Sunday 31 October 2010
Madame Tutli-Putli part 1
This looks pretty cool going to watch this this evening.
Wow! Beautiful puppetry and amazing attention to detail. Absolutely stunning.
THE REVOLUTION WILL NOT BE MOTORISED
Also saw a sticker on someones bike that said this... thought it was cool :)
Thoughts on Bikes after Manchester Critical Mass...
I want to get welding and make my own bike out of old ones! LOVE these! Going to get myself in the workshops in college. After the weekend we all decided to do Leeds Critical Mass too and I was thinking we could make it more circus like, celebratory, carnival like with some mutant bikes like a show!!!!!
Also should it be on a Saturday through the day so that families can see it too? Or maybe as part of light night next year instead of a monthly thing? ...duno... just thinking...
Anyway I digress!! Back to com tech!!
White Balance.
This is the function that adjusts the video recorder to the type of light that enters the lens. It does this because light varies according to it's source. For example, tungsten light emitted by household bulbs is different from sunlight. You'll know that the balance is set wrong if an image looks too red or too blue.
Page 57, The video activists handbook.
To set the white balance you point the camera at something white before filming or use a piece of white paper.
Sony HDR-FX7 Low Light Test Footage
Test footage (not mine) exploring some things I have yet to understand. Exposure, etc. If you go to the actual you tube page in the comments underneath it explains things in more detail. I will explore these more myself on here too.
I should probably do a lot more test pieces so that when good opportunities arise again like the Papergirl one I know what I am doing.
Sony HDR-FX7 Low
This is the camera I used and have used it on several occasions. Now it's time to get to know it a little more intimately!
The Video Activist Handbook. By Thomas Harding.
I bought this book at the beginning of the summer and it has been really helpful for this project.
It goes through a brief history of video activism, choosing equipment,even down to the ethics of video equipment manufacturers. For e.g. Fuji, according to this book has a triangle underneath oppressive regimes, the triangle meaning "Quite bad" Samsung has a square underneath environmental policy meaning "very bad" It doesn't go into details but I guess this is also something to take into consideration when purchasing equipment and something I will look into further.
Getting started chapter was extremely helpful for practical hands on advice I took a lot of notes and marked lots of pages. e.g.
Even though I new and read this before going out filming I still made these mistakes a lot!
The book tells you about composition and holding the camera steady and correctly which I did take note of but on the evening of filming we were on the back of the tricycle which was essentially a moving trampoline! It was difficult to keep the camera steady!
The Rule of thirds
White balance
Interviews - This was something I had planed on doing but I didn't get round to again on the day I was going to ask some friends to come and ask a few people questions whilst I filmed. I noted that asking open ended questions is the way to go questions that can't be answered 'yes' or 'no' to.
I also found this piece of text interesting with regards to interviews;
I have still to finish reading this book and still tons to learn.
It goes through a brief history of video activism, choosing equipment,even down to the ethics of video equipment manufacturers. For e.g. Fuji, according to this book has a triangle underneath oppressive regimes, the triangle meaning "Quite bad" Samsung has a square underneath environmental policy meaning "very bad" It doesn't go into details but I guess this is also something to take into consideration when purchasing equipment and something I will look into further.
Getting started chapter was extremely helpful for practical hands on advice I took a lot of notes and marked lots of pages. e.g.
Novice video activists tend to take short shots, pan and zoom a great deal, and cut in and out of music with unwatchable results. It is much better to separate the shooting or production phase from the editing or post production phase. With this in mind the aim of a video activist is to gather as much material as possible- within the scope of the projects general aims- giving the editor as much choice as possible later on in the edit suite.Getting good images page 49
Even though I new and read this before going out filming I still made these mistakes a lot!
The book tells you about composition and holding the camera steady and correctly which I did take note of but on the evening of filming we were on the back of the tricycle which was essentially a moving trampoline! It was difficult to keep the camera steady!
The Rule of thirds
White balance
Interviews - This was something I had planed on doing but I didn't get round to again on the day I was going to ask some friends to come and ask a few people questions whilst I filmed. I noted that asking open ended questions is the way to go questions that can't be answered 'yes' or 'no' to.
I also found this piece of text interesting with regards to interviews;
A key task for the video activist is to select interviewees carefully. The mainstream media overwhelmingly tend to give voice to the white middle-class section of society. As a video activist, therefore, you should strive to find interviewees to redress the traditional biases of the media. You must search out the 'woman who doesn't like being interviewed' in the group, and 'the old guy who gets a bit angry at times.' Don't limit yourself to the person who usually gets to give the sound bites to the local news. If you do this, you'll widen the skills gap within the group, and may miss the more authentic and passionate voices.Page 59.
I have still to finish reading this book and still tons to learn.
Alright on the night?!?
I played around with the camera in the van on the way to Manchester adjusting the shutter speed and trying to set the white balance but lack the technical knowledge and confidence so ended up doing it in automatic anyway.
I learned a lot anyway recording footage was really hard even though I have filmed before and even after reading about it. I have never filmed so much action and moving before. I knew that I should and shouldn't do certain things and yet because everything was happening so fast I ended up doing them any way Zooming in and out, and not keeping the camera on things for long enough to get a decent shot that doesn't make the viewer queasy. There were a lot of shots I couldn't get because I was on the back of the tricycle and I couldn't get off because I wouldn't of been able to keep up on foot. In this instance it would of definitely helped to have had two people filming.. Perhaps one like Janice had said on a vesper or something but then some of the critical mass lot would of really disapproved of a motorized vehicle following along and would of actively blocked us off as they did with all the other traffic on the road!
A lot of fun was had it was an amazing event and I have learned a lot. I just hope that there is enough footage to make a 5 min video for Janice :/ and in all honesty, I filmed for an hour and may still struggle to get that 5 min video together! Eek! But on the plus side I had a good chat with Janice and she told me how she came about doing this in Manchester as she isn't the original Papergirl but that she met up with her a few times and was involved in Papergirl Berlin and papergirl New York and got her help with organizing the event and she would love to set up another one with us in Leeds which would be fun. Even the possibility of filming a naked bike ride in the future too!
Oh I did get to ride a bike home too :)
Also before the event, I though, it doesn't really matter about technical know how its not about that, I just wanted to record these events to inform people. But it does matter really because I want to do the event justice and although for the viewer they are not there and will not know how it feels to be there, I do want them to get as much of a feeling of being there as possible so that they may next time get involved too instead of watching the video.
I need to find or get together a group of people that are interested in doing these events together perhaps to get more varied footage for the edit. I would of helped a lot to of had another 1 or 2 people filming.
So.. next things next.... To the edit suite!!
I learned a lot anyway recording footage was really hard even though I have filmed before and even after reading about it. I have never filmed so much action and moving before. I knew that I should and shouldn't do certain things and yet because everything was happening so fast I ended up doing them any way Zooming in and out, and not keeping the camera on things for long enough to get a decent shot that doesn't make the viewer queasy. There were a lot of shots I couldn't get because I was on the back of the tricycle and I couldn't get off because I wouldn't of been able to keep up on foot. In this instance it would of definitely helped to have had two people filming.. Perhaps one like Janice had said on a vesper or something but then some of the critical mass lot would of really disapproved of a motorized vehicle following along and would of actively blocked us off as they did with all the other traffic on the road!
A lot of fun was had it was an amazing event and I have learned a lot. I just hope that there is enough footage to make a 5 min video for Janice :/ and in all honesty, I filmed for an hour and may still struggle to get that 5 min video together! Eek! But on the plus side I had a good chat with Janice and she told me how she came about doing this in Manchester as she isn't the original Papergirl but that she met up with her a few times and was involved in Papergirl Berlin and papergirl New York and got her help with organizing the event and she would love to set up another one with us in Leeds which would be fun. Even the possibility of filming a naked bike ride in the future too!
Oh I did get to ride a bike home too :)
Also before the event, I though, it doesn't really matter about technical know how its not about that, I just wanted to record these events to inform people. But it does matter really because I want to do the event justice and although for the viewer they are not there and will not know how it feels to be there, I do want them to get as much of a feeling of being there as possible so that they may next time get involved too instead of watching the video.
I need to find or get together a group of people that are interested in doing these events together perhaps to get more varied footage for the edit. I would of helped a lot to of had another 1 or 2 people filming.
So.. next things next.... To the edit suite!!
Saturday 30 October 2010
Schumacher North Event.
Beyond Consumerism _ talk with Satish Kumar
Left Bank Centre, Cardigan Road, Leeds
Saturday 23 October 2010
10:00 a.m. - 5:00 p.m.
What would our society look like if its primary goal became authentic physical and mental well-being for everyone, instead of the pursuit of material wealth and technological progress? What creative and practical steps can we take now, communally and individually, to bring this possibility nearer to reality?
I missed this but really wanted to go. Ive been reading their work for 15 years now. I must go to these things even if I don't feel up to it on the day. This was a once a year event that would have been really valuable.
Left Bank Centre, Cardigan Road, Leeds
Saturday 23 October 2010
10:00 a.m. - 5:00 p.m.
What would our society look like if its primary goal became authentic physical and mental well-being for everyone, instead of the pursuit of material wealth and technological progress? What creative and practical steps can we take now, communally and individually, to bring this possibility nearer to reality?
I missed this but really wanted to go. Ive been reading their work for 15 years now. I must go to these things even if I don't feel up to it on the day. This was a once a year event that would have been really valuable.
Thursday 28 October 2010
Filming.. thoughts..
My only worry's about filming will be if there are lots of people cycling it may be difficult to get the people involved in the art side of things in the shot, now that the event is going to be held with the critical mass people too, unless a group try's to stay within shot of the tricycle... also if we are constantly moving getting shots of people opening up the art work and seeing their reactions to it is going to be hard. I have asked for a plan of the route/map so that if we do want to stop and film reactions we can catch up, but there isn't going to be one by the sound of things. I wonder If I should bring someone else with a camera too.. maybe next time.
I spoke to Matt Burton and he advised that I film in automatic for this event, but then later with the date change and the fact that it would be dark now when the event takes place he said it would be better to film with the camera in manual. I am really gutted about this because now I don't have time to learn about the settings..I really wanted to make them a good video.
I spoke to Matt Burton and he advised that I film in automatic for this event, but then later with the date change and the fact that it would be dark now when the event takes place he said it would be better to film with the camera in manual. I am really gutted about this because now I don't have time to learn about the settings..I really wanted to make them a good video.
Tuesday 26 October 2010
Papergirl Manchester.
Hi Tahra,
Below is the email with the new details. Its going to be getting dark but it could look wicked on film. I should be able to get it on a few websites like design week when its done.
I'm not sure I'm going to be able to ride. I rescued a bike from the carpark in my apartments and my friend changed the tubes this week but I think the gears need work as I cant get it to go uphill without loads of effort - it is like 50 years old. I may be able to borrow a bike but I was going to practise riding in the dark. I wanted to take photos but that may not work with critical mass. I'll see what I can work out this week.
Janice x
Begin forwarded message:
***
Hi,
Papergirl Manchester distribution will now take place on Friday 29th October at 6pm! We will be joining up with I Bike MCR for a special Papergirl and Monster Critical Mass with freak bikes, fancy dress, and free art. Followed by bonfire, tall bike jousting and chariot racing and pedal powered party at secret outdoor location. We hope you all can come. See http://www.ibikemcr.org.uk/?q=node/4097
We will deliver around 200 rolls of art to passers-by on the streets of Manchester. We will distribute the work of over 80 artists from Russia, Estonia, Ukraine, Australia, Canada, Italy, Spain, U.S.A, Sweden, Italy, Germany and the UK.
We will meet at Manchester Central Library at 6pm!
1. Bring your own bike.
2. Bring a bag or basket which can hold rolls of art – a tote bag or messenger bag would be suitable. And a camera if you can.
