PRODUCTION: AMY REDMOND & MARGATE GV'S (DAY 5)

Today's shoot went really well and straight forward. Although it was already a simple shoot the prep I had done helped me be ready for this shoot. The minimal kit made this shoot much easier when carrying it all to the location. When arriving at the location I went and set up the camera and the lighting ready for the interview. Jemma chose to have the the interview filmed on a sofa with pictures and old bottles behind Amy, this was the most colourful and appealing area, we would have chosen the bar but due to all the products around there we couldn't film there.

The interview went really well. Set up did take slightly longer due to the sound set up taking a while as the microphone had to be calibrated. Once this was complete I worked my way around the room filming all relevant GV's of the location as well as pictures of drag queens on the wall as this is relevant to our story.

When we all went out to film the GV's of Margate, we found a sign which said "Historic Margate" which worked really well and then when we got to the beach I got a mixture of locked off, pans and zoomed in shots of the harbour to show a variety of locations. I managed to film a Dreamland sign rather than in Dreamland due to the park being closed and us not having filming permission for that area.

Overall this was a very easy shoot in terms of footage and filming. The camera didn't require any lens changes as it doesn't have that option and by filming in 4K I've given this footage a sort of 'safety feature' as I can now cut in to this interview if I want to change the shot. However, I don't regret not filming the other interviews like this as I feel actually changing the shot during the interview gives me much more experience as a DOP and it's a skill I'll be able to use throughout my career.

PRODUCTION: AMY REDMOND PREP

Our next shoot is with the Sink the Pink co-founder Amy Redmond. Jemma and Victoria explained to me that Amy has a huge following and a huge influence in the Drag community as well as previously working in professional radio. Sink the Pink is a huge event which is very popular with the LGBT community so she is almost like our 'expert' in the documentary as she is our most experience Drag Queen.

Kit list:

Due to the camera being used by Mann Bros Productions, we weren't able to have the Canon C100 for this shoot. However, I was able to borrow the Panasonic DVX200 from University. With this I decided to film Amy's interview in 25fps 4K resolution as then I don't have to change the shots too much but since we'll be editing in 1080p I'll be able to crop into the interview during the edit. I decided on this after the Masterclass I went to with RTS Future when I spoke with Pete Beard, a self shooting Documentary Director. He explained to me that when choosing a camera he'll always try and shoot in 4K because it allows him to cut in and change the framing in the edit.

Amy's shoot is a really simple and straight forward one as it's only Amy's interview and then GV's of the Tom Thumb Theatre (where we're filming Amy's interview) and Margate. Because of this my kit choice is very minimal, only having the Panasonic and a tripod and then having 2 clip microphones (one as a spare) and also a shotgun microphone so I can film Amy's audio on 2 separate channels, one as a back-up and her main from the clip microphone.

The lighting I used for Tanya's interview worked really well so I've chosen to keep this up with this interview, I already know from our recce to the theatre that the bar area (this is where the interview will be held) that there are large windows that let in a lot of natural light so these lights will let me add in more to fill the room.

Shot list:

Like my kit list, my shot list is nice and simple and very minimal due to the shoot. After talking to Jemma I found that all I needed to film was the interview with Amy, which I'll be changing shot through the interview as I did with Tanya but not as much since we're filming in 4K with this interview. I'll also be filming GV's of the bar area at the theatre that we can cut between in Amy's sections of the documentary. We then talked about the GV's of Margate, Jemma wants GV's which will make you clearly see we're in Margate such as the beach, Dreamland, the Harbour and if possible a 'Margate' sign which I couldn't find online but we agreed while we walk back from the theatre we'd keep our eyes out for one.

PRODUCTION: CORNWALL SHOOTS (DAYS 2-4)

Over the course of our shoot in Cornwall we had a few issues but it all worked out in the end.

On the first day when we were traveling down to Cornwall we had planned to arrive at the location and then after sorting out the place we were staying at we were going to go around and film GV's. However, due to delays on the train we didn't arrive until late at night so we weren't able to do this.

