Given the situation we find ourselves in I think this film could give you all some hope and, perhaps, some inspiration. In 2011 Iranian film maker Jafar Panahi was confined to his apartment and banned from making films. In response he used his iPhone to make this film which was then shown at Cannes. He was in isolation but it did not stop him being creative. What is stopping you? Even in the most impossible of restrictions filming is possible as long as you have a phone or camera and something to edit on. Let talk ideas on Wednesday but I expect you all to have watched This Is Not A Film before hand. What else have you got to do after all?

Here is the link to the film on One Drive

https://rul-my.sharepoint.com/:v:/g/personal/ferok_regents_ac_uk/EYYZm2D9zM1Dtme_PuBhukoBFuQReS5ED1OLUTeeoQS7ZQ?e=1f2oBe

Here is the Alternative Assignment for individuals. My Skype is migrantmedia

Assignment B:         Campaign Production Documentary (3 – 5minutes)

(This is an alternative assignment in response to the on-line delivery required under the current circumstances. This is an individual assignment.)                                                     

This is a individual task.

This assignment requires students to produce a campaign documentary film based on the ideas selected to go forward from Assignment A or new ideas. The film must engage in a current social, political, economic, environmental and/or cultural issue. It may also now include  sports,  commercial and business sector. In essence this could mean anybody from the public. We will have to have an online tutorial to discuss how you can do this in the situation you are in. 

If you find yourselves in a situation where you are isolated and only have access to family then please let me know and we can negotiate the project.

The production must show development of core skills of visual story telling, documentary film practices, implicit and explicit message making and the means and techniques of constructing a persuasive and compelling argument on screen.

You must liaise with and ultimately present your finished campaign films to the charity or campaign or client that you are advocating. This will lead to first-hand client feedback and will develop your skills in working for third parties and meeting their expectations.

Considerations: Please make sure that in your piece you consider the 3 key elements that we have covered – client, imagery and impact. 

Equipment: You should use any filming device that you have access to including your mobile phone if you have no DSLR camera. Please ensure you film in landscape and not portrait mode.  Please use a tripod if possible.

Submission

The total mark for this assignment is 60% of the overall grade.

Submission of the Assignment

1. Each film must be submitted on May 4 2020 on-line through Blackboard. Please upload your film onto Vimeo or Youtube and then embed the link into your individual production folder as detailed below. Late submissions will be capped at 40%. The length must be 180 seconds in length, total, you are permitted to use up to 18 seconds of archive which MUST have a license document. Music used, whether it is original or copyright free, MUST have a license document.

2. The Production Folder must up-loaded via ‘Turnitin’. This version should be a single PDF document with all relevant production file documentation included as well as a link to an online version of the film. This needs to be done on the same day by 23:59.

Important Note: Any work that you engaged with on the group project but have been forced to abandon due to circumstances out of your control will still be taken into account in your mark. Please ensure that any and all work done for the group project such as client negotiations, shooting scripts, storyboards and treatment is included at the end of the production folder you submit. I will be taking that into consideration for your mark.

Assessment Methods

The purpose of this assignment is to test your development measured against these learning outcomes:

Acquire skills necessary to undertake appropriate detailed research and demonstrate an ability to identify and articulate the potential of a campaign idea.

Negotiate and secure access to a client with a demonstrable working relationship

Be able to independently realise a major creative project based on externally commissioned source material to an industry standard.

Consider and implement a relevant and quantifiable audience impact strategy.

Utilise problem-solving skills and analytical techniques in a group environment.

Engage with a client to create a successful brief, product and audience impact.

Consideration Methods

These are the areas that will be considered when marking the work:

Content

How clear is the narrative of your film?

How compelling is the case you have put forward?

How creative is your approach in terms of content?

How has the idea developed during production?

Technical Quality

How good is the technical content in all aspects of image?

How good is the technical content in all aspects of sound?

How well considered and effective is the editing?

Engagement

How well have you engaged with the client?

How well have you related this to the needs of the client campaign?

How have you implemented your impact strategy? 

This is now the time to be creative with the edit plan once you have viewed the footage you shoot you need to do this. I have placed an Edit Log Sheet for you all to download from Blackboard under Learning Materials or here Edit Log Sheet

Here is the clip about Herzog discussing his approach to editing: https://capturingreality.nfb.ca/filmmakers/werner-herzog/?v=3

Weeks 8 and 9 (Wednesday 18 & 25) are designated as Production Weeks so you should aim to shoot during that period. Any group that is not shooting will meet as usual to develop the production further and I will be available to give feedback on this. I will need a verbal report from each group on progress on Wednesday to fit in with your schedules. If you have already filmed you will need to bring in your footage for review.

