Brief • Task: create a 5 minute short ﬁlm in it’s en5rety • We were inspired by 4Docs, and decided to make a short documentary based on a genre of music that we are both interested in • The aim of the documentary was to establish whether or not the way in which Dubstep music has spread and achieved interna5onal recogni5on is a posi5ve development
“The epitome of the transforma5on economy is “Story is important for documentary, but the way it encourages consumers to transform percep5on is even more important. Tproducing Savvy consumers therefore become hink, ﬁrst, themselves into or ‘prosumers’ aare invited to consumers, producers. whey s eeing yhad T what the viewers will feel hile s Toﬄer our co-‐create the product they aDan Gilmor’s vision predicted, thus embracing re sikely to of your l shots. Then, form a drama5c tructure consume…which directly leads nvironment. to an ac5on ﬁlm using temocra5c mto their feelings.” of a d he changes edia e taken in response to this” Victor Kossakovksy, short Edvardsson, ﬁlm-‐maker documentary 2005
Types of Documentaries In order to establish the conven5ons of a documentary and whether our ﬁlm uses, develops or challenges them, it is necessary to note the relevant types of documentaries, and what is generally associated with those types. 3) P bserva5onal 2) Expository 1) Oar5cipatory -‐ Events and situa5ons presented are re observed nd altered -‐ Situa5ons and pto the areac5ons a inﬂuenced a direct address eople’s udience by No interviews, no music, no narra5on the presence of the ﬁlmmaker -‐ argumenta5ve frame with a narra5on voice-‐over -‐ Nichols: “ The ﬁlmmaker steps out from behind the cloak of -‐ ‘Fly on the wall’ hat is steps away from poe5c medita5on, emphasizing wperspec5ve voice-‐over commentary, happening -‐ Example: At Home With nd opinions, oNen becomes a steps down from a f facts a The Noonans and with persuasive Combina5on o ﬂy-‐on-‐the-‐wall perch, techniques social actor (almost) like any other” -‐ Example: Mxclusive footage, pictures aA Love Story Include eichael Moore’s Capitalism: nd interviews -‐ Example: An Inconvenient Truth
Use of Archive Footage Use of archive footage gives certain documentaries a professional feel, especially when explaining the growth or change of a movement over 5me A Legacy in the Dust: The Four Aces Story by Winstan Whier also incorporates magazine and newspaper to emphasise a sense of controversy and fame Our documentary conforms to this conven5on oNen seen in expository documentaries, as we have included footage taken from YouTube of Skrillex winning a Grammy award, and an animated image of Skrillex on the cover of Mixmag magazine
Archive Footage iused in oedia Products – wxtract Archive Footage n Real M ur ﬁlm: Skrillex einning from G Legacy An the Dust: T2012 Ceremony a Arammy i ward at the he Four Aces Story
Magazine Headline used in our ﬁlm: cartoon Skrillex on December 2011 issue of Mixmag
Style of Interviews Conven5onal to set interviews in the natural/rela5ve environment of the subject In the following extract from The Interview Project, the interviews are casual, relaxed and similar to ours in that the interviewer is not seen or heard Ligh5ng was not too bright, relevant to early Dubstep and ﬁts with our narra5ve theme
Interview eextract rom David lm: Freddie and Interview xtract ffrom our ﬁ Lynch’s Interview Jack McTavish Project
Interview Technique Interviews in a documentary give the viewer a sense of realism, that the documentary maker’s views are mutually shared by another person or source, and thus more valid In order to achieve suﬃcient relevant detail and opposing opinions, we included clips of only a few minutes from each interview Interviewees in our documentary conformed to the conven5on of the subject’s eye line not being directly pointed to the camera If the subject looks directly at the camera, it is portrayed that that they are addressing the audience about a certain issue, e.g. as a news reader would do – although a lot of the peopled interviewed are essen5ally informing the audience, this is not the style that we wanted
The Voice Over The use of voice over is a main conven5on of expository Here is an extract from a documentary about Tutankhamen dwn one to narrate our documentaries, and therefore we recorded our o emonstra5ng the use of voiceover in real media products. the music studio to record our voiceover, ﬁlm. We used Logic Pro in and edited it using Sound Track Pro.