3. Whistles and bells are welcome – make some noise!
Love,
Papergirl Manchester
http://papergirlmanchester.tumblr.com
All sounding fab at the min! Getting quite excited!
You have my number yes? shall I meet you at the library? Do we need to chat at all or shall I just crack on and e-mail you with the finished piece? Well if you are mega busy I will do that.
I really hope you manage to get your bike fixed. See you soon :)))
Tahra xx
Hi!
Yes I have your number. My number is ******. Just crack on and do your piece. When it's ready I'll publicise it. Do you also want to hand out art? I finish work at 5 so I'll be going straight there and I'll stand on the steps of the library handing out rolls to first come first served.
Ive borrowed a bike. I'm excited and really nervous.
Janice x
Hey,
My friends would love to hand out some work I think there are 6 of us coming and all more than happy to help out! It'll be fab! I wont be dressing up however going to concentrate on not falling off the back of the tricycle and trying to get good shots!
See you on the library steps tomorrow then :)
Tahra xx
Below is the email with the new details. Its going to be getting dark but it could look wicked on film. I should be able to get it on a few websites like design week when its done.
I'm not sure I'm going to be able to ride. I rescued a bike from the carpark in my apartments and my friend changed the tubes this week but I think the gears need work as I cant get it to go uphill without loads of effort - it is like 50 years old. I may be able to borrow a bike but I was going to practise riding in the dark. I wanted to take photos but that may not work with critical mass. I'll see what I can work out this week.
Janice x
Begin forwarded message:
***
Hi,
Papergirl Manchester distribution will now take place on Friday 29th October at 6pm! We will be joining up with I Bike MCR for a special Papergirl and Monster Critical Mass with freak bikes, fancy dress, and free art. Followed by bonfire, tall bike jousting and chariot racing and pedal powered party at secret outdoor location. We hope you all can come. See http://www.ibikemcr.org.uk/?q=node/4097
We will deliver around 200 rolls of art to passers-by on the streets of Manchester. We will distribute the work of over 80 artists from Russia, Estonia, Ukraine, Australia, Canada, Italy, Spain, U.S.A, Sweden, Italy, Germany and the UK.
We will meet at Manchester Central Library at 6pm!
1. Bring your own bike.
2. Bring a bag or basket which can hold rolls of art – a tote bag or messenger bag would be suitable. And a camera if you can.
3. Whistles and bells are welcome – make some noise!
Love,
Papergirl Manchester
http://papergirlmanchester.tumblr.com
All sounding fab at the min! Getting quite excited!
You have my number yes? shall I meet you at the library? Do we need to chat at all or shall I just crack on and e-mail you with the finished piece? Well if you are mega busy I will do that.
I really hope you manage to get your bike fixed. See you soon :)))
Tahra xx
Hi!
Yes I have your number. My number is ******. Just crack on and do your piece. When it's ready I'll publicise it. Do you also want to hand out art? I finish work at 5 so I'll be going straight there and I'll stand on the steps of the library handing out rolls to first come first served.
Ive borrowed a bike. I'm excited and really nervous.
Janice x
Hey,
My friends would love to hand out some work I think there are 6 of us coming and all more than happy to help out! It'll be fab! I wont be dressing up however going to concentrate on not falling off the back of the tricycle and trying to get good shots!
See you on the library steps tomorrow then :)
Tahra xx
Patrick Watson - The Great Escape
My friend Laura has been doing some smudge and wipe animation. Think she is going to show me how to do it :)
Saturday 23 October 2010
Secret Cinema's Tribal Leader Speaks to Robert Elms
I have e-mailed these guys to see if I can help. They did put out requests for volunteers on their face book page but that was in September they may no longer need anyone. If not maybe next time.
This is a new way of watching films that I think is quite special instead of being passive observers in the screens constant output it encourages us to take on a more active, engaged role.
Friday 22 October 2010
Thursday 21 October 2010
Documentary on Ingmar Bergman (01/04)
I love the intimacy of this guy's work often with little or no dialogue yet it is deeply personal.
Tutorial feedback....
I voiced my concerns about doing broadly moving image rather than focusing on one thing e.g. film. Nick said this should be ok as long as I understand that I will not gain quite such an in depth understanding as if I was to narrow it down. So I understand and accept this. I will however focus more on the film side I think. As it is something I keep going back to and would like to get better at.
Sharron said I should plan everything as much as possible before hand, this is something I already knew from previous experience of filming and running out of steam with ideas on the day. So it was good to be reminded of this. Pre-planning has never been a strong point of mine but I will try, I can see how it would help make things a lot easier.
Also Christian asked me if I wanted to be an animator or a film maker and I said no, and I explained I do still want to maintain a multi-disciplinary approach to my work. I would like to spend more time in the workshops, building things e.g. dark dolls houses to animate and set building.
I need to think carefully about story boarding.
Sharron said I should plan everything as much as possible before hand, this is something I already knew from previous experience of filming and running out of steam with ideas on the day. So it was good to be reminded of this. Pre-planning has never been a strong point of mine but I will try, I can see how it would help make things a lot easier.
Also Christian asked me if I wanted to be an animator or a film maker and I said no, and I explained I do still want to maintain a multi-disciplinary approach to my work. I would like to spend more time in the workshops, building things e.g. dark dolls houses to animate and set building.
I need to think carefully about story boarding.
Tuesday 19 October 2010
Progress on film project..
O.K so filming for this weekend has been put off for some reason and will be happening next weekend instead. It will be happening in conjunction with Manchester critical mass as well. Janice (papergirl) said it would make for a safer ride too. This is all cool with me as I get to take part in two really great things at once! Just would be nice to have a bike to ride too!
When I heard this I was really excited about it again and wondered why we don't have one in Leeds but it turns out that we do.. which is great, I really want to get a bike now :) I do like to stir up a little trouble!
When I heard this I was really excited about it again and wondered why we don't have one in Leeds but it turns out that we do.. which is great, I really want to get a bike now :) I do like to stir up a little trouble!
Right!
After a session with Matt Burton in the studio down stairs it has become apparent that if I am to get anywhere near useful with a camera I really need to understand the workings a lot more. He went into a great deal of detail about all the settings, functions, and possible effects on the camera.. I did not take notes as I wanted to really concentrate and take it all in.. I did understand most of what he was saying.. and when I got home to right some of it up, it was gone! (just as he said it probably would!) I was there and took part, that's the main thing! I recon all that information is in my head somewhere!
For this project it is not hugely important I have never filmed moving things outside before so just doing this will be a task and I am sure I will learn a lot from this, also get a little more confidence hopefully to then experiment further.
I am going to shoot this on automatic settings so for the time being my lack of technical know how with regards to all the setting's on the camera should hopefully not get in the way of having a good old go!
For this project it is not hugely important I have never filmed moving things outside before so just doing this will be a task and I am sure I will learn a lot from this, also get a little more confidence hopefully to then experiment further.
I am going to shoot this on automatic settings so for the time being my lack of technical know how with regards to all the setting's on the camera should hopefully not get in the way of having a good old go!
Monday 18 October 2010
Papergirl...
About Papergirl:
Papergirl is: participatory, analogue, non-commercial and impulsive. Papergirl is distributed like a newspaper, but not edited or printed like it. It consists of art pieces that are rolled up together.
There are no guidelines as to format, subject matter or quantity, so originals, prints, photos, copies etc. come together. Each roll contains several different works, meaning that each one holds a unique combination of works.
The art rolls cannot be sold and they are not delivered to subscribers.
Giving the work out by bike means that there is no time for any stereotypes when choosing recipients of the pieces. You have to react fast and spontaneously. Chance plays its part.
http://papergirlmanchester.tumblr.com
https://twitter.com/PapergirlMCR
In the style of American paper-boys, Papergirl distributes rolled art pieces by bicycle to passers-by.
Created by Aisha Ronniger in 2006 in Berlin, Manchester will be Papergirl's UK début.
Papergirl is: participatory, analogue, non-commercial and impulsive. Papergirl is distributed like a newspaper, but not edited or printed like it. It consists of art pieces that are rolled up together.
There are no guidelines as to format, subject matter or quantity, so originals, prints, photos, copies etc. come together. Each roll contains several different works, meaning that each one holds a unique combination of works.
The art rolls cannot be sold and they are not delivered to subscribers.
Giving the work out by bike means that there is no time for any stereotypes when choosing recipients of the pieces. You have to react fast and spontaneously. Chance plays its part.
http://papergirlmanchester.tumblr.com
https://twitter.com/PapergirlMCR
In the style of American paper-boys, Papergirl distributes rolled art pieces by bicycle to passers-by.
Created by Aisha Ronniger in 2006 in Berlin, Manchester will be Papergirl's UK début.
(Text above taken from Papergirls facebook page)
Messaging thread thus far..
Tahra O'Regan 17 October at 12:46
I would love to help out I am an art student in Leeds learning video and editing etc. Let me know when and where and I will be there with bells on! xx
Tahra O'Regan 17 October at 12:49
Have some friends that would love to be involved also xx
Papergirl Manchester 17 October at 20:10 Report
Hi Tahra, that'd be great. We are planning the ride for next weekend but we are not announcing it to the public. Are you free? Here are some examples of Papergirl films, you could do it in your own style:
http://www.vimeo.com/13360438
http://www.vimeo.com/user1495215
This is the first time Papergirl has taken place in the UK and I hope to get a lot of publicity on it. So far it has been covered by Design Week, Article magazine, Boneshaker and lots of blogs.
Thanks. Janice
Papergirl Ride Day#1
www.vimeo.com
Papergirl is an art project which, in the style of american paperboys, distributes rolled art pieces by bicycle to random passers-by in the streets. It consists of an exhibition, the action (distribution of the art) and a party. The project was founded...
Share
Tahra O'Regan 17 October at 23:53
I will have to get back to you tomorrow eve.. I wasn't expecting you to say so soon! but I doing my very best to get it sorted.
Will you be distributing both the saturday and the sunday?
I have seen your video's already.. they are great, I love what you are doing and looking forward to helping out :)
I have some friends that would like to help with distribution as well depending on the day, they have a solar powered smoothie making tricycle... if your still in need of distributors?
Tahra xx
Papergirl Manchester 18 October at 00:37 Report
A smoothie making tricycle sounds amazing. We need 20-25 people to distribute. The first 25 people to turn up will be the distribution team. Loads to organise this week! Let me know if you can make it. I wanted to find someone with a vespa or rickshaw to support filming but it maybe that we pick key points on the route.
Thanks,
Janice x
Tahra O'Regan 18 October at 07:42
What time is meet up and which day are you planning? I will check the weather forecast for the weekend.. I can start making plans too.. maybe the tricycle could be used to help with filming I will see them today and have a practice run around leeds :)
Tahra xx
Tahra O'Regan 18 October at 10:53
We are going to leave the smoothie maker at home and can use the back of the tricycle to carry cameras etc!
Tahra O'Regan 18 October at 15:01
Here is my phone number it may be easier to speak on the phone if you like, I know you must be really busy right now.
It's 07984162500 give me a call or txt and I can ring you when you are free.
Tahra xx
Papergirl Manchester 18 October at 19:09 Report
Hi Tahra,
Sounds great! I think we are going to do it at 2pm on Sunday. Would that be ok for you? I'm working on the route tonight.
Thanks!
Janice
Tahra O'Regan 18 October at 20:15
That sounds good yes 2pm sunday it is! Could you send me details of where we need to meet so we can sort out directions/map.. not sure of my way around Manchester.
