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After the first week, and coming back and finding out how the course was affected because of COVID, and how we now have the added chance of doing work for the SportsLocker website if we are unable to get any work experience because of the pandemic. After hearing this I started to draw up some ideas being:
Tuchel vs Lampard and the tactical difference - A commentated piece by myself where I go through the difference in these managerial play styles and what is different. In this piece, I would use my editing skills to show the movement of players and formations. To get around any copyright, I wouldn't use any videos or photos, I would create my own football pitch with all the different shirt numbers and use after effects to show the movement and how the playstyle normally happens.

How has COVID affected Women's football - A interview with Millie who would've been my documentary subject, and going through how her league was affected because of COVID and how Gillingham ended up separating from the women game.

Can University Students get into the market even with COVID - An interview Steven who was apart from my documentary last semester is currently in his last year of University and got involved with coaching even through COVID.

General talk about racism through a discussion with 2-3 other members of the class, doing over the impact of taking the knee (is it overused / still sending the same message), has the pandemic put more eyes on social media because fans can't be in the stadium.

In the second week of the course I received feedback from my ideas, with Mick liking the idea of the edited tactical difference between managers, but he wanted me to try and do this for more mangers but to look at how Sky Sports would present these ideas. After this email I went back to looking at some ideas that I could potentially do for this assignment, and I came up with some extra ideas being atleast two tactical difference between Chelsea managers being Tuchel vs Lampard and then Conte vs Sarri, because of the difference in their managerial tactics and how differently the systems are played. I also came up with the idea of maybe showing the tactical battle in high profile games like for example a Champions League final, or the constant evolving managerial battle between rival managers like Pep Guardiola and Jose Mourinho. I also came up with the idea to show off stats for the managers both during their spell at Chelsea and also looking at their past accomplishments, highlighting key players for the managers system.

During the second seminar we also discussed the media days and how the group would be separated based on what we showed our interest in last week. So being in the Non elite sports group and talking about how COVID has affected them, our group split off and talked about what we were all interested in so we knew how we could divide our resources and everyone could get what they wanted from this experience. From this short meeting we managed to find out there was two people including me that wanted to be involved as editors whilst the rest of the team were interested in being involved as presenters. We also came up with two different ideas being a potential podcast or a matchday package.

On the third week, I started the editing process of my Lampard vs Tuchel video looking at key players and the tactics used for each of these managers during their time at Chelsea. During this process I started off by making the edit including photos of the players but remembered about copyright, and then switched up the work, and took out all of the photos used.

However, on the fourth week, I ended up scrapping what I currently done for the Lampard vs Tuchel video because of how long winded it was whilst the content being boring for me personally. So I decided to remap my idea, which led me down the path to remove the segments of looking at key players and just using the tactics screen to show movement and get around copyright laws since its my own creation. I decided to rename the work aswell to look at 3 characteristics of each managers tactics, since seeing things in groups of 3 is alot more digestible. Onto the newsdays, I agreed to help out a friend within the class with the editing of their project to help go towards both of our portfolios, whilst also setting up aa interview with my friend Steve Hurst who is a third year university student but also a coach at Pagham Ladies FC, with the interview looking at how we will appreciate sports alot more coming out of lockdown.

