This is my finished documentary that has been colour corrected and exported to youtube.
In this task I will to talk about the production techniques that were used to create this film. Such things as camera and lighting techniques as well as stage direction for our actors etc.
The day started in the studio as I approached the college and began to set up in the early hours of the morning. I had another crew member on their way who would arrive in the afternoon, around 12. Rather than waiting I decided to set up and bring my DJing equipment up to the college. I had the keys for the studio and began to rearrange the space into a DJ and club environment.
The room was stripped of chairs and desks and was quickly turned into an open dance floor space ready for the actors. Jon Bains turned up around this time and helped me rearrange the stage from a study area into a performance stage. The wires were set aside for health and safety reasons and a desk was set up on top of the stage ready to film.
The next task we had was to light the area. With the use of two bright flow lights and two hanging profile lights with a blue filters to create our dance floor environment The room looked extremely well and ones stripped it was made into a believable dance floor with many elements like; space and light that matched the style we were after. We even had a working speaker which was hooked up to the mixing equipment.
We now had time for a breather and time to plan which shots we would attempt to do first. We only had limited time with the actors and had to act smart if we were to get the desired shots I was after. We worked out that because we only had limited time we would attempt to shoot all the large shots and continuous shots of the crowd first, then after they left we would concentrate on the DJ and equipment elements. The plan was to have the music blaring a soon as they reached the studio and to have Jon Baines run around with a camera and capture the footage live.
Our actors approached and the filming began..
There were two of us available on the day of shooting and only one of us available to use the camera as the DJ scene went on. I was on the stage mixing so I had next to no control over the camera and actors as I was performing. Luckily Jon acting as co-director as well as camera man. I could see that Jon was making te best of getting the shots from behing the decks to show the opinion of the DJ to the crowd. We experienced many problems as I was busy in the mix and Jon was busy framing and getting his shots: The actors were continuously wondering off into a corner and not filling the space that we had made for them. Luckily when Jon stepped down off of the stage he was able to manage the crowd a little better. He made them come closer to the stage to really capture this DJ and audience relationship. He took many continuous shots and had problems as he was knocked a fair few times. There was no big issue but he learned quickly to be aware of his surrounding when shooting.
I told him before we started that he must focus on the expressions of groups dancing with one an other. The main focus was to capture the fun that people were having… After the intenses and hard managed dance floor most left to go on there separate ways. I shouted to Jon that he should get a small crowd at the front to show there hands reaching for the music the DJ was playing and he even got a good shot of a lad performing a backflip with his friends which added to the feel and environment.
After the actors left we began to shoot our one shots and close ups of the DJ equipment. We chose tight close ups and angled shots of the mixing table and turn tables. We shown both the movement of the equipment and the equipment set up. This was because if I chose to I could show the DJ in more than two situations (setting up, POV and continuous shots in the crowd). Shooting both the equipment in motion and static was a good idea and would give me more option in my edit.
The shooting was now controlled and was easier to get the dired shots from my storyboard. We shot footage of; the redord box; the levels and cross fader: Al parts that were necessary to identify the DJ’s work and skill. We had already captured the environment of the crowd which one was half of what my documentary was intending to show.
The environment at first was scrappy with shots being shot at random but was later developed with the direction skills of Jon and myself. Even though it was a controlled environment it was not staged and shown the feeling and environment of a true dance floor. The dance floor was live with the crowd dancing to a similar music style to what my soundtrack would illustrate which was a ‘rave scene’ environment. Unlike comercial clubs the style and environment is different. It is less about the clothes people wear and more about a lose and relaxed dancing experience. It is a different social quality and people react to music at a different level. Because the music is at a fast pase most people are seen to jump around rather than performing dance techniques etc.
The environment was as close to a real club environment as it was going to get. The music was loud and the people gelled with the type of music.
As soon as people left the environment was now close and more personal. It was now independent and a one ‘man show’ which would express a performer ad his equipment. The use of close up showed this personal feeling and was not possible in the last scene. I knew that the use of 50fps could be used in these shots as well as the previous dance floor scenes and would add to an ecstasy and euphoric feeling. Because dance and rave is a physical experience members usually experience this quality and are seen to get lost in the music when they are enjoying them selves. Something that the 50fps would support.