Tahra xx
I would love to help out I am an art student in Leeds learning video and editing etc. Let me know when and where and I will be there with bells on! xx
Tahra O'Regan 17 October at 12:49
Have some friends that would love to be involved also xx
Papergirl Manchester 17 October at 20:10 Report
Hi Tahra, that'd be great. We are planning the ride for next weekend but we are not announcing it to the public. Are you free? Here are some examples of Papergirl films, you could do it in your own style:
http://www.vimeo.com/13360438
http://www.vimeo.com/user1495215
This is the first time Papergirl has taken place in the UK and I hope to get a lot of publicity on it. So far it has been covered by Design Week, Article magazine, Boneshaker and lots of blogs.
Thanks. Janice
Papergirl Ride Day#1
www.vimeo.com
Papergirl is an art project which, in the style of american paperboys, distributes rolled art pieces by bicycle to random passers-by in the streets. It consists of an exhibition, the action (distribution of the art) and a party. The project was founded...
Share
Tahra O'Regan 17 October at 23:53
I will have to get back to you tomorrow eve.. I wasn't expecting you to say so soon! but I doing my very best to get it sorted.
Will you be distributing both the saturday and the sunday?
I have seen your video's already.. they are great, I love what you are doing and looking forward to helping out :)
I have some friends that would like to help with distribution as well depending on the day, they have a solar powered smoothie making tricycle... if your still in need of distributors?
Tahra xx
Papergirl Manchester 18 October at 00:37 Report
A smoothie making tricycle sounds amazing. We need 20-25 people to distribute. The first 25 people to turn up will be the distribution team. Loads to organise this week! Let me know if you can make it. I wanted to find someone with a vespa or rickshaw to support filming but it maybe that we pick key points on the route.
Thanks,
Janice x
Tahra O'Regan 18 October at 07:42
What time is meet up and which day are you planning? I will check the weather forecast for the weekend.. I can start making plans too.. maybe the tricycle could be used to help with filming I will see them today and have a practice run around leeds :)
Tahra xx
Tahra O'Regan 18 October at 10:53
We are going to leave the smoothie maker at home and can use the back of the tricycle to carry cameras etc!
Tahra O'Regan 18 October at 15:01
Here is my phone number it may be easier to speak on the phone if you like, I know you must be really busy right now.
It's 07984162500 give me a call or txt and I can ring you when you are free.
Tahra xx
Papergirl Manchester 18 October at 19:09 Report
Hi Tahra,
Sounds great! I think we are going to do it at 2pm on Sunday. Would that be ok for you? I'm working on the route tonight.
Thanks!
Janice
Tahra O'Regan 18 October at 20:15
That sounds good yes 2pm sunday it is! Could you send me details of where we need to meet so we can sort out directions/map.. not sure of my way around Manchester.
Tahra xx
Sunday 17 October 2010
Camera a short film by David Cronenberg
I loved this disturbing though it is, although I'm not sure I want anything to do with cameras anymore! eek!
Intimate and intrusive, the camera gets so close that it is becoming a annoyance.. The close up camera shots showing every detail on his face.. I think Ingmar Burgman does this too, really close up intimate shots.. and then at the end showing how the camera can lie and put a warm, happy, cozy filter on things.
Papergirl Manchester!!! Talk about throwing myself in at the deep end!!!
I am so excited about this opportunity!!! I hope it is all doable... Papergirl is a project created by Aisha Ronniger that distributes rolled up art for free by bicycle to passers by. They previously worked in Berlin and are making there debut in the U.K. in Manchester. I have seen video's of them at work on the streets of Berlin and got such an incredible feeling from it.
I added her as a friend on face book and when she said she needed people to film and take photographs I without thinking said "I will! with bells on!"
She e-mailed me back saying that would be great! and that it is next weekend am I available? she sent me links to some other video's they have had made and said I could choose which ever style I wanted to.
I have very minimal knowledge of the use a video camera so will have to ask Matt if he can give me a crash course. I also know that I will need to do a certain amount of planning.. I will also speak with Sharon and ask her if she can give me a run through of basic planning steps one might take before filming an outdoor event like this...
I have no money at all at the moment so getting there and back with equipment is going to need sorting... I am working on it though because I REALLY want to do this...
I have spoken to some friends who may be able to help out with one day getting there and back. They have a van and they also have a tricycle so they could help with distribution too..
I added her as a friend on face book and when she said she needed people to film and take photographs I without thinking said "I will! with bells on!"
She e-mailed me back saying that would be great! and that it is next weekend am I available? she sent me links to some other video's they have had made and said I could choose which ever style I wanted to.
I have very minimal knowledge of the use a video camera so will have to ask Matt if he can give me a crash course. I also know that I will need to do a certain amount of planning.. I will also speak with Sharon and ask her if she can give me a run through of basic planning steps one might take before filming an outdoor event like this...
I have no money at all at the moment so getting there and back with equipment is going to need sorting... I am working on it though because I REALLY want to do this...
I have spoken to some friends who may be able to help out with one day getting there and back. They have a van and they also have a tricycle so they could help with distribution too..
Collaborations...
OK so the collaboration with Tuva from northern school of dance will not happen until November as she is really busy at the moment and not free until then.
Going to work on a collaboration with Laura Jordan and Georgina Beaumont, experimenting with stop motion but we are going to try animating Laura! We wanted to see what effects we can get animating humans so we have decided on dressing her up like a doll.. We can then put the photos together in quick time and then we can experiment with after effects, flash and quick time too to see what they do and what effects we can get.
Actually looking forward to going completely over board and mental with make-up and costume!! Bring it on!!
Ah Pixilation! "The technique of animating human actors frame by fame"
Going to work on a collaboration with Laura Jordan and Georgina Beaumont, experimenting with stop motion but we are going to try animating Laura! We wanted to see what effects we can get animating humans so we have decided on dressing her up like a doll.. We can then put the photos together in quick time and then we can experiment with after effects, flash and quick time too to see what they do and what effects we can get.
Actually looking forward to going completely over board and mental with make-up and costume!! Bring it on!!
Ah Pixilation! "The technique of animating human actors frame by fame"
The Secret Adventures of Tom Thumb 1:6
Bought this for myself cheap. Amazing animation! When the actors are working with the animated characters ( it says in the booklet that came with the dvd) it is particularly hard for them because "a movement or expression that lasts for, say 5 seconds, could take three or four hours to shoot."
"This unique film combines 3-D model animation with an innovative use of pixilation- the technique of animating human actors frame by frame."
Regina Spektor - "Samson" [OFFICIAL VIDEO]
Another beautifully animated piece this one directed by Peter Sluszka together with Adria Petty's company I think.. Will have to look up some more of his work because I just read an article describing him as "one of the best stop motion animators is the business."
Friday 15 October 2010
Undercurrents. Using the media.
Video of a protest in Ireland and how they used the media to their advantage.
Anti car protests in 1969! The anger! People don't behave like this so often I don't think if there is a camera there. I think they do contain there emotions a lot more these days in case they get taken to court.
Women in Early film.
Women have been central to the film industry since its inception in the late 19th and early 20th centuries. From Nickelodeons to full-length feature films and from silent films to talkies, as writers, directors, actors, and audience members, women have influenced the trajectory of the film industry. Female stardom was an essential component of the rise of the industry, though many of these women were celebrated more for their appearances than for their acting ability.
While the popularity of certain female stars offered them legendary status, the kinds of roles they were asked to play often reinforced traditional gender roles. That story is the familiar one. This exhibit intends to reveal a lesser known part of the story. Women actually played a powerful role in shaping the early film industry. As both consumers of film and professionals in the field, both in front of and behind the camera, women dramatically affected the development of American film.
Prior to the 1930s, Hollywood provided many opportunities for women to work on films behind-the-scenes. Many studios had prominent female directors, and female screenwriters created some of the most popular movies of the period, while female film editors exercised creative control over the visual appearance of film. A few women even headed their own studios. Though these women earned their jobs through their creative talents and shrewd business sense, their presence behind-the-scenes helped legitimize film as an art form and as morally acceptable for audiences.
Alice Guy Blache directing her cast in 1915.
Library of Congress, LC-DIG-ppmsca-02978. Like men, most female directors started their careers in other areas of the film industry before making their directorial debut. Alice Guy Blaché, for example, began as a secretary and rose to studio head. She is credited as being the first female film director, and also was known for experimenting with film technique and narrative form. She began her career in France at Gaumont Film Company, owned by Léon Gaumont, and directed her first film in 1896, where she directed all the films made by the studio until 1905.
She continued to work for Gaumont until 1907, when she married Herbet Blaché. After following him to the United States in 1910, she founded the Solax Company. As its president, she both directed and supervised production of the company’s films. In 1913 the company closed down, but Blaché continued to direct for her husband until 1922, when she returned to France with her children after her marriage failed. Though her career as a director faded, she is still remembered not only for being a pioneering woman in film, but for helping to shape the early film industry.7
Alice Guy Blaché also mentored Lois Weber, one of the most famous female American directors. Weber got her start under Blaché at Gaumont in 1908. Although Blaché initially hired her as an actress, Weber’s talent allowed her to develop a career behind the screen, as well as in front of the camera. Along with acting, she “wrote scenarios and subtitles, acted, directed, designed sets and costumes, edited, and even developed negatives for her films.”8 Along with her husband, Weber was also one of the first directors to experiment with sound. Weber is also remembered for her skillful use of film to convey social messages. Weber’s 1914 Hypocrites, for example, used a nude statue to represent “the naked truth”—and she accepted the criticism she knew she would face because of this nudity. Much more daringly, Weber made a film about birth control, The Hand that Rocks the Cradle, in 1917, the same year that birth control advocate Margaret Sanger faced criminal charges.
By the early 1930s, American culture and the film industry were inextricably linked. While most industries struggled during the Great Depression, Hollywood continued to boom as Americans turned to movies to escape from the hardships of their lives into the imaginary worlds of beautiful people, slapstick comedy, and happy endings. Women would continue to be at the center of this story; new stars, like Katharine Hepburn, would emerge to once again change the feminine ideal, and women of color would continue to overcome racial stereotypes and the limited roles available to them. Just like today, the film industry during the first part of the 20th century was responsible for reinforcing patriarchal norms; with men occupying most of the positions as directors and producers, female actresses were often cast in roles and publicized in ways that led them to become the objects of the male gaze.
And yet, women were very much at the center of the evolution of the industry. The growing independence of white middle class women and their increasing power as American consumers, for example, profoundly influenced the direction of the film industry. The celebrity achieved by many of the leading ladies opened up a new opportunity for women to be front-and-center and acknowledged not only for their looks but also for their work as actors. Furthermore, women like Lois Weber and Anita Loos found ways to rise to the top of this male-dominated world and led in ways that had previously been virtually impossible for women. Progress is gradual, and while Hollywood still faces many injustices—leading men are still paid more than leading women, actresses continue to be judged and revered on the basis of their looks, and there are still more men than women behind the camera—women have been and continue to be involved in all aspects of the American film industry.
Natonal Womens history museum. Women in early film. http://www.nwhm.org/
This is from an american website I think it is looking at things in a quiet positive light there really. One or two rich white women.