Use of Eﬀects During the post produc5on stages of our documentary we added several eﬀects to make transi5ons ﬂow smoothly, create diﬀerent moods and to make the ﬁlm more interes5ng to watch We put a black and white ﬁlter over the shots of Freddie and Jack, which gave the interview an underground, urban feel; relevant to early Dubstep and conven5onal for old interview footage We used a ﬁsh eye lens, which we added to our footage ﬁlmed at Cable nightclub as this is conven5onal for club/ rave scenes Conven5onal for expository documentaries, use of the ﬁsh eye lens manipulates reality in that the dancing and general asthe5c of the club is exaggerated
The CreaUve Treatment of Actuality We used low angles when ﬁlming footage of passing taxis, buses and the queue for the montage sequence at Cable night club, with the inten5on of crea5ng an underground atmosphere or perhaps a view from the ‘guer’, which represents the genre of Dubstep We used handheld camera shots inside the club to exaggerate the observa5onal, spontaneous nature of the scene, as well as including an establishing shot and zoom of the DJ booth and the dance ﬂoor By using these camera angles, techniques and mo5fs, we were essen5ally altering reality in an oNen subtle but crea5ve way, which to some extent, is a theme present in all documentaries
ConvenUons of a Magazine Review Here is an example of a ﬁlm review from Empire magazine that we looked at for ideas of the layout and content conven5ons… Sec5on before ar5cle begins explains actors who star in the ﬁlm, directors, length and magazine ra5ng Picture indent showing the poster for the ﬁlm Pull quote highlighted by yellow box, coordina5ng with the colour of the 5tle Cap5on for photo in white, over the image
Our Magazine Sec5on sta5ng the main actors featured in the doc, the directors, the length, produc5on company and FreQuency magazine ra5ng Small poster picture indent White cap5on over image Director proﬁle showing the details of the directors and a vox pop interview, challenges conven5on Pull quote in larger font Month of magazine issue on the leN of the footer, page number on the right
The Poster – ConvenUons of a Dubstep Club Night Flyer Name of the night at the top, in red and black, two colours oNen associated with Dubstep Simple, minimal informa5on and large date Text gradient – black to grey to light grey
The Poster – ConvenUons of a Poster for a Documentary Three reviews, quote larger than source Large, striking picture Director/writer above the name of the ﬁlm Informa5on about the ﬁlm in white upper case at the boom
Our Poster Layout, date and style conven5onal for night club ﬂyer ‘Page curl eﬀect’ adds to night club ﬂyer look as it gives the impression it is stuck on the wall Reviews from magazines/ newspapers/TV companies conven5onal for ﬁlm poster ‘Oﬃcial Selec5on’ Award from ﬁlm council makes the poster seem professional Twier and Facebook icon represent buzz and are conven5onal for documentaries Symbol for cer5ﬁcate 15 makes it easily recognisable as a ﬁlm
Target Audience The target audience for our ﬁlm is people aged 16-‐25 Nearly everyone who took part in our ques5onairre said that they would be interested in watching a documentary about Dubstep, perhaps simply because they want to know more about where it came from Youth culture is heavily associated with Dubstep, and this is also the age range of people who are likely to aend Dubstep club nights/raves
Listening to Dubstep Music A[end Dubstep Nights Dislike YES Like NO Would Watch a Documentary about Dubstep YES NO
It therefore seemed logical to ask people that ﬁt the criteria of our target audience for some feedback on the ﬁrst cut of our ﬁlm. Below are a few clips of feedback that we ﬁlmed on an iPhone and edited it in iMovie.
ANer receiving this feedback we aempted to resolve the issues that were men5oned: -‐ We corrected some of the sound problems by expor5ng the movie back into Sound Track Pro and adjus5ng the volume levels -‐ We used the crop tool in Final Cut Pro to ensure that the boom microphone was no longer visible in any of the shots -‐ We used the text tool in Final Cut Pro to create cap5ons showing the name of the interview subject and added credits at the beginning and end of the ﬁlm
Sharing Our Final Film Online • The label that Revo is signed tﬁnished hared our ﬁlm tto YouTube Once our documentary was o then s we uploaded it o their Facebook page, wYouTube 25,000 n Facebook and Twier to gain • We posted the hich has video o fans! views and feedback • We also shared the link to the Facebook page of the ar5st Revo who produced the song ‘Shoa’ which we used in our ﬁlm, so that it was visable to his 1,000 Facebook fans… ‘Likes’ and comments by Dubfreaks fans Our ﬁlm now has over 300 views
The Poster Idea for poster was to combine the conven5ons of dubstep club night ﬂyers with a conven5onal ﬁlm poster This was done using a variety of techniques, and displays an eﬀec5ve combina5on of our main product and ancillary texts as the poster is recognisable to our target audience as being associated with dubstep music or club nights Also a level of synergy created because the fonts used in the 5tle in the ﬁlm are iden5cal to those chosen on the poster
We stuck both draNs of our poster on to the wall of the classroom for audience feedback. 9 out of the 10 people that we asked preferred the poster on the right, as the majority felt that it looked more like a ﬁlm poster about Dubstep music, rather than the poster on the leN that can be easily confused with a ﬂyer for a Dubstep club night.