Victoria worked the schedule out and it changed to the following:

Day 2 - Bodmin GV's
Day 3 - Tanya in Bodmin, Tanya interviews and Dad interviews
Day 4 - Live stream and travel back to Kent

Slight change to the original schedule:

Original:

Updated:

Although now we have slightly less time, I spoke with Victoria and told her I felt I could get all this filmed, I did explain I'd require an hour to set up the kit for interviews and live stream. When talking about filming the GV's around Bodmin we agreed to do these handheld/shoulder rig and this would mean less kit to carry around and also easier set up and de-rig during the GV's as it would be nice and quick and we'll be moving around a lot. Although we'll still be using the tripod for the interviews as we'll need to change the shots and I can't risk the footage being shaky or attempt to film a 15-30 minute interview handheld while also changing shot and recording the audio.

This also comes from my research into being a DOP from Rollo Hollins when I asked about planning out shoots, Rollo explained:

"A lot of work was done between myself and Rob, the producer, too. Aligning budgets and scope, schedules and shoot plans to figure out how it would be doable and where we had to compromise. Film making is compromise - best to relish the problem solving. With a ‘low budget’ project there is usually a lot of that." (Rollo Hollins)

Compromising is something we've had to do through this shoot already, with changing the schedule on Victoria and Jemma's side and me having to change the way I'll be filming the GV's in order to make it easier and help keep us on track with the schedule.

PRODUCTION: TANYA SHOOTS PREPARATION

Our next shoot for the documentary is down in Cornwall with Tanya. This will have us filming for around 2-3 days getting both Tanya's life and also the GV's of her home town. An aspect I've kept with my planning from pre-production is the 'reference images' on my shot list for suggestions on locations to film down in Bodmin which are are fairly close together. Speaking with Jemma we'll also have to recce and film as we go around the location as we don't know the area and haven't been previously.

Kit list:

I've listed a lot more kit to be taken for this shoot due interviews being filmed and for that lighting and audio equipment is required. As we're filming our first main interview and we will be filming other interviews while down in Cornwall I'm bringing our main camera the Canon C100. I'm only bringing 2 lights as I feel I won't require anymore since Tanya's room which we're filming in is quite small and also all the walls are white so I'll be able to bounce light off the walls if needed and for this I'm also bringing 2 reflectors which can be changed into diffusers if I need to soften the lights for the interviews.

I'm also bringing all three of my lenses (24mm-70mm Tamron 2.8F, 50mm Canon 1.4F, 50mm Macro Canon 2.8F) as I know I'll want a mixture of different shots during filming and we might want to do a lens change during the interviews. Better to be prepared. I'm also bringing my shoulder rig with a Follow focus to make operating slightly easier, this is more for all the actuality during Tanya's sections rather than the GV's or the interviews as we'll likely film on the tripod we're bringing down.

I've chosen to bring with us the Sony A7S as well as a back-up camera. This is in case I have issues with the main camera or just if we wanted to divide the footage up, so if Jemma wanted to film some cutaways while I was filming something like Tanya's live stream for example, I'm simply being prepared for any scenario as we'll be miles away from Production base so I'm thinking ahead for back-ups just to be safe.

PRODUCTION: THOMAS CHEATER - EDITOR RESEARCH

While researching into being an Editor, I found an independent Video Creator called Tom Cheater. Although Tom isn't working in broadcast documentaries, I found he was a self shooter who also edited his own videos or worked has worked for a client to create a video, so I felt Tom would be an ideal Editor to speak to as he was as close to an Editor as I would be as I'm also self shooting the documentary but also working to a client, or in my case working to my Director.

Tom Cheater Website

I emailed Tom asking him a few questions about editing and editing prep as well as I haven't found much online about editing paperwork. 

1) How do you decide how you are going to edit the video?

Tom explained:

"Well most of the time it's mostly decided in the conversations between the director/client and myself, I usually like to have a succinct written brief to refer back to, usually they have reference videos and films an so on to support their direction so you usually go into it with a direction. Being given footage with no context or help is very rare but usually if so you just follow your instincts based on what your seeing" (Tom Cheater)

Tom explains that as well as communication between himself and the client/director he likes to have a structured brief which he can refer to. For me this would likely be the script, but Jemma has explained that once we've finished filming the documentary she'll likely put together another script for me to work off for the edit as well as my own paper edit (if I end up making one, still need to research into this). However, Tom also explaining that if I don't have a structure means you need to follow your instincts as an Editor on what you're seeing, I can't think this coming about as we've already got a script we're working off, it'll just need updating.

