Quick facts:
- Documentary 
- Duration per episode approx. 45 min
- 6 episodes per season
- Premiered 2015
- - - 
Executive Producers
- - -
Martin Durkin
Jon Stephens
Neil Laird



- Scientists explore some of Earth´s Phenomenon´s -

With a narrator, Steven Kearney, each episode takes the audience on a journey through some of Earth weirdest and/or spectacular phenomenon´s. As Part of the research, I watched two episodes from the series, "Lost City of God" and "Secrets of the Sahara." 


- Each episode brings up 3-5 different and individual incidences/phenomenon´s 
- Using the subject driven combined with the actuality driven method to tell the story.
- As well as using animation or archive footage to reconstruct/-rreate history
- Building up under or questioning the theories, by having different professors and scientists that previously have done research on the case or are taking a look at it now to find answers.
- Each incidence/phenomenon is rounded off smoothly, before the next one is being presented.


PRO´s
- Interesting and up to date content.
- Visually cool and nice to look at in terms of the graphics.
- Cinematography - on scene footage is very beautiful.
- Good combination between sync and other footage
- You are quickly but detailed put into the case/story about to be explored.

- You get to be a part of the journey as an audience.
- Awakens the audience´s thoughts
- The narrators voice is engaging and makes you listen carefully.
- Leaves you with a lot of questions as well as quite thoughtful.
- Which is a great tool to create suspense, and leaves the viewer to want to see more, know more.



CON´s
- Most of the cases/stories does not have a proper conclusion.
- Which is understandable considering that some of the phenomenon's doesn´t have a solution or answer to why they have happened or taken place.
- But at least for me, I would have liked to know the result/truth or get a closure on the stories where it could have been found some.

Overall it is an interesting program, raising questions about phenomenon´s, leaving it up to the viewer to take part and interest in keep watching to get to know the stories and perhaps get some answeres or to be left thoughtful and mindful about the world and it's mysterious events. 


What I like about this series is generally the overall style, how they have put it together using the satellites as a starting point. Viewing and covering all of the phenomenon´s on a map from above, before entering the different cases on ground level. All of the cases starts out from an image shot by a satellite. I also like the wide shots of nature and areas around the places where phenomenon´s has taken place, it gives some astonishing cinematography. Another thing that is very cool is how they have chosen to present the sync, they go away from the regular image, and has parted the screen up in multiple screens - usually three, one for the sync image, and two others with footage in them. I find this to be interesting as well as a very neat, different and cool way of doing it. 


When it comes to how this series has influenced my own work, I must say that it has definitely inspired me to think differently. That a documentary program doesn´t necessary have to be standard A4 sync image, it can be more exciting and cool! I am also inspired by the way it sucks the audience into the stories, and on a journey. That is definitely something I want to try and achieve with our documentary. 





//All Images screenshot from the series




Quick facts:
Born 1963, St. Louis Missouri, USA
Philip Davis Guggenheim
18 wins and 11 nominations.
Awarded 1 Academy award
Nominated for 1 BAFTA 2016
Won 1 Oscar
- - -
Director & Producer
- - -


 [..] People weren’t just going to a movie. They were part of a movement. That’s the best feeling in the world. I want to keep doing that until I get fired. Again.



He is married to Elisabeth Shue and have three children. His mother is the actress Marion Guggenheim and his father the well-known documentary director Charles Guggenheim. Who is known to direct Robert Kennedy Remembered (1968), Nine From Little Rock (1964) and his last documentary was "Berga: Soldiers of Another War (2003). He grew up with one brother, Jonathan, and a sister Grace. 

- His father won 3 Oscars
- When he died, he held the record for most Academy award nominations for documentaries. 

Downfall that lead to great success in the end

Davis didn't set out to be a documentary filmmaker, as he felt like he could never become as good as his dad. He decided to do Hollywood productions, which he did semi-good at. He cast Denzel Washington for a production called "Training Day" which he really wanted him to play in, and was the only one who wanted him for the role. Unfortunately, as soon as the he got it, he fired Davis the very next day and took over the production.

