Summary of PlacementBeing a Digital Media Design student with a keen interest in TV production, I was delightedto hear I had been offered a position to spend my nine months work placement with DublinCommunity Television. Dublin Community Television, or DCTV as they are morecommonly known as, are a licensed TV station which is an open membership co-operativeallowing volunteers to become members of the station in order to avail of the stations trainingprograms, gain access to filming equipment, and in turn, produce their own weekly showswhich can be aired on DCTV, channel 802 on UPC.‘CityWide’May 23rd was my first day meeting up with the station manager Ciaran Moore, along withtwo other new members starting on a JobBridge National Internship program for ninemonths, Donal and Eddy. Ciaran and - Production Coordinator - John Breslin had decided toset up a new project for the three of us who would be working as a team together over thefollowing months. The name of this project was ‘CityWide’, which “takes a look at the diverse range of news & events that go into making our unique community.”CityWide is to be a 2-3 minute long segment covering any community events or goings on inthe City centre (which has expanded to more rural areas of the county over the months), withthe objective to film, edit, and send to broadcast, five segments a week. With their being onlythree of us at the time, role positioning proved to be quite simple, with Donal being a regularcurrent affairs talk show host on ‘NearFm’ radio, he took the role of lead interviewer andpresenter like a natural, allowing myself and eddy to vary between camera operating andediting, as neither of us had any interest in being in front of the camera.After our hour long brief in the office, May 23rd also saw the very first segment - of what iscurrently on over 150 shows to date – of CityWide created, where Donal, Eddy and Ideparted the office, which is based in the Guinness Enterprise Centre beside the Storehouse,with our Panasonic ag-dvx100b camera, tripod and handheld Sennheiser microphone to filmCityWide’s first ever shoot, a Pop-up orchard at the Grand Canal docks, showcasing abusiness impact map on how companies are helping out local communities.Even with this being our first shoot, we managed to catch ourselves two interviews on theday, one on what the Pop-up orchard is about, and another interview with the designer of theorchard. After heading back to the office, as the two interview both ran over 3 minutes long,we were able to create two segments about the day “CityWide – Pop Up Orchard on GrandCanal Square (Part 1)” and “CityWide – Pop Up Orchard on Grand Canal Square (Part 2)” aslisted on CityWide’s ‘Vimeo’ account.Every Monday at 12p.m we would all meet up at the Shopfront Studio in Temple Bar for ourweekly CityWide meeting, where we would, as a group welcome new members to the teamand give them a brief introduction to the project (CityWide has now expanded from threemembers, to fifteen on and off members and Interns), discuss the previous weeks shoots,what was filmed, edited, and a list of segments currently showing on our Vimeo andFacebook page, while keeping a manage on what is currently broadcasting on AerTv.ie andUPC. Then we would talk about what shoots still require editing, and draw up a list ofpossible shoots for the current week, then each members availability and skills would bedivided up, and plan who does what over the week, before a list of Mac editing computer andfilming equipment booking times are then sent on to Des in the office who can manage theavailability of equipment between different projects taking place.
‘Bump Tv’Bump Tv is the second project which I was involved in with DCTV, created, produced anddirected by Eddy Ifeanyichukwu. As described on our Facebook page, Bump Tv, “Dublins only Urban Music Show comes together with DCTV to showcase the hidden talent that is, Irelands Urban Hip Hop artists.”Bump Tv goes on air live every second Thursday night on DCTV channel 802 at 10p.m, andrepeated at 11p.m all weekend. My role with the show was to operate one of the DSLRcamera’s used, and set up the lighting equipment. The format of the show is a 15 minuteinterview with our presenter Suzie, which is split up by three of the guest’s music video’splayed inbetween to break and keep viewers interested, this was filmed in a downstairsbasement of the ‘White Lady Art Gallery’ on Wellington Quay. This Gallery is owned byAlexis, who was an artist we had done a promotional ‘CityWide’ segment for, and was sothankful she allowed Bump Tv to set up our interview studio in her basement, where webrought local graffiti artist ‘ADW’ in to sketch, design, and spray paint a backdrop onto thewall where filming will take place.Once the interview has been finished up, the guest of the day, our interviewer suzie, andproduction manager Susan would usually head off for a coffee break to prepare the guest fora live appearance. During their coffee break, myself and the crew would proceed to strip thebasement studio of its camera, lights, stands, soundproofing curtains, and make our way tothe DCTV studio situated two minutes around the corner in Wood Quay beside Christ Churchand the Dublin City Council, where we will then set up our Arri lights onto the celling rig,put on the blue and orange lighting gel covers to give a live stage feel and hook up threewireless lapel microphones to a mixing desk, which allows us to manage the sound levels ofeach microphone connected to the guest performer, who will play an acoustic Hip Hopversion of their song with our in-house guitarist Gabriel Caetano and djembe drum playerKwame.
