Saturday, 24 December 2016

30/11/2016 - Organising a Screening

In order to prepare for the screening on the 10th of December, we helped Alison think of each job role that would be necessary for the screening, then we all came up to the board and wrote our name next to the job title that we thought would suit us best.

I decided to take on the role of the programmer along with four other people. I wanted to do this job as we had to decide the order in which the films would be shown at the screening. Without us, every other role couldn't really do their job, for example, the designers needed this information to start on the programmes for the event. And as I had just produced a film in this BFI Future Film Academy, I felt that it was right to make decisions about the order of all four films.
     


From planning an event such as this , I have learnt about all the different roles it takes to put a screening on and make it successful.  



Thursday, 24 November 2016

23/11/2016 Marketing Masterclass (social media online focus)

I arrived to this session a little early so that I could check on everything with Armand and Nathaniel. Callum and Iris came a little later and we were just finishing the edit fully so it would be ready for the screening on the 10th.

At 6:30, we had a speaker, Muffin, who come in to talk to us about online marketing as well as how to approach film festivals to submit our films. This was also relevant for our screening as we needed to know how to market our films in order to make sure there would be people there for our screening. She went round each group and asked for an outline of the films and then she gave us a lot of information about entering a film into a festival, including:

-Put it online
-Submit to festivals 
-distributors get films in cinemas on digital platforms and festivals 
-sales agents acquire and sell films to distributors 
-a list festivals cannes Berlin sundance etc 
-publicity prize giving south by south west BFI lff - national presmiere
-regional specific Leeds (festivals)
-film freeway film submission platform -festivals
-Vimeo - password protected 
-they would want a back up of film press kit (title, country, run time, one tag line then 30-100 synopsis, full cast and crew and contacts like press sales general 3 high Rez stills , 10 second trailer 
-dazzle -short film distributors 
-bitly link for others to screen it
-lux experimental film, club dfem, ica, Tate film, no.w.here, synonova, idailies
-commercial viability 
-bar and pubs have screening space 
-need ur own Projector and sound system and screen

After this talk I felt as if I knew a lot more about how to enter a film into a festival as well as how to create a screening and both these skills are vital when starting out as an indie film maker.

Wednesday, 23 November 2016

19th November- Post

This was one of our last sessions on editing our film. When I arrived I sat with Nathaniel while he finished up the music, meanwhile Armand was downstairs with Nuru finishing up the rotoscoping and the rest of the edit. 





















After giving them advice about what we think, Iris and I went to the Raw Shorts event where we saw different clips from the R.S. Documentary as well as other media texts that certain people made in which we met at the Q and A. From this I learnt a lot about the way a film gets made with the fact that you have to go to speak to companies that will invest in you to make the film or documentary in this case.


After this, we were invited to the networking session with free drinks which is where I met Mandem on the wall and exchanged emails with him in order to have a possibility of working together in the future. My peer and I got a picture with him as well to lighten the mood.


I thought he was a very inspiring person as he knew exactly what he wanted in his career and he told us how he started his career. The fact he wants to be an actor and started by making his own stuff and staring in them to then getting professional acting jobs from that is such a cool story. I would love to follow in the same footsteps if my films became noticed. 

Thursday, 17 November 2016

Post Production on short films 5-16th November

Through the editing process, Armand, as editor has taken control of how the film comes together. Callum sits with him in order to make sure he likes how the film is coming together. The rest of us normally sit behind them in order to learn more about editing and to give input if we feel something doesn't look right or even to praise the work Armand has done.

As we wanted all the characters apart from our main actress to have blurred faces, Nuru (the Guru) came in to help us all and he showed us how to blur people's faces and how we had to rotoscope it in order to fit on the extras faces.







Whilst Armand was editing on one of the days, Callum thought doing the credits would help with time in finishing the film at a more rapid speed. I, as producer made a list of all the people we needed to thank for helping us get our film done as well as giving us knowledge, moreover, I thought I should thanks certain people who let us use locations to shoot.


  






On one of the days of editing when the non editors weren't doing much, we got a chance to go and see the Infinite Mix exhibition which was a lot of different short films that had interesting content.