A submission requirement for each group is the Production Folder which must be in a digital format as specified in the assignment brief and must be submitted with the film by uploading onto Blackboard by the due date.

Do not leave the production of this until the end, make sure that all documentation is digitised as you go along so that a single PDF can then be uploaded when the time requires it. As a reminder this is what should be included:

Production Folder (Digital)

1. Treatment
2. Shooting Script
3. Production schedule
4. Interviewee questions
5. Technical notes
6. Production Stills
7. Client Documentation
8. Storyboard
9. Release Forms

This Wednesday we will look at the storyboards and discuss the production schedule for the four projects all of which seem to be getting off to a good start. We spent some time on Wednesday discussing cinematography and visuals which we need to continue. 

There was some good discussion around the direction, the image and the sound elements of the productions and they are beginning to be developed well but this needs to escalate to move beyond basics. We will continue with this on Wednesday. Build in all the suggestions that were made and get some feedback from your clients.

Shooting Scripts

In terms of shooting scripts and their relation to the edit you can read more of this in the following book which is already on the essential reading list: BERNARD, Sheila Curran (2011) Documentary storytelling: creative nonfiction on screen. Focal Press. (read Chapter 11 – Outlines, Treatments and Scripts)

Cinematography

My advise is for you to get inspiration from a feature film you love and admire, find out the cinematographer and read up on them. Choose something that you can apply to your own campaign production. An RSPCA video shot like The Seventh Seal – or Meshes of the Afternoon why not? A period poverty piece shot like  The Colour of Pomegranates– why not? A corporate/charity  campaign film shot in an extreme Constructivist visual format a la Vertov – why not? The film style is up to you (and your client) and if you are not really enjoying making the imagery then there is a problem!

As a very good basic introduction to the subject read:

BROWN, Blain (2005) Cinematography: Theory and Practice: Image Making for Cinematographers and Directors. Focal Press.

ALTON, John (1995) Painting with Light. University of California.

Please note that the release forms that you need for you projects – contributor, location, music – are all on Blackboard in the Learning Materials folder.

Next Wednesday we will be dealing with these areas for all three projects:

1. Project updates
2. Shooting scripts
3. Project Ethics
4. Production Schedule 

Please come prepared with detailed responses.

Campaign Production is one area of film making where you will be interacting and engaging with people, including your clients and members of the public. What ever the case, treating them fairly and with respect is a fundamental position you need to adhere to. Unlike other areas – such as entertainment broadcasting – exploiting your subject is unacceptable in Campaign Documentary. Your film projects may involve children, young people or those who are vulnerable. All these groups need an ethical approach which will include negotiating access with their parents or guardians and sticking to legal working practices. Exploitation rights also need to be considered and release forms are necessary which would include parental permission. During this session we will be looking at ethical issues in each of your productions.

Throughout the module we have had discussions on ethics in terms of the importance of representing your client fairly, researching in detail by meeting up beforehand so that you do not presume who they are and what they do and finally the importance of being able to present their stories in a way which is good for you and them. It is important to maintain a relationship with your subject not just for the good of your film but on a basic human level. In my own experience as a documentary filmmaker, I have worked with some characters over several years and several films. This has only been possible through taking a principled approach to my work but also being aware of ethical issues. What ever film you make that involves people always make sure you can look them in the eye afterwards. Here is a link to an article that looks at the issues of ethics in more detail. There is a more detailed look at ethics from the perspective of documentary film makers that you can download here.

This is a group task for each selected project. All group members need to be involved in this process.

Shooting Script Guide: Your presentation should have described the story, it’s various elements and the resources needed to make it work. As the final research is carried out groups will need to add details by preparing a plan of how to get the images and sounds they need to tell their story. This is the shooting script. The shooting script will point to the need for particular resources (people, places, equipment)

The shooting script format is simple. The page is divided into 2 or 3 columns titled “picture” and “sound.” Notes on the “picture” side of the column should indicate whether the image in question is archive, original footage, an interview, etc. Further annotations will indicate how it will be shot, where it is to be found etc. The “sound” column will indicate the kinds of things the interviewee is expected to say, the ‘narration’ that will be needed, the audio and so on.

This readymade form may be useful shootingscript

Storyboard Guide: You will all be familiar with storyboards. Use any format you prefer to visualise the film. Template is here: and will be handed out in class.

Objective: You need to produce the first draft of a shooting script as outlined above before and during the workshop. The importance of the shooting script is not as a paper exercise but a systematic way of planning your production with clarity and ensuring that you have all the material you need to put your campaign production together. In terms of the final draft the client campaign group must also have input in your shooting script so you must consult them on your plans and show evidence of that.

Delivery: First Draft during Workshop Week 6 (14.00 Wednesday March 04)
Final Draft Workshop Week 7 (11.00am Wednesday March 11)