P4 production material & techniques for an audio/visual unit

P4a) Setting Up Appropriate Equipment

Camera - Canon 7D 

The most essential piece of equipment used was a Canon 7D DSLR. The camera will capture at 1080p HD quality, allowing me to produce a high quality promotional advertisement. The interchangeable lenses means I can shoot a wide variety of footage to create a more unique and captivating video, including long or wide angled shots, establishing shots, as well as close ups and shallow depth of field footage. The camera is lightweight and portable too,  having a protective case to carry all essential equipment, meant I could travel to various locations to capture footage, this was very beneficial as I traveled to London to capture the majority of my footage. The battery life is long lasting, meaning I had a full days use with one charge, and no worry of the camera losing battery by the end of the shoot. Furthermore, having the ability to change setting such as white balance and ISO meant I could alter these to produce my desired effects and achieve exactly what I wished, meaning lighting and quality could be altered simply by changing the ISO. 

 Features Include:

- 18 MP APS-C CMOS sensor.
- ISO up to 6400 (H:12,800).
- 8 fps continuous shooting.
- Full-HD movie.
- 19-point wide area AF.
- Dual “DIGIC 4” processors.
- 7.7cm (3.0 inch) Clear View II LCD.
- Intelligent viewfinder.
- Integrated Speedlite Transmitter.


Canon Carry Case 

 The protective case used for the Canon 7D DSLR was crucial in the safe keeping of the camera. Additionally I could store all lenses required for the day and keep appropriate camera equipment together. As well as being tough it was also waterproof which prevented any potential water damage to the equipment.

Tripod - Velbon DV6000

I also used the Velbon DV6000 tripod. It is a very versatile piece of equipment that could be positioned in many ways to achieve the exact shot I desired, ranging from simple, eye level shots, to oblique, high and low angle footage as it could be adjusted to different positions. The tripod was essential when filming a variety of shots to create continuity and high quality footage. Although a lot of footage was 'handheld' for a more interesting effect throughout the running video.

Camera Lenses 

Sigma 10-20mm 

• Super wide-angle lens for Canon digital SLR cameras and an APS-C sensor
• Incorporates SLD low dispersion elements and aspherical lenses
• HSM motor for quiet, high speed focussing
• Internal focussing

Canon 85mm Fixed Lens

A short telephoto lens very popular with portrait photographers. Fast autofocus speed, a large maximum aperture and the short telephoto focal length.

• Bright f/1.8 maximum aperture ensures great shots in low light
• Fast, quiet autofocus with full-time manual focusing
• Circular 8-blade diaphragm helps produce attractive background blur
• Super spectra coating reduces flare and ghosting
• Minimum focusing distance of 85cm
• 58mm filter diameter
• Optional Lens Hood ET-65 III and Soft Case LP1014

The Canon 85mm lens was perfect for creating more atmospheric and captivating shots. Especially for filming with a shallow depth of field. The fixed lens meant I would set the frame exactly where I needed it to be without alteration, and then alter the aperture and focus to create the shallow depth of field. This was used on various occasions within my film (Show below). Additionally I was able to film sharp close ups with the 85mm.

Canon 50mm Lens

A brilliant combination of image quality and versatility. With fast focusing and the fast f/1.4 maximum aperture makes this a superb performer for any assignment.

• Bright f/1.4 maximum aperture ensures great shots in low light
• Fast, quiet autofocus with full-time manual focusing
• Circular 8-blade diaphragm helps produce attractive background blur
• Super spectra coating reduces flare and ghosting
• Minimum focusing distance of just 45cm
• 58mm filter diameter

Canon 18-55mm Lens

The EF-S 18-55mm f/3.5-5.6 IS II is an ideal general-purpose standard zoom. Its four-stop Image Stabilizer provides great performance in low-light conditions.

• Lightweight, compact design
• Wide-angle to short telephoto range
• Four-stop Image Stabilizer
• Aspherical lens elements for control over distortion
• 0.25m close-focusing distance
• Super Spectra coatings
• Circular aperture diaphragm
• High-speed AF

The 18-55mm lens was another that was used on many occasions throughout the film shoot. With the range of 18-55, I was able to frame every shot specifically and alter if I felt I could achieve higher quality footage. The lens enabled me to be precise and pernickety with regards to all shots filmed. For example, the POV shot below was altered to show a more natural 'human' perspective, looking from above the watch. Other lenses would have been too cropped or wide, the 18-55mm lens allowed me to create this 'look'.

P4b) Use of Pre-Production Material

Storyboard
Storyboarding helped develop ideas and add further narrative to the storyline, which had previously been scripted. After filming the music video in accordance to the storyboard, I looked over footage and began developing the final product. I did captured additional footage in which was originally a contingency, however after looking over, I felt a lot of this was appropriate to produce an even better media product, especially for an advertisement. The initial storyline was then altered to deliver this more captivating film.

