As Live Unit: Project Update

I'm now working closely with my main production team of Dean and Lauren H. Our priorities at the moment is to confirm bands and presenters. As this is being sorted, Lauren can concentrate on the creative side as director and myself and Dean can start work on the script. 

Another main concern is what equipment is going to be available to us on the record day. I have asked students from a music technology course in Medway for their assistance as they have the experience in live recording and location recording and they have access to various kit. We will also be addressing any lighting and technical issues with the studio. 

I have drawn up a production schedule for the base room at the studios so all the teams know who is doing what and when. For the VT team, I will let them know the casting so they can begin scripting and storyboarding ideas. I will need to pass on details on the band's schedules which will include locations to contact. 

For the promo and graphics team, I will need them to come up with some ideas for branding and title design. I would then like them to create flyers to distribute. I may also like them to create a blog/facebook page to record progress and generate interest with the public. And, draw up a press release to send to newspapers etc. For the viral ad, I have some ideas as to what this could be. We also need to decide how we are going to arrange audience tickets. 

For the meeting with CAFT, we are going to draw up a mood board to show them what our ideas are so they have something to build on. 

As Live Unit: Project Update

A very skeletal running order.. Just a starting point.

00:00:20 Opening Titles   

00:01:10 Presenter to Camera - Introduce show, area, bands (green room shot)

00:04:10 1st Band On  

00:04:40 Presenter Link to VT

00:09:40 VT - Maidstone Guide   

00:12:40 2nd Band On

00:17:40 VT - On the Road…        

00:20:40 Green Room Interview    

00:25:40 VT - Day Jobs/Recording Studio   

00:26:00 Presenter - That’s all we got time for...

00:29:00 3rd Band

 
00:30:00 End Credits

As Live Unit: Project Update

"The Unsigned Show"

(a working title)

As Live Music Television Show (30 minutes)

BBC Three - Sunday Evening

The Unsigned Show is an innovative programme that looks to showcase emerging bands and provide them with a turning-point for their careers; fitting in with BBC Three's ethos in supporting new talent. The unique selling point of the live show is that it is tapping into 'new' authentic 'anti-X Factor' music that has become more popular, especially for teenage fans. Therefore, I propose to create a platform for these up-coming artists, promoting original songwriters and bringing awareness to the other side of the music industry.

Audience expectations have changed, they are more active and creative and have become more aware of identifying their own tastes in an online community to make themselves feel more unique. By finding bands which are 'undiscovered' gives the audience a sense of ownership and the music brings a sense of 'authenticity' to the show. People know how music is manufactured, they've seen it already on shows such as 'The X Factor'; what they don't know is the plight of many musicians singing their hearts out across many different pubs and clubs in their local area, trying to build a career out of the music industry. 

It would be a great addition to BBC Three's Sunday night schedule because the 16-34 audience would typically be busy on a Friday and Saturday night but would stay in on a Sunday night for work or school the next morning. They would be attracted to the fast-paced, 'unpolished', 'indie' style. More importantly, I want to exploit the 'live' element to give the show it's much needed 'edge' and a sense that anything can happen. 

During the programme, a presenter will be in the studio introducing the next acts, entertaining the audience and providing links to the three VT's. They will also enter the 'green room' where the bands will be waiting to provide interviews. In each episode, the first VT features another presenter informing the audience of a guide to the area in which they are broadcasting from; this includes places to see music, venue guide and quirky facts about the area. The second VT is an 'On the Road With...', whereby the presenter meets up with one of the bands and explores their routines and traveling to a venue, possibly including pieces about roadies and fans. The third VT may look into the band members day jobs, or special pieces on 'Inside the Recording Studio' with a producer. The VT's will be interlaced between the live music from the studio, before the finale with the main band playing out.

Music shows are popular. I believe there is a gap in the market for this type of show, especially for my targeted audience; and it has potential to expand and develop as the music industry changes and the seasons change also; for example, festival specials, highlighting the smaller UK festivals that new bands would start out at.

