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Here, finally, is the Youtube link to the finished Assessment 2 project video:
https://youtu.be/yW1LiUud01w

I hope you find this video enjoyable,

Julia Lock

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Assessment 2: Video and Production Notes (Shot List, Outdoor)

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Assessment 2: Video and Production Notes (Shot List, Outdoor)

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This is the second part of the shot list ( a form of simplified script to make things easier for the beginner actors).

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Assessment 2: Video and Production Notes (Shot List - Indoor)

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Assessment 2: Video and Production Notes (Shot List - Indoor)

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Before posting the link to the final video, I have added the first part of a very amended form of the script (in the form of an outdoor shot list), which I felt would make the filming process much easier for the two actors involved.

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A call sheet has been drafted, and submitted as a Word Document with the talent release forms attached. This is a copy with the personal contact details edited out.

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Suitable actors have been found who are willing to be filmed for both roles, and they have both signed their release forms. Both actors are also early risers by habit, which will be convenient for the filming schedule. Both have filled and signed their talent release forms, which have been attached to the assignment.

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As the previous script suggests, there will be two characters appearing in the film; the main character and the neighbor. They are now named, and described in the following character sheets:

Character 1 (Main Character)

Name: Bryan

Age: Between 70 - 80

Professional Status: Retired/Volunteer

Physical Description: Male, elderly or late middle-aged, white or grey hair. Average height preferred (for convenience of camera framing), but not necessary. “Average Joe” look.

Dress: Casual

Hobbies: Collecting, photography, volunteering, politics and current affairs.

It’ll be desirable for the character who plays Bryan to have a clear speaking voice, and be familiar with using a camera. He will need to be able to drive, and have access to a reliable car.

Character 2 (Neighbour)

Name: Lawrie

Age: Between 70 - 80

Professional Status: Retired/Volunteer (ex-farmer)

Physical Description: Male, elderly or late middle-aged, white or grey hair. Average height preferred (for convenience of camera framing), but not necessary. “Farmer” look.

Dress: Casual, outdoor/rural work clothes

Hobbies: Mechanics, volunteering, handyman work

It’ll be desirable for the character who plays Lawrie to have a clear speaking voice, be able to drive, and have access to a reliable works vehicle.

Use of animals in the film:

One area of the film’s planning I haven’t yet covered adequately is the presence and use of the animals that will appear in the film. These including wild animals (the birds), and domestic (the dogs in the neighbour’s/Lawrie’s truck). It will be important, legally and ethically, that the welfare of all animals involved be protected on location, and during the filming in general.

The dogs in the truck will be restrained in the back of the vehicle according to current South Australian road laws (see links). Scenes involving them will not be shot during inclement weather, and I may redraft the shooting schedule so that those scenes will be shot as a batch (in the morning or midday, for continuity) to minimise their filming time. Provisions (like water) to be provided as needed for their comfort. I may pre-record their normal barking for a background dub if needed.

The wild birds will be (and currently are being) shot separately, from a distance, with minimal or no interference with them (apart from my presence). There are many native bird flocks in the town that are accustomed to human presence, including magpies, honeyeaters, and topknot pigeons (as the most approachable). Cockatoos, emus and crows tend to be warier, but with the help of my mini-tripod and a nearby solid surface, I should be able to use the camera’s zoom to get some usable shots.

Resource links used re’ using animals in film:

https://adelaidevet.com.au/pet-library/travel-restraining-your-dog-in-a-car

(accessed 13/5/2018)

https://www.environment.sa.gov.au/managing-natural-resources/plants-and-animals/animal-welfare/Codes_of_practice/animal-welfare-codes-of-practice

(accessed 13/5/2018)

https://www.dpi.nsw.gov.au/animals-and-livestock/animal-welfare/general/codes-of-practice/film-theatre/safety-guide

(accessed 13/5/2018)

http://kb.rspca.org.au/is-it-legal-to-have-unrestrained-dogs-on-ute-trays-or-trucks_501.html
(accessed 13/5/2018)

http://agriculture.vic.gov.au/agriculture/animal-health-and-welfare/animal-welfare/animal-welfare-legislation/victorian-codes-of-practice-for-animal-welfare/code-of-practice-for-the-welfare-of-film-animals
(accessed 13/5/2018)

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Activity 5.1 (Continued) – Locations Audit

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Activity 5.1 (Continued) – Locations Audit

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Finally, a brief overview of the two indoor locations (kitchen and bedroom). The lighting will need to be closely controlled, with additional artificial lighting and closing blinds/curtains as needed. Room clutter in both locations needs to be checked for both OHS hazards (like dangling cords, hot water jugs, tripping etc)as well as consistent positioning for scene continuity. TVs, mobiles and radios will need to stay off during the indoor shoots.