Brief history of the companyDublin Community Television is a non-commercial community station. It’s a licensedcommunity provider for Dublin which has been broadcasted through UPC since 2007, andairs to approximately 200,000 homes across Ireland. The company operates under theCreative Commons act allowing for the free use and sharing of its productions to others.DCTV offers memberships to the public, and provide training courses in media, allowingvolunteers of all experience from Novice to Professional to participate, gaining knowledgeand experience in joining and training on small budget free productions, or with the help ofDCTV, can apply for ‘Sound and Vision’ funding allocated from a small percentage of theTV license fee’s through the ‘Broadcasting Commission of Ireland’ (BCI) to assist in creatingtheir own shows. July 2008 saw the official launch of DCTV by Minister Eamon Ryan,Department of Communications, Energy & Natural Resources, which had beencommissioned with a 10 year Community Licence by the BAI (Broadcasting Authority ofIreland) since 2006.Due to the fact DCTV is a Community based station, it is a non-commercial channel, it reliespurposely on independent forms of funding from ‘Dublin City Council’, ‘Dublin communityForum’, the ‘Broadcasting Commission of Ireland’ and other forms of funding for variousproductions. Some sources of funds are raised through volunteer membership fees, these feesallow for the maintenance of the station, its studio, and for the equipment used to film, andonly costs €25 for the year, or €15 to those who are unemployed.The head office of the station is located in the Guinness Enterprise centre, Taylor’s Lane,which employs five paid staff who oversee the running of the stations projects, control thebroadcasting of shows, and manages memberships, funding, and training programs to name afew. In the main office there is also a G5 Apple Mac Final Cut Pro editing suite available tomembers in editing their shows, or they can avail of the Adobe Premier Pro editing suit in thesmaller office next door. Further down in Wood Quay, allocated beside the Dublin CityCouncil is where the ‘Shopfront Broadcasting Studio’ which opened in January 2011 isbased. Inside the studio is facilitated with a multi-camera digital switcher mixing deskconnected to three moveable cameras, an Arri lighting rig with four Arri lights, four wirelesslapel microphone receivers connected to a sound mixer which records through Final Cut Proon an Apple Mac, a Blue screen for editing backdrops, and props to dress the studioaccording to the shoot taking place, along with camera tripod stands, A Sony Hxr-mc2000HD hard drive camera, Panasonic ag-dvx100b SD camera, two wireless Sennheisermicrophones, and two DSLR camera kits.Although DCTV is a community television station, along with Fás and other developmentcentres, they also operate development training projects for unemployed young people.Examples of these projects are ‘Bosco Talks’, where DCTV producer Barry (and ShopfrontStudio course trainer) teaches a group of young people from the St. John Bosco centre inDrimnagh how to develop, write, operate and present their own talk show about what’shappening in and around their local area. Another show run by unemployed members is‘Dole TV’, a comedy sketch show on Social Welfare, Job seeking, Political comedy, andanimations submitted by viewers.In terms of a technical training initiative set up by DCTV is the ‘Studio Operator Course’.This course is run every Wednesday by Barry, from 2-5.30p.m in the Shopfront Studio,where he takes on two - three new members a week to provide them with all the essentialtraining and support required to fully understand and have the potential to operate the soundand vision mixers, adjust the Arri lights to sensitivity, and shoot broadcast ready material bythe end of the course.
Structure of the organisation and students department.DCTV is a volunteer station, which runs on funding from the Dublin City Council, theDublin Community Forum and mainly, on the membership fees of volunteers. Within DCTVthere are five paid members based in the main Guinness Enterprise Centre office. These areCiaran Moore, who is the station manager and oversees the day to day activities taking place,meets with local community groups and City Council members, pushes for funding, andcommissions the go ahead of new projects taking place within the organisation. Then thereare John Breslin and Barry Lennon, both are Production Coordinators, whom also run‘Community of Independence’. “a movement of videographers documenting independent music in Dublin & beyond, broadcasting a variety of programmes on the subject on Dublin Community TV!”John is also the head coordinator of CityWide, while Barry works closely with the St JohnBosco youth centre in Drimnagh filming ‘Bosco Talks’, he also runs the Studio Operator’scourse. Also in the office are Des and James, Des is the office administrator who also talkscharge of bookings for filming, editing and studio equipment and recruiting new members,while James is the Technical advisor who controls the running of show’s being broadcastedand organises scheduling times.Although I worked on two projects for DCTV, Bump TV and CityWide, My maininvolvement was with CityWide, which I had been on board this project from the verybeginning. Due to the fact DCTV is a non-commercial organisation, at the end of May whenall major productions were nearing the end of their series, Station Manager Ciaran Moore andProduction Coordinator John Breslin had come up with the idea to have Donal, Eddy andmyself create a new project CityWide, where we would attempt to create five - three minutesegments a week which could be used to play inbetween show intervals whereadvertisement’s would usually be seen.At first, production proved slow and difficult, with their only being three of us in the teamand one presenter to cover all of the cities activities. In the first two weeks and onlymanaging a small handful of edits, the standard was quite basic as we knew we were yet tofind a ‘format’ for editing, and still had no opening title’s or theme tune we could agree onwhat sort of impact we wanted our show to protrude at the start of every segment. On Friday1st of June, I took aboard the role of heading around the city centre to film some of Dublin’sprime spots for our new opening sequence. Just outside the Guinness Enterprise Centre andStorehouse, I met a woman who was looking for the DCTV office, her name was Susan, andwas looking to join DCTV as a member to learn all about the technical aspects of filming, sowith that, I decided what better time to bring her out and teach her, which proved successful,as she also had a friend who wrote shorts ‘Jigs’, where he later sent one on of a nice 45second guitar piece we could cut down and use in the final edit of our very first openingsequence.The first two weeks of CityWide were of a casual standard, with Donal Eddy and I contactingthrough mobile about any shoots present or edits required. However as interest in joiningDCTV began to increase, John and Ciaran created a new training initiative, where CityWidewould become the main focal point for new members to start their involvement with DCTV,and learn the use of the equipment more efficiently and effectively before setting off oncreating their own productions. With that, new booking procedures of equipment wereinstated, to prevent ‘block booking’ (having consistent use of equipment over others in theorganisation), and before any shoot could be confirmed, a list of equipment required andtimes of collecting and returning must first be sent to Des in the office where he would postthe bookings on the DCTV Shopfront Studio Calendar website, accessible by anyone to seethe availability of filming equipment, studio bookings, and editing suit times.
