Week Four / Semester 2
Today Chris was back from the very exclusive film event 37 South held in Melbourne, in which directors are introduced to like minded producers. And all going well films are made, it is a great opportunity to network with other talented film makers from around Australia. And get your name and face out there to the big fish of the industry in Australia. So good social skills are vital to be able to make successful contacts and pitch your films, and planning and preparation is essential.
Research, research, research!
Chris also spoke about where we go after life at Central Institute of Technology as film makers, how do we get our foot in the door when it's all about track record in this industry. "What have you done, who have you worked for?" "Errr nobody, I was a student." The simple answer was any way you can, you may have to start off working for free for production houses, while they decide whether or not you are worth taking on. You just have to get out there and make yourself known however you can, by quality of work, speed and efficiency, creativity or what ever else makes you stand out from the rest. But it's your work that backs you up, so a great show reel never hurts!
Sunday, 19 August 2012
Week Three / Semester 2
This week I turned up to the lecture expecting to see Chris and totally forgot he was off in Melbourne trying to get his feature film picked up. So this week we had a guest lecturer in Mark Defriest, he is a well known TV director in Australia. He has directed shows from The Flying Doctors, Ocean Girl, Parallax and Ship to Shore (which was one of my childhood favourite shows).
He was a very interesting and down to Earth director, who shared some advice and some of his opinions of the industry in Perth, and Australia. It was a different perspective from a stylistically different director from Chris, and just speaking to another director gives us as a class more scope of what it takes, and what it means to be a director.
He was humble about his abilities as a director, claiming he wasn't a great director but had enough ability to get the job done. He introduced the SWOT analysis to me, and recommended we use it to address our individual strengths and weakness'.
This week I turned up to the lecture expecting to see Chris and totally forgot he was off in Melbourne trying to get his feature film picked up. So this week we had a guest lecturer in Mark Defriest, he is a well known TV director in Australia. He has directed shows from The Flying Doctors, Ocean Girl, Parallax and Ship to Shore (which was one of my childhood favourite shows).
He was a very interesting and down to Earth director, who shared some advice and some of his opinions of the industry in Perth, and Australia. It was a different perspective from a stylistically different director from Chris, and just speaking to another director gives us as a class more scope of what it takes, and what it means to be a director.
He was humble about his abilities as a director, claiming he wasn't a great director but had enough ability to get the job done. He introduced the SWOT analysis to me, and recommended we use it to address our individual strengths and weakness'.
SWOT analysis (alternately SLOT analysis) is a strategic planning method used to evaluate the Strengths, Weaknesses/Limitations, Opportunities, and Threats involved in a project or in a business
venture. It involves specifying the objective of the business venture
or project and identifying the internal and external factors that are favourable and unfavourable to achieve that objective.
Mark then spoke about passion, and to ask ourselves "do we have passion for film making?". And if we are, are we making the most of our time? It gave me a few things to think about, I've always thought myself to be passionate about films & story telling. But am I doing everything possible to get in to the industry at the moment? Hmm a bit of soul searching is needed, especially after applying the SWOT analysis, but this is a good thing...I can address any weakness'.
Week Two / Semester 2
Belated post I know, I know but nothing's more fashionable than a late entry!
OK week was the lecture where I waited outside thinking the two Diploma classes were separate and my class was latter, as it said on the timetables which wasn't the case. Mean while I missed the majority of the lecture, which coincidentally was on our latest assessment "The Chase". In which we have to work in pairs planning and directing a 3-5 minute chase scene which has to include all the following shots: ECU, CU, MCU, MS, LMS, 3/4, FLS, WS. And must utilise various camera positions like: Front, 3/4 Front, Profile, 3/4 Rear and Rear. Also must have the following camera heights: High Angle, Eyeline, OTS, Pan and Tilt.
This may a bit more challenging than the previous assessment by Chris, but seems like it will be a lot of fun...well the production & post stages anyway!
But missing that lecture in which it was explained in detail, and only going off second hand notes has put me behind the 8 ball. And at this late stage have not acquired a partner yet and haven't really thought out how I'm going to do this certainly hasn't helped, time to pull my socks up I guess as time's a ticking.
Belated post I know, I know but nothing's more fashionable than a late entry!
OK week was the lecture where I waited outside thinking the two Diploma classes were separate and my class was latter, as it said on the timetables which wasn't the case. Mean while I missed the majority of the lecture, which coincidentally was on our latest assessment "The Chase". In which we have to work in pairs planning and directing a 3-5 minute chase scene which has to include all the following shots: ECU, CU, MCU, MS, LMS, 3/4, FLS, WS. And must utilise various camera positions like: Front, 3/4 Front, Profile, 3/4 Rear and Rear. Also must have the following camera heights: High Angle, Eyeline, OTS, Pan and Tilt.
This may a bit more challenging than the previous assessment by Chris, but seems like it will be a lot of fun...well the production & post stages anyway!