2 November - Editing and SFX Masterclass

In this session, we had a master class with Nuru "the guru" and he gave us an introduction to Premier Pro the editing software 

24-28th October 11-5: Shooting Short Films Throughout the Week

Monday 24th October

Today was our last planning day before the week of shooting commenced. We mostly arrived at 10:00 and went into a separate room to the others to finish off the planning. As producer, I started on the Call Sheet for the first day of filming on Tuesday. From doing this I was learning how to organise people as they would in the real word of the film industry. Whilst I was doing this, Iris and Armand re-drafted the screenplay, Thomas was finishing up on the shot list and Nathaniel and Callum were going through each fantasy section that would appear in the film. Armand thought that we had one dream sequence too many so as a group we were all working out how to cut it down the 3 instead of 4.

By the time lunch arrived, we ate and then started to get the equipment ready in order to go out and do some test shoots for Tuesday. We had Alex teach us how to use the clapper board that Callum brought in and this is where she assigned me assistant director. She taught the professional way to film, for example, I had to say "quiet on set, going for a take, turnover, sounds... Camera...." And they would reply with "rolling, set" then Iris or Armand would say "slate 1 scene 1" and clap the clapper board. The director would then say "action" and then "cut." We rehearsed this quite a few times before we went out to do some test shots where we threw paper in the air in front of the camera. We also went down an alley where there was a purple light lighting up the alley, but no other light, moreover, in order to gain more light we used the torch on our phones which worked.

At 3:00, Callum and I left the group to meet the actress back at the BFI. We had a chat and asked her about her acting career and so on. We then introduced her to the rest of the group when they came back from test shooting and managed to get a picture taken of Molly, our actress and Nathaniel who will be playing her brother in the film. Thanks to Benugo staff we were able to retrieve the image in their secret lounge area behind a bookcase in order to look like the photo would have been taken in their house.

After this, we told our actress to go home and get some rest before the first shooting day on Tuesday. I told her I would send her the call sheet for the next days also.

We then went back to the meeting room with the others in the group and his is where Callum and I got a chance to watch the footage back from the test shoots they did when we were with Molly. I thought they turned out quite well and thought they could be used possibly for our actual film.

I finished off the call sheet and sent it to everyone, we discussed what we needed to bring for Tuesday and then we went home.

A lot happened on this day and I learnt a lot about being a producer as well as the camera and equipment. I knew that by Tuesday we would all understand how everything works within the filming for out shorts and I couldn't wait to start the actual piece the next day and the rest of the week.


Tuesday 26th October

We started off our day at 9:45 due to the fact that we needed to set up the room in LS1 to make it look like an office. We got all of the white tables with wheels on to make them look like booths for each worker in the office. When our actress arrived, there was a bit of waiting around to do as we were still trying to set up and get used to the camera. We put props on the actress's desk such as a cactus, a photo frame of her and her brother, pens, paper and an old computer. We put paper and pens on the other tables too, however it took some time to decide whether they too should have old computers or the normal macs that were in LS1. We finally decided to put normal modern macs on their desks as we didn't have enough old computers and it worked better due to the concept that very civilian is he same and Molly is yet to change to fall into the norm of having no identity within the world.

We started shooting Molly sitting at her desk and doing everyday office work. We told her to have no emotion as we wanted to portray that work is slowly killing her inside, furthermore, her identity. We did multiple different takes of different shots so that we would have a large amount of choice in post when we would put the film together. As we hadn't had the opportunity to cast a boss, Alex volunteered to do it, therefore we shot her walking round with paper to put on Molly's desk in order to show the workload piling up. I handed her the paper so that she could take it quickly when she ran round the back of the camera. It ended up becoming quite funny due to the repetitiveness but we got the birds eye view/high angle shot done anyway.

After shooting more of Molly, we got the extras in and we placed them in certain positions within "the office." After a lot of discussing how to do the next tracking shot, we set up 2 of the brown tables from LS2 and put gafa tape on the parts which separated each table in order to gain a smoother track. We tested the shot and I called a rehearsal, nevertheless as soon as we finished the test shot, we realised that the camera jolted where the gafa tape appeared and we came to a conclusion that some of the crew needed to push the tables up from below in order to make them the same level, we also decided that we needed to lift the rig where the table is split so that it would contribute to a smoother track and by doing both of these ideas, the shot managed to work, finally, even though it wasn't perfect, it was as good as we could get it with our creative technique towards filming the tracking shot of the extras in the office and Molly.