2) How do you on what effects you would use?

"Again it's usually down to the requirements. I almost always do my own temporary colour grade in premiere to make the images more pleasing and close to their finished look to help me understand it more and be inspired by it. 

I have a little bag of tricks I use effects wise in terms of crops, flips and stablising but these are used sparingly" (Tom Cheater)

I asked Tom this more for when I will be editing the title sequence as currently we don't have a structured plan and I see this as a section that I might add in effects or do some very different editing. However, Tom's answer didn't really help me but this will be because I have no plan for the title sequence yet. 

3) Do you do any paper planning prior to editing (paper edit, mind map, egg.)

"I have done previously in terms of cutting interviews down using a paper edit made from a transcription. Depending on the accuracy of the transcriptions the paper edit can be super useful to compile a first edit pretty quick" (Tom Cheater)

As I've never really used a paper edit or transcribes for editing documentaries before I wanted to see if they are used or if they can be helpful. Tom explained that depending on the accuracy of the transcribes the paper edit can be an essential tool which helps get the first edit together quickly and effectivly which can help really speed along the edit process and get the assembly together much faster.
However, I'll need to do further research into how to make a paper edit and also how to use it as it's a document I'm unsure about.

4) Do you shoot and edit your projects? If so would you say that's easier than just getting the footage and editing or do you prefer shooting and editing the footage?

"I have done a lot of shooting and editing of footage I capture and it's very 50-50 in terms of being easier, it's definitely expedited in terms of knowing where what is and what I need to build the edit but it's very closed circuit in terms of input and you risk not being objective enough to strengthen the video by holding onto shots you worked hard to get and force into the video even if they don't serve the overall.
But it's very rewarding when you produce a front to back piece of material that people enjoy and respond to.
I very much enjoy the collaborative experience though and love not to work in isolation which, for instance, is why I'm working with another editor on my latest short film I directed and shot as I want another perspective and ideas" (Tom Cheater)

This was probably the most main bit of information I wanted to get from Tom, being a self shooter and editor for the same video I was curious as to whether he found it easier or more difficult as opposed to doing only one of the roles. However, Tom explains that by being both the cameraman and the editor it can help you to know where everything is, what you have and where it is. In short, I would know all the footage that we'd filmed and wouldn't have to get to terms with all the footage so this could help me really shorten my editing time. Something he does mention though is the risk of not wanting to let go of footage. I can see this as an issue as if there is footage from Cornwall or Blackburn that doesn't benefit the edit I may find it difficult to let that go as we'd traveled all that way to gain it.

I feel from this I simply need to get into an Editor mode and leave the DOP role behind once we're going forward into the editing process. Footage is just footage and it's the story that's being told. I need to work with my Director and Producer to ensure the footage and audio I cut is right for that story.

PRODUCTION: BLACKBURN SHOOT (DAY 1)

Apon arriving at the Electric Church Club we found that rehearsals for the event had taken place earlier in the day and that all the performers had started getting ready in the dressing room. However we still had plenty of time prior to the club opening and the event starting so Jemma and Victoria went to speak with Tanya and the other Queens while Simon and I set up the cameras and spoke to the manager about where we can set up our tripods. The bar in the club was to the side and worked nicely as an area where we could place the tripods so that they were in a good place to get the coverage of the performances but we didn't get in the way of the public or block any fire exits either.

While I was setting up the cameras and testing the lighting with the lighting operator, I asked Simon to assist Jemma in filming the cutaways around the club. I checked with the man in charge of operating the lighting to test the lighting on the camera as there was set to be strobing during the performance and I wanted to make sure it wouldn't effect the footage or make it unusable. Once doing this I white balanced the first Panasonic and set the audio so that the music could be recorded but not peak the microphones and set up the camera with focus assist and turned on the zebra to make the filming easier.