But missing that lecture in which it was explained in detail, and only going off second hand notes has put me behind the 8 ball. And at this late stage have not acquired a partner yet and haven't really thought out how I'm going to do this certainly hasn't helped, time to pull my socks up I guess as time's a ticking.
Sunday, 5 August 2012
Week One / Semester 2
Right time to bust off the cobwebs after a few weeks of holidays and get back in to the swing of things, this entry should have been done a couple weeks ago so I'll get started. This week in the lecture we discussed a couple topics which included:
The director's responsibilities particularly in pre-production.
This was quite interesting to really break down all the work a director has to put in to a project even before shooting a single frame to make it successful. Starting with the script and all the changes and amendments, the characters and all the layers that must be added is mind boggling. All the background research and script breakdown, shot list, storyboards before thinking of getting on a set/location. The director usually is involved in the process of sourcing crew, but not always. Once all Head of Department crew or HODs, are involved multiple pre-production meetings are required so they can get a sense of the director's vision and discuss their approach and add their expertise in their chosen discipline. Trying to workout a suitable schedule with the producer for all stages of production and give the client an estimate for finished product, which can be a lot easier than done considering all the logistical problems that usually can & do happen. One of which can be crew getting ill or injured, a cardinal rule according to Chris is to stay fit and healthy during a shoot. If you get sick to push through it and continue on (especially if it's the director) barring life threatening illness of course. This is where the first AD can be really valuable as it's there job to shield or protect the director from problems, squabbles and conflict so the director can focus on performance.
Casting & rehearsing which comes next, rehearsing with cast over and over, every time progressing and developing performances. Making decisions for shoot locations and starting department tests eg. camera, costume/wardrobe, art, VFX, SFX, and sound etc.
Taking your opportunities.
In this industry as an aspiring film maker you will learn more from being on set than you will attending lectures, so taking opportunities when they present themselves is crucial. So trying to get on as many as you can will catapult your development and may just get your foot in the door in a very exclusive industry.
The old saying it's not what you know it's who you know is accurate in film and TV. Last semester one of my note-takers Richard Mellick, who is an accomplished Australian actor and voice over artist was starring in an ABC world war two documentary arranged to get me on set as an observer. It was fantastic, the whole time I kept thinking "and these people get paid to do this?". I made sure I talked to as many people in different roles as I could, when they weren't busy of course. They were all very approachable and eager to answer my questions, especially writer/director Steve Westhe who was very easy going and made me feel welcome and took time to explain how things worked. I thought that was invaluable and I'd jump at the chance to get on a proffessional set again any day!
Right time to bust off the cobwebs after a few weeks of holidays and get back in to the swing of things, this entry should have been done a couple weeks ago so I'll get started. This week in the lecture we discussed a couple topics which included:
The director's responsibilities particularly in pre-production.
This was quite interesting to really break down all the work a director has to put in to a project even before shooting a single frame to make it successful. Starting with the script and all the changes and amendments, the characters and all the layers that must be added is mind boggling. All the background research and script breakdown, shot list, storyboards before thinking of getting on a set/location. The director usually is involved in the process of sourcing crew, but not always. Once all Head of Department crew or HODs, are involved multiple pre-production meetings are required so they can get a sense of the director's vision and discuss their approach and add their expertise in their chosen discipline. Trying to workout a suitable schedule with the producer for all stages of production and give the client an estimate for finished product, which can be a lot easier than done considering all the logistical problems that usually can & do happen. One of which can be crew getting ill or injured, a cardinal rule according to Chris is to stay fit and healthy during a shoot. If you get sick to push through it and continue on (especially if it's the director) barring life threatening illness of course. This is where the first AD can be really valuable as it's there job to shield or protect the director from problems, squabbles and conflict so the director can focus on performance.
Casting & rehearsing which comes next, rehearsing with cast over and over, every time progressing and developing performances. Making decisions for shoot locations and starting department tests eg. camera, costume/wardrobe, art, VFX, SFX, and sound etc.
Taking your opportunities.
In this industry as an aspiring film maker you will learn more from being on set than you will attending lectures, so taking opportunities when they present themselves is crucial. So trying to get on as many as you can will catapult your development and may just get your foot in the door in a very exclusive industry.
The old saying it's not what you know it's who you know is accurate in film and TV. Last semester one of my note-takers Richard Mellick, who is an accomplished Australian actor and voice over artist was starring in an ABC world war two documentary arranged to get me on set as an observer. It was fantastic, the whole time I kept thinking "and these people get paid to do this?". I made sure I talked to as many people in different roles as I could, when they weren't busy of course. They were all very approachable and eager to answer my questions, especially writer/director Steve Westhe who was very easy going and made me feel welcome and took time to explain how things worked. I thought that was invaluable and I'd jump at the chance to get on a proffessional set again any day!