There is also potential for online content, especially as the programme is targeted at the 'MySpace', 'Facebook' and 'Twitter' generation. I would exploit user-generated content; audience participation would be encouraged on the internet through being able to upload content, videos, and voice their opinions. The ability to share music on the internet and on 'Facebook' has become more popular; real-time activity and sharing with friends compels you to join in, makes music more discoverable. Music is something we like to talk about and share. Audience feels as though they're discovering a new band and this adds value. For future shows, artists may upload their video or songs to appear on the next programme. At the end of a series, audiences may vote on an online poll who the top unsigned act was, or top song, and the artist could win a music video and a recording of the track. Audiences can immerse themselves into the artist's world by watching backstage content, interviews, band diaries (blogs) and photos of themselves 'On the Road'. 

As Live Unit: Idea Development

"The poster boy for authentic post-X Factor pop"

 

I just read an article about Ed Sheeran. He is a young, British singer-songwriter who has risen from playing small venues across London to having a no. 1 album in the UK. The unique selling point of the live show I will be pitching is that it is tapping into this 'new' authentic 'anti-X Factor' music that has become more popular, especially for teenage fans. Music has become, in some way, more sophisticated also; with the massive popularity of Adele and the 'up-and-coming' Lana Del Ray. Their music can be described as sultry, glamourous, and heart-felt ballads. Here are a couple of relevant quotes I picked out from the article:

"Part of Sheeran's popularity seems to stem from his fans' belief that he represents something authentic and unspun in the world of pop."

"Perhaps his success tells you something about the times. Thanks to Simon Cowell, even your average 13-year-old knows how pop music is manufactured because they've seen it done over and over again on ITV on a Saturday night. As a result, a hankering for something less cynically constructed, usually the province of indie fans and Uncut readers seems to have finally filtered down to teenage pop fans. I ask him if he thinks the fans queuing outside would be distraught if he appeared in the big Sunday night guest slot on The X Factor and he nods. "Yeah. 100%. I get tweets every single day going, like, I'm so glad you weren't on The X Factor.""

Read the article here: 

http://www.guardian.co.uk/music/2012/feb/16/ed-sheeran-i-apologise-for-my-fans

Fiction Adaptation Unit: Idea Development

Here is one day of time-lapse! The frames are too long, but using iMovie I was limited to the duration I could set each photo to 1s minimum. Normally, it would be faster. The finish result is effected by the amount of frames and the time between these, which determines how smooth the video plays. I would also need to colour balance each frame.

Fiction Adaptation Unit: Idea Development

I researched into time-lapse photography. I want to use this technique in my adaptation using the themes of 'destruction' and 'nature's cycles'. The images I could time-lapse are dying flowers or (for testing purposes) cakes rising in the oven, or other food cooking. So, I've set up my DSLR camera to shoot a test run of some tulips wilting, this could take over a week before we will see the results. I've put all settings on manual, ie. focus, white balance, iso etc. and set the camera to aperture priority, so hopefully with the changing light I should have a more even exposure and a consistent depth of field. The important thing about time-lapse is to consider what the end result will look like, and working out the timings so the clip is long enough with enough frames for a smooth result. For this, you work out the number of frames the camera should take over a period of time and with my Nikon's built in feature of interval shooting you can enter the settings and let it shoot for you. I currently have it set to shoot every 10 minutes for about 10 hours each day, this means I'll have about 60 frames per day. Therefore, for 7 days I will have 420 frames, which means I'll have 16.8 seconds worth of footage at 25 fps.

It's a long process but hopefully the results will be worth it!

As Live Unit: Coursework

Today we had a workshop in the studio. There was a 3-camera set-up of a presenter with two guests. I had a turn as the director, pretending to be in the gallery with a vision mixer, working with my floor manager Hennie and my camera operators. It was daunting at first, as there's so many things to think about. But, it's important to remember to take time setting up the cameras until you are happy and that the camera operators know their shot sizes and cues. Make sure the cameras are positioned in a horse-shoe and the tripods are set at the same level. Make sure the presenter knows what camera to look in. It's also useful to have a variety of shots and to keep it simple; make sure that if you're moving one or more cameras, have a safety shot ready to cover that. After the setting-up was complete, we were ready to record, and I found it natural to choose shots and get my cameras ready to move and see the mix in my head. Planning is always key, and good communication.