Film & Entertainment Industry Facts
There are 39 film festivals solely dedicated to showing the work of women directors throughout the world. -Women in the Director's Chair
Twenty one percent (21%) of the top 250 domestic grossing films released in 2007 employed no women directors, executive producers, producers, writers, cinematographers, or editors—a 2% increase since 2006. None of these films failed to employ a man in at least one of these roles. -Celluloid Ceiling 2007 Report
Women accounted for 6% of directors of the top 250 domestic grossing films released in 2007, a decline of 1% since 2006. This figure is approximately half the percentage of women directors working in 2000 when women accounted for 11% of all directors. -Celluloid Ceiling 2007 Report
A historical comparison of women’s employment on the top 250 films in 2007 and 1998 reveals that the percentage of women in all behind-the-scenes roles (directors, writers, executive producers, producers, editors and cinematagraphers) has declined. -Celluloid Ceiling 2007 Report
Women accounted for 10% of writers working on the top 250 domestic grossing films of 2007. Eighty two percent (82%) of the films had no female writers. -Celluloid Ceiling 2007 Report
Women working behind the scenes influenced the number of on-screen women. When a program had no female creators, females accounted for 40% of all characters. However, when a program employed at least one woman creator, females comprised 45% of all characters. -Boxed In: Women On Screen and Behind the Scenes in the 2003-04 Prime-time Season, by Martha Lauzen
Men write 70% and women 30% of all film reviews published in the nation’s top newspapers. -Thumbs Down Report
Forty seven percent (47%) of the nation’s top newspapers do not include film reviews written by women, whereas only 12% do not include film reviews written by men. -Thumbs Down Report
On average, films employing at least one woman as director, executive producer, producer, or writer earned slightly higher opening weekend U.S. box office grosses ($27.1 vs. 24.6 million) than films with only men in these roles. -Women @ The Box Office
On average, films employing at least one woman as director, executive producer, producer, or writer grossed approximately the same at domestic box offices ($82.1 vs. $81.9 million) as films with only men in these roles. -Women @ The Box Office
In Academy Award history, four female filmmakers have been nominated for best director (Lina Wertmuller-1977, Jane Campion-1994, and Sofia Coppola-2004, Kathryn Bigelow - 2010), but only Kathryn has won. -Women's E-News
http://www.wmm.com/resources/film_facts.shtml Women make movies
http://gu.com/p/2h4jy
Film industry still a man's world, reveals major new report.
9 February 2005. First ever in-depth study of film production workforce highlights need to broaden recruitment and tackle the barriers faced by those within it, or risk losing valuable skills and experience
LONDON: Women working in the film industry earn less than their male counterparts, despite being better qualified, and most people working in the industry get their jobs through word of mouth and live in London and the South East, according to the most in-depth survey ever of the UK's film production workforce published today.
The survey, which was conducted by the UK Film Council and Skillset, underlines the need for the film industry to be more open and recruit from the widest possible pool of talent, while providing better skills training for new entrants and those already working in the industry.
Increasing opportunities and improving skills training for new entrants and existing industry workers are key areas being addressed by A Bigger Future, the five year, £50 million UK Film Skills Strategy launched last year by Skillset and the UK Film Council, and through the industry's Leadership on Diversity Group which is developing an industry-wide equality standard.
The Feature Film Production Workforce survey also found that:
Gender
Women make up 33% of the workforce and earn less than men. 35% of women earn less than £20,000pa compared to 18% of men. In the higher salary brackets 30% of men earn £50k+ compared with 16% of women;
women are more likely to be qualified to graduate level than men (60% compared with 39%). While 17% of men had no qualifications, this was the case for only 5% of women;
women working in film were less likely than men to be married or living as part of a couple (44% compared with 69%) and less likely to have dependant children under 16 (21% compared with 39% of men); and
there were almost no women in the camera, sound, electrical and construction departments while the majority of those working in make-up and hairdressing were women.
Ethnicity
Film production is also predominately white with only 1 in 20 from a minority ethnic background. This represents just 5% of the workforce. In London, where the survey found the majority of the workforce was concentrated, minority ethnicity groups make up 24% of the working population.
Finding work
The main route into the film industry is through word of mouth - 81% had been recruited in this way. More than half had been approached directly by a contact on the production;
before the 1980s, only 5% of people had done unpaid work prior to getting their first paid job in the industry, this climbed to 45% for those entering in 2000 or later; and
more than half the respondents (58%) lived in London and a further 20% lived in the South East.
Training
Film production has a highly qualified workforce. 46% are graduates compared with 19% of the UK workforce as a whole. However, very few people had experienced formal, organised film industry training. 13% had attended a course (with 45% of those paying the fees themselves) while 33% had taught themselves relevant skills - of those that had attended a taught course, 33% had gone on a health and safety course;
55% of people felt they needed further training and almost a third wanted it in business and finance (32%) and to keep up with changing technology in the industry; and
60% of people face barriers in getting training - most commonly taking time off work (32%); the fear of losing work through committing time for training in advance (23%); 19% felt that the possible loss of earnings while training was too high a risk; and a similar proportion found the training fees too high.
Working in film production
Incomes vary hugely in film production - 25% of survey respondents reported a gross income of £50,000 or more from all their audio-visual work, yet 23% earned less than £20,000. Almost half (48%) of all 16-29 year olds surveyed earned less than £10,000 in the past year; and
Unemployment rates are high with 71% having been unemployed at least once over the previous year and more than a third (35%) having spent more than 10 weeks of the year unemployed.
A Bigger Future will support a range of initiatives including the creation of centres of academic excellence for film in the form of a national network of Screen Academies, the establishment of a new film business academy to raise the level of business, leadership and management skills in the industry, as well as mentoring programmes, and a new industry approvals scheme for film courses.
Dinah Caine, Chief Executive of Skillset, said:
"Film has a highly qualified workforce but one which faces a multitude of difficulties keeping their skills levels apace with the changing needs of the industry. The industry also has, on average, an older workforce with few structured, equitable routes in for new talent from a diversity of backgrounds. A Bigger Future was introduced last year to address many of the issues highlighted by these results. It's a five year strategy but is already making a positive impact and with skills development firmly at the top of the industry's agenda, can only go from strength to strength."
John Woodward, Chief Executive of UK Film Council, said:
"Whilst the UK has benefited hugely from its highly qualified film production workforce there are still many barriers facing people who want to get in and stay in the industry. Developing the film production workforce must be underpinned with a commitment to diversity as well as training.
"These findings show that if we are to attract the brightest and the best into the industry, and make the most of our existing talent we need to make significant progress in opening up more concrete career paths into the industry and opportunities for advancement for those already working within it."
http://www.skillset.org/skillset/press/2005/article_3774_1.asp
Animator case study.
Animator: Andy
This Case Study belongs to Animator.
Andy has been working as an animator for the last three years. Prior to this, he studied for a two-year HND in animation at university, topping up in the final third year to obtain a degree in animation studies.
In my final year at university, about four months before graduation, I was proactive and approached employers about work opportunities. I had done my research and identified about half a dozen companies to target. I sent each one a:
covering letter introducing myself and explaining that I was about to graduate and available for work
CV;
show reel, which is a visual portfolio of work. I included in the show reel some of my final year projects, even though they were still works in progress (which I explained in my covering letter).
Getting work experience is very important. When I was at university, I worked for free in order to gain experience. My first big break came when I volunteered to help as holiday cover. They were pleased with my work, which led to paid work. After three months, I became a trainee animator, and within six months came another promotion to junior animator. All companies are different, however, and have different levels and criteria for animator status and promotion.
I work on sets with puppets in front of cameras every day. People don’t realise it but for every second of film, there are 24 frames and it is my responsibility to change the subject matter for every shot. Other companies have different techniques for presenting the frames, some work on 12 frames per second, others 24. The industry is very diverse and always interesting to adapt to. Animators are typically given a target of a certain number of seconds to shoot every day.
I really enjoy my job. The work is varied and never boring. There is always something new to figure out and the constant challenge to make puppets’ actions look realistic. I especially get pleasure from seeing my work on TV, for example Roary on Channel 5’s Milkshake and Fifi on Nickelodeon Jr. It is incredibly gratifying to see all the work come together seamlessly and the animation come to life.
It is too early to say what I will be doing in the future, but there are several options I could consider. These include work on a feature film, work abroad in order to learn how other countries approach animation or possibly teaching.
My advice to students is to get as much work experience as possible. When dealing with animation companies, try not to be shy but not too pushy either. Send companies letters and show reels and if you don’t receive a reply, don’t take it personally. Instead, persevere by writing again or give a quick courtesy ring to ask if they have received it. It is acceptable to contact the same company a few times. Finally, make some enquiries and send your show reel to the right person.
Case Study sourced by Tammy Goldfeld of University of Manchester, 24 April 2009.
This Case Study belongs to Animator.
Andy has been working as an animator for the last three years. Prior to this, he studied for a two-year HND in animation at university, topping up in the final third year to obtain a degree in animation studies.
In my final year at university, about four months before graduation, I was proactive and approached employers about work opportunities. I had done my research and identified about half a dozen companies to target. I sent each one a:
covering letter introducing myself and explaining that I was about to graduate and available for work
CV;
show reel, which is a visual portfolio of work. I included in the show reel some of my final year projects, even though they were still works in progress (which I explained in my covering letter).
Getting work experience is very important. When I was at university, I worked for free in order to gain experience. My first big break came when I volunteered to help as holiday cover. They were pleased with my work, which led to paid work. After three months, I became a trainee animator, and within six months came another promotion to junior animator. All companies are different, however, and have different levels and criteria for animator status and promotion.
I work on sets with puppets in front of cameras every day. People don’t realise it but for every second of film, there are 24 frames and it is my responsibility to change the subject matter for every shot. Other companies have different techniques for presenting the frames, some work on 12 frames per second, others 24. The industry is very diverse and always interesting to adapt to. Animators are typically given a target of a certain number of seconds to shoot every day.
I really enjoy my job. The work is varied and never boring. There is always something new to figure out and the constant challenge to make puppets’ actions look realistic. I especially get pleasure from seeing my work on TV, for example Roary on Channel 5’s Milkshake and Fifi on Nickelodeon Jr. It is incredibly gratifying to see all the work come together seamlessly and the animation come to life.
It is too early to say what I will be doing in the future, but there are several options I could consider. These include work on a feature film, work abroad in order to learn how other countries approach animation or possibly teaching.
My advice to students is to get as much work experience as possible. When dealing with animation companies, try not to be shy but not too pushy either. Send companies letters and show reels and if you don’t receive a reply, don’t take it personally. Instead, persevere by writing again or give a quick courtesy ring to ask if they have received it. It is acceptable to contact the same company a few times. Finally, make some enquiries and send your show reel to the right person.
Case Study sourced by Tammy Goldfeld of University of Manchester, 24 April 2009.