Black and nroduc5on cop5ons ialppeal all lso used udience, tnderground ash tag hat lso Social p etworking ompany rick wan gives te sto rban, u he Twier h st the end of ubstep This white eﬀect on the b ogo cs o also b he u indent the credits a ense t is a D This mage i t a young a een aNer represents and is portrayed o ihe he lm through r5cle sound and ﬁlters the documentary -‐ cagazine ynergy referred it in n t magazine review ar5cle n t the ﬁ m reates s aligh5ng,
Language and Style The language used in our magazine ar5cle shows an eﬀec5ve combina5on of our main product and ancillary texts because it is wrien in a colloquial style, which is easy to read and therefore appealing to our target audience. Twier hash tag also referred to on poster
The Fonts The conven5onal logo for Dubstep music, recognisable to fans of the genre, oNen seen on ﬂyers/CD covers !"#$%& !"#$%&( ‘Slime’ font reinforces underground, gutte r urban connota5ons of dubstep Slanted, formal font with gold gradient Grammies &#%&( gives the sense of class and elegance associated with the Grammy Awards ) )*+,-+* Large date conven5onal for Dubstep club night ﬂyers
We took full advantage of the opportuni5es created by Web 2.0, and used a range of open source soNware, social networking and informa5ve websites.
Camera for Filming • We used a Sony HTV camera to record the footage and a boom microphone to record the sound.
Light for ﬁlming • As we did not have a box light to use for ﬁlming, we had to improvise by using a light on an iPhone. We also used Harry’s Blackberry to ﬁlm in one of the clubs as it has an HD camera and was more convenient to use for ﬁlming.
YouTube/Photoshop • We used a tutorial video from YouTube to explain how to create the ‘page curl eﬀect’ using diﬀerent layers and tools on Adobe Photoshop, to make it look as if the ﬂyer on our poster was stuck on the brick wall.
Poster –o cIreate the poster and magazine review. We • We used Adobe InDesign CS5 in order t nDesign used the box tool to set and align each word or image in the exact place we wanted, used the swatches to mix the right colours, and changed the angle of the quotes to conform to the conven5on of the quotes in italics.
Magazine -‐ Indesign • We used the wrap tool around the pull quote to make it stand out amongst the other text, as well as altering the font size. We added small details such as the name of the magazine and page number at the boom corners of the page to make the review recognisable as a magazine ar5cle.
Voice Over – Logic Pro • We recorded our voiceover on a Shure microphone, and used Logic Pro to adjust the reverbera5on and volume levels.
Film – Final Cut Pro • One of the eﬀects that we created using the tools available in Final Cut Pro was that we added text to show the name of the interview subject, and chose a box transi5on to make it appear in a smooth and interes5ng way.
Sound – SoundTrack Pro • We used Soundtrack Pro to edit the sound of our ﬁlm, and had to use it several 5mes to resolve sync and volume issues, as well as cuong and adding the voiceover.
Sound – Music As our documentary is based on the rise opyright permission The email from Taz Revo gran5ng c and commercialisa5on of dubstep, and as important to have dubstep track In our ﬁlm: in our ﬁlm it w conﬁrming that we could use his music featured We realised aNer ﬁlming inside Cable night club, that due to copyright issues and the quality of the sound captured on the recording, we would have to edit our own music in in post-‐produc5on ANer weeks of sending emails and reques5ng copyright permission from several ar5sts, we managed to get a response from an ar5st called Revo The song we chose is called ‘Shoa’ and can be found via the link below: hp://soundcloud.com/revooﬃcial/shoa
Audience Feedback – iPhone/iMovie • We used an iPhone to record the audience feedback, and edited the footage using iMovie, before expor5ng it into the Powerpoint presenta5on.
DVD menu – iDVD • We used iDVD to create the menu for the ﬁnal DVD of our ﬁlm, and altered the template by adding the word ‘Dubstep’ to the vinyl and put Dubstep music in the background.