With that, any new and current member of CityWide would be added to a CityWide emailinglist, where instead of having to email to each member individually, you only needed oneemail address which would be sent to everyone involved. With the increase of members andshoots available, with some having 3-4 shoots in a day, We had a Gmail account set up,where we could create a Google docs in various sub folders with an editing checklist for theeditor of the day, and others titled by months, where inside the editor or filming crew can findcall sheets for each week, listing the title of the shoot, who was on the shoot, the roles of crewmembers on the day, contact numbers of the organisers, the name and role of the interviewee,and what took place or will take place, this increased communication, which would haveotherwise created unnecessary stress trying to contact various members on details of shootsand edits.
Students main responsibilitiesThe best bit of having worked with DCTV, was I was never limited to just having one rolewithin the organisation. When I first started, I was asked if I was more interested indeveloping a skill over my 9 months, i.e. work as an editor for the duration, just handlecamera work, or if I would prefer a broader role working on a production, CityWide, whichwould allow me to develop various skills and learn the goings on involved in putting a showtogether, which is exactly what I had hoped to achieve.As CityWide had become a training initiative for new members, everyone had a chance ofpursuing a different role, from organising an event to cover and being the producer writing upcall sheet’s and getting a crew together, to operating camera’s, sound recording equipment,studio operating, editing, and even . . . which became a big responsibility of mine, teachingnew members the technical aspects.ProducingThe first stage before any shoot goes ahead is to produce one firstly and bring your idea to theMonday meeting forum. Here is a rundown example of just one of the shoots I produced, andthe tasks required. My biggest production was an All-Ireland American Football Press Daytaking place in Tallaght stadium on the 10th of July for the build-up to the UL Vikings takingon the Belfast Trojans. Although I knew about it as a player of the UL Vikings, It was stillmy role to get into contact with Russell Keerley, one of the head committee members of the‘Irish American Football Association’ who in turned allowed the crew and I press access tothe event. The next stage was to contact Des in the office who is in charge of bookings andadministration, via email to organise for the Panasonic camera kit and wireless microphonefor collection and return from 10a.m to 2p.m, who will then post the booking schedule ontothe DCTV Shopfront web calendar for all members to see. Originally I had organised for acamera man, presenter and myself to attend the press day, however, on arrival outside theTallaght stadium, I had received news my presenter would be unable to attend, so asproducer, It was my role to step up, and do my first ever interview shoot.Fortunately all went well on the day and I managed to wing it at presenting and impresseveryone back at the office, however for a producer of the shoot, my work was stillunfinished. On returning to the office, it was now my responsibility to write up a call sheet onthe event’s that took place. I had to state the event going on, its location, the equipment webooked out, the crew involved and their roles, the name and title of the interviewee’s, andwhat took place for the editor in charge to know what to do (in this case it was myself). Theshoot was title ‘CityWide – IAFA Shamrock Bowl Press Day’, and is still to date, the mostviewed segment on CityWide.FilmingCamera work is a crucial part of any shoot, as whatever is filmed, will depict how the finalfootage is going to look. If a shot is too bright, the Iris on the lens must be closed to preventtoo much light coming in, or vice versa, if it’s too dark, try to open the iris and let more lightin. If a scene looks too blue or pale, the camera may need to be white balanced, this is asimple process of holding a plain sheet of white paper in front of the camera, which willzoom right in, and press the white balance button to take any white washing out of the shot,giving the area a much warmer tone. Also shaking needs to be prevented by taking a carefulhold of the camera and using a slow movement to prevent jolting around an image. Last butnot least is sound and microphone technique, Whenever I film an interview, I make sure thepresenter and guest are in the quietest area possible, and by wearing a set of isolatedheadphones, I have the talkers try a test interview to make sure there is no background noise,and no waving of the microphone around by the presenter which may cause noise levels to
