Plan Outline

I created a draft outline of the narrative our documentary should follow. I followed the conflict model to plan out the ideas:

Beginning – equilibrium (1-2 minutes)

• Identifying skate culture as “self”
• Questions: what does skate culture mean to you, why do you do it etc.
• Follow skater in one journey like Hill Street
• Location: Somewhere in London, near south bank, Brighton seafront?
• Close up and long shots
• go pro footage
• Inspiration:

Middle – disruption (1 minute)

• People saying why they disagree with skateboarding
• Location: People along south bank
• One person in their house, mum/teacher or something
• Questions: how do you feel about skate boarding, what negative prejudices do you have towards it?
• Visuals: archive footage of skaters misbehaving

Middle – Recognition (1 minute)

• Skaters acknowledging its misconceptions
• Questions: What preconceptions do you think people have with skate culture, etc.
• Locations: Southbank, House of Vans, The Level
• Visuals: Skaters hanging out with each other in big groups, looking anti-social, smoking etc.

Middle – Attempt (1-2 minutes)

• Justifying its culture, influence on mainstream culture, community aspects
• Visuals: fast paced shots of skaters performing tricks, cutaway footage to match things they’re talking about

End - New equilibrium (1 minute)

• Conclusive points on skate culture
• Location: Film during sunset at Hove Lagoon/The Level
• Visuals: Get some cliché looking into the sunset shots
• Questions: do you think people will change their minds about skate culture?
• Would you ever change because of what others think?

Location Research

Today I went into central London to get a better feel for the locations that we had chosen to use.

I first went to visit the Southbank skatepark:

I was worried that the lighting would be pretty poor for filming, since it's under a tunnel/bridge. However it seemed to look okay when filming on my phone, even though it was a really gloomy day. The bright graffiti stands out also, which will work well to emphasise the art side of skate culture.

There was also a large group of boys sitting around, seemingly aimlessly, which is useful for our film as we want to represent skaters in an observational style.

Next I went to the House of Vans. I asked them if it was okay to film there next week, and they said it would be fine to turn up on the day, as long as it doesn't get too busy. I also got their contact details to double check with them.

I think this would be a good place to film, as it represents culture aside from just performing tricks. For example when I was there, I spotted a group of teenagers dancing to rock music. In the House of Vans they also have film screenings, and art exhibitions. 

Assessment 1

Today we submitted our first assessment. It did not go as well as I had hoped, as unfortunately the editing was left until last minute. A few problems arose, for example it was difficult to find a computer room which had the latest software. We just about finished editing, an hour before the deadline. 

The video above shows what we submitted for our pilot. I think if we had more time we could have made it a lot better. As a director, I will push the editor in our group to start working on the video way before our next deadline.
We use fast paced shots in the beginning of the pilot and then slow motion shots in the second half. I think in our final version of the film, it would make more sense to have slower shots in the beginning then increase the pace. We also used lots of shots of skateboarders performing tricks, which was extremely repetitive. I think that we need to film way more cutaway shots of other related iconography. I'd like to include footage of skaters hanging out with each other, in order to represent skate culture more clearly.

Day 2 Shoot

To prepare for our shoot Jessie and I experimented with using the go-pro cameras:

We initially found it quite difficult to figure out how to use all of the buttons, and all the extra equipment (for example grips), however it was better for us to master it before we got to the shoot.

The go-pros filmed in great quality, with a slight fish-eye effect. They were also useful for shooting in slow motion, which we'd like to use in our film. Go-pros are also known for their attachment to skateboard videography.

Before the shoot, we also drafted some questions to ask our subjects:

• Please state your name and that you give permission for us to film
• How long have you been skateboarding?
• Do you come to the Level very often?
• What made you want to get into skateboarding?
• How do you feel about skateboarding culture?
• Do you think that skate culture exists as a subculture itself, or is it just a sport?
• Do your friends skate as well or do you do it on your own?
• What negative perceptions do people have of you skateboarding/skate culture?

