Ryan Perry's TVP Blog

  As previously mentioned in my post about the workshop films we created, we encountered a few setbacks when it came to time and balanced lighting. The workshop films acted almost as our test shoots because we are going to be filming in a very similar space to where we shot these for the segment with Dance teacher Zoe. We had problems with balancing the light which we sorted and figured out in our second workshop but how are we going to combat that when shooting happens? Well Zoe’s location has got a very large window looking over it and the room we will be shooting in does have a lot of mirrors, however, there are blinds just above the windows where we can cast the light out of the shot and light up the shot for the most part entirely with indoor and LED lights. As for the mirror problem, we can easily frame the shot, so the camera isn’t seen on the mirror, via positioning it vertically. Seen here is the set up for our segment with Karl Fletcher. We didn’t get the chance to do a

  Zoe Segment: For the Segment of the Documentary based around Zoe I thought because dance can be such a wild and energetic for of art, we should capture that via the cinematography and the way we edit the film. This will aso help capture the feel of how it was before the COVID-19 pandemic, everything happening at once, energetic, people being free. Once Zoe starts to get into her story during the pandemic, everything will suddenly slow down and become more contemplative as she tells her story. I pulled the inspiration for the way to present this from documentary films such as Exit Through the Gift Shop (2010) & Bananaz (2008) which both are about people who work in different forms of art, shot and edited to a high speed that captures their way of life also sometimes using very guerilla approaches to how they are shot. As well as that Youtube videos of dance groups tend to also capture this to make you feel like your there with the dancers. It overall becomes very visceral and in

 

  Whilst participating in the LED Lighting Workshops, we took the opportunity to rehearse some of our interviews and practice our set ups for shot types for interviews, as well as testing out LED lighting. At first, we decided to go with browner hues on our lighting set up to contrast our very bright location we were shooting in. There were a lot of white walls and windows so we thought at first that if we went for a standard white light, it wouldn’t make much change and it would just blend into the rest of the background. However, upon further notice we realised it just made a very clashing contrast with the rest of the shot, so therefore, we changed it to a standard white LED light and contrary to what we thought, it worked and actually made the interviewee pop out a lot better in the rest of the frame. In the first workshop however it took us the majority of time we had to set up, so by the end of it, we only had about 5 minutes of footage shot. But this was also our first time

Dougie Wallace: What do artists do all day by Jack Cocker is a wild and visceral ride through the mind and work ethic of photographer, Dougie Wallace. At first glance Dougie just seems like an average normal guy but as soon as the following few seconds of the opening of the documentary progresses, that opinion is gone within a flash. As we see Dougie rise up from bed, completely naked and heading into his living room to get ready to take to the streets. Dougie has a very different and ethically questionable technique of getting the photographs and art that he wants; he’ll go up to random people on the street and stick his big DSLR camera in their faces and snap up a picture. Some may laugh, some may just give him a weird look and move on or some will become hostile and try to attack and destroy Dougie’s cameras. Dougie reminds me in particular of street artist and documentary filmmaker Thierry Guetta who was the focus of the 2010 documentary “Exit Through the Gift Shop”, a man who wi