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My original plan for my FB666 project would be a TV documentary following Gillingham Womens Team after the team had become independent from the Mens League 1 team Gillingham FC. The original plan was for me to not focus on Millie Waud in this documentary since she would be the main character of my FB698 documentary, so instead I wanted to focus on the team because of the fact it would be all driven by real people aswell as being current in terms of news because of COVID still affecting people and causing trouble. However, after a struggle in communication I was forced to change before the FB666 CW1 for my production plan.
Therefore I was forced to theory craft a new idea for my documentary which lead me looking at people I know and also the local newspapers for any sort of ideas. The three ideas that I was able to find for my FB666 documentary would all shift to a radio documentary because of the ease because I wouldnt be able to commute somewhere and being with ease since I could just get access to them online because of the quick turn around and wanting to record rather quickly. So my three ideas where:
Cheavon Clarke - Professional boxer and team GB athlete. Involved in a battle with mental health to get back into training after struggling.
Darren Stevens - Professional cricketer for Kent and named Kents best Cricketer, it was a local story so I wanted it to feel more welcoming.
Pagham Ladies FC - An old School friend of mine by the name of Steven Hurst was volunteering at Pagham Ladies FC as apart of his university course, and I wanted to talk about how a football club was dealing with the affects of COVID aswell as see Stevens personal story with why he started at Pagham Ladies FC this year with all the problems with COVID in place.
Steven Hurst was the only one that got back to me, aswell as helped me get access to the manager Rhys Laurence and tried with Stevens brother Daniel Hurst
After speaking with the manager Rhys Laurence and after he was on board with the idea we spoke about the use of some of their old match footage that can be used throughout my documentary and also help me get access to a player to get a womens voice in the documentary and get a players opinion on the matter.
When it came to getting the interviews done I did have my fair share of problems, with Steven's brother never turning up when we agreed a time to record which happened on two/three occasions which didn't help me with my idea of using the brothers together. However, Steven on the other hand was very easy to work with and helped me alot along the way with the first interview getting down rather quickly and Steven being my main contact to get somewhere. Rhys' interview also went rather smoothly with Rhys turning up when we agreed but the issues with Rhys appeared later after this with communication falling apart and after my many attempts to get in contact with him which included getting Steven to try and send him my way, I'm still yet to hear from Rhys and was unable to get access to any of the players after Steven tried and then nothing came up. As the new lockdown was announced I thought it would be a good idea to try and get back in contact with Steven to try and get a different dimension to the story which Steven again agreed to easily and we came together to do a another interview, which then I asked Steven if he wanted to do an audio diary talking about his feelings when he missed Pagham's games because of this new lockdown. So because of Steven being very helpful with me and doing his best when he asked me to donate to his Movember charity I did, because I wanted to keep the good relationship between us and it was deserved after all the help Steven has been to me.
After all of my interviews I took the time to transcribe all of the interviews to gain an understanding of what was said and when, this helped in the editing process. This was because in the editing process I was able to look at the transcription and start to figure out what parts of the interview I would want in the edit. In the first edit it was rather long being around 22 minutes, with this edit lacking in music but I wanted to get an edit together to send off to Mick Kelly to get feedback. After I received the feedback I found out that my edit was too long because to Mick it seemed to be abit too long, because of this during my next editing session I ended up editing out chunks of footage that I felt wasnt needed because the interviewees tended to repeat themselves a few times. Also during this process I took out all of my original commentary to later replace it with a third person voice over to switch the focus from my personal point of view and my relationship with Steven but to put more empathies on the actual content.
For the final cut after the last viewing by Mick, the main problems would be my commentary being alittle bit on the slower side, so the pace overall needed to be quicker and the script needed to be tighter with myself adlibbing at certain parts of the script, aswell as the conclusion being way to wordy and long. The last bit of feedback was adding an extra bit of music to show the change in tone going from happy to down, when the participants talk about their family bond to when they talk about COVID being used as an excuse.

Conclusion
Throughout this process I was forced to adapt to new situations quickly and forced to think about back up ideas to make sure if plan A failed I had something to fall back onto. This experience was shown when I was forced to change my idea because of a lack of communication between me and the Gillingham Ladies FC manager, meaning I was forced to change my idea to Pagham Ladies because I quickly got approval and worked on the new idea. This also shows my preparations was correct in leaving myself enough time to get a new idea together before deadlines by setting myself earlier deadlines to make sure it was all going to plan. I was also forced to adapt during my three different cuts of the documentary with the length going down each and every time with the first cut ending at around the 22 minute mark to the final cut finishing at the 16 minute mark. This was because of my constant cutting and refining based on Mick's suggestions and feedback, to really refine the work whilst also fixing the new issues that these changes could bring, until the last set of feedback was rather precise with the commentary being the main issue with everything else being alright. This type of process would be an example of experimental learning by David Kolb (2020) which is learning that focuses on experiences and looking back at these and figuring out what went wrong, and then reflecting on what happened to then using this knowledge to improve your work later down the line.
Reference list
Kolb, D (2020), Newcastle University eportfolio, Available at : https://portfolio.ncl.ac.uk/help/reflection/ Accessed : 15th December 2020

Appendix (includes Music used during documentary and consent)
https://docs.google.com/document/d/1PrQr6-OFAKw6WlpVQIDiyIsqvkrReXZyrH1kOMk51ik/edit?usp=sharing

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For my dissertation I will be doing a 20 minute TV documentary . In my documentary I want to to a TV documentary so I can use interviews and a variety of shots to help drive the narrative. For my documentary I will be wanting to be focusing my documentary on Millie Waud a Women's footballer playing for Gillingham Women's which is a newly created team that is now independent from Gillingham FC, after COVID forced Gillingham to cut ties with the women's team for financial reasons. Within this documentary some early ideas that I have are going through how Millie grew up playing football for Gillingham, what are the difficulties of playing for Gillingham at a young age, how was her school life affected in both primary and secondary school, how did COVID affect her growth as a player and finally how did the Gillingham Women's team situation affect her and her mental health. I have already been in contact with my subject and have already gotten her on board with my current idea, and I'm currently working on getting in contact with Gillingham Women's team to sort out access. My idea for the narrative would be a slow start going through Millie's journey into the football world and how she was affected by school and the effects on her journey. I would also want to try and attempt to get interviews from friends and family to help get an insight into Millie when she was younger, and then move onto her team mates to get an insight into her currently. So when we get to a point where we think everything is going fine we see Gillingham cut ties with their Women's team for financial reasons leading Millie to be left in limbo. But I want to end the documentary with Millie joining the new entity of Gillingham Women's team and how that affected her.

