Final Video

Grafton Centre- video shown in shop window near here

Commission Pilot from Matt Leonowicz on Vimeo.

Budgeting

Budgeting is the vital part of the whole project as with out funding it would be near to impossible. These are the budgets from internal resources: the projectionist Roger, used his own projector so that came free but other things such as the cost of
digitising archive footage from east anglian film archive cost £1500. There was also a weekend at london eye. City council charges were £100 for license but there were no publicity costs for online, BBC Look East. And temporary events notice 96 hours for £21x4.

Copyright

Copyright is also an important factor for this project, to be able to show the some footage rights to show the footage has to be agreed, this was done by CFT as they agreed to the rights to show everything for example the Buster Keaton and the Michelle Gondry, BBC and archive footage with east anglian film archive. We also had to provide paperwork for the council which listed the material, the age certificate, running time and content. We also had to make sure that everything we made had to be our own work and not taken from any sites for example the making of the logos and then animating them. There also had to be meetings as you can not just show any material you like in public.

Health and Safety

There were some health and safety issues involved, for example for creating the video sitting at the computer for a long time can put a strain on your eyes, your back should also be straight and not hunched over as this can give you back pain, to avoid these regular breaks should be taken away from the computer.

The second part of health and safety is the public viewing of the film, for example risk of crowds in street this can cause a problem due to emergency vehicles needing access. The sound level could be too loud and may annoy passerby's and street traders. A third risk is the possibility of upset from material shown, some people may feel offended so you have to make sure the footage within the film has no signs of violence etc.

A third part of health and safety is equipment, as most the the equipment is expensive there is a chance of theft.

Feedback

The strengths of the final cut from wednesday I though was the music to the first film archive footage I thought the contrast in modern music to the silent footage worked well even though the client didn’t like it. I also think the Long Road fashion footage worked well especially as the footage is being played in shop windows and will help show students work. Things that didn’t work so well was the beginning as I felt it was too flashy and too try hard. Other weaknesses included a lot of the footage was cut too quickly giving it an unprofessional look, for example Buster Keaton and the footage of the one man band.

The feedback from the client is as follows, they thought it was too touristy and that it didn’t fit in with the cambridge atmosphere. Tony also felt the Buster Keaton clips were too long and people would lose interest in the whole screening. Other complaints were the titles in between footage was far too flashy and looked a bit tacky.

The final footage that I produced incorporated logos made by me, Dave, Loz and Ash, as well as Archive footage, Depict and Michel Gondry.

Film Archive Logo

My role within the group was a team member within the logo animators. I was using After Effects to created an animated logo, which was the East Anglian Film Archive.
The most challenging part of my role was finding a sound effect/track to fit the logo otherwise it ran the risk of looking tacky or rushed, also the animation lasted 2 seconds so this made the task even harder. A better understanding of After Effects would have greatly improved the outcome of my work. I believe I worked well with my line manager I succeeded in everything he asked of me but I think there was a lack of communication and that we could greatly improve on aspect. Two qualities I believe are required to succeed in my role is creativity and orginisational skills.

Work in progress

Cambridge film trust has commissioned us to put together a screening of a collection of work, including film from the East Anglian Film Archive of old footage of Cambridge such as people punting on the river cam past the universities and other footage from the town centre for example market square and Lion Yard, but the client did not like the footage of the punters as they felt it was too touristy and too simple for what they wanted, they wanted to show the true side of Cambridge life. Buster Keaton and Michele Gondry footage is also to be included. We have also been commissioned to include video from Long Road.

Team structure

Possible Audience

Pensioners: archive footage would catch their eyes as they may have lived in Cambridge a long time.

Technology issue: music may be too loud so they move on quickly

Young people: may have a lot of free time and hang out by the Grafton centre

Content issue: may be bored by archive stuff

The Clients

The Clients Paula Beegan and Tony Jones, Cambridge Film Trust, in partnership with Cambridge City Council has created a project in which to show locally created cinema in vacant shopfronts in the city centre. This is to support a more positive visual atmosphere within the centre rather than a barren cityscape.

What is a commission?

Commissions are incredibly important in the media world as they are the gateways to futiure employment with new clients and old. Commissions are useful as they show clients you can work to deadlines, follow a brief and show ingenuity at the same time and the ability to get along with the client. When you finish your commission you have the opportunity to showcase your work and hopefully get work from other clients.

Jake and Jim, music video directors, came to see us and described the process of a commission in the music promo industry. It starts with an e-mail from the record company with a song and a few ideas of what they want incorporated. the directors then e-mail back a pitch. as they will have sent the song to a number of directors, they can choose from the pitches and from the showreels of directors . Once chosen, this pitch is worked up into a storyboard and a series of meetings with client, artist and director.