Madeleine Ross is planning her final documentary project. She has done research on topics like masculinity, women's issues, and documentary techniques. Her tutors have emphasized making the project personal. She will focus on issues personal to her and interview her mother about what it was like to be a young woman in the 1980s. She will compare their experiences to the artwork "Claire as a Soldier." For her planning, she will provide great depth and detail about every aspect of the project. She will use complementary colors like orange and blue to set tone. Orange will represent youth and happiness in discussing her own experiences, while blue will represent the past when discussing her mother's experiences. She will use soft, natural lighting

1. PLANNING AND PRE-
PRODUCTION
Madeleine Ross

2. Planning Introduction
• Now that I have completed my research and problem solving, I am now going to take all that information and start visually
planning for my final piece. So far, I have done lots of research on topics such as masculinity, problems that women face in
2021, and tutorials focussing on colour grading, interview techniques and documentary structures, and I am ready to put
this into practice and turn it into a poetic documentary.
• In the past few meeting with Sarah and Scott, they have told me that making the project authentic and personal to me is
important, and something that will make my project really good, so in my planning I will make sure to focus on this.
• Thanks to my experimentation and some of my research, I have identified problems that are personal to me and I can now
build on this in my project. Along with the issues personal to me, I also must conduct interviews regarding what personal
problems women form the 80’s, when the Claire as a Soldier piece was created, specifically interviewing my mum who was
a young woman like me during this time.
• When planning for my final piece, I am going to try remember to pull the focus back to Claire, and the piece Claire as a
Soldier, which is something I could easily forget to do, as so far I have mostly been thinking about how to capture the
contrast in my experiences and my mothers, however I think my planning will help me capture and compare Claire’s also.
• From the feedback on my factual piece from earlier in the year, my tutor stated that the things I needed to improve on in
planning was overall depth, and give a more thorough idea of what I want to produce. I need to really focus more on what
it will visually look like, and in this project I am going to try learn from my mistakes in factual, and hopefully show a more
rounded and developed project through my planning.
• In this planning pro-forma, I am going to be as detailed as I can about every aspect of the project, and think about
everything in great depth.

3. CreatingTone
When looking at existing products in my research, I found that one of the most important factors of poetic documentaries was their use of
colour to convey meaning. Colour is something that is also very important in the creation of tone, and something I looked further into
when looking at tutorials. Lighting is also something that is important tonally, which is something I also looked closer at during my
research. I think ideally I would like to use soft lighting, as it is something that can make the shot look very flattering and aesthetically
pleasing, however I think regarding the topics I am discussing, making the lighting harsh and the subjects sharp could be something
worth considering. Tonally, I really liked Lost (in transition) and I Am Me, because they both had quite powerful and
melancholic messages behind them, but remain positive and hopeful.This is the overall tone
that I would like to portray in my poetic documentary, as the struggles that women face
regarding sexism and equality have got better, there now are also new struggles that women
from the 80’s never would have faced, but young women like me now have to grapple with
everyday.
Colours I Will Use to CreateTone
Looking at the different types of colour schemes I could use, I think I have
decided to go for a complementary colour scheme, as I want to use the
warmer colours to express positive feelings, and the cooler ones to create
contrast and give a more uncomfortable melancholic tone to the viewer. I
have decided the colours I am going to use will be Orange and Blue. My first
thought was that orange is a warm colour, which can portray
representations of youth and happiness, which I will use when I am talking
about my experience and the positives and privilege I have in comparison to
my mum. I will use the blue colour to represent the past, almost like a
flashback state, and also to contrast the positives that I have grown up with,
and when I am highlighting some more of the negative problems prevalent
in my mums life in the 80’s.
The warm yellow here that is used in Wes Andersons Moonrise
Kingdom also gives an old timey feel, almost looking like a
sepia tone, which is a colour typically used to represent the
past. In my piece, I will use this warm tone to represent the
present, but the sepia tone will reinforce the connection with
the past, which is going to be an important motif in my doc.

4. CreatingTone
Colours I Will Use to CreateTone
I really like the way that the blue has been used in Moonlight here, and it
gives of the right amount of melancholic beauty that I regard with past.
It’s a cool tone which is what I am looking for, so that it will contrast with
the warm of the yellow/orange. Although I like this blue, it is a bit
dramatic, and its one of the defining features of this frame, and I think
along with the soft warmth of the orange it could be too much of a
contrast that is uncomfortable to the watcher. I think to get this beautiful
blue tone, but not so much that it’s not pleasing to the eye, I will shoot at
Dusk and Dawn so that soft blue light floods the frame. It is also a
peaceful time at dusk/dawn, which may give me some really beautiful B-
Roll shots.
How I Implement Use Colour to CreateTone
• Costume- In my analysis of Billy Elliott, I found that the director used the colour of the characters clothes to represent their thoughts
and feelings and where they are in the story.As my piece is a documentary, I don’t want to police what the participants can and cannot
where, as it may take away from the authenticity, however I would like them to wear colours and tones which reflet the mood of the
scene and what they are discussing.
• Colour Grading- To make the whole shot look like the colour orange/blue, I will use colour grading on premier pro to give a overall hue
to the footage instead of changing the environment I film in to match, which may be quite hard to do depending on where that is. I
think I will use colour grading mostly for the orange/yellow toned shots, as it is currently quite cold outside and I think that the sky and
surroundings reflect the coldness of the season so I will need to warm up the shots considerably to achieve the colour I want.
• Objects/Location- Due to covid, the ability to travel longer distances to interesting location has been limited, however, I can use
certain locations to implement the colours I want effectively. I will discuss this further in the locations section. Within these
locations/environments, similar to the doc I Am Me ,I can use certain objects as an alternative if a large amount of colour can’t be
implemented.

