Workshop films/output

The first workshop that we had was learning how to use the Panasonic AG DVX200. This is a 4K camera that has Pro Controls as well as full Hybrid Stabilisation. Using 4K means that the camera captures four times as many pixels as HD. Getting to use this camera was extremely exciting as it is the most advanced one that I have used, as well as there being  "so many advantages to filming in 4K to give a higher quality product to everyone"(Buchanan, 2017). This suggests that our News Production will be filmed in the highest quality possible to us and we will also have more options, for example instead of shooting a wide and a close up in an interview, we will be able to shoot a wide and then cut in to a close up from the 4K shot instead of having to film closer. This will save us some time which is important with having a tight deadline, especially with news. 

Fig. 1 The Panasonic Camera (2020). 

When first using the Panasonic as a group, one of the issues that we faced was trying to find where certain buttons are for settings such as White Balance, Formatting, and Expanded Focus. This was quite time consuming as we all had to look over the camera to try and find them, which also involved wiping down the camera in between. This was not efficient as Television News "requires a quick turnaround" (Mitchell, 2009:120). Despite this, when I was reading through the information about the camera on My UCA I found a video explaining the settings on the camera and where they all are. This was brilliant to find as it answered some of my questions, however it was slightly annoying because I felt that I should have been more prepared and looked through the information before the workshop to make it more simple for our group. In future I would definitely look through the slides before having a workshop just in case I find any information that would be useful to know as when working in Television News "you have to be flexible and prepared" (Boyd, 2008:249).

Another issue that I personally had when looking over the camera was having to reset the settings on the camera individually. As the camera had been previously used before we were workshopping with it and then also our group had been experimenting with it, there were settings already adjusted on it. Nevertheless when I was looking at it I wanted to practice with the settings as this is something that I normally find rather challenging, especially in our 'Script to Screen' unit in the past. I flicked through the settings and ended up finding an 'all system reset option'. This allowed me to get rid of others settings that they had previously used when filming so that the camera was back at its original format and not limited by any settings. Finding this setting was very helpful, because it meant that if we use the camera during our shoots and realise that it has others preferences settings set up on them we can simply reset them all at once rather than doing it individually. This is great as it means that we can maintain our "specific house style"(Harrison, 2009:66) whilst filming for our News brand. Even if I do not use this setting for this project, I am very happy that I have found it as it will be so happy for future work. 

We then started workshopping with the Green Screen. The first fact that I discovered was about the tripod, it was rather heavy and this is because it is weighted to hold the TelePrompter. This was very important for me to know, because as the Producer I am completing the Risk Assessments therefore that is something that I will have to discuss in them to allow me to successfully fulfil my role. We then focussed on the lighting; this involved using the LED panels to light the screen and the presenter. To begin with the presenter was over-lit and the green screen was under- lit. Therefore the background may not have been simple to key out, consequently we moved the lighting slightly more outwards towards the green screen as Ferg had stressed to us that it was important to light the presenter and green screen equally. Lighting both the same was harder than I initially thought it would be, despite this I enjoy problem solving and it was not hard to find a solution. Now that I have learnt this, in future I will remember to focus on lighting the green screen so that it matches the presenter. 

Fig. 2 The green screen edit (2020). 

Once we had sorted out the lighting we were able to set up the TelePrompTer. I fitted the velcro hood over the glass and the lens whilst Jacob set up the Ipad and George framed the shot. We worked very well as a team and  made our workshop times efficient which is especially important in Television News. Once the shot was set up, the hood kept slipping down and was covering the lens. This was rather annoying as I had to keep lifting it up and then George would have to re focus the shot. To overcome this I took the hood completely off the TelePrompTer and then tried reajucsting it, however this did not work. I then pulled the material tighter and realised that I had not stuck it down tight enough. I was then able to lift it slightly and stop it from covering the lens. This was a challenge but I managed to successfully overcome it. This also means that when we use it for the actual shoot it can be done correctly as it is better to make mistakes during the workshop as as we have allowed time for it. However during the real shoot in Production week, as it is Television News there are "fast turnarounds of high grade audio-visual quality" (Boyd, 2008:249) therefore there is no time to be making mistakes.  