(see previous posts for activities 5.2 and 5.3)

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Activity 5.1 (Continued) – Locations Audit

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Activity 5.1 (Continued) – Locations Audit

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The final panorama for Outdoor Location 2 (bush-land near road). Like with the others, lighting is natural, and subject to weather and time of day. With OHS, traffic is less of a concern, but wildlife, weather, rubbish and tripping will still be the main things to watch out for. Care, and safe footwear will be needed.

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Activity 5.1 (Continued) – Locations Audit

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Activity 5.1 (Continued) – Locations Audit

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Here is a panorama of another possibility for Outdoor location 3 (bush-land by road). The lighting and hazards would be similar to that of the previously posted location.

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Activity 5.1 (Continued) – Locations Audit

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Activity 5.1 (Continued) – Locations Audit

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Here is a panorama of possible Outdoor Location 3 (bush-land by road). Natural lighting, variable according to the weather and time of day. Main OHS hazards would be from weather, traffic, wildlife (mainly snakes on warm days), scattered rubbish and tripping hazards. Actors will need to wear safe closed footwear with hard soles, and where they will be walking/standing checked for  rubbish (especially glass and metal).

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Activity 5.1 (Continued) – Locations Audit

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Activity 5.1 (Continued) – Locations Audit

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Here is a panorama of Outdoor Location 1 (house, veranda, front yard, footpath & street). Natural lighting, variable according to the weather and time of day. Main OHS hazards would be from weather, traffic and tripping hazards

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I plan to shoot over a period of 2-3 days at most, 1 day at the least. Because the shooting will take place at or near the homes of all the actors & crew, they will be able to take their meals at home, so I will schedule enough time breaks to enable them to do this.

Except for the main character actor (and any filming crew), the shoot is unlikely to take up very much of anyone’s time.

The schedule will be a tentative draft where I will detail the shooting times, but not the dates (though I intend to schedule the shoot any time between weeks 7-8, i.e. any suitable day between the 14th to the 28th May 2018. This is because I will need to fit the shoot in at the convenience of the actors (and any crew) I recruit, as well as according to the weather.

The shooting schedule is based on two assumed free days, with consistent favourable weather, that the actor/s are free and willing to spare, occurring sometime between the two dates mentioned.

I will make a copy of the shooting schedule using the resource template provided, and include it with the assignment submission.

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Activity 5.2 Equipment, props, wardrobe and set

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Activity 5.2 Equipment, props, wardrobe and set

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The following is a list of what I will require for the filming.

Equipment: I will be using my digital camera and tripods (the same that were reviewed in exercise 1.2), as well as my computer and Adobe Premier Pro for the editing. For titling & credits I will create .png images using Windows paint. There is a possibility some additional equipment (cameras or tripods) may be borrowed.

Props: The two actors required to drive (main character and neighbour) will use their own vehicles as required. The actor playing the main character will use his/her own mobile phone, rubbish bin, coffee cup, wastebasket, camera, computer etc. If that actor doesn’t have any of these, or doesn’t wish to use the ones he/she has, then I will lend my own to be the props.

The fake newsletter, fake web page and fake email I will make myself, as I know basic html and some Javascript (as well as simple brochure design). I will use an empty shoe for the injury shot.

The prize statuette will be purchased (and ‘post-wrapped’) by me, with used postage stamps.

Wardrobe: The characters will be wearing their usual day-to-day clothing of their choice. I will keep a note of what the main characters are wearing, in case a same-day scene needs to be shot over more than one day. If I am able to shoot what I need in one day, I will ask the actor playing the main character to change clothes for the next-day scene.

Set Design: Apart from the addition of any special props (such as the wastebasket), the sets will generally be kept as they normally are. Some objects may be temporarily removed if they are too obstructive, embarrassing or distracting.

