Tuesday, 15 July 2014

BFI Academy Review by 2013 Participant Tomas Saunders



Thinking about applying for the 2014 BFI Academy? Why not read this blog by Tom who took part in the 1st BFI Academy in 2013 and is currently on a work experience placement with us.  

• The BFI offers a wide range of practical filmmaking skills and challenging tasks that help bring your creative ideas into action. There are many workshops that focus on particular elements that all help to bring the film together and they allow you to have the experience you need to use them in practice when it comes to your production. As well as having fun and enjoying what the BFI has to offer, it also promotes your leadership, teamwork and communication skills as you will have the chance to work independently and as a team throughout the course, which will be beneficial to you as you will leave the course with film contacts and a set of new personal filmmaking skills, such as; handling lighting, sound and camera equipment, using various editing software’s, creating stories and scriptwriting, casting a short film with actors and receiving tips and advice on how to break into the film industry.

Throughout the BFI course we were also able to visit different places that specialises in filmmaking. My favourite visit was to Elstree Studios where TV productions like “Who Wants To Be A Millionaire” and “Strictly Come Dancing” were filmed. They also created blockbuster films like “Star Wars”, “The King’s Speech” and “Hot Fuzz”. The experience was amazing to behold and we were able to see an insight of upcoming productions and the sets of previous shows such as “Big Brother”.


This visit was one of my highlights of the whole course as it was inspirational to me and was proof of what you can achieve if you follow your dreams and take small opportunities that can lead to big success.  After visiting the Studios I had a greater sense of what filmmaking was like and knew that I wanted a future career in professional filmmaking productions. I never thought I’d get to visit the sets and have a tour around the place where thousands of celebrities have worked to create a blockbuster film together and it felt incredible. The BFI could be your chance to get that experience you need to develop your career for the future in the British film industry.

By applying for the BFI course, you get the chance to make a short five-minute film to be shown on big screen but you also get the chance to get a Level 2 Silver Arts Award at the same time! This can be achieved by completing the blogging, which won’t be as much effort as you think as long as you get on top of it every week whilst it is still fresh in the mind. If you complete the arts award then it is a great thing to have on your CV when applying for jobs in the film industry or it is something beneficial to have when writing your personal statement for different universities.
The experience is amazing and by the end of the course you feel as if you have accomplished something individually and together as a team. You also then have lots of new friends and film contacts that you are able to stay in touch with. For example, the group that applied for the course I was on are now all friends with me on Facebook and we still invite each other to film events in case anybody might be interested. It is important to stay in touch with everybody from the course as another opportunity may arise to take part on a paid production set and it could be the start to your future carer.

My aims for the future are to start off from the bottom working as a runner for a production and planning on working my way up to something more involved with a film production such as becoming one of the editors or script writers or something within the production that I would like doing. As I love to write stories and come up with creative ideas, it might be that I produce a script for a movie and work alongside the director in a production to capture my ideas.


There are some disadvantages to the BFI course as you have to make sure that you are committed to it, to your filmmaking team and to your personal blog that keeps track of each session you have completed every Saturday. As the course was designed for 16-19 year olds, most of us were studying at college and so it was hard to commit to the course when all the college work was piling up and you had to try and prioritise. However, even though you do have to put some time and effort into pre-production and blogging, you should be able to cope with the workload if you continue to note down what you have done every week and keep track of the events. You definitely have to be dedicated to the course as well as being on a Saturday it does take up most of the day and therefore half of your weekend and sometimes you will have to be prepared to work on the project on the Sunday as well.
However saying that, I would recommend taking the course as it allows you to experience a one in a lifetime opportunity to work amongst other film fanatics and to discover new areas in filmmaking where you might have an unknown talent. As the editor for my group, I was able to experience new editing software I had never used before called Premiere Pro and enjoyed adapting to the new software. I thought that the final outcome of my edit and of our five-minute film was rather successful in the end and it was all down to the team’s performance and the support and guidance we received from our tutors and British directors and filmmakers.

The tutor who inspired me the most to pursue this career path was Jane Gull as she has been an actress in different production sets and influenced myself and my group when we were in pre-production. She has already managed to set me up with work experience at Signals where I completed the film course and I may be able to get a job as a runner in a film production soon after if I continue to take the opportunities given to me.  Other people who have inspired me to work towards film production are writers Anthony Horowitz and J.K Rowling who have both written novels that have been made into worldwide films and encouraged me to be as successful as they have been. Director David Fincher has also been an inspiring person to me that has influenced my life choices and he has created films such as “Se7en”, “The Girl with the Dragon Tattoo” and “The Social Network”.
David Fincher is possibly the most successful director in today’s society and continues to express his creative views and ideas through his extraordinary films and I hope that one day I can be a part of something just as successful, starting off my career through the BFI.