5. CreatingTone
Lighting
I think for lighting my final decision is to use soft lighting and soft tones because it is most flattering on the subject and on the scenery,
and I want to create a dreamlike effect in my piece. If I used harsh lighting or my lighting turned out to be harsh and make the surrounding
sharp, I think the tone I would be trying to create would be negatively effected, and I think the harsh lighting would make it too dramatic,
and I want the tone to be slow and balanced. Because I will be shooting outdoors I will be filming with natural lighting which means that I
will have to schedule the shoot day so that the weather works in our favour.The ideal day for me to shoot on would be a slightly cloudy
day so that the sky and the clouds are illuminated and colourful. If it is too cloudy I worry that the lighting will be too flat and the sky won’t
have enough depth to it, but if the sky it too clear I worry that the sun will cast light too harshly.
To create the soft lighting I want I will adopt a few different methods:
• The use of a light reflector on a subject to reduce the harsh lighting.
• Film as far from midday as possible, to reduce the harsh lighting created by the sun, ideally just after sunrise or just before sunset.
• A technique that I will use to assist in making soft lighting is to add a small coat ofVaseline/petroleum jelly onto the lens. This will be a
nice easy way to create a soft focus in case the other techniques I use don’t work as well as id like.
Again, I am going to really focus on using this scene from moonlight as a focal
point for how I create my colour and my lighting. Although my lighting won’t be as
intense as this I want it to give of the same tonal value at this image. I will focus on
this tone, colour and lighting whilst interviewing my mother. Here are some other
scenes from Star Wars and Hugo which are similar to how I want my lighting to
look, the hue’s being less intense than the shot from moonlight.

6. CreatingTone
Music
In my research I found that poetic documentaries combine both audio and visuals to create the powerful emotions
that they want to insight in the viewers. Because this work will be placed in a public art gallery, I won’t be allowed to
use copyrighted music, therefore I will use royalty free music from places likeYouTube and Soundcloud, or have my
own music scored and created.
As I know people who have experience in film scoring and creating musical pieces, I have decided to ask them to score
a piece of music to be placed over my footage.This is something really exciting as I can collaborate with new people in
new ways I haven’t before, and have a piece of music that is exactly how I want it to be. It also will mean all aspects of
the project are original and made with intention and purpose, my projects in the past simply having music from online
which hasn’t always been the way I want it. It also means that I don’t have to worry about copyrighting issues, as the
song will be completely original and not taken from anyone other than the musicians creating it. Due to COVID-19, I
won’t be able to oversee it in person or as closely as I would like to, but thanks to video calling services such as Zoom
andTeams, I will be able to see regular updates to the production and give feedback to the musicians. As my piece will
only be 3-5 minutes, the piece will only be short, and I have been told they can make it within a week, hoping to see my
final piece first and create the music from that.
To start the process off, I am going to send them a few tracks which are similar to what I would like, giving them a
small brief to help them create the exact piece that I want. From there through video chats and discussions they will be
able to give me a first draft/ conceptual piece and once I have finished assembling my documentary, they can modify it
to fit the footage better.

7. CreatingTone- Music
The music in both my experiments have been really important in creating the right tone, atmosphere and emotions from the audience,
so I will have to make sure to get this piece of music right.The over all tone of my piece is going to be nostalgic, melancholic but also
hopeful, and I think in my experiments the music choices I have made have done this. For my examples I will send over to my musicians, I
will use the music pieces from my experiments as well as some other examples I find onYouTube, SoundCloud and Spotify.
(52)The Swan ETHEREAL REMIX -YouTube
This is the track that I used in my first experiment which was me narrating the poemThe Dipper
accompanied by naturistic footage.This music worked really well as it helped create an ethereal and
relaxed tone, the soft piano over the top was noticeable but it didn’t take away from the narration. It
sounds slightly ghostly in areas, with a soft hum heard in the background, which I think helps add to the
immersive feeling, and I would like this replicated in the final music piece.This piece is really calm and
relaxing and would be great for the segment where my mum answers interview questions, as I want it to
feel like a memory, however I don’t think something like this would fit within the section where I discuss
the present.
(52) Bensound: "Better Days" - Melancholic Royalty Free Music -YouTube
This track I used for my more authentic and theme centred experiment on motherhood and staying
childless. I really like this one a lot and love how it has similar ethereal tones and ambiance toThe Swan,
but I also love the addition of the guitar. I think something similar to this, with a slightly quicker tempo
would be really nice and fit more with the segment in the present as well as the segments in the past. I
really love the slow hums in both pieces of music, and it helps focus the mind on the images being
displayed in front, and think this will be a good instrument to hook viewers in.
From these pieces as inspiration, I want something that is going to make the
viewers feel comfortable and relaxed, but also help carry the flow of the piece, and
adapt accordingly to the separate segments.