I will make a copy of this list using the resource template provided, and include it with the assignment submission.

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Activity 5.1 Choosing and auditing the locations

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Activity 5.1 Choosing and auditing the locations

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The film will require multiple filming locations both exterior and interior. They will all be in within the same town, and its immediate outskirts. The outdoor locations are all either on public land*, or else one private location to which filming permission has already been verbally granted*.

I will still formally consult with the owners, as outlined in the assessment instructions, and use the agreement form. I will also determine whether the exterior land I plan to film on is as public as I assume it to be, and if not, undertake the same consultation and agreement process as with the private property.

(1)  There will be two interior locations, and they are:

·        The kitchen/dining room of the private location (the same room used in the camera exercises).

·        A bedroom in the private location.

(2)  There will be three main exterior locations, and they are:

·        The front of the private residence, including the veranda, front yard and front footpath. It will be the same residence as the one used in the camera exercises.

·        A first location on public land within or near the town.

·        A second location on public land on the edge of town, on a street.

As well, an additional 4-5 street locations will be used to record drive-by shots for the time-loss sequences. The first location has been decided on, the second two from three other possibilities. Notes on all four locations, plus a panoramic image of each, will be added in the next post.

I will attach a photographic copy of the signed location release form for the main residence/interior location, using the one provided in the resources, and include it with the assignment submission.

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Assessment 1.4: Storyboard and Camera Exercise 2 (Continuity)

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Assessment 1.4: Storyboard and Camera Exercise 2 (Continuity)

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The YouTube link for the camera exercise is here:

https://youtu.be/AUpbDlgFWyw

Reflection on the exercise: This time, I used the large tripod for each shot, and soon realised it’s limitations when I attempted to pan.

Another thing I learnt from all the continuity exercises re’ my camera, is that because it is automatic, it will be very important – for indoor shooting especially - to manage the light sources to avoid unwanted silhouetting. For example, by using additional lights, and closing curtains, or else choosing more suitable rooms for indoor closeups.

Reflection on the storyboard: The first draft of the video project’s storyboard has also been posted (read below): once again I was able to shave it down a little, but it still is a very complex project (more editing and sound control practice will be needed). Though the shot list is big, there are a lot of similar scenes, which I plan to film in batches on each location, then reassemble as the story later in the edit.

Most of the complexity is due to the large number of very short shots that make up the bulk of the project, and I feel that may unbalance the video, and be a visually jarring & uncomfortable experience for the viewer.

For this reason, I will go over the storyboard later, and do a time-count on each shot to find out how close it adds up to the required duration. Some longer shots may be needed to help with the flow of the story.

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Storyboard for Assessment 2 Video (first draft)

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Links to my two currently completed assessment videos (YouTube)

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Links to my two currently completed assessment videos (YouTube)

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(assessment video for Camera Exercise 1) https://youtu.be/13X1p1Uee_s

(assessment video for Camera Exercise 2) https://youtu.be/geqb0LtSIw8

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ACTIVITY 3.2 – SCRIPT FOR VIDEO PRODUCTION

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ACTIVITY 3.2 – SCRIPT FOR VIDEO PRODUCTION

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Notes on the script: This is a first draft of the script, and I’ve deliberately made it detail-heavy – including information about camera shots, background sound, durations etc - because I’ll also be using it as a guide for drafting the storyboard (which will be posted next). Comparing the first draft of the script with the notes, one will notice that there have already been several changes to the story. I expect that there will be more adjustments (including some pruning) needed as I move further along the production stages.

PRIVATE AND CONFIDENTIAL CONTENTS OF THIS DOCUMENT HAVE BEEN WITHELD FROM THIS COPY, IN THE INTERESTS OF PERSONAL SECURITY

ACTIVITY 3.2 – SCRIPT FOR VIDEO PRODUCTION

(Currently Untitled)

by
JULIA LOCK

Based on a story concept by
JULIA LOCK

Written as part of a project for INFT 1029 (Introduction to Video Production), as part of an XBDM (Bachelor of Digital media) course at the University of South Australia

FIRST DRAFT
APRIL 2018

© JULIA LOCK, April 2018
XXXXX XXXXX Street, XXXXX
SA XXXXX, Australia
Ph: (61 X) XXXXX XXXXX

1. INT. HOME. MORNING. DAY 1
Long/wide shot of an empty kitchen table, partly covered at one end with old letters, newspapers etc.