rise and fall, with ‘peaking’ occurring, these are large puffs of air entering the microphonecreating an irritating ‘pop’ through the speakers.As each segment is only 2-3 minutes long, I always film the interview first, and make sure topay attention to what the guest is saying, while having the presenter under strict orders toprevent them from ‘waffling’ and talking for too long. Working in this order allows me tocapture only what I need of the event, and preferably capture footage of what the intervieweeis talking about, which keeps material to a minimum and speeds up editing time of findinggood footage for cutaways, but also give the necessary visual cutaways to keep each segmentinteresting without throwing the viewer off what the guest is describing.EditingAs CityWide began to increase over the weeks between August to October, The majority ofmembers and new Interns would head out on shoots taking the role of presenter or film crew,and getting the feel of being out and about on shoots, therefore I was allocated to lead editor,as I had the most experience having previously worked on the segments for the past twomonths, and this is where I found I worked best.By taking a look at some of our shows dating back to May, you can see an a huge change informats, from originally starting off with a 20 second intro clip with shots of landmarksaround Dublin and a guitar jig playing in the background, with no straplines for intervieweeson screen, to working with fellow interns from America where we put together some simple,but more professional and effective graphics, where we have a 2D image of the city centrecoloured in purple and white that plays for 4 seconds and no audio until it crossfades into anopening intro piece of the shoots presenter telling the viewers of what’s going on, then wehave a small purple CityWide graphic that sits in the bottom right hand corner of the screento showcase the shows identity, and a purple and white strapline banner that swipes across thescreen to position itself under the guest speaker as their name and title in purple dissolves inperfect timing to the banner, before both disintegrating off the screen after 5 seconds. At theend of each segment when the presenter signs off, the screen turns to black, where a ‘LikeCityWide on Facebook’ graphic appears, followed by DCTV’s own motion graphic to close.As CityWide became the foundation for new members to volunteer and gain knowledge, wehad to keep the editing to a basic level, but with a professional and interesting look. Theformat I put in place is a simple intro of the presenter, followed by a strict 2.30 minuteinterview (or near enough so it can be edited shorter if needed), with 6-10 three secondcutaway shots, followed by a sign off by the interviewer, if however the interview is tooshort, then the use of Royalty Free Music can be used in the background, along with longercutaways to keep the show interesting.From the beginning, CityWide files were all saved into one folder when shoots were only ona daily basis, however as CityWide grew, so too did the number of shoots being produced. Tohelp make it easier for new editors to come on board, a filing system was put in place ontothe Mac computer. Working off of the ‘Work’ drive, we set up a main folder listed‘CityWide’, within this folder there are three sub-folders, the first being ‘Archive’, the secondis ‘Projects’ and the third called ‘Exports’. This filing system was set up to help manage thelarge amounts of shoots being sent to the computer, and also to keep our projects neatlyseparated from any other on-going projects from other DCTV members and easy to find. Inthe Archive file, is where all the graphic templates are saved, here you will find the introfiles, along with the outro file, strapline, and logo, this means that whoever is in the hot seat,could simply transfer the graphics templates, intro, and outro clips, into the new segment dueto be edited to pursue consistency between editors, and keep each show layout the same. TheProject file is where the main footage files to be edited are saved and each folder title with theshoots name on it so we know which file is what. Finally in third folder, Exports, this is
where the final project has been edited, signed off on, exported, and awaits to be broadcastedand uploaded online.Out of all the roles I have played in CityWide, being the lead editor was one of my favourites,where on a good day, I could be pushing out 4-5 edited segments a day, our weekly aim, oron a bad day, I might only get 1-2 segments completed a day due to re-edits, awaitingmaterial from a secondary camera, waiting for the shoots producer to forward on the callsheet information as to allow me fill in the guest speakers name and title, or if there aremultiple interviews, I could find out which interview needs to be positioned first and so on.The editing seat can be demanding, stressful, and take a lot of patience, but being the one togive a shoot the creative finishes, and challenge yourself fixing an audio problem, smoothcam shaky footage, or white balance and colour correct pale washed out footage to a nicewarn segment gives you a huge sense of satisfaction, although being an editor, you are rarelyhappy with the finished product, and will always find something that can be changed to makeit look better.Teaching and trainingAs DCTV is an open membership organisation, this allows for the freedom of anyone with aninterest in media to join, no matter what experience you obtain. DCTV is driven by threeprincipals, Empowerment, Participation and Diversity, and excel in offering trainingprograms to anyone with an interest in joining. One of their main projects is CityWide, whereall new members once signed up and have participated in Barry’s Studio Operator Coursewill begin their experience. As some of these new members may have never had any camera,editing or presenting experience before, rather than throwing them into the spotlight on ashoot, the newly position Volunteer Coordinator Susan and I both agreed, that being thelongest serving member of CityWide, I would take on the role of teaching each and everynew member and Intern the fundamentals on how to operate a camera, make sure the