Animator - ww2.prospects.ac.uk
Contacts and resources
Jobs and work
Animated People
Animation Forum West Midlands
Animation Industry Database
Animation Magazine
Association of Illustrators (AOI) - includes job listing
The British Council - for details of residencies
BBC
Cartoon (European Association of Animation Film) - for contacts in the industry
CGSociety - Society of Digital Artists
Channel 4 Television
Chinwag Jobs
Creative and Cultural Skills: the Sector Skills Council for Advertising, Crafts, Cultural Heritage, Design, Music, Performing, Literary & Visual Arts
Creative Handbook - for contacts in the industry
Design & Art Direction (D&AD) - for contacts and details of courses
Datascope
Design Week - weekly magazine including design jobs and news
International Animated Film Association (ASIFA) - for contacts in the industry
The Knowledge - for industry contacts
London College of Communication - for details of residencies
Mad
The Marketing Manager's Yearbook, Waterlow Legal and Regulatory Ltd, Annual
Media Bugs
OPM Jobs
Skillset Screen Academy Wales - for details of residencies
Skillset: The Sector Skills Council for Creative Media - includes careers information about working in the animation industry
Study
British Film Institute (BFI) - for short courses in animation
Central Saint Martins
Cyfle - training company for Welsh television, film and interactive media
The National Film and Television School
Royal College of Art
South West Screen - includes information on training, jobs, funding and news in the South West
News
3D World - news and advice about 3D graphics
a-n Magazine, AN Publications, Monthly - information, news and jobs for visual arts
Animation World Network
Bradford Animation Film Festival - annual animation festival with screentalks, workshops and screenings
Scottish Screen - national screen agency for Scotland, includes news and training information
Toonhound
Reference
Broadcasting Entertainment Cinematographic and Theatre Union (BECTU) - provides information on animator rates of pay
Your Creative Future - education and career opportunities in the creative industries
Jobs and work
Animated People
Animation Forum West Midlands
Animation Industry Database
Animation Magazine
Association of Illustrators (AOI) - includes job listing
The British Council - for details of residencies
BBC
Cartoon (European Association of Animation Film) - for contacts in the industry
CGSociety - Society of Digital Artists
Channel 4 Television
Chinwag Jobs
Creative and Cultural Skills: the Sector Skills Council for Advertising, Crafts, Cultural Heritage, Design, Music, Performing, Literary & Visual Arts
Creative Handbook - for contacts in the industry
Design & Art Direction (D&AD) - for contacts and details of courses
Datascope
Design Week - weekly magazine including design jobs and news
International Animated Film Association (ASIFA) - for contacts in the industry
The Knowledge - for industry contacts
London College of Communication - for details of residencies
Mad
The Marketing Manager's Yearbook, Waterlow Legal and Regulatory Ltd, Annual
Media Bugs
OPM Jobs
Skillset Screen Academy Wales - for details of residencies
Skillset: The Sector Skills Council for Creative Media - includes careers information about working in the animation industry
Study
British Film Institute (BFI) - for short courses in animation
Central Saint Martins
Cyfle - training company for Welsh television, film and interactive media
The National Film and Television School
Royal College of Art
South West Screen - includes information on training, jobs, funding and news in the South West
News
3D World - news and advice about 3D graphics
a-n Magazine, AN Publications, Monthly - information, news and jobs for visual arts
Animation World Network
Bradford Animation Film Festival - annual animation festival with screentalks, workshops and screenings
Scottish Screen - national screen agency for Scotland, includes news and training information
Toonhound
Reference
Broadcasting Entertainment Cinematographic and Theatre Union (BECTU) - provides information on animator rates of pay
Your Creative Future - education and career opportunities in the creative industries
Animator - ww2.prospects.ac.uk
Job description
An animator produces multiple images called frames. When sequenced together rapidly, these frames create an illusion of movement known as animation.
Animators tend to work in 2D animation, 3D model making animation, or computer-generated animation. Computer-generated animation features strongly in motion pictures (to create special effects or an animated film in its own right), as well as in aspects of television work, the internet and the computer games industry.
The basic skill of animation still relies heavily on the animator's artistic ability, but there is a growing need for animators to be familiar with technical computer packages.
Typical work activities
Producing animation involves a number of stages including generating ideas, building models and rigging lighting. Computer animation uses software known as CGI (computer-generated imagery)
Tasks typically involve:
liaising with clients and developing animation from their concepts;
creating storyboards that depict the script and narrative;
drawing in 2D to create sketches, artwork or illustrations;
designing models, backgrounds, sets, characters, objects and the animation environment;
using a range of materials, including modelling clay, plaster, oil paints, watercolours and acrylics;
developing the timing and pace of a character's or object's movements during the sequence of images (called the animatic) and ensuring they follow the soundtrack and audio requirements;
using technical software packages, such as Flash, 3d studio max, Maya, Lightwave, Softimage and Cinema 4D;
building up accurate, detailed frame-by-frame visuals;
recording dialogue and working with editors to composite the various layers of animation (backgrounds, special effects, characters and graphics) in order to produce the finished piece;
working to production deadlines and meeting clients' commercial requirements;
teamworking as part of a broader production network, which might include liaising with printers, copywriters, photographers, designers, account executives, website designers or marketing specialists;
dealing with diverse business cultures, delivering presentations and finding funding.
Much of the work involves pitching and being proactive in selling your ideas and work to prospective customers and clients. This applies across the board, whether you are self-employed, working freelance or employed within a business.
Entry requirements
Although this area of work is open to all graduates and Diplomates, the following degree/foundation degree subjects are particularly relevant:
animation;
graphic design/illustration;
3-D design;
art and design;
model making or sculpture;
design for moving image;
spatial design;
film and video;
multimedia;
electrical engineering;
computer-aided engineering.
A foundation degree with a 2D design content may also be useful.
Entry without a higher education qualification is unusual, but not impossible. Exceptions may be made for very talented candidates.
Many animators consider that having an artistic background is more important than competence with IT.
Though not essential, a relevant postgraduate qualification in animation may enhance your employability. Courses include the two-year MA Animation at the Royal College of Art , the two-year MA Animation Direct at The National Film and Television School , and the one-year (30-week) Postgraduate Diploma in Character Animation at Central Saint Martins . Other postgraduate courses can be found on the Skillset (Sector Skills Council for the Audio Visual Industries) website.
Candidates will need to show evidence of the following:
talent - in the form of a show reel or portfolio;
networking skills and commitment to projects through previous work experience;
an engagement with the industry from submitting work to festivals and competitions;
the flexibility to switch between several projects at once.
Animation is a competitive industry. If you are looking for work in the industry you must have a show reel. This is your 'calling card' to show to production companies or animation commissioners in advertising agencies, music companies or television companies. It is acceptable practice to send show reels out speculatively, although it is better to target particular projects. Take time to ensure your show reel is short and punchy as companies are likely to be drawn in during the first five seconds and will probably have made a decision after one minute of film
Graduates may consider applying for a residency in order to raise their profile, make new contacts and build a portfolio. Residencies provide the opportunity to work as an ‘artist-in-residence’ and have access to facilities and a working environment that are conducive to creative work. Graduates either pursue their own work or can work with industry professionals on specific projects. Residencies can last from two weeks to several months.
The Skillset Screen Academy Wales offers residencies, as do a number of other universities, including the London College of Communication . The British Council and regional film offices are good sources for researching residencies. Graduates are also recommended to send their films to the British Council, where their arts department may promote them at festivals overseas.
You may find the International Animated Film Association (ASIFA) and Cartoon (European Association of Animation Film) helpful in establishing contacts. It is also worthwhile contacting your local media development agency to find out about workshops, support and networking opportunities. Skillset acts as an umbrella information and advice service for the audio visual industry.
Career development
Most animators begin as studio runners and then progress to junior animation roles.
In 2D animation, you may begin work as an 'inbetweener', then progress to key framer. 3D animation has a more hierarchical structure: starting as a junior animator, with progression to senior animator after a few years' experience and finally design manager or art director.
Senior roles involve more paperwork, managing staff and generating new ideas. Career progression is usually mostly through freelance work, which develops the animator's reputation, and this is likely to ensure a regular supply of work as well as more senior responsibilities.
The UK is particularly good for 'stop motion' animation and children's animation, and has a thriving computer games industry. However, animation is a global industry and you may have to move abroad if you wish to specialise in a particular type of animation. Much 2D animation is done in the Far East, for example. Animators are increasingly looking for work overseas, as well as in the UK, in order to maximise their client base.
In terms of development, versatility is the key and if you can work with puppets, models and drawn and computer-generated animation, you may find more options open to you.
Another progression route for animators is to go into teaching or lecturing.
Typical employers
Although a small percentage of jobs can be found within the large animation studios and smaller production companies, most animators work freelance.
According to Skillset: The Sector Skills Council for Creative Media , most of the money spent on animation is associated with the advertising industry and competition for commissions is fierce. The UK also leads the world in the production of pre-school storytelling and design, and this area continues to attract investors, ensuring the availability of work. Other areas of work include:
feature films;
children's programmes;
games;
music promos;
titles and idents;
CD-Roms;
adult comedy and drama.
The global perspective is also worth considering - some of the larger US companies offer career opportunities and internships.
Many animators work as independent film makers, producing their own short films and trying to win commissions from animation commissioners at Channel 4 Television , the BBC (in particular BBC2), the web or other related media. Getting a short film broadcast could lead to a commission for a short series, a longer film, or interest from music company advertising agencies (for pop videos) or commercial and business ventures.
Sources of vacancies
Search graduate jobs on this site.
Design Week
Mad
Datascope
OPM Jobs
Animation Magazine
Animated People
Association of Illustrators (AOI)
Chinwag Jobs
Media Bugs
Other useful directories and sources of agents include:
Creative Handbook
The Knowledge
Design & Art Direction (D&AD)
Animation Industry Database
The Marketing Manager's Yearbook
An animator produces multiple images called frames. When sequenced together rapidly, these frames create an illusion of movement known as animation.
Animators tend to work in 2D animation, 3D model making animation, or computer-generated animation. Computer-generated animation features strongly in motion pictures (to create special effects or an animated film in its own right), as well as in aspects of television work, the internet and the computer games industry.
The basic skill of animation still relies heavily on the animator's artistic ability, but there is a growing need for animators to be familiar with technical computer packages.
Typical work activities
Producing animation involves a number of stages including generating ideas, building models and rigging lighting. Computer animation uses software known as CGI (computer-generated imagery)
Tasks typically involve:
liaising with clients and developing animation from their concepts;
creating storyboards that depict the script and narrative;
drawing in 2D to create sketches, artwork or illustrations;
designing models, backgrounds, sets, characters, objects and the animation environment;
using a range of materials, including modelling clay, plaster, oil paints, watercolours and acrylics;
developing the timing and pace of a character's or object's movements during the sequence of images (called the animatic) and ensuring they follow the soundtrack and audio requirements;
using technical software packages, such as Flash, 3d studio max, Maya, Lightwave, Softimage and Cinema 4D;
building up accurate, detailed frame-by-frame visuals;
recording dialogue and working with editors to composite the various layers of animation (backgrounds, special effects, characters and graphics) in order to produce the finished piece;
working to production deadlines and meeting clients' commercial requirements;
teamworking as part of a broader production network, which might include liaising with printers, copywriters, photographers, designers, account executives, website designers or marketing specialists;
dealing with diverse business cultures, delivering presentations and finding funding.
Much of the work involves pitching and being proactive in selling your ideas and work to prospective customers and clients. This applies across the board, whether you are self-employed, working freelance or employed within a business.
Entry requirements
Although this area of work is open to all graduates and Diplomates, the following degree/foundation degree subjects are particularly relevant:
animation;
graphic design/illustration;
3-D design;
art and design;
model making or sculpture;
design for moving image;
spatial design;
film and video;
multimedia;
electrical engineering;
computer-aided engineering.
A foundation degree with a 2D design content may also be useful.
Entry without a higher education qualification is unusual, but not impossible. Exceptions may be made for very talented candidates.
Many animators consider that having an artistic background is more important than competence with IT.
Though not essential, a relevant postgraduate qualification in animation may enhance your employability. Courses include the two-year MA Animation at the Royal College of Art , the two-year MA Animation Direct at The National Film and Television School , and the one-year (30-week) Postgraduate Diploma in Character Animation at Central Saint Martins . Other postgraduate courses can be found on the Skillset (Sector Skills Council for the Audio Visual Industries) website.
Candidates will need to show evidence of the following:
talent - in the form of a show reel or portfolio;
networking skills and commitment to projects through previous work experience;
an engagement with the industry from submitting work to festivals and competitions;
the flexibility to switch between several projects at once.
Animation is a competitive industry. If you are looking for work in the industry you must have a show reel. This is your 'calling card' to show to production companies or animation commissioners in advertising agencies, music companies or television companies. It is acceptable practice to send show reels out speculatively, although it is better to target particular projects. Take time to ensure your show reel is short and punchy as companies are likely to be drawn in during the first five seconds and will probably have made a decision after one minute of film
Graduates may consider applying for a residency in order to raise their profile, make new contacts and build a portfolio. Residencies provide the opportunity to work as an ‘artist-in-residence’ and have access to facilities and a working environment that are conducive to creative work. Graduates either pursue their own work or can work with industry professionals on specific projects. Residencies can last from two weeks to several months.
The Skillset Screen Academy Wales offers residencies, as do a number of other universities, including the London College of Communication . The British Council and regional film offices are good sources for researching residencies. Graduates are also recommended to send their films to the British Council, where their arts department may promote them at festivals overseas.