The extras left after that tracking shot as well as appearing in other shots of the office and we were then left with Molly where we shot her having a tantrum and messing up her office. In order for the shot to feel angered, some of us shook the desks around Molly that acted as her booth and I 'made it rain' with paper as I threw bits of paper in front of the camera and Molly herself. The shot worked well when we watched it on playback, however we did a few takes for safety so we had to reset multiple times. Furthermore, we got a lot of shots that we would be able to choose from in post.

After we told Molly to go home we then found that all the footage we recorded came out with grid lines on the screen. This therefore meant that we had to reshoot all the footage that we had done that day. We planned to film some office  scenes with just Molly on Wednesday, however due to the fact that the extras couldn't make it he next say, we have planned to film the rest on Friday in the space of 2 hours, as Molly has to leave at 12 for an appointment.

Wednesday 27th October

We got in early on this day and started setting up one booth for Molly to act in and we quickly reshot all the close up scenes of Molly at her desk. There were 6 of these shots altogether and we also added new ideas for each shot. As we were sharing LS1 with the other groups on this day, we decided that we wouldn't use sound from this shoot but from the last one and also to use foley to add effect.

We finished these shots and more in two hours as our test shoot from Tuesday allowed us to become more organised with the equipment as well as what we were doing.
Then we shot Mollyand Alex, as the boss in the meeting room and we decided to do a parallax shot in order to create more rendition as this would be the part in which Molly gets fired. We got Nathaniel's jacket again and put the rig and camera on top of it so that it would be easier to slide.

We had lunch, which is when I did the call sheet for the next day.

After this, some of the group went to film the photocopying scene while the others stayed put due to the fact that the copying room is too small to fit us all inside. We then set up the Bolex for the next day just in time before the talk about the residential course occurred.

Thursday 28th October

Day 3 of the shoot. We got there earlier than normal and told Molly to also come in earlier so we could crack on and shoot the scenes in the park. So we went to the park and shot scenes with Nathaniel and Molly as brother and sister with the Bolex. Due to the fact that we wanted the camera to be moving around the actors instead of just static shots. We all had to run behind Tom whenever he turned with the camera just so we weren't in the frame. His was quite amusing for both ourselves and the actors which therefore helped them to act in a happier way.
After we finished the brother scenes. We placed all the office stuff on the floor while Molly sat sat her the chair in the middle. This shows the hubris within her character downfall.

After we did this and changed the reels in the Bolex, we had to leave due to the fact we were there too long and security didn't like it so we had lunch and I did the call sheet for the final day.


I also messaged the extra so that he would come in time for he smoking scene in the alleyway

Monday, 14 November 2016

22nd October - Contingency Day: Prep For Shooting Week

The day before the week of shooting.

On this Saturday, we thought it would be best to walk around town finding the locations that we might like to film at. Alex showed us the line in which we weren't allowed to pass when we would be shooting. We went through a lot of tunnels and alleyways that we knew for certain we would use. We also checked out the park which is past the ITV Studios and as a group we decided we would film the fantasy scenes there as it had a circular setting which would show how life is just a circle with symmetry occurring from every corner. At this point in the film, everything in Molly's life would be going great and so the use of a circle of grass signifies that her life is whole, complete.

After location scouting we went to see the Raw Shorts film, Hallows Eve. This film linked up with Halloween nicely as it's genre was horror. After the film, we were able to witness a Q+A with the director and producer as well as the main actress within the film. There were a lot of other filmmakers and other people who love and have something to do with film, so when we came to network after with free drinks, we were able to talk to them and make contacts. As we were invited to attend the networking session afterwards, Callum and I, as director and producer took advantage of this opportunity as we knew there would be actors lurking around, to find some one to play the main female protagonist in our film. We asked the actress from the film we just watched of the Raw Shorts if she would like be in it, nevertheless, she already had filming planned of the week we wanted to shoot, which was the next week. 