After a few seconds, sound of a front door closing as [MAIN CHARACTER] enters, and sits down with a small bunch of new letters in his/her hand.

Medium close-up as he/she opens the first two letters to briefly read, before adding them to the pile on the table, while muttering about the bills.

Close-up of [Main Character] as he/she picks up a third letter, and examines it with slightly more interest before opening it to take out the newsletter inside. He/she studies the contents for a few seconds.

POV close-up of the newsletter as [Main Character] is holding it. On the right-side page is information about an “Australiana”-themed photographic competition.

Page close-up of the competition’s title and theme, followed by a short/vertical down-up camera pan – mimicking eye-movement - of the competition’s prizes.

Return to medium close-up of [Main Character] nodding in interest, then looking at the bills on the table. He/she turns on the radio, and as the music plays, sits back to study the newsletter.

Return to page close-up (with short/vertical-down camera pan) of the (briefly described) competition rules; including the deadline.

Close-up of [Main Character]’s face, edge of newsletter visible at bottom screen.

[MAIN CHARACTER]
(to him/herself, slightly annoyed)
Bloody hell, they don’t leave you much time.

He/she turns the newsletter over, then looks at the envelope (which is covered in redirection stamps).

[Main Character] (CONT’D)
And no bloody wonder, this must have toured around the whole bloody country before I got it. No bloody wonder it’s late.

He/she holds the newsletter closer to his/her face.

Return to page-closeup of the remaining rules (very simply stated), then short vertical down-pan to the first choice of photo subject: a famous Australian landmark in a distant Interstate city.

Return to (same as previous) close-up of [Main Character]

[Main Character]
Definitely won’t be able to get over there by five tomorrow.

Return to page-closeup of the second choice of photo subject: a still-life featuring a sprig of wattle.

Return to (same as previous) close-up of [Main Character].

[Main Character]
Don’t think so, unless I want to end up a sneezing mess.

Return to page-closeup of the third choice of photo subject: a close-up of a native bird.

Return to (same as previous) close-up of [Main Character].

[Main Character]
(to him/herself, optimistic)
That’s more like it.

2. INT. HOME. MORNING. DAY 1

Long-wide shot of a bedroom, with a camera sitting nearby on a table, (closed) bedroom door visible in shot. The door opens, [Main Character] enters the room, picks up the camera, and leaves.

3. EXT. OUTSIDE HOME. MORNING. DAY 1

Medium close-up of [Main Character] standing outside his/her home, camera in hand, looking around. Native birds are everywhere. He/she sights one, and picks up the camera, adjusting the focus to take a shot … and then his/her mobile phone rings. [Main Character] puts down his/her camera to answer the phone.

Close-up of [Main Character] on the mobile phone.

[Main Character]
(to phone, slightly annoyed)
Hello?

(garbled conversation noise reply over the phone)

[Main Character] (CONT’D)
The town dump keys are missing? Isn’t it Johnno’s turn to have them today?

(garbled conversation noise reply over the phone)

[Main Character] (CONT’D)
You sure?

(garbled conversation noise reply over the phone)

[Main Character] (CONT’D)
(slightly more annoyed)

Look … I definitely don’t have them with me, otherwise I’d be able to give them to you.

(garbled conversation noise reply over the phone)

[Main Character] (CONT’D)
Have you checked with the Post Office? I’m a little busy right now.

(garbled conversation noise reply over the phone)

[Main Character] (CONT’D)
She doesn’t have them either? Ok, I’ll be there shortly.

Medium close-up of [Main Character] putting his/her phone away, and then looking down at his/her camera and slowly shaking his/her head in (mild) frustration.

4. EXT. AROUND THE TOWN. MIDDAY. DAY 1

Series of short long-shots of [Main Character]’s car driving around town, pulling up at/leaving various houses, interspersed with rapid close-ups of [Main Character]’s face while answering his/her mobile, and rapid close-ups of [Main Character]’s hands exchanging keys, tools etc.