- For years, Davis felt bitter and betrayed by the actor who took advantage of his position and took over his production. 
- He kind of left filmmaking for a little while.
- Before he took up a camera to film friends of his who was teachers, and worked for Teach America.
- He was taken by the feeling that he could use his skills for something that inspired him. 


"I don’t like it when a filmmaker has an agenda 
and I don’t know it. [..]"
- The Washington Post


/ 2006 /

/ 2008 /

/ 2010 /

- All of his documentary films has made an impact and difference. 
- Enlightening and bringing up subjects/stories deserved to be heard.
- His work has also reaped good fruits in form of praise and awards. 
- Won an Award at Sundance film festival for "An Inconvenient Truth"
- As well as he also won an Oscar for "An Inconvenient Truth"

/ 2015 /

It’s a dangerous thing when we make people like this into our idols, into icons. Because then we say, “I can’t be that.” 
But I believe that my daughters can be as brave as Malala.
- The Washington Post

As a part of the research for Davis as a director, I chose to watch his newest documentary which looks at the events leading up to the Taliban´s attack on Pakistani schoolgirl, Malala Yousafzai, that spoke up about girls right to education, as well as the aftermath, including her speech to the United Nations. 

I like how the documentary is put together by several elements such as animation (to reconstruct events that took place), Still foto´s, film and sync. All the different elements combined makes a truly astonishing film, where you get sucked right into the story. Also how human, and natural it is, all intriguing, awful, beautiful and exciting at once. Wich is very well done considered I am a very picky documentary watcher, and there must something quite special added to the film to make me sit through the whole thing all ears, focus and eyes glued to the screen as the story unfolds. 


Davis interested me by the way he infiltrates and blend in with the stories, bringing us alongside him as we travel and explore real stories. How the cinematography combined with other visual elements such as stills and animation creates a distinct style of storytelling. 

When it comes to how he has inspired my work on this project, he has made me look at documentaries in a new light. I have always felt that documentaries haven't been my thing, and I have not really enjoyed watching them, to be honest. But what Davis has done, is given the genre of documentary an update. Making it more interesting, as well as new thinking. He has inspired my work in the way that I would like to include other elements and combine them together to make a balanced and visually interesting story. 



//All images from google.com
Davis Guggenheim

//Srouces of information
https://www.washingtonpost.com/lifestyle/style/documentarian-davis-guggenheim-is-a-man-with-a-mission-sort-of/2015/10/08/b525d622-6c7e-11e5-aa5b-f78a98956699_story.html
http://www.imdb.com/name/nm0346549/bio?ref_=nm_ov_bio_sm
http://www.imdb.com/name/nm0346556/?ref_=nmbio_sp_1
http://www.imdb.com/name/nm0346550/












As a documentary filmmaker, you need a set of skills to pull off the genre. Filmmaking in general and  documentary filmmaking do have several things in common, but creating and making documentaries has a lot of different aspects to it, that general/fictional filmmaking doesnt have. In this post I´ll take you through the specialist skills you need to make documentaries.


                            doc•u•men•ta•ry

 (ˌdɒk yəˈmɛn tə ri, -tri) 

adj., n., pl. -ries. adj.
1. Also, doc•u•men•tal (ˌdɒk yəˈmɛn tl) pertaining to, consisting of, or derived from documents.
2. depicting an actual event, era, life story, etc., accurately and without fictional elements.

- - - -

A documentary´s purpouse is to portray the truth and reality as it is, or as it has been. The stories being told are true and the people are real. If the documentary contains re-created scenes, these are to be derived from the stories/truth and re-created to visualise what actually happened. 

- In documentaries the sources of information used is very key.
- It is imporant to view them critically.
- First-hand source; - the person that was there themselves/experienced the incident that took place
- Second-hand source; - A person that was not there themselves, but know what happened through information from others. 


As a general basis you need to prepear yourself to work in a office, yes, the amount of time you are actually out shooting is minimal compared to all the prep, research and planning you have to do beforehand. The important skills here is to be able to work in softwares such as Microsoft word, be skilled with phone calls as well as you should have good social skills. 