Ethical task
Ethical considerations for a documentary maker are more than just what’s written in the Ofcom Code, this is because I believe that the Ofcom Code should be considered as a mere foundation in regard to ethics. These should be the types of things that a documentary maker should always remember when making a documentary and these codes should help shape the documentary before any other outside ethical matter should be thought about in regard to making a documentary. The main reason the Ofcom Code is a foundation is because the code looks at protecting the audience watching and also protect the subject but in a vague sense.

In regard to protecting the subject a documentary maker should look at the subject in a more in-depth term and connect with their subject on a more humane level in regards to how they work with the subject and how they tell the story. So when you are trying to tell someone’s story you want it to be the best story and not harm the subject because of the documentary, an example of this would be reshooting an interview because you wanted more emotion. But because of this reshoot this could hurt the subject mentally and further affect the rest of the documentary and the subject. The subject is more than a story but a person so a humane connection will help this.

This would be a case by case basis but sharing decision making with the subject, because if the subject signs a consent form to allowing you full editorial consent over the documentary they wouldn’t need to see anything because a celebrity might want to focus on their image over the documentary. But for someone else who you can share editorial consent so they can look at the documentary and share their concerns of anything in the documentary. However, because of the humane connection with the subject you can sit down with the subject and try and talk through their concerns and try and give your reasoning, then if you can see the distress of the subject you can work out a solution. Because of this connection you can gain more trust of the subject and this can help you later down the line.

Payment in a documentary could be seen as very controversial situation and would need to come down to a case by case basis. This is because to some subjects a payment could alter how they tell their story and alter what they show because they have something to gain from this, this could hurt the documentary because the story you are trying to tell and the story you’re trying to show to the audience. However, to some subjects you can give them payments later down the line after you’ve ben given the story after you’ve been given the access and know that the payment wont affect the documentary and change how the story is being moulded. There’s another issue, because you’re telling someone’s story and profited from their story so this could be seen as an ethical issue in regard to how you use your subject for monetary gain without them profiting from it.

When talking with your subjects and other people involved with your subject you should be completely honest with them and not use any time of deception in how you get access or when you are trying to interview them. Your subject should be informed of how the content filmed will be used, for example not being 100% honest with someone involved because you’re worried that the documentary could be cut if someone was filmed. So instead of being honest you deceive them and don’t tell them. I see this a problem because you are ruining the trust that you’ve worked for and built, yes the documentary could be at risk but as a documentary maker I believe you should try and work with your subject as best as you can. I realise this is a controversial subject because some documentary makers would care more about the documentary and wanting to finish that to the best degree.

When editing the documentary, you shouldn’t frame any of the edits and cuts to badly portray someone without context. By this I mean you shouldn’t leave out any further parts of the conversation to try and tell the story one way because by this you would be deceiving the subject whilst also deceiving the audience, because context is very important and someone can be changed based on a small piece of an interview in how someone is being portrayed. This is an important ethical decision, so you don’t badly show off someone. The Ofcom code speaks about accuracy but doesn’t look at the editorial ways that accuracy of a documentary could occur.

Ethical Considerations
The main ethical consideration that I would need to think about because of the current climate in the world with COVID would be to produce this documentary safely so I would need to record everything from a safe distance, and when it comes to recording interviews I would need to be socially distanced from my interviewees. I would also need to make sure that I disinfect all of my equipment before and after use to help make sure no one is negatively affected because of my actions. I would also need to make sure I wear a mask to help protect my interview subjects and then make sure im disinfecting my hands regularly again to help protect my interview subjects Another ethical consideration would be to get informed consent from everyone involved in the documentary to make sure they are happy and then if Gillingham Ladies wanted to use my documentary the consent is already there and they can publicise it without any worries. I will also communicate with my subject Millie Waud after I have edited the documentary to help keep her trust in me and also communicate with her to make sure she is happy with the content that is shown in the documentary, and then if there are any issues then I can talk with her about it to either see if I can persuade her or find a solution to the problem and find the best solution. Also by doing this, I can protect my subject being Millie Waud in case the club Gillingham Ladies want to publicise this documentary that I do everything to protect the subject to make sure no harm comes to my subject after the potential release of the documentary.  If I get material from other people like photos or videos I would need to get access from the owner of the material that I can use the material within my TV documentary.

Sadly, because of the effects of COVID and how we've been in lockdown since December moving forward with FB698, instead of doing a documentary I will be taking the second option and going with the directors cut. This is because since we are in Lockdown and unable to attend the campus I would've have the necessary equipment to film my documentary with the aim of it being for TV, the option of radio was there but because of my prior experience with the FB666 and the troubles that I faced during the making of that. I believe that it would be best for me to not make a radio documentary because I feel the quality wouldnt't be up to par with what I would want it to be. So for the rest of FB698 I will be making a directors cut, but I still aim to interview my subject Millie, so that I can use sound bites of that interview throughout the directors cut to help show what direction I wanted to take in my documentary.