Film Shoot #4 - Boggarts Breakfast

On Monday 4th April, we went to another practice hall for our fourth shoot. This time we filmed 'Boggarts Breakfast'. This was a little shoot because I feel that we were all a little exhausted from the weekend.

We set it up in the same method once again and worked together to get a nice range of shots. I tried to get closer on this shoot because I feel that there were a lot of 'far-back' shots, but the reason for this was not getting hit by Morris dancers props, such as sticks.

So I feel we captured a nice range of shots to use within the edits.

Film Shoot #3 - Morris Dancing Festival

On the 2nd March, there was a festival being held in Sheffield where Morris dancers from around the country came together to dance. This was one of the main shoots within our production, as a lot of the footage we captured on this day were going to definitely be used within both the 2 minute poetic and 10 minute piece.

Lucky for us, the weather was sunny and clear all day, which was perfect for us to shoot in, there were issues for example the sun sheen on the camera lens on some shots as well as hiding behind clouds causing unwanted lighting changes in shots.

Once again, we went for the two camera set up, and also had help from Neil and Emma to help us out with the sound equipment, as Alice, being a Morris dancer herself, wasn't available some of the time.

Throughout the day however, Alice made sure we knew where to be and when, to record which dancers and what type of shots to capture. The interviews were mainly done through the 600D (manned by myself) and were captured in a range of shot styles, to allow a range for the audience to enjoy. The vast range of shots throughout the day would allow Lewis to work with a range within the edit to make the piece interesting throughout.

I feel this part of the shoot went very well. We captured a lot of footage and I think it will look great in the edit! Obviously we ran into problems such as people walking in front of the camera but luckily it wasn't too often that it was a massive problem for us.

After the town centre section of this shoot. We travelled to the University of Sheffield's Arms pub, which was absolutely packed with Morris dancers and beers. Luckily they went up their in costume to socialise straight away. During our time, we were able to capture a few more interviews that were more personal to the dancers themselves, more socialised location and therefore more comfortable for the audience to enjoy.

The interviews ranged, as we got emotional ones and humorous ones.

Here are some of the (screen) shots we captured on the day:

Rough Assembly: Looking In On The Edit

At the beginning of the editing process, I decided to watch and contribute to the rough assembly. Mainly because I'd completed the editing module previously, but also because Lewis helped with the Cinematography stages by manning a camera.

We MPEG stream clipped the footage and looked through to see what we could use and what we couldn't use. We noticed there was a big difference between quality of footage between interior and exterior locations. We knew this would be the case when we first looked at the footage of the practices, which kind of put a disadvantage on the documentary, however it's also a learning curve to allow us to see what we did wrong and what we need to improve.

I really liked the outdoor footage, I think the cameras captured them really well, quality and shot-wise, and I feel that was the strong part of the work.

We decided to use the 2-minute poetic to show the audience what Morris dancing is, as discussed in our treatment, so we decided not to use the interviews but rather use the sound files of music we'd gained on shoots and create a soundtrack, a poetic melody for the piece to follow, and use a range of shots to show the process of practice to festival goes and the differences between the two.

At the rough stage, we decided to use shots we liked and place them within the time line.

Equipment List - Saturday 2nd March

Call Sheet - Saturday 2nd March