sigma 10-20mm lens, to detailed close up and medium shots with the 18-55mm lens. In addition to this, through following the script and recording audio with the Zoom microphone, I was able to look back at newly filmed clips on the camera using headphones, gaining the first glimpse of footage with audio to see if it matched my ideas and gave a true visualisation. The crane itself was a huge advantage to my production, without this piece of equipment I would have been unable to achieve the desired establishing shot and the second shot in the protagonist's office, this gave a much more interesting shot rather than a simple high angle, the crane gave additional height and thus a more engaging final shot. 

P2(c) Following Safe Working Practices

P2(b) Following Shooting Script/Storyboard

Storyboarding helped develop ideas and add further narrative to the storyline, this took some time as I had to carefully convert my ideas from the script to images that would eventually make up each shot of the film. I annotated the script in order to try and gain the best understanding and enhance my ability to convey the original idea in the form of a film production. The annotations and comments made on the script put my concept into further detail, providing me with sufficient ideas to develop my film into the next stages, which would be filming. Planning the shot list would provide me with step-by-step instructions on what I would be filming, in a particular order. These plans kept me organised which ensured the production would be of high quality due thorough planning and organisation. Evidently improving the cinematography and narrative of the final product.

Throughout the filming process, I stuck to my storyboards and script in order to achieve my desired final production, however on several occasions ideas changed and I shot additional footage to enhance the quality of the production. Below shows a number of screenshots from the film, these will be compared to the original storyboards.

Examples

Example 1

Firstly I have shown the award ceremony, showing Oliver Harrow receiving a 'Man Booker Award'. The idea stayed the same and remained in the final piece, however the planned angle of the shot change to a low angle two shot, creating a more atmospheric feel, enabling to make use of the lighting too, in which lead to a bright colouring on the actors with a completely blacked out background, drawing full attention to Olly Harrow. As seen on the storyboard below, I also planned to have a small montage of magazine covers, this was created using Adobe After Effects and Premiere Pro rather than being filmed, however the two scenes switched place in the final edit, with the awards ceremony to show the first success, followed by all the media attention. 

Next I have shown the interview scene. Once filming, I decided that I did not like the idea of having the books written by the protagonist as a focal point, thus resulting in removing these shots from the final edit, and using other transition techniques instead. Below show the interview taking place with the footage matching the storyboard, however I cut out the numerous over the shoulder shots from the interview and zoomed out slightly more to show cameras and lighting. This was done in order to make it seem more of a flashback than the present, which may have caused confusion as the protagonist now looks younger. If i had not done this, and filmed exactly how TV interview would be,  the scene may have looked as though it was happening at this moment in time. 

Example 2

Example 3

The flashback scenes were developed through using a montage of 'old footage', and then a white vignette in the car crash scene to indicate it was still part of a flashback. We included clips of the young versions protagonists playing football, board games and sharing their free time together growing up with one another. The storyboard produced did not have specific clips shown, whereas the script did, thus we followed this in the filming stage. The car crash scene included a few additional clips that were taken on the day of filming, simply to create more of a build up and make it clearer to the audience. These included extra reaction and following shots. Additionally this scene follows the script exactly as originally stated, with the music introduced and it quickly becoming more sad and dramatic, building up to the car crash itself

Example 4

In addition to following the script and storyboard with the final scene, I included a clip of an employee at the book shop announcing that the protagonist would be appearing for a book signing. The scene starts with a wide angle shot of the author at his desk, with fans waiting in line to get a signed copy of his latest release (2). Next additional clips have been included, showing medium close ups in order to give more diversity in the shots. The storyboard shows the large crows as it parts way for the ghost of his best friend (4) - Crows shots are shown as the protagonist walks away.

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