Digital Video - Lockdown Week 1
25/03/2020
Today was better. Despite being the last day before level 4 lockdown, I managed to apply my focus into my study and watched a few short documentaries on Vimeo as way to find better examples for my research mapping. Most of these short documentaries were Vimeo Staff Picks.Arthur Cauty | Filmmaker (2020, Febraury 22) The last video store [Video file] https://vimeo.com/393154444
(Arthur Cauty | Filmmaker, 2020)
A mesmerizing experience is watching this documentary. It expresses nostalgia and age by simply and subtly conveying it in the aspect ratio, lighting and colour grading with RGB colours. The music also effective helps direct the viewers emotions on the subject. At the end of it, I wish there was more to the documentary.
Even/Odd. (2019, October 9). America, as in us. [Video file].
https://vimeo.com/365364540
(Even/Odd, 2019)
Being a collaborative documentary with each sequence done by different filmmakers about different parts and immigrant cultures of America, it provides unique and personal applications of cinematography and the Academy Ratio with each sequence.
It doesn't need interviews because it manages to do just fine with voiceover over dramatised and authentic footage as an alternative. It's a good example on how to depict themes as actual characters, which would be an interesting to experiment with
Themes - fear, religion, culture, nostalgia, discrimination, prejudice
1st sequence (Motherhood) - ominous and gray colours
2nd sequence (Faith) - Monochrome with elements of French New Wave
3rd sequence (nostalgia) - strong themes of identity, and vibrant culture. Vibrant Polaroid-esque colours used to symbolise the vibrant culture and the 80's nostalgia
4th sequence (Love) - ominous and gray colours, but done to suit another, unique perspective
5th sequence (Love) - vibrant colours and is only one place, a conversation. A social commentary to end the documentary and it fundamentally summarises all the stories.
I could do a similar structure for a documentary on how COVID-19 has affected Invercargill, but I don't know when this is going to end and when people will feel comfortable or ready to disclose their experiences or emotions on this subject.
Norton, A. (2015, August 25). How to age gracefully [Video file].
https://vimeo.com/137249858
(Norton, A., 2015)
Bregel, J. (2020, January 20). Chunyun [Video file]. https://vimeo.com/386037115
(Bregel, J., 2020)
Themes - community, the human condition
The Academy Ratio makes you feel like you seeing from the perspective of your own memory of experiencing that event or that of a CCTV camera. It manages to experiment with abstract compositions in provoking visually contrasting and artistic looks to the documentary. It's not a documentary where narration is needed because this is one where the film speaks for itself. It manages to apply drama by showing one of the best examples of slice of life in drama in everyday life in this particular place, rather than leaving the filmmaker to dramatise certain elements.
Life outside the airport, heightening the drama and provokes a sense of sadness and discomfort. It becomes less welcoming and intimate compared to the airport part of the documentary, but then it changes the tone very quickly by being more about community and returns to its intimate use of the aspect ratio. Its bland colour grade also provokes and support the drama.
It's a film that makes it about community on purpose because that's what the subject is about. People travelling in Asia for the purpose of spending with family in a particular time of a year.
I would describe this documentary as a surreal and atmospheric work of art. A moving image with the modern art mind of Picasso, Van Gogh, or Pollock.
I could do a documentary like that, but the question would be what the subject would be and whether it could convey drama like that.
My plans for tomorrow are to send an email to Kathryn and James about my project
26/03/2020
Stay Closehttps://vimeo.com/381331390
Uses multiple aspect ratio, but primarily uses the Academy Ratio. It uses either 2.76:1 or 4.00:1 aspect ratio to make dramatized live action sequences (close ups of people running, fencing practice, skyscapes, riding on a train at the end) look sleak and cinematic. Not all the live action sequences are in 4.00:1 or 2.76:1, there is a medical sequence in the Academy Ratio.
The Academy Ratio used in this film allows consistency between the forms of mixed media (film, animation, video, archival footage). The fingermarks and scratches in the animation sequences help them look alive and moving.
The drama in this documentary comes from the conflict, flaws, and progress of the main subject's journey and fencing.
9:16 - footage from a cellphone
A majority of the documentary uses archival VHS footage with voice-over.
The Academy Ratio express an intimate and personal account for the main subject, almost autobiographical.