Fiction Adaptation Unit: Coursework

An adaptation of Dracula by Bram Stoker (1897)

In todays workshop we were to bring in a classic novel. The task: to devise a new ending/genre/slant and come up with a pitch. I used 'Dracula', a horror/gothic novel which introduced the character Count Dracula, a vampire. His intention is to come to England from Transylvania but soon comes into battle with Professor Abraham van Helsing and a group of men and women.

The novel has been the basis for many adaptations.

I chose to change the novel for a 3 hour-long part TV series for BBC1 to be broadcast at 9pm weekly. I would modernise it by changing the setting to the 21st century in London, and change it from being a horror to a fast-paced detective thriller. The audience would then accept that it is something new and different, and more real. I would alter the typical attributes of a vampire to aid this, ie. they will be immune to sunlight and garlic, but would have superstrength and heal quickly.

As the original book is told through a series of letters, diary entries etc. from the protagonists. I would consider using these on a multi-platform to engage the audience in getting to know the plot and the characters.

I also chose to alter the plot. In one sense, to create more friction between Helsing and Dracula; as a more of a cat-and-mouse game. I would have them meet alone on one occasion. Also, I would like the audience not to fear Dracula, but to respect his intelligence as much as they do Helsing. I would like to develop the relationships with Dracula and the females in the book. He drinks the blood of Mina and feeds her his blood to create a bond. In the end, I would like Mina to become a vampire and flee to Transylvania.

Media World: Social TV Guides

I was just reading through MediaWeek and came across this article:

Time Out prepares to launch online social TV guide

Arif Durrani, 25 January 2012, 8:30am

It's been almost 30 years since Time Out magazine sparked a revolution in a once closed TV listings market, and now the publisher is preparing to launch what it hopes will be the next generation of TV listings, by harnessing the power of social networks, Facebook and Twitter.

I think it sounds like an interesting idea. I'm often unaware of what's on when, especially when I'm on my Sky+ and I'm skipping promos and adverts for upcoming programmes. And I don't often flick through a TV guide. It could be a good way to make people more aware of programming on TV and divert them away from their routines in recording the same thing. It also brings people together when viewing. I usually open Facebook and come across posts from various people and you can tell they're viewing the same thing. Obviously, this wouldn't appeal to all TV viewers.

I then came across this US website: www.socialguide.com/about. It's a social app and website, listing what's popular on TV at the time, the channel it's on and you can see instant feeds from the viewers ("SocialGuide ranks all the shows on your TV based on real-time social activity and surfaces the shows that your friends are talking about, so you can find something worth watching - fast.."). They sell themselves as: "The smarter, social way to discover and watch TV!". I think it could be a pretty cool idea. And it could entice people to watch the programmes they want as they're being broadcast rather than time-shifted. But, there will always be downsides of course...

Media World

I've finally started to finish and upload some videos of a live show at The Hazlitt Theatre that I filmed with Lauren Howard. This guy also ran the show and mixed the sound for the video. I've always wanted to film live music, especially with multiple cameras; It's always exciting being there filming the music at an amazing venue and editing it all together after (despite how long it can take!). We filmed in October, there were 4 acts, each singing 5-8 songs in their sets. It was a fair bit of video, we just about got it all on the memory cards. Overall, I think it was worth it. The artists gain some pretty decent videos, and Lauren and I have something to add to our showcase. And I hope we take the opportunity to film some more events this year. 

As Live Unit: Media World

On another note... 

Blockbusters (1983) is coming back! And I recently saw advertised that they were looking for contestants. The aim of the game is to complete a path across or down a game board of hexagons by answering trivia questions.

As Live Unit: Research

I've been continuing my research and finding out that, importantly, no idea is new. Programmes are re-made and produced once a winning formula is found, ie. more recently, the 'reality talent show'. During the 80's, there were a few music shows, some similar to the type of show I was thinking of, targeting the same audiences. Some were very popular, until presenters left or the format changed or the scheduling was not great. 

One of the music shows we are left with at the moment is Later with Jools Holland. Unlike most other music shows I've come across, it does have an intimate live audience and a more 'live' feel and a polished look, and has become increasingly popular around the world. The show features 4-5 bands with a couple of interviews and a 'jamming' session, showcasing an unusual layout.