- You need to be structured.
- Good and efficient at doing research.
- Have a certain drive to get the story told in its rightful potential.
- Aspire to make the truth and reality heard.
- The characters/people/story should drive the story forward.
- Know that it is real stories and real people you are working with, respect and ethics are very important. 

"The ability and desire to LISTEN."
- Jan Keck, documentary filmmaker &
cinematographer

Making a documentary also requires teamwork, and the director of the documentary has to work tightley alongside the cinematographer. Ultimatley the director has to trust the cinematogarpher more than anyone else, with confidence that he or she will bring to the screen the story the director visualises. This is done by clearly going through with the cinematographer the story, the aim and style/way the director wants it to be. 

Which is quite similiar with fictionl filmmaking, but the difference here is agian, that you are working with reak people, real events and capturing in the moment happenings, which might not let you re-shoot that exact moment. The key is knowing the story, and knowing what and how you want to portray and or tell it. 

- - - -

//Images from google.com

//Sources of information
http://www.thefreedictionary.com/documentary
http://www.documentary.org/magazine/so-you-want-work-documentary…tips-getting-started
http://red-gecko-productions.com/redgecko/2010/07/29/the-skills-of-a-documentary-cinematographer/






In our third unit, the project evolves around creating a 10-minute long wildlife and nature film for a documentary strand - working title "Doorstep Wilderness" - Which would be suitable to be transmitted at 8 pm on UKTV wildlife and science channel "Eden". We will be working in groups of three as a team to come up with an idea, as well as planning, working and reaching towards the final goal together. A wildlife and nature documentary.

- - - -

MY IDEA
"Building homes for barn owls"

The case I have chosen to base my idea for the documentary was posted to the Kent Wildlife Trust´s blog and web page. Where hardworking volunteers are working to preserve and help the barn owls out, as old abandoned barns seems to have seized to exists, as well as big cored trees with holes in them are rarer to find and equals less and less space and places for them to live. This is endangering them as a species. 


To get in touch with these people we will have to contact the head office either by email or phone and talk to them about the case and find out if it is something they would like to be a part of. We have to find out if there might be any events/plans taking place where they will be making and putting up more boxes. Follow the process from the making, the assembly of the boxes and the result of the work they do. The coolest thing would be to get to film the owls themselves in their habitat, where we as viewers can see how important it is to preserve the nature, and help these owls in having a home. 


I was inspired by this case as soon as I saw and read, there was something about helping these majestic animals of night that just touched my heart. And It is great to see people actually working side by side with nature in making sure it is preserved, taken care of instead of fighting against it. 

Action Taken:
To make contact regarding this case, I called the Kent Wildtrust head office to propose the idea of the making of this as a documentary. I was then given the email to the press department which did not have a direct phone number so I would have to contact them via email. I sent an email but did not hear back before the tutorial chat with Helen. Therefore, we chose to move away from this case and find a new case with a different angulation.



//All Images from google.com

//Sources of information
http://www.kentwildlifetrust.org.uk/blog/gordon-miller/2016/02/22/building-homes-barn-owls


"I define grey to be in between black and white. 
Which is how I look at the world. Objective. 
There is a greater, even smoothness to it all." 

- Ida Frank
     ¨
       PANTONE // GREY from Ida Frank on Vimeo.
Here is the finished product for my self-portrait, where I for the first time are experimenting with a bit of abstract and experimental filmmaking. It has been very cool and exciting to try a new type of genre, and it has definitely helped me grow and learn as a director, how to test out different ideas as well as finding a distinctive directorial style. I am very happy with the result and think it turned out to be quite cool. Especially with the sound design accompanying the footage. Hope you like it. 


Here is my version of a scene, where the character Tommy Olds is about to be revealed as a killer revenging his friend´s death. A big part of this unit was the sound design, so the first minute of the scene is designed to sound like the sound in the earpiece of Patrick Janes ear.
   