Cinematographers - Luther Clement and Shuhan Fan
Start again
https://www.nzonscreen.com/title/start-again-1972/overview
A TV documentary on NZ's counter culture movement (hippies, communists, anarchists) that still holds up and like Chunyun, it's very artistic and focuses more on the visuals and let them speak for themselves. It also uses more voice-over than talking heads type of interviews
It explores the flaws of democracy - how the majority agrees could be socially accepted. I think this is good social commentary of the time, especially prior to MMP governments in New Zealand
Naturally, it's in 4:3 and black and white because that was the standard for New Zealand television in 1969
Engaging parts of the documentary are communes building a dome-shaped housing and using the same materials to build a glider. What makes it also engaging is that it doesn't really use location sound (likely due to being filmed on a Bolex 16 mm film camera and budgetary restrictions) and manages it to make it work with voice-over and music instead.
28/03/2020
I did part of a mental exercise on figuring what I would like my director trademarks to be now or in the future by narrowing down elements that I have liked doing, like, or would like to experiment with in the future
Characters - a social outcast, a nerd or millennial as the protagonist
Genres - social drama, documentary, sci-fi drama, period drama, satire comedy, ghost film, body horror, mockumentary, coming of age drama
Location - Small urban New Zealand city, provincial New Zealand
30/03/2020
I received an email back from James and he encouraged to continue with my current film project since the final deadline is not until the end of the year. He did also say that I should also think about a backup plan in the case the COVID-19 situation doesn't improve in New ZealandAustralian documentaries: The facts - Infographics - Fact Finders. (n.d.). Screen Australia. Retrieved March 31, 2020, from https://www.screenaustralia.gov.au/fact-finders/infographics/australian-documentaries-the-facts
Bernstein, P. (2015, June 2). 10 New Ways to Think About Audiences for Social-Issue Documentaries | IndieWire. IndieWire. https://www.indiewire.com/2015/06/10-new-ways-to-think-about-audiences-for-social-issue-documentaries-61347/
https://www.nzfilm.co.nz/sites/default/files/2018-05/180518_iGen_Booklet_AW.pdf
https://www.nzfilm.co.nz/sites/default/files/nielsen-media-trends-report-2016.pdf
I spent some time on the presentation today, but focused more on how to improve on how I pitched the target audience and the solution is to do research on my target audience and genre demographics, especially in New Zealand. I searched around the internet today, but the information was hard to find to do with New Zealand, there was more luck finding information on audience demographics in Australia, the United Kingdom, Canada, and the United States.
Stats NZ does do surveys on the NZ film industry, but very little on audiences and more on the economic impact (investments, expenditures, and income). However, they have recently discontinued doing such surveys for the film industry now.
Another thing, the most recent surveys and audience research in New Zealand are only as recent as 2018
31/03/2020
I received an email from Kathryn reminding us that the deadlines have been moved to next terms, do what we can over the lockdown, she will continue one-on-one sessions with us for our research projects, and she will also check for emails regularly.New Zealand Film Commission. (2018). Engaging a generation – Attracting the iGeneration to the cinema. https://www.nzfilm.co.nz/sites/default/files/201805/180518_iGen_Booklet_AW.pdf
This was a research report commissioned by the New Zealand Film Commission
In the millennial generation of New Zealand young people born between 1993 and 2005.
The qualitative results from the millennials in this report came from a range of those born between 1993 and 2005, including secondary students, tertiary students, and educated and non-educated workers. They also came from a range of different New Zealand ethnicities like Maori, Pakeha, Pasifika, and Asian
- They believe in good work-life balance, involve themselves with a wide range of activities, and value their family
- They are anxious for the future and growing up
- Tech savvy
- Eager to learn and be informed more about social issues
- Desire for film and video content to inspire them, take life optimistically and one step at a time, help them understand the world, and feel included in the conversation
- Pride in our local film and television industries
- Trailers give too much away
- Influenced by word of mouth on social media and 'social media influencers'
- They do still go to the cinema, but prefer watching films at home because it is cheaper and more convenient
- Desiring for a more immersive experience at cinemas like virtual reality
- Cinemas are inconvenient to millennials because it's an occasional thing due to the high cost of living, and they cannot see a film in cinema anytime they want like you can at home
- They need to be convinced that cinema screenings are a must-go social event
- They want to know what social media personalities think of the film. Almost to the extent and power of Roger Ebert's film reviews back in the 1980's and 1990's.