For the shoot, we filmed again at the Level to get some more footage for the pilot. We filmed in slow motion, using the X70 camera, of skaters performing tricks. This was to add to dramatic tone of our documentary.
We interviewed two boys who we saw skateboarding in regards to their thoughts on skate culture. It was useful to receive the opinions of actual skaters, as it was more personal, pertaining to the "self" aspect of the brief.

Pitch

Feedback from pitch:

We need to make sure that we're properly focused on the brief; we have to make a clear focus on skateboarding as a subculture, not just about the sport itself. We will make sure to tailor our interview questions towards skateboarding culture, however it may be a bit difficult to visually represent this.

Day 1 Footage Review

I looked over the footage we recorded this week to see what is useable or not. Some of the footage that was recorded handheld was way too shaky to be used. Also some of the footage was not in focus. I noticed that some of the footage we supposedly recorded was missing, as it seemed like the camera person had forgot to press record. I understand that this is an easy mistake to make, but from now on we must be careful to avoid such mistakes. As a director I should make sure that everything looks okay before filming.

Most of what we filmed was quite good as we captured lots of skateboarders performing tricks. These would all make great cutaway footage.

I placed all the short cuts into a bin so that the footage would be easily accessible. Moreover it means that the editor wouldn't have to look through all the footage again, he'd just have to select the best cuts to put together. I roughly cut together some similar shots from different angles in order to create a match on action effect. I will leave it down to the editor to tighten up the sequence.

Additionally, I used the rest of the cutaway footage to put into a sequence that we could use for our pilot. This included some ambiguous shots for example of a lamp post with skate shoes off of it. This will set the tone for our documentary as it represents skating culture. I think the pilot should be slow paced with a voice over in order to show 'equilibrium'. However a lot of the shots we had were quite fast, following the action of the skateboarders. I think that in our next shoot, we should record some more ambiguous and establishing shots.

Viewing Log - Long Live South Bank

Long Live Southbank, commonly known as LLSB, is a non-profit organisation campaigning for the protection of the Southbank Undercroft skateboarding area from redevelopment. 

The documentary follows the conflict model structure. The 'equilibrium' begins with a brief history of the skatepark and its architecture. This is denoted through the use of archive photographs and a voiceover interview from an architect.

• It is filmed quite artistically, with low contrast, creating a gritty tone reflecting skateboarding culture. 
• It features a range of different subjects giving their opinions, from local skaters to an MP.

The 'disruption' is then revealed through the narrative, as a voiceover talks about the plans for the skatepark to be moved. This is emphasised through the change in pace, with longer lasting images, and much slower and emotional music.

The subjects 'recognise' the situation and one speaker says that the council plans "to get rid of us". The proposed argument for the story is heightened by presenting reasons against the council's decision. For example they state that there are already many shops in the Southbank area, therefore there is no need to build a retail park.

In an 'attempt' to resolve the issue, various skateboarders discuss what it means to them and why they do it. They argue in their favour that skateboarding demonstrates "young people who do care" and it's not just an act of rebellion.

The 'new equilibrium' is formed by presenting shots around the skatepark, allowing the audience to think.

Filming For Pilot and Performative Task

We filmed at the skate park at The Level in Brighton today to get some shots for our pilot. Most people were okay with being filmed but a couple of guys came up to us requesting not to be filmed. Most of the time we were filming their feet on the skateboards.

We also made sure to get some wide shots from different perspectives. I thought it would be best to use the tripod in order to make sure the footage looked professional and not too shaky. However sometimes this made it difficult to follow the action.

For the performative task, we went to a smaller skatepark in Hollingdean. Luckily the park was empty so it that we could practice as a group without having to interrupt other skaters. For the task I asked an experienced skateboarder, Tristan, to teach me how to skateboard, as I have never been able to do it before. We recorded him demonstrating the basic skateboard method and then I repeated his actions. This did not go very well as I fell off a couple of times. Maddie also practised skateboarding, and was much better than myself.  