All in all, I am very pleased with the end result, and I feel like I accomplished what I set out to do. Direct the scene in the directorial style I wanted to and the finished product portrays the characters in the way I wanted them to. I got the opportunity to work with amazing actors who did a phenomenal job. It could seriously not have been done without them. Thank you to everyone who participated in this project!





During week 7, from 15th - 19th of Feb, I did a work placement in London at Suite TV which is a post production company based in the "Soho" area. There were up to 20-21 suites, whereas all of them were for post production such as editing, audio, grading and visual effects.


I worked alongside four of the employees doing Client Services, where we made breakfast - toast, cofees and teas. As well as collecting lunch orders and running round and about Soho to collect these, to then serve them to the editors working in the suits. Being a runner holds a lot of important jobs and tasks, that needs to be done in order for everything else to run smoothley.  


After my lunch break all of the days, I got to hang with different people in several different suits, I was with Matt Baird in audio suite 2 where he was working on dubbing mix for a new show. One of the other days I got to check out the Visual effects and how those get made with Adam Graves, as well as I later that day got to see onlining and talked a great deal about editing in general with Graham Barker.

On the other days I got to learn and hang out with the editor assistants down at the CAR, where they digitilise and can compress the footage, as well as make all the content avalible to the different suits so it is avalible for the editors when they come to work. They all use the Avid system for editing, which makes it easy to move the files around, and makes it very industry sensed. The last day I got to sit with Matt Roberts, where he was editing a new pilot. We talked a lot about different themes reagrding the tv industry, like ethics and laws as well as differences in diferen countries. 


Being at Suite TV was really cool, the people were amazing and the whole work-atmosphere was so good. I think I could have stayed there forever haha! Thank you so much for the opportunity to be with you guys for a week, it was fab. 

Check out Suite TV 
here

- - - 

//All images shot with 
iPhone 6





Unit
"Directions"

In this unit, I have worked independently on both research and planning of both self-portrait and chosen drama project. The execution of the project as when it comes to filming, my cameraman was Josh, and Imogen was on sound. I have made sure the completion of the project has been followed up on and edited it myself. The time we have had at our disposal, I have spent wisely, and structured done one part after the other on the project. 

The actors I used for this project (Drama)  was, Michael John Lewis, Michael Gamble and Laurence Helgesen, where I found all of them through casting outside the classroom at Casting Call Pro. I had quite a few applications and chose to hold an audition round, where all the applicants that were serious emailed me an audition video tape acting out a few lines from the drama script. Due to the fact that I had someone drop out on me the last time, I made the actors confirm over email that they wanted to commit to the project 100%. 

// Pantone//Grey, self-portrait

Self-portrait: 
I chose to make my self-portrait the way I did because I wanted to experiment with the abstract and experimental way of filmmaking. As I have not really done this type of genre before, it was something I found very cool and fun. I wanted it to be a portrait of me, but at the same time, it has the most focus on the directorial style of the film, and the expression of its messages. Such as feelings everyone probably has felt at some point in life, the need to protect yourself and your family/friends, how society creates goals or expectations etc. 

Drama series: 
I chose to direct my chosen drama series in the way I did because I wanted it to be a bit more dynamic, whereas the original series uses a lot of standard shots to cover the scenes and storyline. I wanted to bring an essence of my style into it by keeping the standard style, in a way even though it is different, and make the shots more interesting. Shooting from angles that hadn't been thought of, or that find to define my style. Kind of handheld, but stable, as well as the framing of the shots.  I chose a very dialogue heavy scene, but I felt comfortable doing that wanting to challenge myself. I wanted to be able to make the transformation of Tommy Olds reach through on screen.
- The sound recordings on the boom was great, but it had picked up a high-frequency sound running through all of the clips, so I decided to use the sound from the rode mic because this did not have this, and the sound was much better.

// The Mentalist Flame Red - Drama series

The goal of this unit was to take on skills of how to direct, as well as learn by theory how directing works, the skill set you need, what tasks a director has and how to direct in a good way yourself. 
The goal I had for my projects was to create something that would stand out, something that would reach out to the audience through the screen, creating a sense of experience/spark a feeling or thoughts.