We then found these other girls who told us they weren't actors, however we still had a nice chat to get to know them anyway. We finally found a petite girl who said yes to being in our film and I took down her contact details to then tell her more information later in the evening to get ready for the shoot on Tuesday. Furthermore, after I messaged her later that day she said she couldn't attend the shoot because she found out she had compulsory lectures at uni. This then gave me a bigger challenge as we had to film within the next few days so I sent out casting calls but no one could do it. I finally found a Facebook group called 'Actors UK' and asked for the actress on that and I got a reply or two almost instantly an this is where I found Molly at such late notice. We also got her to come in on an extra day just so we could meet her. 

So after this whole planning process the wait was worth it.

Thursday, 20 October 2016

19th October - Finalising Screenplay


This was our first production meeting as a team. From the session before, we found out who would be in which group with a possibility of each tutor as a mentor. The mentors were Alex, Anna, Edwin and Emily. I got put in a group as producer with Callum Dawson as director, Thomas Henry as DOP, Iris Hobson as production designer and Nathaniel Thomas as sound designer. We got put with Alex so she would be able to us along the way in making the film eventually.
Before this session, we found out a groups the week before and as producer, I wanted to get us organised so I made a private group chat on Facebook messenger so we could keep in contact and discuss more about our film.


My group and I went into a meeting room to plan our film and come up with different ideas for the which we could include. Iris started off saying that she had an idea that people should be wearing masks as if to hide their identity from the rest of the world. After lots of discussion, we decided only one person, our main female actress would not be wearing a mask as she hasn't conformed to having no identity, nevertheless, we wanted her to have an office job due to the fact that she could be half way there to not having an identity. We thought the masks could include horse heads and different kinds of animals. Then we discussed a relevant topic today and how clowns are murdering people. This, therefore implied that we would change the horse masks for clown masks, furthermore, this idea was sooner rejected due to how we would film outside and we wouldn't get a good response from the public. We also thought we could depict through a much more intellectual way. 
In the end we found that the best way to show this is with the use of blurred faces and we talked about how we could edit it in post production.


We then drew a hill type drawing on an A3 piece of paper and came up with structure for the narrative; a beginning, middle and an end. We had then started to speak about props and which would be necessary, however we still had Saturday to plan as well as Monday, so we left that information till then. Although, Iris took on the role of co-writer as Armand couldn't make it that day, so she would help him write a rough draft of a script in which we would all look at on Saturday.


I was very proud of my group as we had come so far in just two hours. I have high hopes for this film.

Tuesday, 18 October 2016

5-16 October LFF Press Reviews, Screenings and Events

During the London Film Festival, I went to see a total of 8 feature length films and four shorts due to the fact we were allocated student delegate passes and therefore, we were able to get in for free. The films that I saw go as follows:

-Moonlight:
This film is about a black man coping with being gay within a poor society. This is one of the main concepts throughout the film and due to the fact it's relevant to today's culture, it really intrigued me as well as the rest of the audience, in my opinion, due to the fact everyone looked engrossed in the film. It is a film that includes drug and school violence, furthermore dealing with real life issues and grabbing the attention of the audience. Stories of LGBT people of colour have been largely ignored in film or at least relegated to the side-lines while instead, we’re offered up the whitewashed history of Roland Emmerich’s tone deaf Stonewall or straight-friendly Oscarbait like The Danish Girl. Writer/director Barry Jenkins’ astonishing new film is both proudly black and refreshingly queer. It’s a thrilling, deeply necessary work that opens up a much-needed and rarely approached on-screen conversation about the nature of gay masculinity. Jenkins doesn’t pull any punches in showing the crushing loneliness and horrific violence of being a gay man in a culture where homosexuality is seen as a weakness. We see the visible and invisible scars that develop from a lack of acceptance and by the time we finally meet adult Chiron, played with incredible nuance by ex-athlete Trevante Rhodes, he’s trapped by his own desire, regulating his behaviour to remove anything that could be seen as “gay”. The third act sees him return home to reunite with a school friend (an exceptional performance from Andre Holland) with whom he had his one sexual encounter with during his teenage years. There’s a thrilling, heart-pumping chemistry in these scenes as we see Chiron’s performed toughness fade in the face of a love he’s so sorely needed throughout his tortured life. It’s beautifully choreographed and easily the most believably intimate gay pairing since Andrew Haigh’s Weekend. Every single aching glance is a poignant reminder of what Chiron has endured to get here.Moonlight is a profoundly moving film about growing up as a gay man in disguise, a difficult and damaging journey that’s realised with staggering care and delicacy and one that will resonate with anyone who has had to do the same. We’re starved of these narratives and Jenkins’ electrifying drama showcases why they are so hugely important, providing an audience with a rarely seen portrait of what it really means to be a black gay man in America today. It’s a stunning achievement.