Jools Holland also presented The Tube (Ch4 1982-1987), an innovative live pop music programme which showcased many emerging 80s bands, and provided them with a turning-point for their careers. Featured in the show were 3-4 live performances and a magazine section with interviews, fashion items and comedy appearances. The main presenters were supported by a number of co-presenters. 

A youth-oriented show on ITV at the before The Tube was Check It Out (1979-1982). It presented a mix of rock music performances and segments based around dealing with social issues. Anything can happen...

Another show I researched was Popworld (Ch4 2001-2007) with the young Simon Amstell and Miquita Oliver. The show was aimed at a young audience with features including: pop news, trivia, gossip, interviews and music videos, as well as musical performances from the most recent top artists. It was also a platform for unsigned bands. The show gained popularity through a cult following, helped by Simon's sense of humour when interviewing bands. 

I would choose to combine some of these elements to produce a show that is contemporary and fresh. To include the studio audience in an intimate setting, have an interesting studio layout with a stage and interview area, with a mix of a group of presenters, possibly including: singers, radio DJs, record producers, critic/music journalists, venue workers- sound dept. Presenters that have something interesting to say about music, for people passionate about the subject and to act as a boost for unsigned acts. Topgear is a car-show with a live studio audience, with presenters that know their subject and can make the format entertaining for any viewer, even if they're not a car fanatic. They frequently take the opportunity to involve the studio audience and the viewers at home; they ask the audience members to give their opinions. More importantly, it 'feels' live; anything can happen, and this gives the show it's much needed 'edge', it would be a very different show if that element wasn't there.

As Live Unit: Research

I've been doing some digging, mainly around shows aimed at young people that used to air mostly on Saturday mornings. I've also been led to the music shows. 

I started my research at:

Tiswas (ITV) 1974-1982

Going Live! (BBC) 1987-1993

Live & Kicking (BBC) 1993-2001

The Saturday Show (BBC) 2001-2005

SMTV Live (ITV) 1998-2003

CD:UK (ITV) 1998-2006

Ministry of Mayhem (ITV) 2004-2006

The Chart Show (Channel 4) 1986-1989, 2003

                               (ITV) 1989-1998

                               (Chart Show TV) 2008-2009

Total Request Live (MTV) 1998-2008

TRL UK (MTV) 2003-2005

Top of the Pops (BBC) 1964-2006

The Album Chart Show (Channel 4) 2006-

Freshly Squeezed (Channel 4) 2006-

Curated by Lyle and Scott (Channel 4)

Launched at Red Bull Studios (Channel 4)

Koko Pop (Channel 4)

Many, if not all, morning shows aimed at young people with live audiences have disappeared. Even the more recent music shows take out the 'live' element that used to dominate early Saturday morning television.

Here is a news article saying how the Beeb are relaunching TOTP on the internet:

http://www.mirror.co.uk/news/top-stories/2012/01/21/bbc-to-relaunch-top-of-the-pops-on-the-internet-115875-23709948/#ixzz1k3PoTsJR

There are a couple of current competitions running around the UK:

Live and Unsigned (2007-onwards)

Open Mic UK (2008-onwards)

As Live Unit: Idea Development

Whilst skiing in France last month we would come back the afternoons and be stuck with BBC1 and 2 for the rest of the day. From this I found that television has changed a lot on the Beeb than when I was growing up, now I don't often find much of the daytime programming appealing, especially for the young audience after school. I also noticed a couple of daytime quiz shows such as 'Pointless', 'Weakest Link', 'Perfection' and 'Eggheads'. If I have to watch a quiz show, I'm more of a Deal or No Deal girl; there's more tension and involvement for the viewer, the audience is positioned in the background most of the time, they are part of the show, and I find the idea simple but more clever than just answering questions.

Audience is important when considering what kind of live show to come up with and what appeal it will have; scheduling is just as important to target that audience. Recently I had a look through the TV schedules lately and circled all things live. I did find that there wasn't many that would appeal to a young audience. BBC1 during the day I would say appeals to the 50+ retired audience: 'Cash in the Attic', 'Bargain Hunt'. ITV1 appeals to the stay-at-home mum audience with magazine talk-show programming: 'Lorraine', 'Loose Women'. Whilst Ch4 offers an alternative; 'Countdown'. 