You may find the International Animated Film Association (ASIFA) and Cartoon (European Association of Animation Film) helpful in establishing contacts. It is also worthwhile contacting your local media development agency to find out about workshops, support and networking opportunities. Skillset acts as an umbrella information and advice service for the audio visual industry.
Career development
Most animators begin as studio runners and then progress to junior animation roles.
In 2D animation, you may begin work as an 'inbetweener', then progress to key framer. 3D animation has a more hierarchical structure: starting as a junior animator, with progression to senior animator after a few years' experience and finally design manager or art director.
Senior roles involve more paperwork, managing staff and generating new ideas. Career progression is usually mostly through freelance work, which develops the animator's reputation, and this is likely to ensure a regular supply of work as well as more senior responsibilities.
The UK is particularly good for 'stop motion' animation and children's animation, and has a thriving computer games industry. However, animation is a global industry and you may have to move abroad if you wish to specialise in a particular type of animation. Much 2D animation is done in the Far East, for example. Animators are increasingly looking for work overseas, as well as in the UK, in order to maximise their client base.
In terms of development, versatility is the key and if you can work with puppets, models and drawn and computer-generated animation, you may find more options open to you.
Another progression route for animators is to go into teaching or lecturing.
Typical employers
Although a small percentage of jobs can be found within the large animation studios and smaller production companies, most animators work freelance.
According to Skillset: The Sector Skills Council for Creative Media , most of the money spent on animation is associated with the advertising industry and competition for commissions is fierce. The UK also leads the world in the production of pre-school storytelling and design, and this area continues to attract investors, ensuring the availability of work. Other areas of work include:
feature films;
children's programmes;
games;
music promos;
titles and idents;
CD-Roms;
adult comedy and drama.
The global perspective is also worth considering - some of the larger US companies offer career opportunities and internships.
Many animators work as independent film makers, producing their own short films and trying to win commissions from animation commissioners at Channel 4 Television , the BBC (in particular BBC2), the web or other related media. Getting a short film broadcast could lead to a commission for a short series, a longer film, or interest from music company advertising agencies (for pop videos) or commercial and business ventures.
Sources of vacancies
Search graduate jobs on this site.
Design Week
Mad
Datascope
OPM Jobs
Animation Magazine
Animated People
Association of Illustrators (AOI)
Chinwag Jobs
Media Bugs
Other useful directories and sources of agents include:
Creative Handbook
The Knowledge
Design & Art Direction (D&AD)
Animation Industry Database
The Marketing Manager's Yearbook
Tuesday 12 October 2010
video%20elective %20task1 instructional%20video
I wanted to put this up here to show what I did last year on my video elective. I would like to re-do it. the fade to black doesn't work to well between cuts and I spent a lot of time just looking at the trees etc when I had other footage I could of used. The title at the start is long winded and I forgot to credit the song to the artist.
Decided not to do anything else with this video after all. (5th november)
Video for change.
I have just started reading this book.
"We'er an independent organization with a rigorous application process for partnership, and we provide our partners with hands-on training in video advocacy."
"Embrace the use of all that video and computer technology can do."
"With cameras in the hands of activists and meaningful distribution of those images, we will witness what really goes on in this world and hopefully want to change it."
Peter Gabriel Talking about the group WITNESS.
"We'er an independent organization with a rigorous application process for partnership, and we provide our partners with hands-on training in video advocacy."
"Embrace the use of all that video and computer technology can do."
"With cameras in the hands of activists and meaningful distribution of those images, we will witness what really goes on in this world and hopefully want to change it."
Peter Gabriel Talking about the group WITNESS.
Monday 11 October 2010
Thoughts..
Although I do at times hate technology for all the troubles it has brought us it has its uses. Most of my learning for instance, being easily distracted, has been done through documentaries, videos, and the web. I think it has been fantastic in informing me of what has been going on around the world and from the point of view of ordinary people not just the mainstream media. So this is why I think it is a great way to reach people.
"With cameras in the hands of activists and meaningful distribution of those images, we will witness what really goes on in this world and hopefully want to change it."
Peter Gabriel. July 2005
"With cameras in the hands of activists and meaningful distribution of those images, we will witness what really goes on in this world and hopefully want to change it."
Peter Gabriel. July 2005
Testing, testing, 1,2,3...
This was put together on imovie. I had to change the length of time that each still was played for again and again started at 1 second, eventually going down to 0.05 if i remember correctly so it was more difficult for the eye to see the jumps... I think i might try moving things a little less each time.. a little more time consuming but I think it would be worth it. Also you can choose the length of each slide individually if there are parts that work better speeded up and others that work better slowed down.
I didn't move the figure very much because it was hard to get it to balance on one foot.. maybe the use of a little blue-tack would help.
Another thing that didnt work too well was the settings I had the camera on some things were in and out of focus.. will have to work on that too.
Really pleased with it for my first attempt! I know how to do it.. now to come up with something with a plot perhaps? and some sound?!
(Have since found out that most things play 24 or 25 frames per second.)
Jan Svankmajer - Food Pt:1 (1992)
All of this guy's work is quite simply amazing. I think the sound effects are crucial to the over all effect on the viewer.
Sunday 10 October 2010
Photography for stop motion animation
This evening with spending so much time at home poorly and having poorly children too I decided to try a little project at home. I set up a space for my camera and got some of my collections of stones and pebbles, with a little bit of moss, a pine cone and one of my daughters toys to try doing some stop motion. This was fun but harder than I thought, certainly on my own. I didn't have any story line or plan of action as I have never done it before so just wanted to see if I could make things look like they were moving. I did achieve this but there were three things moving at the same time on the screen and I tended to forget about one or another and not move it at all.
I think I will actually make a small story board for this and try again before putting any into the computer and using flash. A story board may help me to know exactly what is meant to be moving and when.
At some point in the future when I have mastered this I would like to try combining animation with film footage.. there must be a way of over lapping them some how.. and maybe animate people too..
I think I will actually make a small story board for this and try again before putting any into the computer and using flash. A story board may help me to know exactly what is meant to be moving and when.
At some point in the future when I have mastered this I would like to try combining animation with film footage.. there must be a way of over lapping them some how.. and maybe animate people too..
Saturday 9 October 2010
Project ideas.
A project I would like to do is to finish off a video I made last year. I'm not sure if that is ok but I do think it is in keeping with the brief. There was a lot of fine tuning to do with the editing.
Also I gathered quite a lot of footage of a friends band with a view to making a video for her I would like to have a go at that too. There are two small projects to get me started.
I do need more practice with the camera as well though as some of the footage was a little wobbly. so maybe I could set myself another small task there if time is on my side.
I met some girls last year who have been in touch again last week from the dance school in Harehills that would love to do some collaborations. Also a friend said that Oblong in Hyde park are always interested in people working with them too so will get in touch with them.
Also I gathered quite a lot of footage of a friends band with a view to making a video for her I would like to have a go at that too. There are two small projects to get me started.
I do need more practice with the camera as well though as some of the footage was a little wobbly. so maybe I could set myself another small task there if time is on my side.
I met some girls last year who have been in touch again last week from the dance school in Harehills that would love to do some collaborations. Also a friend said that Oblong in Hyde park are always interested in people working with them too so will get in touch with them.
Secret cinema!! Shhh... tell no-one!
This is THE most amazing thing I have seen for age's I love a good film but film combined with performance.. I must find a way to either go or get involved some how some way! Come on student finance!! I can not contain my excitement!!
Tuesday 5 October 2010
iTunes U
Itunes u has some really interesting stuff on for free from the open university. You can listen or download them to keep.
There is a short intro to the use of final cut by editor Ben Harrex. He explain's different effects and tools he uses and when he would use them and the different effects they can give. Really interesting. Very short but informative.
Also I got film studies, film and video, beyond documentary and movie making basics. Some are shorts that other students have made and others are too cheesy to bare but did get a few gems. Well worth a look. Got one that gives advice on writing essays and another on Human rights.
There is a short intro to the use of final cut by editor Ben Harrex. He explain's different effects and tools he uses and when he would use them and the different effects they can give. Really interesting. Very short but informative.
Also I got film studies, film and video, beyond documentary and movie making basics. Some are shorts that other students have made and others are too cheesy to bare but did get a few gems. Well worth a look. Got one that gives advice on writing essays and another on Human rights.
Sunday 3 October 2010
Found this article very interesting and informative.. can't remember where I found itnow though..damn.. would be good for looking up other jobs too...
Editor
This job belongs to job family > Media, Print and Publishing
What is the work like?
Editors turn raw footage into finished TV programmes and films. They select the best shots and assemble them into a satisfying finished product.
The choices made by the editor determine what will appear on screen and shape the viewer's experience. This process takes place in post-production, which can take longer than the filming itself.
Editors use their creative and technical skills to combine:
* camera footage
* dialogue or narration
* sound effects
* music
* graphics and special effects.
Besides movies and TV shows of all kinds, they may also work on corporate and training films, advertisements or music videos.
An editor may:
* take a brief for the film or programme and discuss the overall vision with the director
* assemble all the footage and store it securely on computer
* select the best material for each scene, to achieve the desired drama, impact and continuity
* digitally cut the files into sequence
* create a complete rough cut of the film
* revise the content to ensure a smooth, coherent flow.
Editors use digital technology and specialist software. Only at the highest levels of feature film making will editors use the traditional method of cutting film strips manually, since the vast majority of work in now digital.
Depending on the project, editors may work alone or with a team. In some cases, the director works alongside the editor. This work relationship can be crucial, with the director explaining the look and feel they want and the editor suggesting useful options. On large projects, editors may be aided by an assistant editor and sometimes other colleagues specialising in music and sound effects.
On feature films, editing can take place alongside the filming, with each day's rushes delivered to the edit suite. Editors may work on scenes out of their final sequence, so they need to have a clear picture of the overall structure.
The job can be highly pressured. Editors often have to work to tight deadlines. They may need to come up with creative solutions to rescue poor material.
Hours and environment
Editors' hours vary. Those working in-house may work Monday to Friday, 9.00am to 5.00pm. However, long and unpredictable hours are common to meet post-production deadlines.
Many editors work freelance and are employed on a contract basis for specific projects.
The work is based in edit studios. It often involves intensive work on computers for long periods.
Freelance editors with their own equipment may work from home.
Salary and other benefits
These figures are only a guide, as actual rates of pay may vary, depending on the employer and where people live.
* Salaries may start at around £18,000 a year.
* With some experience, earnings can rise to around £30,000.
Senior editors working on prestigious projects can earn up to £70,000 or more.
Skills and personal qualities
A TV/film editor needs:
* creativity
* a strong visual sense
* an understanding of story-telling techniques and how to suggest different moods, emotions or themes through the use of different shots
* confidence with computers and mastery of common software packages used in editing
* attention to detail
* to work well under pressure
* excellent communication skills
* patience to re-edit material again and again
* self-motivation
* the ability to build good relationships with industry colleagues
* a balance of self-confidence and tact, to handle creative differences within the team.
* a knowledge of different computer files and their characteristics
* organisational ability.
Interests
It is important to have:
* a passion for film and broadcasting
* an understanding of the craft that lies behind the success of impressive shows or films
* a desire to experiment with new techniques.
Getting in
Around 11,000 people are employed in UK post-production roles. The main employers are:
* independent production companies
* companies providing post-production services
* broadcast companies
* computer software manufacturers
* film companies.
Many jobs are in London, but there are employers in most cities.
Competition for posts is fierce. Jobs often go unadvertised, so it is important to establish contacts in the industry and to be able to demonstrate enthusiasm and some work experience, often unpaid. A showreel of work is usually essential.
Some vacancies can be found in national and trade press, such as Broadcast and The Guardian (Mondays), and on employers' websites. Freelance staff can advertise their services through specialist websites such as www.film-tv.co.uk.