New Zealand cinema has proven to provide different insights on people's lives, seeing themselves reflected on screen, and proactive in serious conversations
Social issues that concern millennials
- Political and social unrest
- Gay relationships and homophobia
- Animal welfare
- War and violence
- Study and career options
- Sexism and feminism
- Ethics
- Abortion
- Euthanasia
- Personal and emotional growth (applies to my film project)
- Family relationships
- Inequality: social, cultural, economic and ethnic
- Environment, especially climate change and overpopulation (applies to my film project)
- Mental health: bullying, depression, suicide, enjoying life
- Addictions including drugs and alcohol
- Materialism and consumerism
- Obesity, body image and other health issues
Core emotions are needed to engage this target audience in New Zealand
Chilled - an escape from reality
Intimate - having relatable stories, characters, and relationships
Hyped - this can be applied to multiple genres like; drama (sad), action (hyped and excited), horror (shocked and terrified), and comedy (laughing)
In the know - the feeling you are cultured and up to date with the latest in cinema
Socially conscious - curiosity, influence, intellect sparked by the film's subject and help individuals develop as a person
Creative - influence budding filmmakers and follow the work of other filmmakers
Nielsen. (2016). Media trends 2016: How New Zealanders consume newspapers, magazines, TV, radio & digital content. https://www.nzfilm.co.nz/sites/default/files/nielsen-media-trends-report-2016.pdf
A lot has changed in the past five years, but this source does give me some idea what the demographics and the appeal of online media are potentially like to a minimum.
Country Calendar, a NZ's longest running documentary television series showed 30 episodes in 2015, gained 13.9 percent of NZ TV audiences that same year, as well as being the eightieth most watched New Zealand TV show in 2015
As of 2014, only 69 percent of New Zealanders only watched shows on TV, 4 percent only on online, and 22 percent watched shows on both platforms. I truly believe that has changed drastically since then.
What types of television content watched online in a 4 week period as of 2015
33% are free online streaming or on demand services (TVNZ Ondemand)
19% are snippets of shows or movies on YouTube, Vimeo, or Vine
17% are downloaded from unknown sources in the internet
14% are streamed from subscription streaming or on demand services (Netflix, Lightbox)
Types of film and video content watched online as of 2015
54% - Movies
42% - Entertainment (sitcoms, reality shows, game shows)
38% - Overseas drama and soap operas
31% - Documentaries
28% - Local news and current affairs
21% - Local dramas and soaps
Hot spots for online streaming as of 2015 (New Zealanders over the age of 15)
YouTube - 29%
TVNZ OnDemand - 29%
3Now - 13%
Netflix - 13%
Lightbox - 5%
Sky Go - 7%
Putlocker - 6%
Vimeo - 4%
Australian documentaries: The facts - Infographics - Fact Finders. (n.d.). Screen Australia. Retrieved March 31, 2020, from https://www.screenaustralia.gov.au/fact-finders/infographics/australian-documentaries-the-facts
As of 2016, 55 percent of Australian streaming services users under 35 years of age watch documentaries online, whereas 37 percent of those over 35 years of age watch documentaries on online streaming services in Australia.
Overall, 13 percent of them watch local documentaries online and 18 percent of them watch documentaries from overseas online.
There is a bigger preference in Australians watching documentaries on television than online.
55 percent of Australia's VOD audience prefer to watch local documentaries on television, whereas 50 percent of them prefer to watch overseas documentaries on television.
However, tastes and the appeal of VOD have likely dramatically changed since then.
01/04/2020
I received an email from James that we need to do a synopsis about our film for this year and character descriptions by Friday. A synopsis I can do, but not a character descriptions since I have not filmed anything yet or have a confirmed cast because of complications and fears arising from the COVID-19 pandemic, it's beyond my control.I replied to James that I'll do what I can. I did manage to write one up, but I'll work on it and improve it with refreshed eyes tomorrow and see if I can fit in about a theme or core of the documentary into the synopsis
Aldredge, J. (2018, January 26).The comprehensive guide to pitching documentary projects. Premium Beat. https://www.premiumbeat.com/blog/comprehensive-guide-pitching-documentary-projects/
Big Voice Pictures. (2014). Steps to planning your documentary, video and media outreach campaign. Retrieved April 1, 2020, from http://bigvoicepictures.com/blog/2014/11/04/steps-to-planning-your-documentary-video-and-media-audience-engagement-and-outreach-campaign/
One way to promote your documentary effectively is to screen the film to communities that would motivate the most change e.g. Food, Inc did screenings for where obesity rates and limited healthy food options were situated.