I found this unit to be cool and fun, as well as I learnt that I think directing is more fun and something I enjoyed doing. I have done some directing before in college, and had kind of decided that it wasn't for me, but during this unit and with these projects I learnt about myself that it is something I actually found to be very giving and enjoyable. I´ve learned how much work lays behind a production for a director, and as I will be making my first shot film this year, it has been very helpful and definitely something I will take with me into that process and project. I have used the time well, I started the planning early on which was good, and I got about and shot quite early in the shooting weeks. The only thing is that because I had work placement one of the post-production weeks, which I was confident I could pull off and get good enough time to edit, turned out to not be the greatest thing. Mainly because I didn't have the time or energy, so next time I will not make other plans in post production.

// The Mentalist Flame Red - Drama series

When it comes to if the goal has been reached I will say it definitely has, and I am pleased with my products. Especially my self-portrait. The criteria for the project has been reached, and I feel like I have managed to complete and achieve the looks and styles that I went for. All in all, I mean the products answers the assignment and shows understanding for technique, editing tools, directing as well as camera technique. 



- - - -




Quick facts:
- Comedy, crime, drama
- Duration per episode approx. 45 min
- 8 episodes each season
- Won 4 Monte-Carlo TV Festival awards
- Altogether 6 wins and 1 nomination
- -
Created by
Eilif Skodvin
&
Anne Bjørnstasd
- -


"A New York mobster goes into hiding in rural Lillehammer in Norway 
after testifying against his former associates."

This is a Norwegian series, produced by Rubicon TV and it is a Netflix original series, running over three seasons 2012-2014. The series has gotten a lot of praise for its storyline and actor Steven Van Zandt. A former actor in Sopranos(1999) as well as being a long-time friend with Bruce Springsteen, playing with Springsteen´s earlier bands. 


I saw some of the episodes from the first season when they first were aired on Norwegian tv back in 2012, Where I was very excited and eager to follow the story, as well as all of the actors, had really interesting characteristics which made it very cool to watch. I re-watched one of the episodes here the other day, whereas I looked a bit deeper into how and why it inspired/affected my own project.


The style/mood of this series is very light and humor-based, as this is a great parallel towards The Mentalist, which also plays on the same keys when it comes to humor, crime, and drama. It is quite standard shots and filming. I would say that the shots do step up, mixing in more detail shots which improve throughout the season as well as following seasons. 

I chose to look to this series when it comes to editing my project. Mainly because of how seamless it is sewn together without having the audience flinch one by scenes, cuts or clips. This is something I really badly want to achieve in my films, as continuity and a seamless audio and image sequence is something demanding a lot of work and dedication, especially to get it good. A seamless design/edit is always something I will strive to achieve, and, therefore, this series gave me a great deal of inspiration. 


//All images from google.com

//Sources of information
http://www.imdb.com/title/tt1958961/



The term sound design came about while Walter Murch was left to describe his innovating sound work on 1970, Vietnam War film "Apocalypse Now."He "hung" sounds in the motion picture just as a production designer would hang fabrics on film set. two-three sounds were focused out through one speaker, while two-three would be sent through the other. This was made possible by multi-channel technology that was being refined during the 1970´s.


As Graeme Harper writes in his book "Sound and Music in Film and Visual Media," the sounds is an ancient discovery and is an equally venerable invention. Although sounds, and hearing is natural to every human being, as well as to animals and it is also reported that plants too can react to sound. There is no doubt that the human uses/creates the sounds where we process and produce in relation to our human understanding and of its importance in our world. 



Creating sound design is not just an easy task, it can be very challenging and difficult at times. The main focus is put on making a seamless soundtrack, that by sound visually can take you on a journey itself. Making a realistic or non-realistic sound image that fits and presents/reflects the world or so called universe we are immersed to, in the film.

Sound exists only in time, and there is no such thing as an "audio still frame." This affects everything you do with a track. 