8. Location Scouting
From the work I did on my experiments, I have found that I
really enjoy filming things in nature, and using nature to
make representations, so I would like to shoot in a place
that is visually stunning to look at, and embeds the viewer
in the nature also.
John o Gaunt Reservoir, Harrogate
John o Gaunt Reservoir is a beautiful public walk, and a place me and my mum, my subject,
have a personal affinity with. Since I was a child we have been going here and spent many
afternoons and evenings trekking the path, which is why I would like to film here. Filming here
will mean my project is even more authentic and personal to me, and going to a place where I
have been coming from my early childhood to now, in itself represents the flow of time and the
changes in mine and my mothers life. I plan on interviewing my mother here, because in the
morning/evening when the sun rises and sets, the sky turns a beautiful colour which is what I
want to capture.The reservoir is quite large and there are many places to choose from within
the trek, so I think I will choose more than one place to film and ask questions.The red circles
are checkpoints for areas I will stop and ask my mum questions, as I know that these places
have some really beautiful scenery.
1. Checkpoint 1 is a large hill, the path covered by trees, bushes and shrubbery, and would be
a nice place to get some B-Roll shots of the environment and of my subject walking up the
hill.
2. Checkpoint 2 is the old castle ruins, which is where the hill ends and we get an even more
beautiful and open view of the reservoir which will be engulfed in beautiful soft light.The
ruins are also an interesting thing to film, and could represent the ruins of
society/patriarchy, and also just the passage of time and the effect that it has on the world
around us.There is also a new build being constructed very close to it, which could also be
a good representation of how the times have changed from when my mum was a young
woman to me now.
3. Checkpoint 3 is the bridge that runs straight across the reservoir, which is an interesting
and beautiful place to shoot. Again this is a more personal spot for me and my mother, as
we have lots of photos from when I was younger in this specific place, which makes it a
significant place to film.We also get a better view of the large body of water here,
lowering down to a lower level than when we were coming up the hill.
4. Checkpoint 4 is another significant place to me and my mother, and here there is a bench
where you can see the whole of the trek.The scene itself is beautiful, but it would also be a
good place to sit and discuss some further points with my mother.The look of the solitary
bench could also be a nice shot, and with the wind turbines in the background, could also
be my shot that represents society’s impact on nature (societies views of women etc)
1
2
3
4
Pros:
• 10 Minute drive away
• Beautiful Scenery
• Know the area really well
• Personal affinity with myself and the subject
Cons:
• Requires car and driver to access
• I can’t drive
• Have to get shooting done in one day if possible.

9. Location Scouting
For the segment discussing my personal problems, I want to show contrast between mine and my mothers lives and experiences, but I also want to keep the
link there open. Because of this, I want to shoot the footage of me in a place slightly more urban and less naturistic to Emma’s sections. However to still show
the relationship between our discussions, I want to have those naturistic elements still there. What I am looking for is an urban area which still retains small but
bold and obvious forms of nature, such as tree’s, flowers/plants, lush fields etc. I also want to keep the theme of water continued, so filming near a body of
water to link the two segments is important. Harrogate, the town I am from and will be filming most of my shots in has quite a lot of areas like these, however
not all of them are ideal for filming, so I will have to assess the areas before hand and make sure they are suitable for not only shooting in but also for the
premise of the piece.
Knaresborough Castle, Knaresborough
The ruined remnants of an old medieval castle and square, KnaresboroughCastle is a large are to shoot in, with glimpses of the old town seen
throughout the area. From above you also get a great view of the beautiful river and the viaduct that runs over it, securing the link in each segment to
water.The ruins here, although a lot bigger, reflect the smaller ruins at John o Gaunts where Emma’s segment will be filmed, also representing
another parallel and securing the audiences link between Madeleine and Emma’s experiences and lives as mother and daughter.Apart from the shots
I can weave in to create representations and meanings, it is also just a beautiful and stunning place to shoot, which will make the shoot day
interesting and enjoyable!Although it isn’t as strong, me and my mother also have a personal affinity with this area, which will help in making it more
authentic and motivated to get really great shots to present the area in the glorious way I see it.
Checkpoint 1:Checkpoint one is the main ruins of the castle.This will be a great background for maybe the first initial shot we see of my face, the
shot will contrast between my mothers naturistic and ethereal background, to my more harsh and solid background.The cobbled like walls are also a
great texture to film, especially with the state they are in, filled with cracks and broken off uneven pieces.This will be nice to use for representation
but also in general a nice interesting texture and subject.There are also many different segments to the ruins, which will be a great way to shoot
some interesting shots and keep the viewer interested.Where as my mums section will be quite ethereal and dream like, to blast the narrative into
the present, I am going go a little more complex with my shots and angles, and the castle is a great place to do this.
Checkpoint 2: Checkpoint 2 is where the view of the river can be seen, so here I will be able to take some beautiful shots of the river and the woods
directly opposite the castle, as well as the town below the street, which will solidify the parallels between the water and nature.There is a long path
that runs down this way, so I will have plenty of places to decide from specifically which will depend more on the time of day I shoot and the weather
etc.
Checkpoint 3: Here we can find a great view of the green and the castle in the distance, and the entrance to the tunnel that runs below the castle.
Although the tunnel is only accessible with a guided tour, the iron cadge like structure covering it adds a sense of industry and urbanisation to the
mostly natural and 14th century structures. Here I could get some interesting shots through the bars which would be great for symbolism, and it’s also
an interesting thing to shoot with. If I decided that I don’t want to film this particular area, it would be good to film establishing shots and some shots
of me on the green from this area.
Map of area on
next slide showing
checkpoints.