Entry routes
Editors generally enter the industry at a more junior level, often as runners. After some experience, they may seek edit assistant posts and start to develop their editing skills.
No specific qualifications are required. Some TV/film editors hold a foundation degree, an honours degree or a Higher National Diploma (HND). This may be in a relevant field, such as film, media studies or IT, or in an unrelated subject.
As a guide, minimum requirements for entry on to a foundation degree or HND course are normally one A level and three to four GCSEs (A*-C), or equivalent and, for a degree course, the minimum requirements are normally two A levels and five GCSEs (A*-C), usually to include English and maths, or equivalent.
The Diploma in creative and media may be relevant for this area of work.
The BBC, some independent companies and Regional Screen Agencies of the UK Film Council run training schemes for new entrants.
Several training providers offer short courses in editing for all grades. Postgraduate courses are also available. Entry requirements vary and competition for places can be keen. Candidates should check that courses offer opportunities for using the most advanced equipment, and for gaining work experience and contacts in the industry.
Courses are listed in the Media Courses Directory and on the British Film Institute (BFI) and Skillset websites. Skillset also lists the Media and Screen Academies across the UK which offer a range of courses, summer schools, work placements, master classes, online learning resources and a talent scout programme.
Training
Editors train on the job. In large companies they generally start as assistants and learn by observing skilled professionals while developing their own work.
Several training providers offer short courses in different editing grades.
Getting on
Progression depends on establishing a strong track record and good contacts. This is particularly true for freelance editors, who advance by taking on more ambitious or prestigious projects, through making good contacts and getting credits on film and video programmes.
With experience and further training, editors may become directors. In larger companies they may move into management roles.
Further information
BBC Recruitment HR Direct, PO Box 1133, Belfast BT1 9GP. Website: www.bbc.co.uk/jobs
BKSTS The Moving Image Society, Pinewood Studios, Iver Heath SL0 0NH. 01753 656656. Website: www.bksts.com
British Film Institute (BFI), 21 Stephen Street, London W1T 1LN. 020 7255 1444. Website: www.bfi.org.uk
Broadcasting Entertainment Cinematographic and Theatre Union (BECTU), 373-377 Clapham Road, London SW9 9BT. 020 7346 0900. Website: www.bectu.org.uk
Film and Television Freelance Training (FT2), 3rd Floor, 18-20 Southwark Street, London SE1 1TJ. 020 7407 0344. Website: www.ft2.org.uk
Guild of British Film & TV Editors, 72 Pembroke Road, London W8 6NX. 020 7602 8319. Website: www.gbfte.org
ITV, ITV Network Centre, 200 Gray's Inn Road, London WC1X 8HF. 0844 881 8000. Website: www.itvjobs.com
The Production Guild, N & P Complex, Pinewood Studios, Iver Heath SL0 0NH. 01753 651767. Website: www.productionguild.com
Shooting People, PO Box 51350, London N1 6XS. Website: www.shootingpeople.org
Skillset, Focus Point, 21 Caledonian Road, London N1 9GB. 020 7713 9800. Careers helpline 080 8030 0900. Website: www.skillset.org
UK Film Council, 10 Little Portland Street, London W1W 7JG. 020 7861 7861. Website: www.ukfilmcouncil.org.uk
Further reading
The Conversations: Walter Murch and the Art of Film Editing - Bloomsbury
Getting into Films and Television - How To Books Ltd
Media Uncovered - Trotman
Working in creative & media - VT Lifeskills
Magazines/journals
American Cinematographer
Broadcast
Media Guardian (Mondays)
Screen International
Variety
TV/Film Runner
This job belongs to job family > Media, Print and Publishing
Return to job article page
What is the work like?
Runners provide essential support in the production of films and TV programmes.
The runner role itself, while varied, is often demanding and unglamorous. Runners are likely to spend a lot of time making tea and running errands. The job provides the chance to gain experience and make contacts and is often seen as the main entry point into a career in the film or TV industry.
The work can vary hugely. Runners may be called on to do almost any unskilled task required to help the production go smoothly. This could include:
* keeping studios, editing suites and other areas tidy
* transporting crews between locations
* making teas and lunches for colleagues and clients
* greeting visitors
* ensuring that all team members have up-to-date scripts
* fetching and delivering equipment, tapes or other items
* answering the telephone
* hiring props
* carrying out basic research
* general administration work, such as checking invoices and job sheets
* opening the building in the morning and locking up at the end of the day
* standing in for other junior colleagues in their absence.
Runners report to a producer, director or editor. They may respond to requests from all members of the team, including the cast and technical crews.
On the set of a big budget movie there may be several runners each assigned to a different area, such as production office, sound, camera and editing. A runner on a smaller production may work across all these areas.
As well as working on the filming of movies and shows, runners are also found in post-production. Here they assist in the editing process.
Runners may be required to use some production equipment. For example, they may be expected to connect up tape equipment or help digitise material before editing.
Hours and environment
Working hours are long and unpredictable. During production, runners may work six days a week. They may also be required to work some nights, weekends and holidays, depending on production deadlines.
Shift work is possible and some runners need to be on call at all times. Freelance work and short-term contracts are common. This means runners may experience periods of intensive work, followed by spells of inactivity.
Runners work in offices, studios and editing suites. They also work on location, which can include outdoor work. They spend a lot of time on their feet and may have to carry or lift props or equipment.
Travel within the working day is frequent and a driving licence is often essential.
Salary and other benefits
These figures are only a guide, as actual rates of pay may vary, depending on the employer and where people live.
Most runners are employed on a freelance basis. See the website of the Broadcasting Entertainment Cinematographic and Theatre Union (BECTU) for recommended freelance rates.
* Salaries for full-time runners may start at around £10,000 to £12,000 a year.
* With experience and further responsibility, earnings may rise to around £14,000 to £16,000 a year.
Skills and personal qualities
A runner needs:
* enthusiasm and energy
* initiative
* excellent communication skills
* to be well organised
* a flair for building good relationships with all kinds of people
* a willingness to learn
* to be resourceful and good at solving problems
* to be effective in a team
* to work well under pressure
* physical stamina
* basic IT skills
* an awareness of food hygiene and health and safety issues.
Interests
It is important to have:
* a genuine passion for TV and film production
* a knowledge of current trends and developments in the industry, and especially the employer's previous productions
* an interest in all production and technical aspects of the field.
Getting in
Runners are employed by:
* independent film and TV production companies
* the BBC
* the ITV network of companies
* cable and satellite TV companies.
Companies are based mostly in major cities, such as London, Cardiff, Birmingham, Manchester and Glasgow.
As the runner role is seen as the key point of entry to a film or TV career, competition is intense. Some vacancies may be found on www.productionbase.co.uk or www.mandy.com. Vacancies often go unadvertised, so networking and personal contacts are important.
Direct approaches to employers, with a CV, can be a way in, but it is important to find out what kind of programmes or films the employer makes before approaching them. It is important to demonstrate a positive attitude, an enthusiasm for the industry and a track record of holding responsibility. Relevant work experience, paid or unpaid, is essential.
Entry routes
There are no set entry qualifications, but a degree, foundation degree or HND in TV or film production may be an advantage. Degrees in media skills, drama and theatre or related subjects or a BTEC National qualification in media production or film and TV may also be useful. However, this is not essential, as employers are often more interested in enthusiasm and experience than academic qualifications.
The Diploma in creative and media may be relevant for this area of work.
For some posts, catering experience is useful. A first aid qualification may also be an advantage.
Some larger companies operate occasional schemes that offer new runners six to nine months of experience in different parts of the business. These schemes are seldom advertised. Selection often takes place from those who have previously contacted the company.
Training
Training is likely to be on the job and runners are expected to learn quickly.
The job offers an insight into all aspects of production. In some companies there may be opportunities to gain experience in particular areas of interest, for example, by taking on some camera work or editing.
Skillset supports a number of short courses for freelances already working in the industry.
Getting on
Runners advance by earning a good reputation and establishing strong contacts. The role gives them the experience and insight that could ultimately lead to more senior production, direction or technical roles.
In television, the next step up from runner is a researcher role. Sometimes, the two jobs are combined.
Runners in the film industry may move up to the position of head runner. They may then progress to third, second and first assistant director roles.
After experience in the production office, runners may take on further responsibility and move into production assistant roles. In post-production, a runner may progress to edit assistant and then editor.
In smaller companies, progression is by taking on more responsibility rather than formal promotion.
Further information
BBC Recruitment HR Direct, PO Box 1133, Belfast BT1 9GP. Website: www.bbc.co.uk/jobs
British Film Institute (BFI), 21 Stephen Street, London W1T 1LN. 020 7255 1444. Website: www.bfi.org.uk
Broadcasting Entertainment Cinematograph and Theatre Union (BECTU), 373-377 Clapham Road, London SW9 9BT. 020 7346 0900. Website: www.bectu.org.uk
Film and Television Freelance Training (FT2), 3rd Floor, 18-20 Southwark Street, London SE1 1TJ. 020 7407 0344. Website: www.ft2.org.uk
ITV Network Centre, 200 Gray's Inn Road, London WC1X 8HF. 0844 881 8000. Website: www.itv.com/jobs
Skillset, Focus Point, 21 Caledonian Road, London N1 9GB. Skillset Careers Helpline 08080 300 900. Website: www.skillset.org
UK Film Council, 10 Little Portland Street, London W1W 7JG. 020 7861 7861. Website: www.ukfilmcouncil.org.uk
Further reading
Getting into Films and Television - How To Books Ltd
So you Want to Work in Film and TV? - Wayland
Working in creative and media - VT Lifeskills
Magazines/journals
Broadcast
Media Guardian (Mondays)
Screen International
This job belongs to job family > Media, Print and Publishing
What is the work like?
Editors turn raw footage into finished TV programmes and films. They select the best shots and assemble them into a satisfying finished product.
The choices made by the editor determine what will appear on screen and shape the viewer's experience. This process takes place in post-production, which can take longer than the filming itself.
Editors use their creative and technical skills to combine:
* camera footage
* dialogue or narration
* sound effects
* music
* graphics and special effects.
Besides movies and TV shows of all kinds, they may also work on corporate and training films, advertisements or music videos.
An editor may:
* take a brief for the film or programme and discuss the overall vision with the director
* assemble all the footage and store it securely on computer
* select the best material for each scene, to achieve the desired drama, impact and continuity
* digitally cut the files into sequence
* create a complete rough cut of the film
* revise the content to ensure a smooth, coherent flow.
Editors use digital technology and specialist software. Only at the highest levels of feature film making will editors use the traditional method of cutting film strips manually, since the vast majority of work in now digital.
Depending on the project, editors may work alone or with a team. In some cases, the director works alongside the editor. This work relationship can be crucial, with the director explaining the look and feel they want and the editor suggesting useful options. On large projects, editors may be aided by an assistant editor and sometimes other colleagues specialising in music and sound effects.
On feature films, editing can take place alongside the filming, with each day's rushes delivered to the edit suite. Editors may work on scenes out of their final sequence, so they need to have a clear picture of the overall structure.
The job can be highly pressured. Editors often have to work to tight deadlines. They may need to come up with creative solutions to rescue poor material.
Hours and environment
Editors' hours vary. Those working in-house may work Monday to Friday, 9.00am to 5.00pm. However, long and unpredictable hours are common to meet post-production deadlines.
Many editors work freelance and are employed on a contract basis for specific projects.
The work is based in edit studios. It often involves intensive work on computers for long periods.
Freelance editors with their own equipment may work from home.
Salary and other benefits
These figures are only a guide, as actual rates of pay may vary, depending on the employer and where people live.
* Salaries may start at around £18,000 a year.
* With some experience, earnings can rise to around £30,000.
Senior editors working on prestigious projects can earn up to £70,000 or more.