sound isbest recorded, how to set up the lapel microphones, lighting, and camera vision mixer boardin the studio, and finally, how to use our format in the editing room.I enjoyed this role a lot, as I found I had learnt a lot through some colleagues in DCTV andother Interns, and was delighted to be able to pass on my knowledge and what I had learnt toother members who like myself, were just starting out. Firstly I would show them how I workin the editing suit, so they can see the format in which way we sheet, how to keep theinterviews short but knowledgeable, how and what to film instead of going out and capturing30 minutes of unnecessary footage, and after editing a segment, you learn to visualise exactlywhat you want on film, before you go and use a camera, keeping workflow short andmanageable.The next stage is how to operate a camera effectively in different conditions, I show how toadjust the white balance and iris exposure to correct the lighting conditions for differentshoots, then how to correct the focus, followed by some basic fundamentals of how tocomfortable hold a camera whilst still preventing any shaking.Finally I would be the Studio operator advisor for when there is a studio shoot taking place.As studio advisor, I would show each member how to set up a new project, turn on the multi-camera switch board and set up the three camera angles to switch through live, one wide shot,one focused on the Interviewer, and the third camera pointing towards the guest. The Arrilights will then be powered on to brighten up the conditions, and white balancing on thecamera takes place. The final steps are to synchronise the interviewer and guests wirelesslapel microphones to the audio mixer and have them talk amongst themselves until the audiolevels are set, then we are ready to use the clapper board on the opening camera angle, toallow us sync the audio and visual later on in post-production.
Opportunities for Learning during Co-op Communication SkillsParticipating effectively in meetings and/or group settingsIn my Pre co-op assessment, I rated myself as a level 2. The reason for this is before Icommenced my work placement, I would never really mix in large groups as I am very quietand tend to be shy and take the back seat approach to any discussions or forums. Sincebeginning our weekly Monday meetings for CityWide however, I found myself puttingforward ideas more and more, and having a better input into the running and organising ofCityWide. I had gone from sitting at the back of the group accepting whatever ideas andproposals were being put in place, to being one of the key motivators in organising workflowamongst team members.Another example as to my new approach in groups settings were the training classes Icommissioned. I would often gather new members together to teach them the functions ofoperating a camera, doing basic edits on Final Cut Pro, and even teaching small groups ofmembers how to set up and prepare the studio for a live broadcast.Communicating ideas and concepts clearly both verbally and in writingWhen starting out firstly, this proved to be somewhat of a difficult process, due to trying tocommunicate technical issues to those of a different level, or new members who are partakingin this line of work for the first time ever. The original form of communication between teammembers from the beginning was via text or phone calls as there were only three of usinvolved in the running of CityWide, and were quite easy to get hold of whenever. As newmembers began to join CityWide, we implemented a new system to be able to easily contactthe ever growing team all in one, a new group email was set up, whereas instead of linkingseveral email address to the sender option of an email, every new and current member wasadded to the one CityWide email address, where all members would receive an email fromone address. The thing about contacting between one email though, meant there were severalemails being sent a day between presenters and producers, camera operators and editors,which meant it was hard to keep track of which email was for certain individuals.The next step in improving communication methods between members then, was to set up aGmail account, to gain access to Google docs. With this, we were able to set up editabledocuments between members. There was an editing file with a daily update on what was duefor editing, which the current editor of the segment is, how far into completion is it, andwhether or not it requires a re-edit. Other files included call sheets of every shoot covered.The producer of a shoot must create a call sheet inside the month’s folder filed into thecorrect dating system where an editor can gain easy access. The producer’s job is to title thecall sheet with the event’s name, then list all members and their roles involved. Followingthis is a basic layout of the shoots proceedings and what took place. Finally the producer willadd in any information about the guest or guests involved in the segment, this includes theirfull name, and title to which they go by.As you can see from above, our process of communication between members has drasticallyimproved. The strict changes implemented into creating bookings for equipment and passingon information between colleagues to increase the smooth operation of workflow hasdefinitely made me a more organised and pursuing individual, from taking a back seat ingroup meetings, to holding small teaching classes in the operation of a production, and theforms of communication involved.