Other ways to promote your documentary can through live podcasts, panel discussions following a screening, and social media
Desktop Documentaries. (n.d). How to write a documentary treatment and documentary proposal. Retrieved April 1, 2020, from
https://www.desktop-documentaries.com/documentary-treatment.html
Synopsis is the what, how, and why of your story. Loglines gets straight to the point. summarising the story, hook, conflict, and drama. It is not a part of a proposal or treatment for your film, it also tends to be on the film posters, adverts, and other marketing material
Why should people watch this and what makes it different from others
Screen Australia. (n.d.). Pitching a documentary project. https://www.screenaustralia.gov.au/getmedia/3c3cf703-5b9f-488f-96d2-d2959d874fa9/Pitching-a-documentary-project.pdf?ext=.pdf
Treat your pitch like it's a trailer, don't tell too much and focus more on the resources needed and the visual style. This comes to my advantage because being a documentary, a majority of the story isn't produced until post-production.
A trailer needs to be compelling, consistently paced, visually stands out, and have an distinctive look and feel. It captures the atmosphere, and introduces the characters and themes. But not forsake your style and creative intentions on the trailer for the sake of making trailer looking flashy and well-edited.
A synopsis should make a convincing argument on why this story needs or is worth telling
The treatment should have background information on your subject, your key protagonists, information about access to subjects and locations, a director's statement and the approach on the film's visual style.
Folsom, J. (2014, November 21). Attention, documentary filmmakers: 8 Tips on pitching your project. IndieWire. https://www.indiewire.com/2014/11/attention-documentary-filmmakers-8-tips-on-pitching-your-project-67594/
What attracts me to this project and why I am the right person for the job
Don't be afraid of mentioning others film that you film invokes. Mine would be if parts of The Grand Budapest Hotel were supplemented into a form of a documentary
Anderson-Moore, O. (2017, March 22). How to pitch your film: A step-by-step breakdown. No Film School. https://nofilmschool.com/2017/03/how-to-pitch-your-movie-tv-series
Have credibility to your pitch and give out materials to your clients when pitching (budget, synopsis, logline, mood board, and a bio about yourself as a filmmaker
Synopsis
Climate Fever is a 15 minute New Zealand short documentary on the school climate strike movement in Invercargill, a small city situated at the ends of the country. It will explore the effects of the COVID-19 pandemic has been having on climate action and how they get their message across.
At its core, it's about social change. A voice for a generation wanting radical change before it's too late and perseverance by encouraging and demanding such change.
The main protagonist, Ashleigh, a climate change activist and local campaign organiser for School 4 Climate Strike NZ. The film will follow how both COVID-19 has affected her climate activism and how she is plans for such things in the future. Will this pandemic make her question whether addressing climate change is important anymore? How do her family support her through the drama and conflict?
This is a film to remind the public from the ages of teenage millennials to the middle aged population that the school climate strike movement and the effects of climate change are still alive and well in these times of uncertainty. What is the point of future generations or historians trying to make sense of this social movement without having a visual keyhole in the world of as millennials knew at that the time and justifications for that.
This is a story that has not yet been told in film and I believe that the historical value of this film will grow as decades and years pass. It is important to document and record these escalating events as they happen and to give context to those who know little about the movement or future generations. More people will be more engaged in a documentary about current or recent events than they would be in another decade or so.
It is to show people that even at the bottom of the world, there are people standing up for climate action.
Trailer idea: Tell a element of the film that leaves unfinished, but engages the audience like the second season trailer of The end of the fucking world, which leaves a lot unsaid and doesn't tell you everything
Progress on presentation
I spend quite a bit of time on my presentation, although I think there might be too much information about the background research on climate change so far. I will also add more visuals to my background research slides later at some point
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