As a part of this unit, sound design is a big part of what we are creating, especially the sound design for our self-portraits as we could not have music, monolog or dialogue. Therefore, our tutor gave us a day assignment to edit the sound for a video piece, where the sound was the only thing we would work on. I worked together with Imogen, and we had a good workflow as well as we worked really good together. This is the result of our project, and it came out better than I expected.



//Images from google.com

//Sources of information


In this unit - direction - we were so lucky to have a guest lecturer, Steve Finn showing and teaching us through several workshops. We got different day assignments as well as a short script to prepare on for a couple of days. The aim was to get our heads around all of the different things you have to think about as a director. And how to get your vision out there, through to others.


Steve Finn is a director known for EastEnders, London´s Burning and Children´s Ward, and being able to learn from a guy coming into us from the industry is not only cool, but also a very great opportunity to gain proper industry standard skills. 


I liked Steve´s workshops, even though I learned that it is not as easy to get your vision through to others all the time. I am a very visual person, and can "see" and visualise what it is I want to happen on screen. But, getting others to see or understand what you are thinking can be a bit more tricky than at first glance. I felt misunderstood, I dont know if it has anything to do with the language, even though I dont really feel like my English is bad. It might have been how I phrased it, or maybe misspelt it when talking, who knows. 


Anyways I learnt how to be even more precise and I enjoyed working in groups. Thank you very much for giving us these opportunities, to learn from industry professionals. It was great getting advice on what to do and not. 

//All images shot by me
With iPhone6





"You have to promise your audience that it will be worth it for them to follow the journy and the emotions of the characters [..]"


Being a director can at first sight seem easy, right? You would assume there is only to go out there, creatively make your ideas come to life and get famous and acknowledged as soon as you get stuff out there. Well, I wish I could say that it is as easy as that. There is a lot more going on and things to do if you are going to be the director. 80 percent of a director's job consists of paperwork, prep and planning are the main focus. While the remaining 20 percent, is the time you are actually out in the field directing. All of the prep leads up to that one week or month of shooting. Which might have been planned for half a year pre hand to that, or even longer depending on the production. 


When it comes to directing there is not any right or wrong way to be a director. Well, there can be good or bad ways on how to be one, but exactly how you are as a director is very individually and up to oneself. Every director has different ways of doing things, different ways of acting or working with crew. There are several books and articles on how to direct, or how to tell a story the best way as a director. In common of all directors, they all have a base, a knowledge of what it means to be, or the responsibility you have when being a director. 

The director is a part of the whole journey while the production is ongoing, even after the shooting, in the post production. Where there will be spent a lot of time continuing to make the right decisions and take the right measures to bring the story to life, in the best way possible. 


Through the book "Directing the Story" by Francis Glebas, we get guided through the different aspects of being a director, with the responsibility of telling a story and actually making the story work and be told to its fullest potential. 

Why do we watch?
- A good place to start according to Glebas is asking ourselves why we watch films. We certainly do watch them, but why do we bother?
- To escape, to connect with the characters in the story, to be entertained. 
- Does knowing that we watch films to be entertained help us become better filmmakers?
No, it doesn't give us anything useful. Just points out a direction, but we don't have a map.

What's at stake is nothing less than life and death
- The most important when making a film is that it has to be about something important, significant.
- Something has to be at stake.
- Show don't tell.
- Make sure the characters has obstacles, decisions or challenges they have to face.

What do directors direct / Who do they direct?
- The story, the crew, the lighting, and the camera.
- But, they are also directing the emotions of the audience. 
- We can't directly affect their emotions, so a director has to do it through structuring the film. 
- A director directs the audience´s attention while telling the story. 

I found this book to be great as it takes on all of the different aspects of telling a story, and what a director does and how. It also brings up the different aspects and the information in a very straightforward but thoughtful way. You can decide yourself if you want to put a lot of thought and test out your philosophic side, or just keep it straight A4. 

"Once the actor gets glued to a line reading it is something like being stuck in cement and it is unlikely that he/she will be able to respond to your direction and your shaping of the character."