Friday, 28 March 2014

Do you have a budding Tim Burton in your midst?


Wonder how animated films by the likes of Tim Burton are made?

This Easter Signals are branching out and running lots of creative workshops featuring filmmaking, video game making, stop-motion animation and photography, designed for both adults and kids..



The most fascinating children’s stories are the ones from which parents can derive as much pleasure as their children they read them to. These are stories that speak on multiple levels: they are great escapes that can return readers to adulthood to discover all the hidden meanings, but they also educate and inspire. The same can be said of movies; they reach across generations, rewarding both the young and the young at heart.
Many of these features are presented in Tim Burton’s movies.  Whether bringing to life children’s fairytales or his very own personal experiences, such as ‘The Nightmare before Christmas’, ‘Batman’,  ‘Charlie and the Chocolate Factory’, or  ‘Alice in Wonderland’, Tim Burton has the unique ability to present his movies with his own distinctive cinematic style, offering a delightful and resonant versions of children’s favourites fables.

If you have a budding Tim Burton in your midst, perhaps a set of filmmaking, scriptwriting and editing related workshops is in order. Apply for a place now and give the next generation of filmmakers the opportunity to discover their talents: 

Film in a Day (12+), £25
Monday 14th April, 10am - 4 pm

Fancy a challenge? Try making a film in one day. We'll kick start the morning coming up with ideas, a script and and storyboard, moving swiftly onto shooting a short film and editing it together.

Claymation (7+), £22
Tuesday 15th April, 10am-3 pm

Create your own story, characters and sets, then learn the basics of stop-motion animation using plasticine to create a short animate film.

Stop-Motion Animation (9+), £22
Wednesday, 16th April - 10am - 3pm

If you have ever wondered how animated films by the likes of Tim Burton are made, then this workshop will show you how it's done. Using a range of artist materials including plasticine, you will create your own short animate film from beginning to end and edit it together on a professional animation software.

Green Screen (7+), £15
Thursday 17th April, 10am - 1pm

A fun and active workshop for children that puts you in the heart of the action. Learn about 'green screen' special effects and make your own short film or TV news broadcast using professional cameras and software. 

To book a place, call 01206 560255 or visit www.signals.org.uk




Thursday, 6 February 2014


Director of Photography - part 2

As promised this is the second blog by Director of Photography Nicola Daley.

In her workshop with Signals BFI Academy students in November 2013 Nicola talked about the creative role of the DoP in visually interpreting and enhancing the script, and provided practical advice in a lighting workshop.


Here Nicola shows just what is means to be a DoP and provides a daunting list of the responsibilities of the Cinematographer.  I think this blog gives us clarity in to the role and shows the need for individual responsibility, creativity and vision along-side a respectful and co-operative team approach in creating the best possible film. She begins by quoting John Hora.

 (Photo of students from Nicola Daley's lighting workshop)


Definition of Cinematography

"Cinematography is a creative and interpretive process that culminates in the authorship of an original work of art rather than the simple recording of a physical event.
Cinematography is not a subcategory of photography. Rather, photography is but one craft that the cinematographer uses in addition to other physical, organizational, managerial, interpretive and image-manipulating techniques to effect one coherent process.
These visual images from the cinema, extending from conception and preproduction through post-production to the ultimate presentation and all processes that may affect these images, are the direct responsibility and interest of the cinematographer.
The image that the cinematographer brings to the screen come from the artistic vision, imagination and skill of the cinematographer as he or she works within a collaborative relationship with fellow artists."

John Hora, ASC
Cinematographer – ‘Gremlins’, ‘Honey I Blew up the Kids’, ‘The Howling’ and many more.




Responsibilities of the Cinematographer 

I. PreProduction

Conceptual Research and Design
- Discuss all aspects of script and director’s approach to picture in preliminary talks with director
- Analyze script as whole
- Analyze story structure
- Analyze characters
- Research period, events, general subject and appropriate design elements
- Devise style, visualize approach
- Continue talks with director on new ideas
- Come to agreement with director
- Discuss and come to agreement with production designer
- Discuss and research with technical advisor

Practical Research and Design
- Ascertain or find out budget requirements
- Scout and approve locations
- Plot sun position for location
- Check local weather
- Check tide tables near ocean
- Review, discuss and approve set plans
- Review, discuss and approve spotting plans for stages
- Review and approve props, picture cars, airplanes, boats, horse-drawn vehicles, mock-ups and miniatures