Problem Solving SkillsBeing able to identify the key issues surrounding the problemWhen working in the media world, there are always going to be problems you will face, butthe ecstasy of working in this line of work is not trying to find a way around the problem, butto quickly think up of a solution quick enough to prevent a backlog in completing dailysegments.This became a key skill I had no choice but to quickly obtain working in the editing suite.Often I would receive footage that would have problems such as shaky camera work, poorlighting conditions, washed out bright footage, or sound difficulties such as peaking creatingirritating bangs through the speakers. When first starting off, I spent the majorities of myedits on YouTube trying to find solutions, until within just over a month, I found myselfnaturally correcting these issues without the need of using online help. I was able to quicklycorrect washed out footage by learning to grasp the three colour correction tool, whichallowed me to white balance the image, and change the bright, dark, and medium levels togive the image a warm tone. Smooth cam was one filter I hated using, but it became a bignecessary, with this filter I was able to prevent the shaking around of footage on the screen,however this became a dreaded tool, due to the time it would take to smooth out a clip,therefore creating backlogs in the editing process. Less than half way through my workplacement then, I was now teaching new members how to obtain a basic standard in editing,often taking on small groups at a time to teach them the basics from the beginning, anddepending on their capability, I even managed to pass on the solutions to the technicaldifficulties I once had.Being objective even though you may feel emotional about a particular work issue orsituationWorking in the editing department isn’t for everyone, here you need a great deal of patience.Editing a simple three minute segment, depending on the quality of the shoot may takebetween one to two hours on a good day. If an interview runs over the three minute mark it’sour job to manipulate the interview, in a way of cutting out the least relevant part, but stillbeing able to cross blend the pauses and sudden changes of topics after the cuts. The best wayof disguising a cut through an interview, is by adding in a cut away shot over the breaks, thisway it takes the distraction off the interview until the topic changes. Due to this, you will playover a simple discussion between four to eight times, to make sure everything runs perfectlywithout making a cut in talking to obvious and adjusting the audio levers to make it appear asone flow.This is possibly the most challenging section of editing, and because you play over thesegment so much to perfect it, you will always find something in the edit you’re not happyabout, and you will constantly be thinking of a way to change things around, which in turnmakes you attached to each segment in an emotional way. This proves to be a greatchallenge, as although you become emotionally attached to the project at hand, you will try toperfect it in the best possible way, but in turn, still know where to draw the line and finish it.The best way I found to finish the project, is to have the shoots producer sign off on any editsI made, to make sure once their happy with it, I’m happy with it.
Interpersonal / Teamwork SkillsSupport and contribute to a team environment.Due to the weekly Monday meetings, I found myself becoming more and more involved inthe team. For the first few meetings I would often take the back seat and just listen toeverything taking place around me. As the weeks went on though, I gained more confidencehaving people asking me for help in how to set up a camera, organise the studio for a shoot,and how to precede an edit. This helped me become more confident with other team membersknowing that we needed to help each other to keep up the quality of our work. After theseexperiences I became more helpful and had a better input in the meetings. Due to the natureof teaching my colleagues how to manage the use of our equipment, I feel I have contributedto the team environment in a big way. Whether I was out on a shoot, or in the office editing, Ialways had my phone on call ready to assist team members on their shoots in case anydifficulties arose, and was contactable via phone or email at any time of the day.With BumpTv, I was asked by the director Eddy, who first started off at CityWide with meand we got on really well, to help him start up BumpTv, I came on board as a camera andlighting man, but as we had the same ideas and taste, I also assisted Eddy in project planning,shooting locations, and format ideas with the show. BumpTv is an example of my hugecontributions to a team environment as together, we decided who to bring on-board theproject, who to use as a presenter, and helped design the shooting format of the show, as wellas ideas on using an in-house guitarist and djembe drummer to perform a live acoustic setwith the artist and one of their chosen songs.Build a good rapport with a wide range of people.When producing a shoot or filming an event, you find yourself meeting new people everyday. Whilst filming, on several different occasions, we would always get talking to newpeople about who we were and what we do, and usually manage to recruit new members whowere keen to get involved. We would often keep in contact with event organisers to keep oureye on new events taking place. One person we kept in close contact with was a woman whoset’s up art galleries in and around the city who we covered quite a bit of when starting out.When we heard she was setting up her art gallery shop, we helped her promote it by filmingher launch night. She was so happy that she allowed us use the basement of the shop for ourother show BumpTv, an urban music show, and have graffiti artists come in and dress it up.The next example of how we built a good rapport with people, is when working on BumpTvwe had the aim of creating 10 episodes of Dublin’s biggest Urban music artists. Although wehad connections with a few rappers for the show, it wasn’t until we brought ‘Class A’z’ intothe studio to film episode three. The two members of ‘Class A’z’ organise regular concertsand Rap battles, so had contacts with Dublin’s biggest names. With the day of filming goingso well with the lads, they were only delighted to organise for use to meet some of theserappers and get them on the show. This helped us out in a big way, and with such big namesin the Irish Urban music scene, word spread of our show fast, we even managed to findourselves pushed with people asking to be on the show, and sending their music to us for alisten, along with others asking if they could join our film crew.
