"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







- - -

As the second part of prep work for my drama project - The Mentalist - Flame Red scene, I have divided my one - approx. 4. min scene into a total of five scenes, to make it more organized and easier to get around to shoot. I have sketched down the shots for the different scenes, to make sure we keep track of what  has been shot, and what has not. As well as fo the most important/special shots that I need to make sure we remember on shooting day.


STORYBOARD


 
 
 


//Templates downloaded from filmsourcing.com 



As a part of the preparation for the drama "The Mentalist" I am directing, I have made sure that all paperwork, as well as other preparations like ordering and locating props, have been done. The script is obtained from the original series and then altered to match the directorial style I wish to achieve. I have changed locations, some action descriptions and also altered one-two lines of dialogue, to make it more natural and not sounding as formal as it did in the original script.

     THE SCRIPT

                       

                  

I have chosen, after carefully thinking through, to probably leave out the few short seconds long shots of the female and manly cop characters. As these short-cut to´s does not really affect the whole scene in another way than raising awareness of whats going on. Which I feel like I can achieve without having to unnecessarily cut to surprised faces. I will,perhaps shoot the clips, but I might leave them out in the edit. All depending on whether or not I feel like they give anything to the scene.

CALL SHEET


RISK ASSESMENT




CONSENT FORM



ARTIST CONTRACT


All paperwork is ready and finished, the only thing left is to print out and get signatures, hand out and keep track of the information. Making sure that all consent forms and contracts get signed and taken care of. Kept in a safe place and not lost on shooting day, or after.

//All forms and templates from myUCA




Quick facts:
- Crime, Drama
- Duration per episode approx. 50 min
- 4 episodes first season, 6 episodes season two-five
- Nominated Monte-Carlo TV Festival
- 18  other nominations
- 17 wins
- -
Created by
Stuart Carolan
- -
Written by 
Octagon FIlms


LOVE/HATE is a gritty crime drama based on Dublin's criminal underworld. It depicts the drug addiction, squalor and violence of organised crime that has grown in post-boom Ireland.

Following the main characters, each involved in different crimes, whereas it escalets through the story, with drugs, women, guns. And how all of these different aspects affects friends and family. Already in the first season, we are put right into action, in medias res. Where we understand that something has already happened, one of the characters we are introduced to gets out of jail. The other just came in with a flight from Spain, we dont know why or how these things got where they are. Even though as viewers there are a few hints and clues left to figure out and pay attention to. 


This series is broadcasted on RTE Television, on RTE One, as well as RTE Player, and premiered in 2010. It is mostly filmed in Dublin, altough there are some scenes shot in bordering counties. The popularity of the show has grown alot the last couple of years, and the RTE did in november 2014 confirm that a season 6 is in the planning process, even though it would not air in 2015. 

What I find quite interesting about this series, is how there are two directors that have worked on it, but that there is mainly one. David Caffrey is the main-man and has directed a total of 25 episodes (2010-2014). While Anthony Byrne has directed 3 episodes (2011). It is very clearly that the main director has set the pace and style of this sereis, and that Anothony followed that particular style and tone while directing the three episodes he did. 


The reason I chose this series to write about is because in theme and genre it connects with the drama series I am directing, "The Mentalist." I saw an random wpisode late one night during christmas, and I realized how exciting and interesting it actually was. I wanted to see more, know the story, get to know the characters. I also felt like I want to find different series, that are somewhat the same, in a way even though theyre different. And therefore I felt like chosing sereis from different countries, would be a great way to explore the genre, themes as well as to the different or same aspects of looks, style and tone. 

Due to the previous one being American, this one is from Ireland. Which I find very cool, considering the fact that I have never really heard or watched anything from that country. It can be put in context with my drama by how they both show a glimpse into the criminal world. Even though the difference lays in the fact that The Mentalist, sees it and solves cases from "the right side" of the laws side. While on the other hand, Love/Hate shows it down and gritty in the "ghetto" itself, with all these different poeple involed, and how they live and go about in their llives. 


What I really like about this series is how it uses a fast pace editing to be "in the action" - following the characters. There is mostly handheld camera, which gives a nice touch to the style, as well as it takes the stand of "being a character on its own." It is as if we as an audience is there, one of the characters, which is done very cleverly and I really enjoy the feel to it. Another great thing is how it is used alot of detail shots and "new/wierd" angles to give it a cool look. As well as the sound design is cleverly solved, using contrasts and effect sounds in a great way. Making it very realisitc, and at times ubearable to watch. A lot of emotion reach trhough, and it did make me cry at one point. 

When it comes to how this sereis has influenced my own project, it is definitly by some of the things mentioned above. Especially I want to bring out the elements of handheld, detail shots and "New/weird" angles. This is exactly some of the things I love to try out, and are techniques I would really like to explore and learn more about. Generally because of the look and style it can bring to a piece, making it stand out a bit more, than a regular A4 film. 


//All images from google.com

//Sources of information
http://www.imdb.com/title/tt1625724/
https://en.wikipedia.org/wiki/Love/Hate_(TV_series)



Quick facts:
Born 1949, London
13 wins and 10 nominations
Awarded the OBE
(Officer of the Order of the Britis Empire) 2012
1 European Film Awards
1 Berlin International Film Festival
- -
Director
- -
Also
writer & composer


What first drew you to film-making?

"First, watching films as a child. Second, putting a camera to my eye when I was about 14. My uncle and his then partner lent me their 8mm movie camera. I realised that, when you frame the world, you see and feel different things."



Sally is an English director, and screenwriter borned and raised in London with her younger brother. Potter started making amateur films already at the age of 14, when given a 8mm camera by her uncle, she early realized that looking at the world through a camera changes the way we see and feel. At the age of 16 she dropped out of school to become a filmmaker.

1968-1970 she worked as a kitchen worker and a picture researcher for BBC to support herself and her work. She made several short films during this period, such as Jerk (1969) and Play (1970), Before she later trained as a dancer and chorepgrapher at the London School of Contemperary Dance. She created both film and dance pieces, before she founded Limited Dance Company with Jackey Lansley. She has also sung in bands and done operas.

After spending years doing choreographing and composing, she went back to filmmaking, with her short film "Thriller" (1979). Which was followed by her first feature film "The Gold Diggers"(1983). After several short films and a documentary series for channel 4, she internationally distributed "Orlando"(1992). as well as some of her big sucesses like "The Man Who Cried"(2000) and "Ginger & Rosa"(2012). 

// 1992 //

// 2000 //

// 2012 //

"Choreography was the perfect 'poor theatre.' All you needed were willing bodies and some space. So it was as a choreographer that I learnt how to direct and it was as a dancer that I learnt how to work."

As to how Sally interested me, it was mainly because of her great effort of brining something into the films other than just making a film to mass produce it. How she really pours her heart and soul into the stories being told, and how she choses to make "quality before quantity." Her passion. 


When it comes to how Sally has inspired my own work, on this project, it is basically by looking for that extra something to put into my work. Make sure that the end product is something that is of good quality. And last but not least, how important that extra spark and passion is for your work, and the planning en prep you put into it. As well as to be encouraged to try out now things and take risks, as to most of her films have been risk-taking. 

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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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