5. INT. HOME. EARLY AFTERNOON. DAY 1

Long/wide shot of [Main Character] sitting at his/her kitchen table, relaxed, and finishing his/her coffee. An empty used dinner plate is in front of him/her. He/she checks his/her phone, looks at his/her watch, and then puts down his/her coffee mug.

Close-up of [Main Character]’s camera on a table, next to the newsletter. Sound of footsteps 1-2 seconds later, then [Main Character]’s hand enters the frame, takes the camera, and then exits the frame. Sound of a door closing.

6. EXT. BUSHLAND. EARLY AFTERNOON. DAY 1

Long shot of bushland by a road. 2-3 seconds later, [Main Character] pulls up in his/her car, and steps out, camera in hand.

Medium close-up of [Main Character] in the bush, camera in hand, looking happily around. He/she spots a bird, and slowly steps forward while adjusting focus.

Close-up/low-angle shot of [Main Character]’s shoe as he/she steps forward, a piece of broken glass is underneath the toe [note: I will use a prop shoe for that shot].

Short scenic reaction shot (4-5 seconds) of startled birds flying away while [Main Character] suddenly curses loudly O/S

7. INT. HOME. LATE AFTERNOON. DAY 1

Closeup (3-4 seconds) of a sock being pulled over a bandaged toe.

Full-shot (4-5 seconds) of [Main Character] sitting on the edge of his/her bed, camera next to him/her, carefully putting on a shoe.

Closeup (3-4 seconds) of [Main Character]’s camera on his/her bed. [Main Character]’s hand immediately enters the frame, takes the camera, and then exits the frame.

8. EXT. TOWN ROADSIDE. LATE AFTERNOON. DAY 1

Full-shot of [Main Character] getting out of his/her car on a roadside on the town’s outskirts, camera in hand. As he/she - once more - sights another subject, a noisy vehicle suddenly pulls up by [Main Character]’s car.

Full-shot of [Main Character]’s neighbour opening his car door, but still sitting in driver’s seat.

[NEIGHBOUR]
Hi ([Main Character]’s name)! You don’t have a spare minute, do you?

Medium close-up of [Main Character], turning to face his/her neighbour.

[Main Character]
What’s happened?

Medium close-up of [Main Character]’s neighbour, still sitting in driver’s seat with door open.

[Neighbour]
You wouldn’t believe it, but the dump keys have been lost again!

[Main Character]
(disappointed)
Hang on, I’m coming.

Long-shot of [Main Character] and his/her neighbour entering their cars, and driving off.

9. EXT. HOME. EARLY EVENING. DAY 1

Long-shot of [Main Character] getting out of his/her car.

Medium close-up of [Main Character] looking around at the darkening sky, and shaking his/her head as he/she takes the camera out of the car, and walks into the house, switching the lights on.

(EXT/INT): Medium close-up of [Main Character] checking the camera for what pictures he/she had been able to take that day.

Close-up of camera viewfinder. Short sequence of stills of unsatisfactory photos.

Close-up of camera’s viewfinder, displaying a flat battery warning.

Close-up of [Main Character]’s hand entering the frame to put the camera on the table next to the newsletter. His/ her hand takes the newsletter, and leaves the frame.

Medium close-up of [Main Character] reading the newsletter.

Close-up of the newsletter in [Main Character]’s hands. Focus on the deadline date.

Medium close-up of [Main Character] lowering the newsletter and looking up into space, disappointed.

Close-up of a rubbish bin, the (screwed-up) newsletter entering it. Soon after, the lights go out, immediately after that, the sound of the door closing.

10. EXT. OUTSIDE HOME. MORNING. DAY 2

Long shot of [Main Character] on footpath outside house, putting out his/her rubbish for collection. The neighbour pulls up in his noisy car, to greet him/her.

[Neighbour]
How’s it been going this morning?

Medium close-up of [Main Character]

[Main Character]
Pretty quiet. No more problems with the dump keys?

Medium close-up of [Neighbour]

[Neighbour]
None that I know of. By the way, have you heard there’s going to be another blackout today?

[Main Character]
No. What’s it for this time?

[Neighbour]
They’re replacing the old insulators along the line. Could be up to four hours, or more this afternoon.

[Main Character]
Thanks for letting me know.

[Neighbour]
Anyway, I gotta go. Might catch you up the club tonight.