Technical Research and Design
- Visit laboratory to calibrate, customize and evaluate exposure system for any combination of electronic or chemical image capture; establish developing, printing, set timing and transfer protocols
- Visit equipment vendors
- Explore new equipment
- Learn how new equipment works
- Invent (or cause to be invented) special equipment or technique for show
- Standardize and create effects bible for show
- Help create and approve any storyboards
- Design (or cause to be designed) and approve any built-in or practical lighting fixture
- Design lighting-plot plan and rigging for stages and locations with gaffer and key grip

Quality Control
- Choose and approve crew, film stock, lab, equipment, second-unit and visual-effects crews
- Supervise manufacture and testing of new or modified equipment
- Visit sets under construction
- Approve wild walls, ceiling pieces and any moving set pieces
- Check lighting-fixtures crew
- Walk locations and stages with all departments to discuss requirements
- Approve set colors and textures
- Approve costume colors and textures
- Approve make-up and hair
- Generate (or cause to be generated) and approve equipment list for camera, electric and grip
- Check dailies screening rooms for correct standards

Implementation
- Cast stand-ins
- Train crew to use any new equipment
- Walk locations and stages with director and devise shooting plan
- Make list of special equipment for production manager and indicate number of days required
- Work with assistant director on shooting schedule (order of and days required for each scene)
- Estimate and order film stock (type, size, quantity)
- Generate (or cause to be generated) and approve rigging and shooting manpower and man-days
- Assist other departments in getting required equipment, manpower and tests
- Drop by all departments and visit department heads at least twice a day to answer any questions
- Mediate any problems between departments
- Check loading of production trucks or cargo containers for location or international shipping
- Visit cast run-through and rehearsals
- Advise and back up director on any problems
- Help producer or studio solve any production problems

Testing
- Shoot tests for style
- Shoot tests for lab
- Shoot tests for lighting of principal actors
- Shoot tests for camera and lenses
- Shoot tests for wardrobe and makeup
- Shoot tests for any special effects processes, unusual rigs, props or methods


II. Shooting (Production)

Planning
- Check and approve all call sheets and shooting order of the day’s work

Blocking
- Watch rehearsal of scene to be shot
- Devise shot list with director (coverage)
- Choose lens and composition, show to director for approval
- Make sure composition and movement fulfill scene task
- Work out mechanical problems with camera operator, assistant camera, dolly and crane grips
- Set any camera-movement cues
- Place stand-ins and rehearse, fine-tune
- Ensure proper coverage of scene for editor
- Work with assistant director on background action

Lighting
- Design lighting to show set/location to best advantage relative to story, style and dramatic content
- Light each actor to reinforce and reveal character
- Make sure mood and tone of light help tell story
- Design light for minimum reset between set-ups
- Utilize stand-by painter for control of highlights, shadows, aging, dusting down of sets and props
- Set and match light value, volume, color and contrast of each setup (exposure)
- Set any lighting cues (dimmers, spot lights, color changes and any pre-programming)

Preparation
- Work out any sound problems
- Work out any problems with other departments
- Check, set and approve all stunts with stunt coordinator
- Set any additional cameras required for stunts
- Double-check safety with all concerned
- Show shot to director to make any final changes
- Get actors in for final mechanical rehearsal; solve any outstanding problems

Photography
- Photograph scene
- Approve or correct take
- Check parameters and reset for next take
- Shoot any plates
- Shoot any video playback material
- Move to next setup

Administrative
- Define first setup in morning and after lunch
- Make sure stills are taken of scene
- See that “making of” and/or EPK crews get needed footage
- Make sure script supervisor has any special camera or lighting notes
- Check film raw stock inventory
- Try to shoot up short ends
- Check that camera log book is being kept up to date
- Complete day’s work
- Discuss first setup for the next day
- Ensure camera, electrical and grip crews get all copies of equipment rental or purchase invoices and approve before accountants pay vendors
- Take care of any future or ongoing production issues
- Answer any questions about future problems
- Visit production manager and producer at end of day
- Check for return of all unused equipment

Quality Control
- Call in for lab report
- View previous day’s work in projected dailies with director, producer, editor, camera crew
- Discuss and approve dailies
- Consult with makeup, wardrobe, production designer and assistant director about dailies
- View, discuss, correct or approve second-unit or effects dailies
- Order reprints if necessary

Training
- Teach beginning actors movie technique (hitting marks, size of frame, lenses, etc.)
- Train camera crew for next job up the ladder