-The Handmaiden:
Park Chan-wook’s last film Stoker, his first foray into Hollywood, had Mia Wasikowska’s burgeoning killer masturbate after helping to murder her attempted rapist, a fascinatingly perverse scene that acts as something of a precursor to his latest. The rare focus on a woman’s experience of sex without a man involved is key in his adaptation of Sarah Waters’ award-winning novel Fingersmith, which relocates the story from Victorian Britain to 1930s Korea. A con artist, calling himself Count Fujiwara, hatches a devious plan that sees him working alongside pickpocket Sook-hee to steal the many riches of beautiful heiress Lady Hideko. Isolated and bullied into an impending marriage with her uncle, Hideko takes on Sook-hee as her handmaiden. But while Sook-hee’s task is getting her new mistress to fall for the “Count”, she finds herself sexually drawn instead.
Premiering at Cannes exactly a year after the handsome yet overrated lesbian romance Carol, Park has provided us with something of a compelling antidote. Unlike Haynes’s chemistry-free drama, this film is simmering with genuine sexual tension. There’s explicit sex but more importantly, there’s longing, affection and intimacy between the maid, impressive newcomer Kim Tae-Ri, and her sexually inexperienced heiress, a layered turn from Kim Min-hee. What’s so fascinating is how unsatisfying and often grotesque male sexuality is in comparison to the eroticism and warmth generated by the women of the film. The Count, played by The Chaser’s Ha Jung-woo, is merely an annoyance to the pair, a repugnant fly on their windshield. While the uncle, who involves his niece in perverted “readings” for a male audience, is a sadistic fool indulging in pornography over reality. Men are pathetic, unwanted voyeurs; misusing, abusing and misunderstanding what women really want. Given the nudity on show, some are already quick to criticise Park’s direction as gratuitous and to claim that his male gaze is affecting the depiction of lesbian romance. But the impotency of the male characters helps to counter this while the sex scenes themselves, as lovingly shot as they might be, feel vital to the narrative. The couple are exploring each other and their previously untapped desires, unshackling themselves from the men around them. The film is exquisitely designed and sexually liberating, this is a hugely entertaining thriller.


-Bleed For This
-Interchange
-Goldstone
-Chi-Raq
-Dog Eat Dog
-Free Fire
-Short films such as My Mother and I (Directed by Anna McGuire, one of our mentors at the BFI), Candyfloss and two others

From watching these films, I have learnt about different types of cinema from different countries








15.10.2016 - Born in Flames screening and screenplay masterclass

In this session at the BFI, we arrived at LS1 and we practically started playing the film almost straight away, so that we would have enough time to meet the director and then have a screenwriting masterclass with Gabriela Apiccella. 
The film Born in Flames was a very interesting film that had a lot of archive footage and was based around politics and feminism. I personally connected with the film on a higher level as I feel quite strongly about how women are presented within our lives as well as in the film as whole. 
when the film finished we were lucky enough to have a question and answer session with the director of the film. She was a very inspirational person and I learnt a lot from her. We spoke about the main themes in the film and how we feel strongly about each concept.

After this we had a screenwriting masterclass in which Gabriela showed us what a proper film script would look like; it has to be in size 12 and in Courier front as well as being centred. She told us about the stage directions and how they should be in italics to make it clear and distinctive from the dialogue itself.


In order to understand how to write stage directions, Gabriela showed us a couple of minutes from certain films that we analysed as a class. Cry Baby was one of the films that we analysed and she told us that we didn't have to write about lighting and other technical elements as the writers job is to tell the actor what to do.


This helped my class and I as we needed to know how to write a script professionally for when we would come to making our own films. 

12/10/2016 - Masterclass in music and soundtrack 6pm-8pm

In this session, we had a master class from two speakers that are professional musicians. They taught us how music and sound fits into film.