ICT SkillsBeing able to use appropriate computer software products to assist with your dailyworkHaving only basic knowledge of Final Cut Pro from my second year of college, I knew Iwould be facing some software issues surrounding the editing side of my workflow. AlthoughI started off on camera operating duties, working in the editing suite is where I later on foundmyself most capable and suited. Taking a look back at some of my first edits, It’s obvioushow little experience I had in me, putting together some basic unimpressive segments. Thisall change within the first few weeks where I had no option but to sit down and go throughonline video’s on various techniques and tips to help develop more professional lookingsegments using final Cut Pro. Soon I found myself able to import graphics, motions,background music and transform our opening graphics into a special Christmas version withsnow falling over the opening titles followed by the graphic of Dublin City turning red.It wasn’t long before I had become a competent user of Final Cut Pro, having to overcomesuch challenges as needing to colour correct blue whitewashed shoots to warm tones, adjustlighting problems using white balancing or create filters to prevent the blowing of wind intothe microphone creating loud popping sounds through the speakers. For certain filmingevents which may be too large for one camera to cover, we would often send a second filmcrew out with two camera’s and wireless microphones to help cover more aspects of theevent. With this taking place, means back in the editing room it is my responsibility as aneditor to be able to sync up both the wireless microphones to the images portrayed throughboth cameras, this is where the help of a clapper board comes in, to help sync up the image ofa clapper board hitting, to the sound being recorded. Once the sound has been matched to thefootage, I then have to filter through every second of footage covered to cut it down to a threeminute segment, this can range from 10 minutes of filming on one camera, to nearly 30minutes of footage each on two cameras depending on the event. Therefore I start every editoff with the interviews being cut to three minutes to start, and edit only the footage whichbest describes what is being talked about.From starting off at a pretty much novice level of Final Cut Pro editing software, I managedto work my way through the ranks, going from being the student, to teaching new DCTVmembers how to start an edit from start to finish on a regular basis, and become the lead inhouse editor going from completing one edit a day, to pushing out 3 to 4 edited segments aday ready for online upload and TV broadcasting.Understanding the capability of any technology such as computer hard and software,particularly industry-standard systemsAs a Windows user, my first obstacle was learning how to competently use an iMac, as thiswas the main editing suite available to members. Luckily for me, the simplicity all appleproducts are based on provided a quick start to my learning rate, and it wasn’t long before Iwas able to navigate my way around its interface with ease. The next stage for me was to beable to start a project in Final Cut Pro, and pursue my role of editing a three minute segmentevery day, five a days a week.By the time I had taught myself how to swiftly move about on the iMac and know the ins andouts of Final Cut Pro, I had become so efficient at it that I was able to teach newer membershow to obtain the same level, or as close as possible, to myself, so they would be able to takeover the role of lead editor when I finish up.
BibliographyDCTVhttp://www.dctv.ie/main/http://en.wikipedia.org/wiki/Dublin_Community_TelevisionCityWide Facebookhttps://www.facebook.com/CityWideDublin?ref=hlBumpTv Facebookhttps://www.facebook.com/BumpTvDublin?ref=hlCommunity of Independencehttps://www.facebook.com/CommunityOfIndependents
Pre-Coop Skills Review Form ID No.: 10129758 Name: Vigna, Killian Gender: Male Mature: No Placement Location: Ireland Placement County: Dublin Course: Digital Media Design CoOp Period: May - February Year: 2012Basic work skills 3 Skill: Reporting to work as scheduled and on time. Example: Growing up in a hard working environment, I have been taught to always make it into work at least 10 minutes before hand to make sure I am ready for whatever scenario awaits, and to judge the surrounding environments with a clear vision before starting a job. 3 Skill: Dressing appropriately for work. Example: Being extremely hygienic, I always comply with dress code regulations, and make sure my uniform, if one provided, is freshly washed after every shift, or else make sure I have multiple t-shirts and trousers to match that of the required outfit.Communication Skills 2 Skill: Participating effectively in meetings and/or group settings. Example: I always find myself to be the quiet one around large groups, and tend to try and hid behind others in group discussions and meetings. 3 Skill: Communicating ideas and concepts clearly both verbally and in writing Example: Depending on what the concept is, I can either be too direct, or too elaborate that I tend to dwell off expecting everyone to understand what Im putting across.Problem Solving Skills 2 Skill: Being able to identify the key issues surrounding the problem.
Example: Depending on the situation, I can be quite good at decision making, but more regularly I will ask for a second opinion. 3 Skill: Being objective even though you may feel emotional about a particular work issue or situation. Example: If Im not happy with something, I have no problem objecting with it, especially if it is of my own work or something I have participated in.Interpersonal / Teamwork Skills 4 Skill: Support and contribute to a team environment. Example: I prefer to work in group environment as I find myself to be motivational as a team member to get a job done, and I know a team relies on me to keep going. When working individually, I tend to slack off more. 3 Skill: Build a good rapport with a wide range of people. Example: I find myself very outgoing as Im always up for meeting new people publicly, however I tend to loose contact as I dont enjoy communicating through a phone or online.Cultural / International Awareness 2 Skill: Being conscious of different cultural values. Example: I am very aware of people’s different cultures, however, I would like to better understand and learn more different people’s backgrounds. 2 Skill: Being sensitive to others with different cultural backgrounds. Example: I prefer to treat everyone as equal, although sometimes to may come across as being insensitive or offensive.ICT Skills 2 Skill: Being able to use appropriate computer software products to assist with your daily work.