For example the above images match the first two (top left) storyboard drawings, although the running is revered for continuity of the overall footage, it matches the description, as well as on my shot list (shot 11). 

Planning the shot list would provide me with step-by-step instructions on what I would be filming, in a particular order. These plans kept me organised which ensured advert would be of high quality due thorough planning and organisation. Evidently improving the cinematography and narrative of the final product. 

The recce was again a vital part of my production. Visiting locations and ensuring they are appropriate for the advert was crucial before actually proceeding with the filming. This is because failing to plan the specific locations could lead to poor footage due to disorganisation, as I could arrive at locations and find out it is unsuitable to film, thus having to relocate and jeopardise the quality of my final production. As well as this, it helped instigate initial thoughts on the shots I would be taking, allowing me to plan camera angles, lighting and what footage would look good in different locations.

Production Schedule 

The devised production schedule was an exceptionally helpful tool in which I used throughout the day. After concluding that the initial concept idea would be changed, I no longer needed to film shots 1, 2, 6 and 7 in the morning, and therefore myself and the actress set out for London by train at 9:45, arriving to commence filming at 11:35. In addition to this I no longer wished to used a male protagonist, and therefore chose a more appropriate for the role, female actress. Keeping to the schedule was reasonably simple and there was little disturbance, however it did begin to rain at around 1pm, so we stopped for lunch and let the rain pass by. After this, we commenced filming in at London's Southbank, and from then on worked in accordance to my original schedule, as well as filming additional scenes which will now be used in the final edit. As our return trip was not arranged until 5:00pm, Anna and I had spare time due to completing all essentials in the schedule, and therefore we to develop new ideas and get them filmed.

Script

The script was another beneficial tool during my film shoot. Throughout my day of filming I ensured the script was close by to ensure I was following all the criteria. 

P4c) Following Safe Working Practises

Whilst filming in London, there was a vast range of hazards that could have possibly taken place throughout the day, therefore it was essential that I took great care at all times, completing every shot safely and efficiently, avoiding risks and hazards at all costs. In order to follow safe working practise, firstly I completed a Recce, in which I gathered information about local areas I was filming in, and familiarised myself with the surroundings. Additionally, I kept organised with the filming and kept out of the general public's way, and carefully placed equipment close to myself at all times, avoiding risk of loss or stolen items. 

Below shows a clip from the final production. It is clear that the running surface is wet from rain throughout the day. This was another drawback when filming, as the rain was not suitable to run in on most occasions, and therefore when the rain had stopped it left a more slippery surface for running, meaning myself and the actress had to be extremely careful whilst filming these scenes, as well as wearing appropriate footwear (trainers) to reduce risk of slipping or falling.

Risks

Cars on the road - A large risk involved with filming in the city of London is the vast number of drivers and commuters that pass through the streets. As the film takes places in various boroughs and locations within the city, it involved traveling along streets and additionally filming (and running) through along the pavements next to roads. In this case, there was always a risk of a car crash or situation in which could not be prevented by myself or the actress. As this hazard was out of our control, we ensure we stayed aware throughout the day and did not put ourselves in danger through being irresponsible. We avoided busy streets and abided by general traffic and crossing rules, e.g waiting for red light and a signal to cross. 

Loss of Equipment / Stolen Equipment -  The use of expensive filming equipment involves a risk of damage, loss or the equipment being stolen. In order to avoid this risk I must be fully aware of surroundings at all time, keeping equipment close by and simply not forgetting to pick it up. Additionally the equipment can get damaged. On the day of filming it began to rain heavily for an hour, but in order to get shots completed we continued. Rather than leave equipment unprotected, all lenses and charging equipment were stored in a Canon carry bag, protected by a larger plastic bag in order to keep it safe and dry, and the camera body when filming was covered by an umbrella attached to a tripod or in some cases, myself holding it in one hand. This ensured all equipment was protected from getting water damage. 

Finally, throughout the day the equipment was either being operated, or kept close by and discreetly packaged, in order to reduce the risk of thieves being tempted to steal any of the equipment. I did not leave lenses or the camera on show when they were not needed. 

Setting Up of Tripod / Equipment - When operating filming gear, there will always be a risk of falling or tripping. For example, if a tripod is incorrectly set up and one leg is shorter than the others, it may fall and be damaged, or injure myself, actress or a member of the public. In order to avoid this risk I assured all equipment was set up correctly and efficiently every time, and also avoiding busy streets in which may increase the risk of someone tripping or colliding with myself or camera gear, as well as the actress running.

Filming -  In some cases when filming, members of the public ma acknowledge that you have by coincidence filmed them as they walked along the street, in most cases unintentionally. However some members of the public may be unhappy with being filmed and demand the clip is deleted, or become violent due to the fact they have been filmed. Although this risk is very rare and unlikely, it is still best to try and avoid filming individuals who have no involvement with the film, unless you are filming large crowds where this goes unnoticed. If anyone is unhappy with themselves being caught on camera, simply agree to stop filming and allow them to carry on with their day. 