Dr Vasco Hexel teaches at the royal school of music and did a PHD in music as well. His presentation was on 'Narrative Film Music.' He showed us a quote by Stanley Kobrick that inspires him to make music.
He told us that:


a film is split into 3 sections:

Sound                                                 Music                                                        Visuals
-dialogue                                            -composed                                                -footage
-sound FX                                          -compiled (selected pieces that exist)       -CGI
-Foley


We then discussed what music does, and the goes as follows:
music...
...helps establish geographic location
...establishes a time period
...provides continuity between shots
...bridge temporal and spatial lapse
...direct audiences attention
...induce mood/emotional response of the viewer
...communicates meaning and furthers the narrative
...supports dialogue emotionally and dramatically
...establishes character (a character being accompanied by a particular sound
...heightens the sense of reality


The different types of music include:
  • diegetic (natural sound inside the film)
  • non-diegetic (outside the movie, songs)
  • underscore (composed music accompanies the narrative)
  • Source score
  • Song or compilation score
He showed us some examples in certain films such as the clock tower scene in Back to the Future and Thron Legacy.


The next speaker we had was Dave Dirch who titles his presentation "A hackers guide to composing for film"
In order to create certain atmosphere and emotions, he said that one has an option of sound to use such as:
-Foley
-Effected Foley
-Built up layers (adding levels of sound)
-Cutting most of it and selecting the best parts to use


For example, if we wanted an emotion of sadness to be portrayed in a film, a piano would be used as an instrument to compose for that particular emotion.


Dave also spoke about the 'intensity map' which is how various instruments rise in tension in particular times of the scene. - I found this concept very insightful as it allowed me to understand how filmmakers hook the audience in specific scenes in films.


Some composers layer feelings, use foley and portray atmosphere not themes through the use of a sound collage. Nevertheless, there are other ways to compose sound, such as, FX. These include Reverbing: examples include-Large space, eerie, strange; Delays: examples include - repeating, echo, fade; Distortion: examples include - aggressive, confused, surprised, suffocated. Last of all, musicians gain the emotion they want from an audience with the use of scales as they have the ability to change the mood and emotions. For example, there are scales that convey positivity, sibilant and melancholic emotions. One can also blend scales whether its in harmony in order to depict peace or in dissonance to display conflict and aggression.


We were then able to create our own music on the app thumb jam on his iPad and this gave us an insight as to what it would be like to compose for our films later on in the course as well as later on in our career.       

08/10/16 - Practical Workshop at no.w.here Lab - 16mm Filmmaking

Third session 05/10/2016: Screening and talk of Tyburnia with Director James Holcombe - 6pm-8pm

In this session, we met a director called James Holcombe who spent 5/6 years making the film Tyburnia which focused on historical events. He used Bolex cameras to film and he had to manually dry the footage and clean it etc. in order to make the movie and this is why it took so long to make. 


We watched the film for the first hour and 10 minutes and we asked him lots of questions about how he filmed it and where he found the research to make the film overall. 

I thought this class was very beneficial as it was getting us ready to start filming with 16mm Bolex cameras on the Saturday of this week. I also wondered how he made the film with all the flickering lights and unique camera techniques and I was intrigued and excited to learn about it on Saturday where we would have a workshop with him.

1/10/16 - Outing to exploding Cinema - 7pm-11pm

On the first Saturday of the academy, a few of us went to the Exploding Cinema at the Cinema Museum for Disposable film screening. The screening started at 7 and was on for the next four hours until 11pm. There were a lot of short films, some longer than others. 
For example, 

  • one film was only 40 seconds long and was animation where an ice-cream was melting. This film had a comedic effect on the audience due to the content as well as the fact that it was so short.

  • another animation film called 'Doghouse' was also animation and had more of a narrative where a males voice-over told us about his parents splitting up and the dad had to go and live in the dog house, however towards the end, the parents made up because of the dogs. This therefore, was longer than the 40 second film due to the fact that the story had to be portrayed. This film stood out most of all for me as it had a memorable story that, although can be quite cliche because of parents splitting up, it was also very unique due to the concept of the dogs bringing people together. It had a strong message that inspired me to get me thinking for ideas for when I come to making my own film with my group.
The building was very individual and vintage-like as there were old cameras and historical exhibitions around on the first floor, then on the second floor, there were lots of film books to choose from as well as certain souvenirs that one can take home as a memory of the cinema. 