10. 1
2
3
Pros
• It’s a wide open area which is good for filming during the pandemic.
• Interesting buildings/structures to do more complex and interesting
shots with.
• A train/ car journey away.
• An overall small area easy to get from one checkpoint to the next
without losing time.
• Beautiful scenery good for B-Roll
Cons
• Does involve travelling to another town, and
although it’s a large area it can become busy.
• Lot’s of exposure to sun which could create lots
of hard lighting.

11. Structure of Piece
Here is how the piece will be structured, demonstrated by the different segments. Because my genre is poetic
documentary, it isn’t possible to plan every small detail before conducting my interviews, so here I will be able to show
what segments have the potential shots within them. I am planning on using a lot of B-Roll, which can be planned as
solidly as A-Roll, so I will visually show the most important shots through my storyboarding, and focus on the B-Roll
once I have recorded my interviews and on the day of the shoot.
00:00 06:00
Introduction- Claire
Close up shots of different
aspects of Claire, her eyes, her
hair, her lips, her outfit, her hand.
As we view this, there is the
narration over the top discussing
the origin of this piece and
context about the time it was
made in..
01:00 03:50
Interview 1-Emma’s life in the 80’s Interview 2- Madeleines life in 2021
In this segment there will be shots of Emma as she walks
around the reservoir path, shots of her on her journey,
walking up and down the hills, close ups of her face, close
up of her hands and shoes whilst she walks. As we see
these images, there will be her answers to the interview
questions in a conversational way over the top, feeling
informal and giving insight into her life as a young woman
in the 80’s.This segment will be dreamy and nostalgic,
with the blue and purple of the dusk sun illuminating the
screen.There will also be a collection of B-Roll that I
collect when and whilst I am at the reservoir.
In this segment there will be shots of
Knaresborough castle, signifying change in time,
shots of the river from afar and close up, the same
with the bridge and some areas of the castle.There
will also be shots of Madeleines face to help us
identify with her character, close up shots to mirror
Emma andClaire, linking the three together.This
segment will be mainly made up of B-Roll which I
can acquire when and where I see fit on the shoot.

12. Storyboarding
Scene 2- Shot (1) Medium Close Up- Static – Emma’s Introduction
In this shot, we are first introduced to Emma, our link to being a young woman in the 1980’s and to Claire.We are
introduced to her through a medium close up shot, the camera static and unmoving as we view Emma’s neutral facial
expression.This shot is going to be a static shot, which is quite simple and unmoving, because we don’t know anything
about Emma yet, other than what we are being told by her over the narration. Being on a medium close up means that
the audience can identify with her as the main subject of the scene, but we aren’t so close yet that we feel intimate with
her.This is because as the documentary goes on, and we listen and learn more about what Emma’s experiences were,
then I can start to bring the audience closer to her and allow them to feel more and more intimate with her as the piece
progresses.The lighting will be soft, like it will be through the whole segment, lighting up Emma’s face in a kind and
friendly way, inviting the watcher in to hear what she has to tell us.
Emma will be centre frame, looking directly into the camera which will help hook the audience.The
shot will also help mirror the previous shots of when we were first introduced to Claire, helping
create an immediate link between the two.The lighting again will be soft and warm and the overall
hue of the shot will hopefully match the sky, which will be a warm purply/blue.
This is something that the shot would look like: Emma will be similarly
framed to howWonder Woman is in this shot, with her being shot
from the waist upwards. She will be looking calmly and naturally into
the camera where the shot will be lit with sunset/sunrise purple/blue
which I can edit in post if needs be.