My own mistake was not setting up Simon's camera (he'd taken the Panasonic I hadn't set up) wasn't set to the same settings. This falls on my fault as the DOP as I didn't tell him the camera wasn't set before sending him to Jemma to help film. Although this wasn't an issue, the only difference between the settings was that his Panasonic was shooting in VLog, but once I got it I matched the settings and let him carry on.

Once the camera's were set I walked Simon through the set up of the Panasonics and explained what I would be going back and forth between back stage and the cameras to film interviews and actuality.

When it came to going to film the Queens, we found that they were all getting ready at the same time, so my plan for the filming which I'd done through the shot list now had to be improvised a little. But I started filming as they were getting ready and Jemma worked her way through the questions she had, we also interviewed the organiser Lucie and a very popular Drag Queen from London called Charity Case who was also the headline act for the event. The changing room which everyone was getting ready is was very compact which actually made filming everyone a lot easier as it wasn't as difficult to change to the next person who was talking or focus up if I had to move.

The entire time we were up here filming was with a shoulder rig which worked really well. Going back on what Sam Creamer and Lee Thomas told me during my research with choosing your kit well, I definitely made the right choice with having the Sony A7S as the camera for filming the interviews and the actuality as it's so light weight but excellent in low light which we had in this small room and with the shoulder rig I had much more control over the camera. As you can see from the second photo above I also managed to add on a small little light which I got the idea from while working on a shoot with Lee Thomas, he always has a small light in case of emergencies. This allowed me to add in an extra bit of light to help bring out the eye lines and facial details for the interviews.

Once I'd filmed the actuality and vox pops with Jemma I went back and double checked the camera's in preparation for the event. When it came to actually filming the event, I found it both stressful due to the amount of people that was around as it was a live event and they were drinking but as well this taught be how to work in live events. The choice of filming I did, with the 2 Panasonics and the Sony A7S on a shoulder rig worked really well and helped me get the coverage I needed to get for Jemma.

Jemma and I kept up excellent communication through this shoot and the footage we got worked really well. Once the performance with Tanya got towards the end me and Jemma quickly moved over and got the interview with her that we needed. Having Simon on our second camera really benefitted the shoot as it meant I could focus on set up and planning while he got bits of footage which I wasn't required for (location gv's).
This shoot has helped me see that this set up for filming live events works really well and could work for the Drag Queen pageant as well.

(All photos taken by Victoria Simmonds)

PRODUCTION: SHOOT PREPERATION - BLACKBURN LIVE EVENT

With the Blackburn event coming up and me and Jemma having had our meeting about how we're going to film the event, I wrote up both the kit list and the shot list in preparation to the event.

Kit list:

I chose to take my 24mm-70mm Tamron lens for the Sony A7S as it's a standard filming lens with a high aperture and also has a decent zoom on it. I'm also taking the 50mm prime lens just in case but I don't feel I'll require it. 2 Panasonics as planned with the camera plan for the Tom Thumb Theatre, annoyingly we haven't been able to find any photos from inside the venue online or a floor plan as it's a very small club but we'll be going to the venue before it opens for the event so we can recce and find out where we can place the cameras. I've also got some audio kit in case we're able to set up a interview with Tanya after the event but in case we don't I've got my Rode VidMic Pro that I can attached to my Sony A7S for the vox pops interviews.

Shot list

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The plan for the Panasonics is straight forward and simple and they won't need to be moved once we know where we can place the cameras in the club. The plan is to film the rehearsals of the performances, both for coverage and also as practice ready to film the actual performance. The Sony A7S will be set on a shoulder rig and I've noted for all footage from the Sony to be as Directed so Jemma and I will be working closely together with these sections as they'd also be involving interviews.

The Panasonic's will all be filming the same shots but different performances, for safety I've got Simons camera (Panasonic 1) on a wide shot, locked off and then my camera (Panasonic 2) on a mid shot which follows the performers. Since Panasonic 1 is locked off and on a wide I'll be able to leave my camera with Simon towards the end of Tanya's performance and can take the Sony A7S with Jemma ready to film Tanya coming off stage and get the interviews. All this is going to require a huge amount of time management and communication on my half and also between myself and Jemma to make sure we get through this shoot professionally and stress free.