The Hope FM logo is a recurringpiece of iconography in theDocumentary – as it not only appearsat the forefront in the beginning ofthe Documentary – but also makesseveral more subtle appearances inthe background of shots, too.Figure 1:A leaflet, shown in theintroductory section of the Documentary.
The colours red, blue and yellow areshown throughout the entireDocumentary – in variousunexpected places. Red, blue andyellow are the only primary coloursin the rainbow, therefore implyingthat they are simple and not toocomplicated. These colours are alsobold, which perhaps means that theywelcome a variety of people intotheir own community. I chose toemphasise these colours because Ifelt that a strong motif wouldreinforce the opinions that I wantedto express.
Figure 1: The keys in the corner of the shot contain red, blue and yellow plastic tags. Thismakes another reference to the colour scheme. Also, the time table in the very upper left cornercontains elements of red, blue and yellow, much like the logo.
To amend my work, I must first lookat the problems I encountered.Firstly, when dealing withtechnology, human error is bound tobe a factor. There had been a fewtimes where plans were made andone of us had forgotten variousimportant items such as tripods, SDcards or camera batteries. Also,considering that there were variousinterviews and two crew members, itwas difficult to arrange a time anddate that would suit all of us at thesame time, and occasionallyappointments we had made had tobe cancelled at the last minute.
To ensure that this happened lessfrequently if I were to remake theentire Documentary, I would bemore organised when arranginginterviews, and keep the date, timeand interviewee name written down,along with the required equipment,so I would not forget. I would alsomake sure that the SD card hadenough space on it before bringingit, and check the battery, charging itthe night before if necessary.
Halfway through the creation ofHope FM: Life Changing Radio, wedecided it would be beneficial to usea higher quality externalmicrophone, which we would syncwith the video during editing.However, this caused issues becausewe did not use this devicethroughout the entire filmingprocess.
I would use the external soundrecording device (Tascam IM2) fromthe beginning, or re-record thesections which did not include thenew device.
Other than the previously statedproblems, there were a fewAmendments to be made, whichhave since been corrected. Anexample of this was the involvementof Paige Van-Der-Zee, theDocumentarian. In the rough copies,we fail to distinguish her role clearly,misleading the audience by showingher at the very beginning, and usingvoiceovers throughout, but notgiving her character/role a resolutionat the end. To solve this, I simplytook out the video footage from thebeginning, whilst keeping thevoiceovers, meaning that now themode is more Expository than it wasbefore, and refraining theDocumentary from misleading theaudience.
In the rough versions, the audio wasout of sync, which disorientated andirritated the audience. In order tocorrect this, I spent more timeediting the audio, until it was entirelyin sync. Also, I improved thenarrative device from the first roughcut, making the upcominginterviewee look more distinct thanthe others. This was a hugeimprovement from the prototype, asit is also animated, reinforcing theflow of the overall Documentary.