Tuesday, 19 June 2012
Week Nineteen
OK last week of the semester before mid year holidays, and to be honest it couldn't come soon enough for me. It will be great to recharge the batteries after a few weeks of stress and frantic last minute handing in of assessments involving a few all nighters. The semester has had its highs and lows like anything in life I suppose, with the directing unit more highs I'm happy to say. The class was quickly one of my favourites, with its later 10:30 am starts (which I still managed to occasionally be late to) and laid back vibe. The main aspect I enjoyed from the lectures was breaking films down and looking deeper than just the visual elements, and seeing the intricacies of directing in more detail than I have seen or noticed till now. It has been a real eye opener for me and I am excited to see just how much more I will learn next semester.
My subjective assessment which I screened this week got quite a few laughs from the rest of class, which was unexpected and entertaining I was told which was satisfying. Although not all of the shots were subjective, which this time I did expect would be the case. Unfortunatelye had to rush the shoot as myself and crew had other commitments on the day so we didn't manage to get all the necessary shots. When I was editing I knew this was the case so I had to use what I had, so it's not a case of me misunderstanding the concept. Anyway check it out and feel free to let me know what you think.
OK last week of the semester before mid year holidays, and to be honest it couldn't come soon enough for me. It will be great to recharge the batteries after a few weeks of stress and frantic last minute handing in of assessments involving a few all nighters. The semester has had its highs and lows like anything in life I suppose, with the directing unit more highs I'm happy to say. The class was quickly one of my favourites, with its later 10:30 am starts (which I still managed to occasionally be late to) and laid back vibe. The main aspect I enjoyed from the lectures was breaking films down and looking deeper than just the visual elements, and seeing the intricacies of directing in more detail than I have seen or noticed till now. It has been a real eye opener for me and I am excited to see just how much more I will learn next semester.
My subjective assessment which I screened this week got quite a few laughs from the rest of class, which was unexpected and entertaining I was told which was satisfying. Although not all of the shots were subjective, which this time I did expect would be the case. Unfortunatelye had to rush the shoot as myself and crew had other commitments on the day so we didn't manage to get all the necessary shots. When I was editing I knew this was the case so I had to use what I had, so it's not a case of me misunderstanding the concept. Anyway check it out and feel free to let me know what you think.
Sunday, 17 June 2012
Week Eighteen
This week what have I learned? Hmm that some of my classmates get the POV concept, are rather creative and are up and coming directors in their own right, even at this early stage. Whilst others haven't quite got it yet, and maybe directing isn't their calling...but hey to each their own.
After a screening of the majority of the class' work and some sometimes harsh critiquing from lecturer and students alike, I'm feeling a bit of pressure to succeed where others have not. And with 234 assessments (artistic licence at it's best) all due now, still haven't even shot mine yet. Changed the script as my version was fuelled by delusions of grandeur with it's Tarantino like action sequences and dialogue, back story and even a flashback scene...simplify I tell myself. So hopefully when I screen mine next week in class, they'll have mercy. I'm almost positive a couple of objective shots will have crept in and be rather emphatically pointed out to me, but as long as the majority are subjective and the scene entertains I'll be happy.
So I guess this where the Men get separated from the boys so to speak, in terms of those serious about directing in the course and those who are just going through the motions to pass. Still trying to figure out which applies to me, as much as I love directing and Chris' class (which has taught me more about film in 6 months than all of Certs 2, 3, 4 and the other Diploma units combined. And yes Chris I know you read this but I'm not sucking up to you, just the truth.) I'm still leaning more towards editing and post-production. But contemplating doing two electives next semester, rather than only one which is enough to pass, and continuing on with directing. Time will tell I suppose, well said my piece so I'm done...for now.
This week what have I learned? Hmm that some of my classmates get the POV concept, are rather creative and are up and coming directors in their own right, even at this early stage. Whilst others haven't quite got it yet, and maybe directing isn't their calling...but hey to each their own.
After a screening of the majority of the class' work and some sometimes harsh critiquing from lecturer and students alike, I'm feeling a bit of pressure to succeed where others have not. And with 234 assessments (artistic licence at it's best) all due now, still haven't even shot mine yet. Changed the script as my version was fuelled by delusions of grandeur with it's Tarantino like action sequences and dialogue, back story and even a flashback scene...simplify I tell myself. So hopefully when I screen mine next week in class, they'll have mercy. I'm almost positive a couple of objective shots will have crept in and be rather emphatically pointed out to me, but as long as the majority are subjective and the scene entertains I'll be happy.
So I guess this where the Men get separated from the boys so to speak, in terms of those serious about directing in the course and those who are just going through the motions to pass. Still trying to figure out which applies to me, as much as I love directing and Chris' class (which has taught me more about film in 6 months than all of Certs 2, 3, 4 and the other Diploma units combined. And yes Chris I know you read this but I'm not sucking up to you, just the truth.) I'm still leaning more towards editing and post-production. But contemplating doing two electives next semester, rather than only one which is enough to pass, and continuing on with directing. Time will tell I suppose, well said my piece so I'm done...for now.
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