Second Session 28/09/2016: Black Star masterclass and meeting the tutors - 6pm-8pm

In the second session we were upstairs in the blue room and had 3 professional industry speakers that came in and spoke to us about their career and expertise in the film industry. The three speakers were: Tega Okiti, Emily Baily and Edwin. From each speaker I learnt something new that I can put into practice when making films as well as understanding all the different knowledge that each persona said aloud.


  • Tega Okiti: Works on Black Star (Blockbuster Season)
-Makes sure everyone knows what they are doing and creates awareness to the public for which films are coming out and for the black star event as a whole.
-She is the project coordinator and is part of the event production as she makes sure that black star runs smoothly.
-Her studies include English lit and film at uni and she was recommended by careers to go into film which then lead her on to having gained an internship at the BFI, and this is how Tega came to start working in the industry.
-The progression routes that I have found out about is that one is able to get an internship at the BFI and this would be a great opportunity for myself for my future in order to start to become successful in the film industry.

As I didn't know a lot about Black Star, I decided to take some notes:


  • Emily Bailey: Works as a DJ mixing visuals in films.
-Made her own animations as well as volunteering at the London Film Festival to help organise the event.
-She studied fine art at uni and put these skills into practice when she made her own footage that include artwork. 
-She does live visual mixing and projects the work onto particular objects (known as project mapping). 
-The two new aspects I learnt from Emily are that people can be a DJ in film by mixing visuals together, as well as volunteering to organise an event.

Below is a video that she wanted to show us when she was giving her presentation.

  • Edwin: An artist who works in film.
-Edwin studied philosophy and this helped him to process and develop his ideas for his future in film.
-He sets up organisations such as Depden Cinema, which is part of the Black Star event.
-This tutor also works with music as he has made music and collaborated with others to create the best track they can.
-The progression routes he taught us is that one should begin with a script, then to remove any ethnicity within the characters and only add the ethnicity of the character back when the actors have been cast. This is so filmmakers can be fair to all ethnicity.



Friday, 14 October 2016

First Lesson 21/09/2016: Induction Evening - 6pm-8pm

In our first lesson. We met downstairs at the BFI and had an introductory session giving us an insight to the course as well as meeting 2 of our mentors: Alex and Anna. They both  had a very interesting story to tell with where they have been in their career and what they aspire to do when they are older, for example, Alex went to the Future Film BFI Academy herself and then landed a director's PA job on a film set. She is also directing her first feature film soon and in a couple of months she will be off to work for Paramount on contract for 7 years.

Both mentors showed us some work that they have produced (film related) and I was really inspired to see how they achieved their result.

Towards the end of the session, we did an 'ice-breaking' exercise where we spoke to the person next to us and asked them what their favourite and their least favourite films are and the reasons why which we then had to remember and feed back to the rest of the class.
This activity helped us meet our new peers on the course so that we would become closer for when we have to collaborate to make our own films.


At the very end, Alison said she would make a group on Facebook so that we could all keep in contact via social media. We had to find the group and join it so Alison would accept so we could get this group started. Here are some screen shots of the group. There are many more bit of information she has given us, also , this is a place for when we need to ask Alison a question or anyone, and it would also benefit others to know a certain answer. 
 
 
 

Introduction

Hello!
Welcome to my blog. I have been accepted into the BFI Future Film Academy where a course takes place for 3 months which gives us skills and knowledge for the film industry as a whole. When I went to the open evening, we were told that there will be lots of industry speakers and workshops that we would be able to attend and meet with in order to teach us about film as subject and how the industry gets a film from pre production to the finished product.


I am also very excited to be able to attend the LFF for the first time as Alison said on the open day that we would receive free tickets with our student delegate badges. I am planning to go to lots of screenings and Q+As just so I will get a feel of what real film festivals are like.


As I don't know whether I will go to university to study yet so this course is very beneficial as it gives me a wider understanding of the industry and I hope it will give be a clearer understanding of where I end up in the future.