13. Storyboarding
Scene 2- Shot (2)Wide Shot- Static- Emma walking through fields
In this shot, we begin to learn more about Emma as she begins to answer the questions about her life in the 80’s. In the shot we can see
the fields of John o Gaunts, looking almost like a dream land as it is illuminated in purple and blue, the flowers, trees and shrubs
framing the shot in a comfortable way. I want this overall scene to feel like a memory, representative of the present looking into the
past, the tone nostalgic and slow almost dream like. In this shot, I want the viewer to feel like she is taking us on a journey, and
beginning to invite us into her memories of the past.To accompany this shot, there will be the audio from the interview I took of my
mother playing over the top. Emma will be framed to the 3/3 of the shot, in the right corner, suggesting to the audience how
submerged Emma is, as she is small in the frame where the nature engulfs her. As she walks away, the cameras focus goes from the
environment onto her, helping the viewer identify her in the vastness of the nature.
Emma will be placed in this half of the frame.
Scene 1- Shot (3) Close up- Static- Emma’s hand as she climbs over
fence
In this shot, we get a close up of Emma’s hand as she climbs over the wooden Stys on the walk.The climbing
as she speaks about being a woman in the 80’s is representative of the fences and the barriers she had to
overcome. The close up shot immediately after the long shot brings Emma back as the focus, and we begin
to feel intimate again with her, now feeling for the environment that she’s in. It’s also a nice shot to keep the
watcher interested and bring them back into the action, which will help with creating an emotional response.
The shot of Emma’s hand will be the only thing in focus, with what can be seen of the background out of
focus looking soft and dreamlike.
The close up shot will be similar to this, however it
will be a shot from the side angle of the hands facing
forward in the direction she is going, this will help
lead my mother discussing her answers and propel
the piece forward.

14. Storyboarding
Scene 3- Shot (4)- Establishing/Wide- Static- WindTurbines
In this establishing/wide shot, we will be able to see the white, overbearing wind turbines almost dropped in the
countryside, slowly turning with the sky and the clouds beautiful behind it. In the foreground there will be the farmers
field, and if it’s the right time of day, cows basking in the evening/morning.This shot will be slow and still mirroring the
majority of shots in this segment, the turbines sticking out of the beautiful green environment looking out of place,
representing the patriarchy and society’s imbalance towards women. If I arrive at the right time and the turbines are
spinning, this represents progression and the movement into the future and modern times. I feel like the tone this shot
will create will be in line with what I want, as being a woman can be a quite isolating experience at times, and we are
always looking to the future for comfort and hope. I think it is also in general quite a beautiful and interesting shot, as
the wind turbines overshadow the old farm house that will have no doubt been there for years. Once I get there, I may
decide to film this shot in slo-mo on my phone, or on a higher frame rate on the camera, to make it look smoother and
more dreamlike. If I don’t I will change it in post and see how that effects the look, just to give it a more relaxed and
soft tone.
At John O Gaunts reservoir, the wind
turbines can only be seen from certain
places due to the path changing from hill
to hill, the turbines sometimes hidden. The
shot I would like to look like this, and if
possible from this angle, however I may
shoot it from the 3 other positions on the
treck as well.

15. Storyboarding
Scene 2- Shot (7)- Static- Emma walking up hill.
This is going to be a short sequence of shots of Emma walking up a hill.There will be mixtures of close ups, and wides to
focus on her journey.
First we will see a close up image of my mums shoes as she ascends the
climb.We can see her shoe submerged in the grass as she walks by. This
shot will be a static shot, allowing Emma’s shoes to continue but not the
camera.The angle will be a worms eye angle, we are looking up at Emma.
Next we will get a shot of Emma’s face as she climbs the hill, the camera
following her this time as she marches on.The shot is a medium close,
where the audience are focussing mostly on Emma however we can see
where she's journeying from.This will be from a slightly higher angle,
suggesting that Emma still has progress to get to the top.
Finally to end the sequence, we continue to pan as Emma reaches the
top of the hill, and goes to stand and look out at the view. As she
reaches the presepis, the camera focus lingers on Emma for a time,
then goes to focus on the reservoir below.