One of the important ways for the director to affect the audience's emotions is through something, or rather someone very important. The actors. The audience has to feel like the characters are real and true to the story, even if it might be in a fictional world or different universe. By looking at Lenore DeKoven´s book "Changing direction - A Practical Approach to Directing Actors in Film and Theatre", we get an insight in how to, as a director chose or find the right actors for your film. 

For example, after a read through, you can ask the actor to do the same scene again, but only this time, he/she has to go to the bathroom really badly but doesn't want the other person to know. What you want to see is if there is an adjustment or a difference between te first and the second reading. 

5 short advice on deciding on an actor: 
1 - Does the actor seem more relaxed in your company?
2 - Does the actor respond to the reading partner?
3 - Has the actor brought any new ideas for the second reading/callback? 
4 - Has he/she grown from the first reading?
5 - Can the actor´s physical and vocal traits fulfill your vision of the character?

Conclusion wise being a director is a great responsibility as well as it is a job that requires quite a lot of you. From directing camera, lights, sound, actors as well as knowing that it is up to you, resting on your shoulders whether or not the story reaches its full potential. Whether or not it reaches through to the audience, and if you manage to direct their attention while telling them a story that they are left feeling different, enlightened or moved in any way by. Being a director is a lot of work, but when everything adds up, and all different pieces combined makes a great film, allowing the audience to escape, or be entertained, I would say it must pretty damn worth all the work and effort. 

You will make mistakes. We are mistake-making creatures; We were built that way. What you as the director, the person in charge, must learn how to do is to bring creativity and positive approach to mistakes, your own and others."
As written by Judith Weston in her book "Directing Actors"


//Images from google.com

//Sources of information







- - 
The Mentalist - Flame Red
- -

The day started fairly early getting up at 05.00 leaving for Maidstone at 06.20, picking up cameraman Josh on the way. One of the actors, Michael John-Lewis offered to give the whole crew a lift, kind soul! We got to Maidstone and set ourselves up at call time 07.00 when The Muggleton opened. One after one the actors showed up, and it was great finally meeting and talking with them in person. 

// Pre-shoot prep, Michael John-Lewis (as Patrick Jane) & Michael Gamble (as Tommy Olds)

One of the actors were stuck in traffic, which made room for some good prep time with the other two, as we couldn´t start shooting without the last character due to continuity as all three characters are in shot mostly all the way through. This resulted in being delayed one and a half hour, and I could definitely feel the itchy prickles of stress creeping up on me. 

// In action screenshot, Michael Gamble (as Tommy Olds) & Laurence Helgesen (as Kimball Cho)

Luckily once we started shooting, the time didn´t become an issue and we actually managed to finish before the set wrap time 12.00. We did have some technical delays with the boom because we were recording the sound with a zoom, wich sucked the power out of the batteries like crazy. We had to go buy more packets of batteries, but apart from power-sucking batteries everything ran smoothly, and we only had to change the camera battery once during the shoot. 

// In action, Imogen Polycarpou on sound

I made sure the actors and crew had water and refreshments like crisps, croissants etc. As well as before shoot, all actors got powdered with a matte skin powder to prevent shine, reflection or sweat. 

// Pre-shoot prep, Joshua Jones as cameraoperator

The actors did a great job memorizing the scripts, not looking at it even once under shooting. The lines sat as hard set concrete and flowed fluently. This made the process of shooting easy, and with myself equipped with storyboard and script, it was easy to give starting points, directions and camera positions. It made a good workflow, for both crew and cast, as well as we managed to have a few laughs and loads of fun doing the work. 

// In action, myself directing Michael G. (Tommy) and Michael J.L (Patrick)

All in all, I am very happy, relieved and pleased with today's shoot, working with these guys was amazing and great fun. Thank you to all of you for doing an amazing job! 

- -

//Images shot by Joshua Jones
with Canon 7D

Image shot by me
with iPhone 6

&
Screenshots from footage




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- Ida Frank -

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- Studying Television Production at UCA - - University for The Creative Arts - Contact: televisionbyidafrank@gmail.com

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