Skills and personal qualities
A TV/film editor needs:
* creativity
* a strong visual sense
* an understanding of story-telling techniques and how to suggest different moods, emotions or themes through the use of different shots
* confidence with computers and mastery of common software packages used in editing
* attention to detail
* to work well under pressure
* excellent communication skills
* patience to re-edit material again and again
* self-motivation
* the ability to build good relationships with industry colleagues
* a balance of self-confidence and tact, to handle creative differences within the team.
* a knowledge of different computer files and their characteristics
* organisational ability.
Interests
It is important to have:
* a passion for film and broadcasting
* an understanding of the craft that lies behind the success of impressive shows or films
* a desire to experiment with new techniques.
Getting in
Around 11,000 people are employed in UK post-production roles. The main employers are:
* independent production companies
* companies providing post-production services
* broadcast companies
* computer software manufacturers
* film companies.
Many jobs are in London, but there are employers in most cities.
Competition for posts is fierce. Jobs often go unadvertised, so it is important to establish contacts in the industry and to be able to demonstrate enthusiasm and some work experience, often unpaid. A showreel of work is usually essential.
Some vacancies can be found in national and trade press, such as Broadcast and The Guardian (Mondays), and on employers' websites. Freelance staff can advertise their services through specialist websites such as www.film-tv.co.uk.
Entry routes
Editors generally enter the industry at a more junior level, often as runners. After some experience, they may seek edit assistant posts and start to develop their editing skills.
No specific qualifications are required. Some TV/film editors hold a foundation degree, an honours degree or a Higher National Diploma (HND). This may be in a relevant field, such as film, media studies or IT, or in an unrelated subject.
As a guide, minimum requirements for entry on to a foundation degree or HND course are normally one A level and three to four GCSEs (A*-C), or equivalent and, for a degree course, the minimum requirements are normally two A levels and five GCSEs (A*-C), usually to include English and maths, or equivalent.
The Diploma in creative and media may be relevant for this area of work.
The BBC, some independent companies and Regional Screen Agencies of the UK Film Council run training schemes for new entrants.
Several training providers offer short courses in editing for all grades. Postgraduate courses are also available. Entry requirements vary and competition for places can be keen. Candidates should check that courses offer opportunities for using the most advanced equipment, and for gaining work experience and contacts in the industry.
Courses are listed in the Media Courses Directory and on the British Film Institute (BFI) and Skillset websites. Skillset also lists the Media and Screen Academies across the UK which offer a range of courses, summer schools, work placements, master classes, online learning resources and a talent scout programme.
Training
Editors train on the job. In large companies they generally start as assistants and learn by observing skilled professionals while developing their own work.
Several training providers offer short courses in different editing grades.
Getting on
Progression depends on establishing a strong track record and good contacts. This is particularly true for freelance editors, who advance by taking on more ambitious or prestigious projects, through making good contacts and getting credits on film and video programmes.
With experience and further training, editors may become directors. In larger companies they may move into management roles.
Further information
BBC Recruitment HR Direct, PO Box 1133, Belfast BT1 9GP. Website: www.bbc.co.uk/jobs
BKSTS The Moving Image Society, Pinewood Studios, Iver Heath SL0 0NH. 01753 656656. Website: www.bksts.com
British Film Institute (BFI), 21 Stephen Street, London W1T 1LN. 020 7255 1444. Website: www.bfi.org.uk
Broadcasting Entertainment Cinematographic and Theatre Union (BECTU), 373-377 Clapham Road, London SW9 9BT. 020 7346 0900. Website: www.bectu.org.uk
Film and Television Freelance Training (FT2), 3rd Floor, 18-20 Southwark Street, London SE1 1TJ. 020 7407 0344. Website: www.ft2.org.uk
Guild of British Film & TV Editors, 72 Pembroke Road, London W8 6NX. 020 7602 8319. Website: www.gbfte.org
ITV, ITV Network Centre, 200 Gray's Inn Road, London WC1X 8HF. 0844 881 8000. Website: www.itvjobs.com
The Production Guild, N & P Complex, Pinewood Studios, Iver Heath SL0 0NH. 01753 651767. Website: www.productionguild.com
Shooting People, PO Box 51350, London N1 6XS. Website: www.shootingpeople.org
Skillset, Focus Point, 21 Caledonian Road, London N1 9GB. 020 7713 9800. Careers helpline 080 8030 0900. Website: www.skillset.org
UK Film Council, 10 Little Portland Street, London W1W 7JG. 020 7861 7861. Website: www.ukfilmcouncil.org.uk
Further reading
The Conversations: Walter Murch and the Art of Film Editing - Bloomsbury
Getting into Films and Television - How To Books Ltd
Media Uncovered - Trotman
Working in creative & media - VT Lifeskills
Magazines/journals
American Cinematographer
Broadcast
Media Guardian (Mondays)
Screen International
Variety
TV/Film Runner
This job belongs to job family > Media, Print and Publishing
Return to job article page
What is the work like?
Runners provide essential support in the production of films and TV programmes.
The runner role itself, while varied, is often demanding and unglamorous. Runners are likely to spend a lot of time making tea and running errands. The job provides the chance to gain experience and make contacts and is often seen as the main entry point into a career in the film or TV industry.
The work can vary hugely. Runners may be called on to do almost any unskilled task required to help the production go smoothly. This could include:
* keeping studios, editing suites and other areas tidy
* transporting crews between locations
* making teas and lunches for colleagues and clients
* greeting visitors
* ensuring that all team members have up-to-date scripts
* fetching and delivering equipment, tapes or other items
* answering the telephone
* hiring props
* carrying out basic research
* general administration work, such as checking invoices and job sheets
* opening the building in the morning and locking up at the end of the day
* standing in for other junior colleagues in their absence.
Runners report to a producer, director or editor. They may respond to requests from all members of the team, including the cast and technical crews.
On the set of a big budget movie there may be several runners each assigned to a different area, such as production office, sound, camera and editing. A runner on a smaller production may work across all these areas.
As well as working on the filming of movies and shows, runners are also found in post-production. Here they assist in the editing process.
Runners may be required to use some production equipment. For example, they may be expected to connect up tape equipment or help digitise material before editing.
Hours and environment
Working hours are long and unpredictable. During production, runners may work six days a week. They may also be required to work some nights, weekends and holidays, depending on production deadlines.
Shift work is possible and some runners need to be on call at all times. Freelance work and short-term contracts are common. This means runners may experience periods of intensive work, followed by spells of inactivity.
Runners work in offices, studios and editing suites. They also work on location, which can include outdoor work. They spend a lot of time on their feet and may have to carry or lift props or equipment.
Travel within the working day is frequent and a driving licence is often essential.
Salary and other benefits
These figures are only a guide, as actual rates of pay may vary, depending on the employer and where people live.
Most runners are employed on a freelance basis. See the website of the Broadcasting Entertainment Cinematographic and Theatre Union (BECTU) for recommended freelance rates.
* Salaries for full-time runners may start at around £10,000 to £12,000 a year.
* With experience and further responsibility, earnings may rise to around £14,000 to £16,000 a year.
Skills and personal qualities
A runner needs:
* enthusiasm and energy
* initiative
* excellent communication skills
* to be well organised
* a flair for building good relationships with all kinds of people
* a willingness to learn
* to be resourceful and good at solving problems
* to be effective in a team
* to work well under pressure
* physical stamina
* basic IT skills
* an awareness of food hygiene and health and safety issues.
Interests
It is important to have:
* a genuine passion for TV and film production
* a knowledge of current trends and developments in the industry, and especially the employer's previous productions
* an interest in all production and technical aspects of the field.
Getting in
Runners are employed by:
* independent film and TV production companies
* the BBC
* the ITV network of companies
* cable and satellite TV companies.
Companies are based mostly in major cities, such as London, Cardiff, Birmingham, Manchester and Glasgow.
As the runner role is seen as the key point of entry to a film or TV career, competition is intense. Some vacancies may be found on www.productionbase.co.uk or www.mandy.com. Vacancies often go unadvertised, so networking and personal contacts are important.
Direct approaches to employers, with a CV, can be a way in, but it is important to find out what kind of programmes or films the employer makes before approaching them. It is important to demonstrate a positive attitude, an enthusiasm for the industry and a track record of holding responsibility. Relevant work experience, paid or unpaid, is essential.
Entry routes
There are no set entry qualifications, but a degree, foundation degree or HND in TV or film production may be an advantage. Degrees in media skills, drama and theatre or related subjects or a BTEC National qualification in media production or film and TV may also be useful. However, this is not essential, as employers are often more interested in enthusiasm and experience than academic qualifications.
The Diploma in creative and media may be relevant for this area of work.
For some posts, catering experience is useful. A first aid qualification may also be an advantage.
Some larger companies operate occasional schemes that offer new runners six to nine months of experience in different parts of the business. These schemes are seldom advertised. Selection often takes place from those who have previously contacted the company.
Training
Training is likely to be on the job and runners are expected to learn quickly.
The job offers an insight into all aspects of production. In some companies there may be opportunities to gain experience in particular areas of interest, for example, by taking on some camera work or editing.
Skillset supports a number of short courses for freelances already working in the industry.
Getting on
Runners advance by earning a good reputation and establishing strong contacts. The role gives them the experience and insight that could ultimately lead to more senior production, direction or technical roles.
In television, the next step up from runner is a researcher role. Sometimes, the two jobs are combined.
Runners in the film industry may move up to the position of head runner. They may then progress to third, second and first assistant director roles.
After experience in the production office, runners may take on further responsibility and move into production assistant roles. In post-production, a runner may progress to edit assistant and then editor.
In smaller companies, progression is by taking on more responsibility rather than formal promotion.
Further information
BBC Recruitment HR Direct, PO Box 1133, Belfast BT1 9GP. Website: www.bbc.co.uk/jobs
British Film Institute (BFI), 21 Stephen Street, London W1T 1LN. 020 7255 1444. Website: www.bfi.org.uk
Broadcasting Entertainment Cinematograph and Theatre Union (BECTU), 373-377 Clapham Road, London SW9 9BT. 020 7346 0900. Website: www.bectu.org.uk
Film and Television Freelance Training (FT2), 3rd Floor, 18-20 Southwark Street, London SE1 1TJ. 020 7407 0344. Website: www.ft2.org.uk
ITV Network Centre, 200 Gray's Inn Road, London WC1X 8HF. 0844 881 8000. Website: www.itv.com/jobs
Skillset, Focus Point, 21 Caledonian Road, London N1 9GB. Skillset Careers Helpline 08080 300 900. Website: www.skillset.org
UK Film Council, 10 Little Portland Street, London W1W 7JG. 020 7861 7861. Website: www.ukfilmcouncil.org.uk
Further reading
Getting into Films and Television - How To Books Ltd
So you Want to Work in Film and TV? - Wayland
Working in creative and media - VT Lifeskills
Magazines/journals
Broadcast
Media Guardian (Mondays)
Screen International
Saturday 2 October 2010
Animation 04 STOP MOTION
Animation is a great way of telling a story. This piece of text explains exactly what interests me about stop-motion animation. Taken from the Introduction on page 8 written by Barry Purves who is himself an animator.
I love the trick of seeing a solid object move in real space, watching the unexpected ways the light interacts over the materials. I love an object being given an apparent life. I love the trick.There is something shamanistic about it, as well as something that connects immediately to childhood games and, perhaps, to darker fantasies. The very physicality of stop-motion makes all these accessible.
"Let every individual and institution now think and act as a responsible trustee of earth, seeking choices in ecology, economics and ethics that will provide a sustainable future, eliminate pollution and violence, awaken the wonder of life and foster peaceful progress in the human adventure."
-John McConnell, founder of International Earth Day.
-John McConnell, founder of International Earth Day.
Subscribe to:
Posts (Atom)