16. Storyboarding
Scene 3- Shot (5) Static, slow motion- Medium-Emma looking out to the reservoir from
top of hill.
This shot, Emma is looking out over the reservoir in the direction of the wind turbines, and we get her looking out from
the side angle, her framed in the 3/3 of the shot, with the nature in the background and around her in focus. I will linger
on Emma’s face as she looks out in slow motion, and then turn the focus to the nature around her in the background. It
will quite an atmospheric shot, and with the slow motion on it would mean that any hair that is moved by the wind will
look beautiful on Emma’s face. If it is possible and the sun is at the right angle, I’d love to be able to capture Emma’s eyes
lighting up illuminated by its light.
Scene 3- Shot (6), Slow Motion- Medium- Emma looking out onto
the reservoir.
Continuing on immediately from the shot before, we continue to see Emma looking out onto the
reservoir but this time we see her from a different angle, and the shot will be filmed from more of a
worms eye view, with the camera looking straight on at Emma. The worms eye will be subtle,
suggesting to the audience that Emma is a strong woman as she discusses turmoil's and struggles she
may have had to face in the 80’s. Here there won’t be any focussing on the surroundings, simply where
Emma is in the centre of the frame, and centre of attention.
Emma’s shots sequence will be similar to these images here, most similarly to the top image, but the shot will
more closer up like the second image. I think it also may make Emma more comfortable to be filmed on an
angle like most people, so I think it will most likely come out looking like the bottom image.The lighting in the
bottom image and the way the actresses eyes are illuminated by the sun is how I’d like my shot to look.

17. Storyboarding
Scene 3- Shot (8)- Tracking/Pan- Medium- Stream of progression
In this medium tracking shot, the camera will follow the water down stream, making the connection between
water, and the progression of time.This shot is quite simple and will probably act as just an insert shot or a piece
of B-Roll, however I think it’s another connection to the water theme, and now with the stream, the reservoir
and the river in Knaresborough in Madeleine’s section, the audience will surely make the connection
subconsciously or consciously.To add a bit extra and to maybe get some more time out of the stream, I may
also get some more varied footage off it from different angles such as looking up stream and close to the water,
some shots from above looking directly down, however it will depend how things go on the shoot day.
I like the idea of getting a real close up shot of the
water running, which adds more to the suggestion
of running water and of time progressing, and
maybe some shots from directly overhead would
help immerse the viewer as if they were really there
this is the angle and height they would be viewing it
from. It would also link to Emma as it would connect
the viewer to her as they would be seeing what she
was seeing, making the audience feel as though
they were following her on her journey to the past.

18. Storyboarding
Scene 3- Shot (1) Medium Close Up- Static- Madeleine’s Introduction.
This shot in technique is essentially the same as when we are introduced to Emma.Through a medium close,
Madeleine is looking with a neutral tone directly into the camera, the background of the castle in a soft focus, giving us
at a glimpse of the environment we have changed to. However, as we have changed sections to talking about the
present, the colour and tonal features change ever so slightly, and in this scene we step away from more of the
ethereal and dream like qualities of Emma’s segment. Here, the shot is still lit with low key soft lighting, however this
segment will be shot closer to daylight than at sunset.The light will stay soft however the colour will be of a warmer
more yellow and orange tone.The orange tone and the filming in natural daylight cements the audience back in 2021,
back to the present day, the look more realistic and less dramatic. I think for this introductory shot, I will shoot at
Checkpoint 1 of Knaresborough Castle, in front of the broken ruins of the castle, the features softly focused in the
background.This represents the past and how we are connected to it, and although behind us it is important to listen
to it and remember it.
The red circle will be where Madeleine’s
introduction is going to be filmed.
As with Emma’s introduction, the
shot type will be the same and she
will be looking directly into camera.
In contrast to Emma’s segment, instead of
soft purple/blue light, Madeleine’s section will
be shot in a more golden, yellow and warm
light to signify the present.

19. Storyboarding
Scene 3- Shot (2) Medium Shot- Static- Madeleine looking out to river.
In this shot, we get a medium shot of Madeleine staring out over the cliff at the forest and the river below. If I am
shooting on my iPhone, for this shot I will use the slo-mo feature to create a smooth and soft feel, so if the wind
catches on Madeleine’s hair, if the trees/ people in the background move at all, there is a slow and dreamy feel to it. I
think doing this will add a softness to the footage.
The shot and angle that Madeleine is positioned at will be similar to this, although its going be a lot
less moody, and she will look more comfortable and happy in her facial expressions and body
movements. Instead of black and white it will be a warm golden and lit softly. Where the window is
in this image will be where the trees/ people in the background will be.
Scene 3- Shot (3) Long shot- Static-The bridge over the river.
This shot kind of acts like an insert, where the camera shows us what Madeleine is looking at, which is the bridge, the river, and the
town below.This shot we make the connection between Emma and Madeleine through the link between the water, and the fact the
bridge is connected between what looks like a lush forest and the town of Knaresborough with its houses and is a nice transitional shot
between the place where Emma was filmed to here.The river can represent the movement of time, as the river is always moving, and
the train going over the viaduct represents the movement between segments. It is also just a pretty shot, or interesting things such as
the old buildings and interesting viaduct, which will interest viewers.
This is the actual bridge in Knaresborough and this is quite similar to
what my shot will look like, however I am going to go lower down the
cliff to the level where the castle is and shoot from their, to get a
closer, less isolating and cold in tone shot, and also to help the
audience register that this is what Madeleine is looking at, and that we
are experiencing it the same as she is.
These two shots act together as
a pair, and I may change round
the position with the long shot
first and then the shot of
Madeleine to see if it creates a
better response when I come to
editing in post.