I think the gap in the schedules for children's programme has narrowed, especially for the 12-16 year olds. So perhaps a new magazine-based topical show for young girls and possibly boys. It could have a variety of features, from fashion, beauty, hair trends, talented young people, embarrassing stories, peer pressure.

Another format that has disappeared is the music show. Music is something I'm involved closely with. The figures fell for last years 'X Factor'; competition can be a good way to build tension and encourage participation but it's not always needed for entertainment. For a music show, I would aim to target the young adult audience in the late evening slot, or early morning, with a possible secondary adult audience as music is able to reach all kinds of audiences. The BBC runs an Introducing programme for unsigned acts. I would audition and cast 3 acts to perform. The VT's would introduce the acts in relevant settings with interviews and actuality. In the backstage videos, there could be acoustic sets or questions from the audience asked. The programmed would encourage talented up and coming unsigned acts and original song-writing, not necessarily locally based. It could even be compared to a Comedy Roadshow but for music, with a relevant host, possibly a singer. Live music is seen mainly and only in talk-shows such as The Graham Norton Show and The Jonathan Ross Show. If the programme were to become a competition, the studio audience can vote with coloured cards held up or by other methods. The prize we could offer the winning act is a music video and a record of their song.

Fiction Adaptation Unit: Research

The Burning of the Leaves by Laurence Binyon

Now is the time for the burning of the leaves,
They go to the fire; the nostrils prick with smoke
Wandering slowly into the weeping mist.
Brittle and blotched, ragged and rotten sheaves!
A flame seizes the smouldering ruin, and bites
On stubborn stalks that crackle as they resist.
The last hollyhock’s fallen tower is dust:
All the spices of June are a bitter reek,
All the extravagant riches spent and mean.
All burns! The reddest rose is a ghost.
Spark whirl up, to expire in the mist: the wild
Fingers of fire are making corruption clean.
Now is the time for stripping the spirit bare,
Time for the burning of days ended and done,
Idle solace of things that have gone before,
Rootless hope and fruitless desire are there:
Let them go to the fire with never a look behind.
That world that was ours is a world that is ours no more.
They will come again, the leaf and the flower, to arise
From squalor of rottenness into the old splendour,
And magical scents to a wondering memory bring;  
The same glory, to shine upon different eyes. 
Earth cares for her own ruins, naught for ours. 
Nothing is certain, only the certain spring.

This poem was written in 1942, shortly before Laurence Binyon's death in 1943. He was one of Britain's Great war poets. From reading this later poem he wrote I gathered themes of 'change', 'destruction', 'having no regrets', 'hope', 'letting go of the past', 'nature's cycles'. I also felt that it was a poem full of senses and images that contrast and change. It features some inspirational lines such as: 'That world that was ours is a world that is ours no more' and 'All burns! the reddest rose is a ghost'. The rhyming pattern is abcadc, in four stanzas of 6 lines each. As Binyon was a war poet, it can be thought that this poem is based on the war and its ending. The war is criticized, noone wins because there was so much destruction and loss of lives at the end that you have to let go of the past. Nature can move on and grow, but we are damaged. However, more plainly, the poem is about a forest fire in autumn and moving into spring. I think this poem can be interpreted into many meanings, I hope to adapt it by not taking it into a literal sense, but to create a video that represents the mood and emotion from the poem. I plan on presenting juxtapositions and a possible disequilibrium to equilibrium structure. I also want to use techniques such as timelapse and possibly music and written words on the screen and shallow depth of field techniques. I'm undecided on who I would cast and what their role will be. I would like to give a sense of the world and how powerful nature can stand against human errors.

Fiction Adaptation Unit: Project Brief

This is an exciting new unit which gives us the opportunity to really be creative. I have chosen from a list of given poems to adapt 'The Burning of the Leaves' by Laurence Binyon into a 2-minute film. This film will be part of a series introducing poetry to a new, young audience.

For this unit...

• I'm going to research how people have adapted other texts and what methods they use to interpret it in their own style.
• I will consider where to shoot my film; with consideration for health and safety, access and permissions. 
• And I hope to use my commissioning skills to plan: the costume, special effects, props and scenic arts etc.

To accompany my 2-minute adaptation, I will be answering the question:  

“In adapting a novel the adaptor inevitably infringes the integrity of the original text  – discuss with reference to at least one adaptation.”