We also recorded some extra footage of Tristan in the bowl which we could use in the pilot.

Director's Role

I have conducted some research into what my role as a director entails. I know that all creative decisions will be negotiated within the team. It might be useful for me to come up with ideas first and then pitch them to the rest of the group to see what they agree or disagree with.

• In charge of visualising the documentary's narrative from start to finish
• Give the other roles instructions on what they should do

Pre-production

• Researching and contacting sources
• Think about music, interesting scenes, styles and unique visuals
• Create a production schedule
• Create an equipment list
• Create an interview and shot list
• Finding shooting locations
• Overseeing scripts and storyboards

Filming

• Give the crew clear instructions of what they need to do
• Make sure the subjects are comfortable to be interviewed
• Setting up cameras and angles
• Overseeing the sound to make sure it's adequate quality
• Making sure that activities are logged correctly for editing
• Conduct interviews either on or off screen
• Film with editing in mind
• Follow direction of storyboard

Post-production

• Discussing what should stay and what should go
• Create a distribution and marketing plan

https://www.plotr.co.uk/careers/documentary-director/whats-involved/

http://www.ehow.com/info_12167430_role-documentary-director.html
http://www.desktop-documentaries.com/directing-the-documentary.html

Viewing Log - All This Mayhem

All This Mayhem is a searing account of what happens when raw talent and extreme personalities collide. In this unflinching, never-before-seen account of drugs and the dark side of professional skateboarding, brothers Tas and Ben Pappas' intense bond and charisma take them from the pinnacle of their sport into a spiraling world of self-destruction.
Director: Eddie Martin

The film is mostly told through archive footage with voiceovers of a recent interview with subjects such as Tas Pappas and his friends. It follows the inductive model, as the story unfolds over time. In the film's inception, it seems like it is just a story of two brothers and their skateboarding career. An unknowing viewer, such as myself, who is unaware of the Tappas' brothers' lives is not to know the dark path that the film follows. This works well since the tension builds up as the story goes along.

• Interviews take place within subjects' homes - makes skateboarding seem like a normal part of their adult life. Moreover this connotes that it's sophisticated and not just part of a rebellious culture
• Tas talks about how when he was young him and his brother looked up to drug culture and drinking in America
• The subjects tell their own history and experiences, plus talking about wider skate culture
• San Diego, California - the place to become a pro skater
• The narrative identifies tension between the Pappas brothers and Tony Hawk
• All the subjects seem to provide their honest argument - which gives a full aspect of the story, rather than concealing information that may seem incriminating
• It finishes with a happy ending, showing Tas and his family
• His accomplishments, after what he spoke about in his interviews, were shown through the use of titles
• The name of the documentary was inspired by Tas Pappas performing the skateboarding trick 'the mayhem'

https://allaussiehiphop.files.wordpress.com/2014/07/b4be594efa01868d4da671af8f4efb46.jpg
http://www.imdb.com/title/tt2938416/

Skateboarding Research

Adidas 'Away Days' Film
http://www.fastcocreate.com/3057337/adidas-drops-trailer-for-its-first-ever-full-length-skateboarding-film

Girls Skateboarding in Cuba
http://www.pri.org/stories/2016-03-01/skateboarding-technically-illegal-cuba-thats-not-stopping-these-girls-bombing

• Skateboarding is illegal in Cuba
• Some people do it to get around or for fun
• There are only a few girls who do it
• "Act of rebellion" because it's "not a sport"
• Can't let a girl skateboard because she's a dancer
• Women need to be protected
• Sense of freedom on skateboard

Possible Skateboarding ban in Kettering, UK

http://www.northantstelegraph.co.uk/news/top-stories/controversial-banning-of-skateboarding-in-kettering-to-be-reviewed-tonight-1-7240743

• Skateboarding seen as "anti-social'
• "There could be a code-of-conduct instead of it being a criminal offence"