[Main Character]
Thanks, see you. (turns, and walks inside)

11. INT. HOME. EARLY AFTERNOON. DAY 2

Medium close-up of [Main Character] at the table, drinking coffee after lunch. The sound of a magpie’s warbling comes through the window. He/she listens, and then slowly puts down his/her cup.

Close-up of [Main Character]’s hand entering the frame to take the camera off its table. As his/her hand leaves the frame, an empty rubbish bin is visible next to the table.

Close-up of the camera’s viewfinder switching on, miraculously with no battery warning.

(INT/EXT): Medium close-up of [Main Character] quietly walking out onto the veranda, camera in hand, calling softly to the magpie.

A sequence of magpie photos (using own and stock photos), with accompanying stock audio of a camera shutter for each.

Roll credits, with the following short single-shots inserted between each section of the credits:

12. INT. HOME. EARLY AFTERNOON. DAY 2

Close-up of [Main Character]’s hand entering the frame to put the camera on its table. His/her hand then grabs the nearby empty rubbish bin, and shakes it.

13. INT. HOME. EARLY AFTERNOON. DAY 2

Medium close-up of [Main Character] going to his/her computer desk, camera in hand, and switching the computer on.

14. INT. HOME. EARLY AFTERNOON. DAY 2

(very short multi-shot sequence, 5-6 seconds): Close-up of the computer screen, displaying a “web page” as [Main Character] submits the photos. Seconds later, the screen goes black as the power outage happens (include shots of lights and TV screens going off throughout the house).

15. INT. HOME. 1 WEEK LATER

Close-up of the computer screen, displaying an “email” announcing [Main Character] as the winner of a minor prize.

15. EXT. HOME. 2 WEEKs LATER (AFTER FINAL CREDITS)

A statuette of a magpie is perched on the veranda wall, as, in the background, the neighbour drives past in his noisy truck.

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Activity 1.3 Develop a story idea for your short video production

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Activity 1.3 Develop a story idea for your short video production

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Part 1: Write a character-goal driven plot

Notes on the story:

The structure: The story follows a ‘Quest’ structure (Booker, 2006). The main character sets out on a successful, but difficult quest – facing challenges and undergoing personal change in the process. Much like the ‘Hero’s Journey” (Campbell, 1949), but simpler.

The concept: The story’s concept is based on the main character encountering a series of both random and self-caused obstacles in pursuit of a goal.

Characters, situations and locations: Most of the focus will be on the main character, with only one side-character slot in the story so far. This is due to having not yet organized the actors, and I am likely to have a relatively small pool of possible volunteers to call on. If more people than I plan on having come forward, there will be room in the story to write them in.

Because I will be working with volunteer actors, I plan to keep the locations and situations simple, and local to where I live to minimize time inconvenience to them. The locations will be unaltered, with minimal use of props, and include both indoors and outdoors.

The main character: I envisage the main character as an obliging local, living a mostly uncomplicated life, who is very involved with his/her community to the point where this sometimes impacts negatively on his/her personal goals. Much of the challenges in the story arise from the character being too willing to put his/her goals aside for others.

At this stage, I’ve kept the main character loosely defined (even gender is not yet decided, as can be seen in the story description). As I haven’t yet arranged a main actor to play the role, again I would like to keep my options open until that’s done.

Conflicts and contrasts in the story: The main conflict in the story is that between the main character’s goals, and his/her sense of obligation to his/her community. This conflict becomes a source of increasing frustration, until the character learns more assertiveness, self-control and compromise (to allow more time for personal goals). The main contrast is between the first ‘day’ of the story, where the character is overwhelmed and increasingly flustered, and the next day, where he/she is calmer, and more in control of the situation.

The story:

(setting information in italics, actions in plain text)

Our main character, a resident of a remote town, receives a newsletter in the mail from a club he/she is a member of. The letter had been delayed in the post, so that when he/she finally can read it, he/she learns that a special photographic competition the club is running - with a desirable prize – is less than two days from its closing date.

Our character works out there is still just enough time to submit an entry. The competition rules require that the photograph must be from a choice of three subjects: a well-known landmark in a distant Interstate city, a still-life featuring a kind of flower, or a wildlife closeup of a native bird. Our character is unable to travel to the required city in time, and is allergic to the flower required for the still-life. He/she therefore decides on taking a bird photo, and sets out to achieve it.