In addition to the above risk assessment, I also completed a solution of hazards identified in section P2:

The above enabled me to identify and understand more general risks of the film shoot, and furthermore come up with solutions that would help prevent these from occurring. Both the risk assessment and these general risks had to be considered throughout the day of filming, reducing the likeliness of accidents, damage to equipment or injury. Helping me operate with safe working practise.

The reduced risk of the following incidents contributed to the productive and efficient day of filming:

• Trailing Cables - This is always a risk when working with technology. Being aware of this risk and acting accordingly meant nobody was injured or hurt whilst filming in an area where cables were laying around. The use of tape and cable protectors kept all wires organised and safe.

• Electrical Fire/Shock - Fortunately, the majority of footage use din the final edit was filmed outside and in the city, rather than in a studio. This meant there was a very minimal chance of an electrical fire or electric shock. However at points where plugs were needed I ensured I used modern extension leads that have low risk of causing fire due to overwhelming with plugs.

• Overheating Studio Lights - As previously mentioned, the majority of my film shoot was outside, and therefore the use of studio lighting was not needed. As a consequence of this I did not have to worry about this risk throughout the day. However my photography shoot for unit 14 will require studio lighting, in which should be turned off when not needed to save electricity and prevent overheating.

• Broken Camera Equipment -  This was one of the largest risks throughout the film shoot. Especially as I had a large quantity of equipment, whilst directing an actress alone. As a consequence of this I had to be extremely aware of all equipment and where it was placed for the duration of the shoot, ensuring that there was very little risk of damage through carelessness. It was not left lying around or visible to public when not in use, and I was in control of the camera and tripod at the appropriate times, meaning no equipment was damaged or broken. 

Following Production Processes

Camera Settings

The use of a Canon 7D in a manual setting was a great benefit when filming in the city streets of London. The diverse range of areas meant lighting was altered and different on every location set for filming, and thus meaning alterations had to be made on the camera. The manual setting enabled me to change any factor in which contributed to what I was filming,  most importantly ISO which altered the cameras sensitivity to light, as well as aperture, helping me create my desired look on all footage, without it being too dark, or having 'noise' on the final edit. In addition to this, the Canon 7D shoots in 1080p HD, producing a more professional look to the edit, this is important when creating a high standard film or advertisement, and essential when shooting for industry standard productions.

Lenses - The industry standard Canon and Sigma lenses contributed to the high quality footage taken on the camera, each offering different perspectives to the surroundings on location, which helped me produce a more captivating piece of work that keeps audience engaged throughout. Filming shots with a variety of lenses meant I could pick and choose between what I felt look more appropriate to the final production, and what would help entertain the audience. For example, the 85mm fixed lens was perfect for shallow depth of field and focus pulls, creating a more atmospheric shot and drawing the audiences attention to a specific product or item on screen. An example of this can be seen below, a shot from my final edit showing a NIKE trainer with a shallow depth of field, drawing in the audience to the detail of the shoe.

Film Diary

Filming began just outside London Victoria station, in which I began filming a time-lapse shot of cars passing on a crossroads, with Anna (protagonist) running along the pedestrian crossing. This was planned in the montage stage of pre-production storyboards. We walked to Southbank where the running began. There were many locations in which were perfect for the advertisement, enabling me to capture Anna running without interruption in order to maintain continuity throughout.

Firstly we crossed the closest bridge leading to Southbank, and we took this opportunity to commence with filming. The views gave a great background for Anna to run past, showing The London Eye, Big Ben and The Houses of Parliament. The majority of 'Why Run?' consists of match on action or continuity editing to keep consistency and to present the footage as one long, intense run by the protagonist. Additionally I filmed another time-lapse of the London Eye and boats passing. 

Anna was filmed running towards and then over a stone sculpture used for seating. This was filmed on two occasions in order to perfect the match on action within this clip. 

After the previous shot, I asked Anna to jump off the side (safely), originally planning to film another match on action of her coming down from the seating area. However shortly after we came across concrete stairs, in which I felt would be perfect to provide a location change within the film, to maintain pace and keep the audience captivated, and therefore I filmed Anna running down these stairs next (shown below).

Next we walked along London's southbank, and came across the famous Southbank skatepark. The background of the skatepark was featured in the film, offering bright colours that stood out against the runner. The surrounding areas proved to be even better for filming, and the trees gave a nice perspective to the shots. I had planned to film in the skatepark, however I felt just outside looked nicer and was more appropriate for the production. I used the Sigma Wide Angle 10-20mm Lens and the Canon 18-15mm to capture a variety of footage from this location, meaning we spent slightly more time in this area to assure sufficient high quality footage was taken.