Skateboarding's biggest family: The Shecklers

Begins with observational shots of the brothers skating outside

• Ryan gives his insight to skateboarding through a seated interview. He claims that skateboarding is "All I know"

• Focus pull is used to show the brothers: Ryan in the foreground, and Kane and Shane in the background
• Archive pictures are used to show the brothers as a family unit when they were younger
• The observational style is used again with the use of dialogue and light hearted music

 

• Slow motion shots are used to observe the brothers as they perform different tricks
• This is accompanied by upbeat music and the sound effect of skates rolling

 

• This sequence ends with Ryan and Kane discussing the tricks they performed 

• I like how this shot creates a silhouette effect

• I like the use of lighting in this shot during the sunset

• In this shot the camera was static as Ryan skated past

http://kingpinmag.com/longform/scene-london-mise-en-scene#WWH7jqEbHRYKCYlt.97

Independent Article
http://www.independent.co.uk/news/uk/home-news/heaven-on-wheels-meet-the-skateboarding-padre-9716584.html

http://www.llsb.com/

Iconography Moodboard

I used Pinterest to create a mood board of ideas related to skateboarding

Follow Bryony's board Skateboarding Documentary on Pinterest.

Viewing Log - Hill Street

Hill Street looks at the origins of skateboarding and the evolution of skateboarding culture in Dublin since the late 1980s up until today. 
Director: JJ Rolfe

The film gives a great overview to the history of skateboarding, but there isn't much of a narrative arc, which makes it a bit boring to watch after a while.

• Starts with slow motion shots of feet skateboarding
• Montage of archive footage whilst narrating the history of skateboarding

• Interviews filmed on location, for example in a skateboard shop. This gives the audience a wider insight to the culture and the topic that is being discussed
• The voiceover addresses how skateboarding was previously not seen as a sport but culture

• The introduction features cutaways of one guy on a seemingly singular journey on his skateboard
• The documentary features ken burns style imagery
• Archive footage is also used and stylised to juxtapose the modern imagery

• Skateboarding began in California in the 60s for surfers who couldn't go to the beach
• People subsequently started draining swimming pools to skate in

• Tony Hawk discusses his reasoning for starting to skateboard -  it was as a way to seek thrill, like a form of acrobatics

• Some of the imagery is really beautifully shot, for example this silhouette during the sunset
• The documentary also deploys the reflexive style, as it shows the crew and the use of clapper boards before interviews take place
• An interview reveals how skateboarding in made up of a community of like-minded people who are carefree

Watching this documentary taught me as a director, that our film needs to have some kind of edge in order to keep the audience interested. It can't just be a constant stream of facts, it should take the audience on an emotional journey.

http://hillstreetdocumentary.com/

Brainstorming Session

We kept changing our mind on our final idea, due to a few different logistical reasons. Subsequently we decided to have a group brainstorming session.

In the end we decided to make our documentary on Skateboarding and its culture. This pertains to the self and other part of the brief, as we will investigate skateboarding culture and how it's perceived by others.

We also finalised our roles in the team
Director - Me
Camera - Jessie
Editor - Peter
Sound - Maddie

Lighting Workshop

• To get the best quality focus, we should zoom in and focus on eyes then zoom back out
• We should place sand bags on lighting tripod to stop them from falling over
• Lighting flaps get really hot (don't touch without gloves)

When shooting the face we should light from the back or the side, not directly in front

We should use soft light, not hard. This can be achieved through:

• High altitude lighting:

• White diffuser

• Bouncing the light back with a reflector disc 

We should also try closing the iris to see where the light is and where it needs to be filled in



Adding two gel filers and a diffuser to the back lights

This adds a bit of light to the left side

• The final step should be to use white balance (not just a piece of printing paper)
• Blue screen as a daylight filter
• Black card to reflect shadows
• Colour stop to check exposure in shadows and highlights

For more tips we can use Cinematography.com