As he/she gets ready to leave, an urgent call comes through on our character’s mobile. His/her is urgently needed for some reason, and despite his/her protestations, our character must drop what he/she is doing and help. Later, our character is free again to take up the camera, and tries again – walking out into the bushland immediately surrounding the town. He/she lines up for a shot – and, not watching the ground - steps on a piece of broken rubbish, injuring his/her toe.

Shortly after, our character determinedly puts his/her shoe back on over his/her bandaged toe, and tries again - taking his/her car out to a spot further away from town, where there is less litter. Before he/she can reach the spot, an acquaintance pulls up in a (noisy) car, making any birds nearby fly away. Another drama has happened in the town, and our character’s help is needed (again).

By the time he/she is free again, it is almost dusk. He/she takes several shots, but is not satisfied with any of them. He/she then sees a chance to take a good one, but then the batteries go flat. Our character returns home for some new batteries, but finds that the spare packet is one short. He/she needs to face yet more challenges (e.g. search/beg/borrow/ and/or negotiate with a dubious helper) to get the extra battery he/she needs, but by the time he/she succeeds, it is too dark for him/her to attempt another photo.

Our character, by now frustrated, looks over the photos he/she did manage to take that day on his/her computer. Again, he/she isn’t satisfied, and, ruminating on the imminent deadline, and the day’s bad luck regarding his/her goal, decides to give up, screwing up the newsletter and binning it.

The next morning, our character wakes up, refreshed, and he/she still has a few hours left, decides to make one last try. At first, it seems like more of the previous day’s run of petty setbacks has continued, but our character - using more patience, and assertiveness – finally succeeds in taking some good bird photos.

Our character looks for the newsletter (to get the entry details), and remembers that he/she had binned it the previous night. He/she checks the bin, but it is empty; the town rubbish collection has already been through. Undaunted, our character looks up the club’s page online, and successfully submits his/her entry – mere seconds before a town blackout.

Epilogue, about two weeks later. Our character is discussing the recent blackout with a neighbour, when he/she receives a phone call. It is a courtesy call from the club, informing him/her that he/she is one of the prize-winners. While he/she didn’t win the big prizes, he/she had earned a mystery prize, which was on its way in the post.

Run credits and closing music, then after that the very final scene (6-8 seconds): the prize - a big, kitschy ornament (with some symbolic reference to the story, i.e. the bird that was photographed, or a damaged boot) – is proudly on display in the front yard, next to an opened box with the club’s logo on the packaging, as the noisy car drives past in the background.

Part 2: Write a synopsis (Logline) of your story idea

“For a chance at a prize, all that was needed was a good photo. But town business, deadlines and absurd luck all conspire to create challenges”.

References:

Booker, C. (2006) "The Seven Basic Plots: Why We Tell Stories".Bloomsbury Academic, New York.

Campbell, J. (1949). "The Hero with a Thousand Faces". Princeton University Press, Princetown.

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Assignment 1:2 – Camera/Image control quiz, production equipment review, camera competency exercise #1, and outline/treatment for the video production

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Assignment 1:2 – Camera/Image control quiz, production equipment review, camera competency exercise #1, and outline/treatment for the video production

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Part 1: Results and reflection of the Camera/Image control quiz. I've added these below:

State Marks / 16.00 Grade / 100.00 Review
1 Finished Submitted Monday, 16 April 2018, 6:16 PM 11.50 71.88 Review
Highest grade: 71.88 / 100.00.

Reflection on my quiz results:
I feel this result is a good indicator of my current knowledge on camera use, and the terms and phrases associated with it. Some of the later answers were aided by a web search, mainly for the terms and measurements to do with light temperature, as much of that area was new to me. From my results, more study is needed on managing white balance and depth of field. I will also set aside time to look through the resource videos.

Part 2: Production equipment review
Two key pieces of production equipment I plan to be using for the assessment 2 video are my camera (a Nikon Coolpix B500), bought new, and my tripods (an Osawa GR 193, and a ProAm mini-tripod, model unknown), both of which are second hand.

I have used the Osawa tripod with my camera on several occasions. My camera has an inbuilt sound recorder as part of its movie recording function, and there is also a sound recorder on my laptop.