Contingency
- If director is disabled, finish day’s shooting for him or her


III. PostProduction

Additional Photography
- Discuss and be aware of delivery dates for all postproduction
- Photograph and approve any additional scenes, inserts, special effects or second-unit footage
- Timing (Color and Density)
- Time and approve trailer for theaters and TV
- Approve all optical and digital effects composites
- Time the picture
- Retime until correct

Quality Control
- Approve final answer print
- Show to director for OK
- Approve interpositive (IP)
- Approve internegatives (IN)
- Approve release prints
- Approve show prints from original negative
- Approve all blowups or reductions

Telecine / Color Correction
- Supervise and approve film or digital transfer to electronic or film media (Hi-Def, NTSC, PAL, Secam masters, digital intermediates, archival masters, etc.)
- Supervise and approve all transfers to and from digital intermediates (DI)
- Supervise and approve all letterbox, pan and scan, or reformatting of film
- Supervise and approve tape-to-tape color correction and VHS, DVD, digital projection media, etc.
- Show electronic transfers to director for OK

Publicity
- Do any publicity (newspaper, magazine, Internet, radio, TV, DVD commentary, etc.)

Restoration / Archival
- Be available for any future reissue, archival reprint or electronic transfer of film.

Nicola Daley
-----------

We are excited to hear that Nicola has been nominated for an AACTA (the Australian Academy of Cinema and TV Arts) award for 2014 - Best Cinematography in a Documentary 'I am a Girl'. Congratulations!

For more about Nicola's wonderful work see http://nicoladaley.com/

Friday, 17 January 2014

Director of Photography - Nicola Daley



Director of Photography Nicola Daley Shares some expert advice on the role and responsibilities of a DoP



We were lucky enough to have Nicola visit us at Signals in November and talk to our BFI Academy students about the role of a DoP.  She gave us some great insights and lots of information that would be useful for any filmmaker.  We wanted to share some of that information here.



This is great practical shooting guide - 

SETTING UP YOUR SHOT : WHAT TO THINK ABOUT (STEP BY STEP)

1. FRAMING & PERSPECTIVE

• What are you framing for, what is emotion behind the shot, is it a POV, who do we
empathise with, what height to eyeline should you be, what is function of the shot?
• Rule of Thirds (refer to painting and composition theory)
• Do you have too much head room or too little?
• Have you filled the frame with visual interest or is there empty space in frame?
• Have you used the THREE plains: Foreground, midground & background?
• Can you use movement either in camera or in blocking/performance?
• If you have camera movement – what is the camera motivated by to move?
• Eyeline – the closer you are to the actor eyeline the more involved audience is.
• Have you used Depth in your framing and perspective?

2. LIGHTING

• Three Point Lighting set up – KEY light, FILL light & BACK Light
• Look out for bad shadows – like Boom Poles, around eyes, or camera shadow
• Use light to BOUNCE & REFLECT as much as possible off walls or ceiling or
use either a reflector disc or some white cardboard (anything flat & white)
• Make sure there is DEFINTION in the lighting and not all FLAT

3. WHITE BALANCE

• On every camera there is a MANUAL set up function for setting White Balance
• Set your white balance up only IN the Lighting set up once ready to shoot
• Use Flat WHITE paper or card to pick up lighting and ZOOM camera so you get
a full frame of white, then press White Balance Auto Set up – make sure the
white looks white and all colours look correct and true to reality.

4. EXPOSURE

• On every camera is a MANUAL set up function for setting your exposure
• IF your subject is too bright or too dark, no colour or pixel info is recorded so you
must aim for a MEDIUM exposure - not too bright or too dark
• IF you want to darken or brighten it up – do it later in post
• Use the ZEBRA stripe setting to check if you are over exposed (too bright)
5. FOCUS
• On every camera is a MANUAL set up function for setting your Focus
• To know if you’re in focus on a subject: ZOOM into it as closely as possible, then
adjust your focus accurately and zoom back out to adjust your shot
• IF you have a lot of movement by your subject in shot – its best advised to stay
in AUTO FOCUS mode but be aware that camera’s use the most brightly lit part
of frame usually to auto focus on.

6. SOUND

• If you have DIALOGUE its best to use an External Microphone or a Radio Mic –
an external microphone needs to no less than 1m away from actors mouth
• Always use HEADPHONES to HEAR what the Camera is recording.
• IF you use an external microphone you must SET up the MENU accordingly so
the camera can read the microphone
• TEST your LEVELS by getting actor to rehearse lines at volume they will talk
• Use MANUAL AUDIO LEVELS to adjust the recording level – make sure the
level is just below the red peaking – DO NOT let the level be too LOW or PEAK




 


Nicola also talked about how to create meaning and through the camera in order to fully explore the intent of the film.  There will be more from Nicola here soon.