Pitching - Arch Roomies
With the pitching of ideas. I feel I worked very well with Simon to create the idea for 'Arch Roomies'. It was a very creative and original idea, which hadn't been pitched at the Studios before. I did extensive research into the current issues with housing to ensure we had back-up evidence as to why this is relevant in our current day and age. As well, as putting together the Pitch itself and ensuring that our branding was consistent throughout the pitch and we were clear on our target audience. My delivery of the pitch was clear and confident. I had learnt and reviewed the pitch until I knew it off by heart.
My weaknesses during the pitch would be the set design for 'Arch Roomies'. Simon and I made the set far too complicated and this brought down our chances of having the idea chosen for Studio Production. Had we had a simpler set, we could have maybe been chosen. My script for Arch Roomies wasn't very strong either as it was a first draft, had I started the script earlier and really developed it, this could have made a huge difference to whether or not our idea got chosen.
Pre-Production - Steal the Style
During the Pre-Production stage, I worked very closely with my co-director George Lock to plan through visually, how we were going to bring Steal the Style to life. I was hugely involved in the audition process and the choice of our Presenters at the end of the auditions. I also communicated with our Drag Queen Sapphire Stonee and Oliver Lewis (before he sadly had to leave the production) as well as Bonnie our DIY seller, I either Skype interviewed them or met them in person to not only interview and ensure they were right for the project, but to see what sort of person they were and ensure they had a clear line of communication with the Director from the very beginning.
I worked closely with the Producers throughout Pre-Production to ensure they were aware of my choices for how I wanted each of my sections to work through. As well as updating them on my choices of cameras and shots and giving my input into the script. With the VT department, I was regularly keeping up to date with their process and also the ideas and styles for the VT's. This was the same with Promos department. For graphics, I was often green lighting graphics as our graphics creator would come to me for my sections and the graphics needed there.
I was also involved in putting together the budget estimation for the show which was a difficulty for me due to my learning difficulties but it's something I managed to do and it improved my numeracy skills hugely which I would need as a Director. My planning for the cameras was done in advance to ensure we had them all ready for the blocking and rehearsals and was regularly updated if any changes were made. My research into Studio Directors was a huge benefit for me as it allowed me to think ahead to what I may have to deal with, in regards to the high levels of stress that this role brings, this research allowed me to look into ways to deal with stress and techniques to calm myself down if I did become stressed.
I would argue that my weaknesses for Pre-Production would involve not looking into the other roles until the Production stage, I wasn't made aware of how important it was to work together as a team and really communicate until we were in the Studio and this caused issues with the Pre-Production stage in terms of organising the budget, finding the contacts we needed and getting the Presenter Applications from Jack Whitely.
Production - Steal the Style
During the rehearsals for Steal the Style, I over came my initial panic of the high level of work which I feel is a huge strength for this unit. I could have crumpled under the stress of leading so many departments and cutting the show together but I stepped back, looked at the situation and calmed down and then learnt from Del and George Lock, from this I became far more confident and I found the job much easier to do. Working with 5 cameras was difficult and I found it hard to follow the script and watch all the cameras while listening to what was send. My strength here was finding my own way of working and rather than reading the script, I learnt it. Back to back so I knew every section of the show and what is said in each section. Then using my camera plans, I could work through the show much easier and found it easier to cut the show.
My communication throughout the production stage was excellent. When we had issues with too many people talking on talk back I resolved this by having one line of communication to the floor which was the Floor Manager. Cameras were instructed to tilt there camera up and down in response to questions from the gallery which worked much better. Throughout the production stage, I made changes to my camera plans and the layout of my sections as they were needed and this greatly benefitted the final programme.
Blocking the sections was a huge benefit as well as it allowed me to work through the sections and think how it could be done effectivly and easily. The Round-Up's blocking was one of my best strengths as I blocked through the sections and used the amount of cameras we had to my advantage. Having each camera on one section:
Camera 1 - Audience
Camera 2 - Wide shot of entire set (ending shot)
Camera 3 - Catwalk (models and Bonnie)
Camera 4 - Presenters
Camera 5 - Sapphire Stonee
This made the round up much easier to film and worked very well for the final production.
During the Production stage was when Oliver left the project. When this happened, I didn't panic and stress. I communicated with my team and we came together and all looked for a new Drag Queen. Once Sapphire had been found, I Skype called her to learn what I needed and ensure we had her onboard with the project.
During the rid day, I ensured that I was at the studios for 8am, ready to meet the CAFT team and Lighting department and to ensure that they had one of the Directors on sight ready to assist and feedback with any issues or questions they may have had. When directing my section of the Live Show, I communicated well, worked with the Vision Mixer and P.A to ensure it was cut professionally and kept to time and at the end of the programme we hit or 30 minute broadcast target.
My Weaknesses for Production would be my terminology use. During the blocking I would continually say 'cue 2' or 'cue 4' for the camera shots and because of this, it was confusing the floor crew as 'Cue' is only used for music beds and cueing talent. I was unorganised with arranging the photos for Bonnie's interview, I should have had this sorted weeks in advance so that we could have had more rehearsal time with them. As well as this, my feedback, as well as the other Production Teams, was very slow for the CAFT Team and because of this we made them start a week later on the set, had we not had a fantastic Design team, we could have ended up with no set to which we may have had no show.
Overall, this programme was a huge success and a grate joy to be a part of and Direct.
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