A standard web search on my tripods returned no results for either model. However, I found a good selection of professional reviews for my camera, and a link to the one I chose can be found here:

< http://www.photographyblog.com/reviews/nikon_coolpix_b500_review >
(accessed 14/04 2018)

The reason I chose this review is that it presents an objective, thorough and simply worded assessment of the device. It clearly outlines both its strengths and weaknesses, and enlightened me on some features that may prove useful in the course. Sample images, with commentary, are provided on page 3.

Some of the limitations mentioned, such as the lack of manual control¹, are of concern considering the purposes of this course. (There may be another camera I can borrow, but I will need to find a review on that as well to assess its suitability).
Despite this shortcoming, the review also mentions that the automatic mode will still allow considerable control over the camera’s settings, including white balance and ISO. It also mentions a very powerful zoom and macro¹, both of which I have discovered for myself.

After reading the review, and reflecting on my familiarity with the camera, I still plan to use it as my main camera. But I will also read the manual, and for occasions where more manual control is needed, will list and research what alternatives I have access to.

References:
¹ Davies, A. (Nov. 1, 2016). " Nikon Coolpix B500 Review" (URL). Photography Blog, Photo 360 ltd (2003-2018).    < http://www.photographyblog.com/reviews/nikon_coolpix_b500_review >
(accessed 14/04 2018)

Part 3: Camera competency exercise #1

The video has been shot, edited, titled and converted on Tuesday, April 17th, 2018. I used my main camera to provide the footage, Windows 10 Paint for the titles and credits, and Adobe Premier Pro (trial version) for the editing and conversion.

The YouTube link for the resulting video is here:
https://youtu.be/13X1p1Uee_s

Part 4: An outline/treatment for the video production story (a brief prose description of the story re characters, action, plot and theme).

The story I plan to use is based on playing the “Murphy’s Law” trope², around themes of hope and persistence. In the story, the main character – an ‘ordinary’ person, hopes to win a desirable competition prize, and sets out to take a good photo for it. Through most of the story, the character repeatedly fails in his/her attempts. The character, feeling ‘jinxed’, loses hope - but then, near the end, succeeds.

The locations will be near my home town, including indoor and outdoor scenes. The character will be acting on his/her own most of the time, so the story will be mainly driven by actions and events driven, with dialogue at key points for connecting the stages of the story, and clarifying plot.
I have yet to decide whether narration will be included, but if so, I will need to find a suitable voice actor for it.

References:
² "Murphy’s Law – TV Tropes" (URL). TV Tropes.org 2018
< http://tvtropes.org/pmwiki/pmwiki.php/Main/MurphysLaw > (accessed 17/04 2018)

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Assignment 1:1 – video story synopsis and draft schedule

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Assignment 1:1 – video story synopsis and draft schedule

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Julia Lock (XBDM)

Story Synopsis: All they asked for was a good photo – should be easy enough?

Draft Schedule:

·        Week 1-2: Come up with a basic concept for the video, and discuss it with at least one other person who can provide initial feedback and help with production support (which, at this stage, would involve casting suggestions and idea refinement).

·        Week 3: Refine the story to make it more plausible and engaging. Draft the script and define story structure. Look for cast members and locations. Visit those locations to assess for likely problems as well as highlights. Look for important ‘special moments’ in the story that may need working out suitable and safe methods for making them happen.

·        Week 4: Get feedback on the story, script and choice of location. Contact cast candidates, show them the story idea and discuss with them what will be involved, and what will be required of them. Find out how they feel about the story. Get free time information from cast who have committed to the project. Discuss OHS issues, and schedule filming dates. Get permission to visit any locations that may require it. Create a draft storyboard.

·        Week 5: Finalize the script and storyboard. Decide on camerawork, sound, title styles etc. Begin filming.

·        Week 6: Continue filming. Source and gather a selection of suitable music for the backing soundtrack. Save all legal information required by the music source to be included in the credits. Discuss any other information, links and logos to be added to the credits.

·        Week 7: Finish the main body of filming, and make a draft edit with soundtrack for feedback. Repeat as needed.

·        Week 8-9: Film any final material that may be required for the video. Semi-final editing, then show the video again to get final feedback. Make any final changes needed, then submit for assessment.