20. Storyboarding
Scene 3- Shot (4)- B:Roll inserts
For my B-Roll shots after we are introduced to Madeleine, I want to drill in the idea that we have changed locations from
Emma’s segments to hers, the changing of location again signifying the change in time from the 80’s to the present.To do
this I am going to use lots of atmospheric insert shots of Knaresborough town, the castle and most importantly the river,
again making that link between the water in both interviews.
Some shots that I may take, in a sequence focussing and filmed on the side of the river in
Knaresborough, would be an establishing shot of the rowing boats, moving onto a close up shot
of the boats in a row on the water, and as an extra shot, if possible, get a shot of a bug gliding
over the top of the water. I really think that using the boats which are there to my advantage is a
good idea, as boats are vessels, a mode of transport which again intensifies the idea of
transportation, and of movement and change, which is a feeling and idea that I want to get
across: the progression of time.As it is spring time now, the bugs can also represent this idea of
spring and new growth, which again adds to the theme of time progression. In my experiments
too, I also really enjoyed filming water such as waves and waterfalls, so I will continue this
through these B-Roll and insert shots.These shots could be used anywhere in the timeline of the
piece, however I think it would be nice to lead on from shot 3, almost zooming closer in to the
surroundings.

21. Storyboarding
Scene 3- Shot (5)- SlowTracking- Medium-Track through the arch
I want to use the magnificent ruins of Knaresborough Castle to my advantage, so for this shot, the camera will follow
Madeleine in a pan from one side of the arch as she walks through to the other side, similar to how Wes Anderson films
his shots. I like this idea as it is an interesting shot which will keep the viewers engaged but it’s not so complex that it
seems jarring and out of place in the piece. Once Madeleine has made her way through the arch, there will be a slow pan
off onto the castle on the right.This shot would be easily executed as by the side of the arch there isn’t anything in the
way, so the camera person would simply be able to walk by the side and film easily.To make sure that it doesn’t look too
out of place, I will make sure to film in a slightly higher frame rate to fit with the rest of the footage in the piece. It will
also be
The shot would be similar to this but going in the
opposite direction, and with more emphasis on
Madeleine’s face through a medium shot.

22. Storyboarding
Although there will be more shots such as B-Roll and insert shots revolving the two segments, these are the most
important shots, the ones designed to have specific meaning and to fit in certain positions of the sequences.The
order that I have placed the shots in on this PowerPoint aren’t solid, and when it gets to post I may move certain
sequences around to fit with what Emma and Madeleine discuss in their interviews. If I find that Emma is discussing
about an issue she had to overcome as a young woman, I may use the sequence where she is climbing up the hill.
Similarly if she is talking about being hopeful and looking to the future, the sequence where she is looking out over
the reservoir may fit better.
As I mentioned, the B-Roll and insert shots aren’t as plannable as the shots specified in the storyboards, so once it
comes to the shoot day, and I have conducted the interviews and heard what the subjects have to say, it will be easier
to plan what those shots will look like to fit the conversation and the theme. I will plan these at a later date.

23. Equipment/ Software
Due to the Covid -19 Pandemic, although college are still supplying kit to take out, I think
the safest way would be to use what I already have. I found through my experimentation
that my iPhone camera is perfectly capable of filming high quality shots as long as the
lighting is good enough, and my iPhone has a slow-motion capability, so I can film things
in a slow and dream like way. I also found through my experiments as well as my weekly
vlogs discussing my progress, that the voice memos app is good enough quality to
conduct and record the interview over. As long as the room I am in is small, has limited
echoes and can pick up the sound well enough, I should be able to use it to record my final
interviews.
On another note, I think shooting with an iPhone camera and the microphone that comes
with it, is a much less intrusive way of filming and conducting interviews, helping the
subjects become more relaxed, and therefore give better answers and better filming
material. Overall, the only real piece of kit I will need from college is a tripod- or stabiliser
to attach my phone to, just to get a better and more smooth footage and reduce some of
the shake I am likely to get whilst filming.
I have also wanted to use a light refractor to help reduce the appearance of harsh light, so
this is also the only other physical piece of kit I will need to use, and something I can make
quite cheaply myself at home or acquire from college or the internet.
As of software, I will need to use Adobe Premier Pro to put the clips together and
assemble the final piece, and I will need to use either adobe audition or audacity to edit
the audio recordings I make and to clean them up, which I can access at college, or
download audacity for free at home.
Kit
• iPhone Camera
• Light Reflector
• iPhoneAdapted Stabiliser/
Tripod
Software
• Adobe Premier Pro
• Adobe Audition
• Audacity