Example: I am still in the learning process of using Final Cut Pro, an editing software which is the editing software I will be using for the next 9 months. 2 Skill: Understanding the capability of any technology such as computer hard and software, particularly industry-standard systems. Example: I dont know too much about computer hardware, but I am capable of learning and using just about any software I come across.Organisational Awareness 2 Skill: Have an awareness of the organisation’s purpose and goals. Example: As the information available is quite limited, the main focus of the company is that its an open membership run by volunteers. 3 Skill: Demonstrate a self-motivated attitude to work. Example: Being told that I will be starting up a new filming production within a team is enough for me to be more than motivated as this is what I hope to pursue in the future.
Post-Coop Skills Review Form ID No.: 10129758 Name: Vigna, Killian Gender: Male Mature: No Placement Location: Ireland Placement County: Dublin Course: Digital Media Design CoOp Period: May - February Year: 2012 Has your placement helped you to make decisions about your future career? Yes Explanation: Yes, having originally wanted to be a TV producer, having spent the past 9 months in all sectors in involved in producing a show, I have found working in the editing room to be the most interesting, as this is where I felt most confident and comfortable with my work rate. Employer Size: 5 Employer Type: privateBasic work skills 4 Skill: Reporting to work as scheduled and on time. Example: Due to having booking procedures in place with strict time slots for collection and returning of filming equipment, this has helped me become more aware of time management, as if I am late turning up, someone else will have taken my place which I found in the first few weeks, now I make sure to be at least half an hour early before any booking. 2 Skill: Dressing appropriately for work. Example: Having spent the majority of my time working in the editing suite, I had to choose dressing comfortable to focus on my work over dressing formally.Communication Skills 4 Skill: Participating effectively in meetings and/or group settings. Example: Every Monday morning the whole project team would meet up to have our weekly discussions. Before this placement, I would have been the quite one who took the back seat in the meetings, now I am usually the first to put forward ideas and get involved with discussions. 3 Skill: Communicating ideas and concepts clearly both verbally and in writing
Example: Although competent, there can be miscommunication between project members reading email updates due to not understanding the different technical requirements involved (i.e technical know how’s involved in editing software and camera operation.) However after regular training amongst members, communication became easier.Problem Solving Skills 4 Skill: Being able to identify the key issues surrounding the problem. Example: Sitting at an editing suit for so long, you come across many problems such as sound and lighting issues from filming. Due to the time constraints of trying to get material filmed, edited and broadcasting over a short period of time, the first few weeks were a learning curve, but nearing the end of the placement, I was then teaching others how to overcome such technical problems and take over as the editor. 4 Skill: Being objective even though you may feel emotional about a particular work issue or situation. Example: Being an editor, you are rarely ever happy with the finished edit, which I like, because it teaches you to always be critically thinking, and not willing to just hand something over a half-heartedly attempted project.Interpersonal / Teamwork Skills 4 Skill: Support and contribute to a team environment. Example: While working on a voluntary show, people of all skill levels are always looking to join, even some members with no technical know-how, but a keen interest in working with media, So I felt it my sole responsibility to offer weekly camera operating training courses and editing classes on Final Cut Pro, to show new members the structure we produce, how to use equipment efficiently, and allow everyone the general know-how to produce daily shows with no budget. 3 Skill: Build a good rapport with a wide range of people. Example: Keeping contact with people we provided filming segments for proved to be very beneficial, as when starting up a second TV show, we were offered use of a pop-up studio in the basement of an Art Gallery who we promoted, and also had graffiti artists come in to design and paint the studio in return for filming a segment on their art.
Cultural / International Awareness 3 Skill: Being conscious of different cultural values. Example: This has improved a little from before as I found myself working with three other American Interns, and our music show Director who was from Nigeria which helped me understand a little bit about where they were from and their lifestyles. 3 Skill: Being sensitive to others with different cultural backgrounds. Example: As mentioned above, I worked with a director from Nigeria and three other American Interns, but I found no real cultural differences experienced between, as I was more comfortable around them than I would have been before.ICT Skills 4 Skill: Being able to use appropriate computer software products to assist with your daily work. Example: After spending 9 consecutive months using the editing software Final Cut Pro, I have seen my rating jump up to level four, as with the help of other members, I found myself becoming more competent with the software, and even held teaching classes to other members. 3 Skill: Understanding the capability of any technology such as computer hard and software, particularly industry-standard systems. Example: I brought this rating up a point as I have become more experienced in using various software needed, such as Final Cut Pro, Photoshop, After Effects, Solid-works and many others, however I am still at a basic level on knowing the ins and outs of Hardware.Organisational Awareness 4 Skill: Have an awareness of the organisation’s purpose and goals. Example: Now I realise the basis of DCTV. DCTV offers a wide range of training programs for community members, and unemployed people, include young unemployed members, and allow them access to joining a project, or learning the essentials to go about creating their own.
4Skill: Demonstrate a self-motivated attitude to work.Example:For me, working with DCTV wasnt a job, it had become more of a hobby, filming andediting every day. Treating this as a hobby that still needed a professional attitude wasenough to get me out of bed and head to work every day, as well as motivating others byhelping them on any problems that arose.