24. Scheduling
For the production of my FMP, we have been allocated 7 weeks in total, however this hasn’t accounted for the two weeks of Easter
half term we have which I will also use for production.Thanks to the changing of lockdown restrictions, I am now able to go back into
college meaning I am able to take advantage of their high processing macs and their editing software. Knowing this information, now
I can plan and schedule effectively so I can edit the weeks I am in college, and have more time to freely film outside of it. Currently,
college has a week in- week out system in place for my course, however if things improve with college they will be bringing us in full
time after the Easter Holidays, so hopefully I can get the majority of my filming done before our return and solely focus on post
production the remaining weeks. Because my project is going to be exhibited beginning of May, my piece will have to be completed a
week earlier than everyone else to be assessed by the Art Gallery for errors or anything that needs to be tweaked, so that extra 2
weeks of Easter to film will be important for my scheduling.
In my scheduling I am not putting too many specific dates and times for filming, as a lot of the shoots, specifically Emma’s will rely on
things such as the weather and how intense the sunrise/sun set is. I have put two weeks later on the schedule which will be available
for reshoots, so if I am unable to film then, I can film later on when hopefully the British weather has become more consistent and
summery. Conducting my interviews shouldn’t take more than ten minutes each, as I am keeping them very conversational and
informal, with minimal questions for both interviewees. This means that I can conduct them where and whenever I see is best, and as
my iPhone mic is quite high quality, there will be minimal time taken to set up.
Later on in my schedule, I am slightly worried that things may be difficult to get completed, only being in college for two weeks
before the piece needs to be sent to the gallery, however in that week I have OFF, when I am away from the classroom and the editing
software, to try and use free software at home, and maybe even begin evaluating my project.
I think with the schedule I currently have, I should be on track to getting everything completed to a high standard and on time, with
minimal fall back and problems to run into.

25. START TASK COLLEGE
IN/OUT
TIMES
Week 9/03/21 Filming Madeleine Segment in Knaresborough. Colour
grading, cleaning up of footage, assembly.Voice over
OUT 14:00-18:00
Week 15/03/21 Post Production on Madeleine Segment, account for
reshoots.
IN Tues,Thurs, Fri
Week 22/03/21 Filming Emma Segment at John o Gaunts. Colour
grading, assembly, cleaning up footage. Put together
with Madeleine Segment. Interview Emma onVoice
Memos
OUT Dawn (6:00-7:30am)/ Dusk (17:00-
18:30pm) Day depending on weather.
Week 29/03/21 Reshoots, Interview Madeleine onVoice Memos. EASTER Interview should take only 10 minutes to
complete so any time. Reshoots most
likely on a Sunday/Monday.
Week 5/04/21 Week Off EASTER //
Week 12/04/21 Post Production on Emma’s segment.Colour grading,
assembly, cleaning up footage. Put together with
Madeleine Segment
IN Tues,Thurs, Friday
Week 19/04/21 Free editing software, possibly begin evaluation. Create
Claire introductory segment on iMovie or free trial of
adobe. Reshoots.
OUT Reshoots Sunday/Monday.
Week 26/04/21 Final piece before sent off for moderation by gallery.
Add final commissioned sound track.
IN Tues,Thurs, Friday

26. Shot List
As with the storyboarding, I have only included the most important shots that I have to acquire to be on the shot list. I
have included some B-Roll shots such as the boats on the river and the tracking pan of the stream, however most of
the B-Roll I take will be decided spontaneously on the day.

27. Personnel
Because of the Covid-19 pandemic, the amount of people who can star and act as crew on my project has condensed considerably.
As we had to cope with the pandemic through last years FMP and it has become part of our daily lives, I expected this fully, and
discussed this in my problem solving. Because I was more prepared from the beginning of the project, I knew that a more large scale
production wouldn’t have been possible, so made sure to keep in mind how to create something with reduced cast and crew, so
when I come to production I don’t hit any barriers.
In terms of cast, there is me, Madeleine, and my mum, Emma, and because we live in the same household, it is perfectly safe and
meets the legal requirements of social distancing. This means I can film my mum with no worrying about social distancing and risk of
transmission. As for my segment, I will have to get someone to film me, and due to my mum being back in work now, I have to look
else where for help, and due to the pandemic I will need to do this in the safest way.
As my shooting locations aren’t accessible on foot, or take a long time to walk there reducing the shooting time, I will also require
some transport to these areas. For Emma’s segment, as she is part of the shooting process, will drive use to the location. My dad,
John Ross has agreed to take us to the Knaresborough shoot day, acting as transportation.
Name Role Covid Measures
Emma MacDonald Cast Member/Transport Household Member
Maya Rivers Crew Member/ Music Currently Household Member
John Ross Transportation Household Member

28. Materials and Resources
Because my piece is in a documentary style, I don’t require any specific outfit or costumes for the participants. My whole
project is about the opinions and the experiences of the women I am talking to, and I don’t want to dress them up and make
them feel less authentic.
As for resources, I don’t require anything other than the equipment I am going to be filming with, which I have discussed
earlier on in this PowerPoint, and will only focus on the environment and the nature, or the opposite of nature, surrounding
Madeleine and Emma.