Fig. 2 The Teleprompter (2020). 

The next workshop that we had was creating the visuals via After Effects, this involved the Graphics as well as the Logo. As our groups Graphic Designer I found this workshop particularly interesting, as with News "Television graphics they have the advantage to bring home a point"(Ward, 2009:136) and this was exciting because it was another way to visually portray information to an audience. Firstly we used shapes, as well as texts to create still Graphics. Something that I really enjoyed was having so many fonts to work with, and then playing around with their size, colour, and fill. A challenge that occurred was positioning the text in the right place. To help me with this, I used the ruler and grid option to make sure that everything was positioned correctly and that letters were all equal sizes. Using the grid to help me ensure that it was in the correct space meant that the font positioning was more pleasing to the eye. When creating still graphics in the future I will make sure that I apply the grid to the composition before I even begin the design. Once I had designed the font I then started adding shapes. I added a rectangle behind the text, and positioned it using the grid. Then I faced my next challenge, I wanted to fill the graphic with blue and yellow I had already designed to use these colours for our brand. I did not have any idea how to fade one colour into another, so I spoke to Ferg and he taught me how to do a gradient fill. This was extremely useful as it allowed me to blend two colours together. I then played around with the transparency to create the desired colouring and gradient. I was amazed by the amount of gradient options available and it really opened up my eyes to the advanced designs that I was going to be able to create for our News Channel. After finishing the fill I altered the font colour so that they contrasted their backgrounds. For this, I did some research into colour which is where I found the colour wheel and its uses. Using contrasting colours really made the font stand out and made myself as our graphic designer feel happy with the outcome. Finally, I wanted to experiment with making the font 3D. I had a look at some effects however they just did not look right when applying them to the font, Ferg then explained about creating another layer and colouring it black and then placing it underneath the original font and slightly to the right. This simple technique completely transformed the font and really did make it 3D. I was very glad that I had been shown this asI will now know how to create something similar for us as well as in the future. 

Fig. 3 The grid with font (2020). 

Fig. 4 The grid options (2020). 

Fig. 5 The Logo that I created (2020). 

We then used After Effects to create moving graphics. This was something I found slightly more challenging. In our group we had already decided that I would design all graphics and then create the still ones, Jacob as Editor would then follow a brief for the moving graphics and bring them to life. Graphics are a crucial part of Television News as "news items often need Graphics to illustrate ideas." (Boyd, 2008:109) Because of this, I wanted to ensure that I had a really good understanding to be able to create an extremely detailed design, as well as to be able to support him. We added shapes to the composition and then used effects to rotate them or give them a 3D look. After this I used Key Frames to move each shape in order to create a rough sequence. Using the key frames with the shapes was definitely the part that I found most difficult during this workshop. I began to get worried that I would not understand it so I opened a video explaining it again that Ferg had recommended to us and began to follow it. I also realised that patience was very important and that it is okay if I don't understand it straight away as that is just a part of learning, this made me feel that when working in Television you need to "have an open mind, and above all patience."(Snow, 2005:264) Nevertheless with practice, research, Ferg's help, and watching videos, I was able to create a strong moving sequence that I felt proud of and would be able to create again in the future. 

Fig. 6 The Moving Sequence that I created (2020). 

Fig. 7 The Timeline for the Sequence (2020). 

 

In the past I have really struggled to use After Effects, so managing to understand it and even create my own graphics on it during the workshop felt like a great success to me. Not only as our graphic designer, but also I felt very pleased with myself in general as being able to use After Effects was a huge milestone that I have now managed to overcome. 

List of Illustrations:

Fig. 1 Emmerson, S. (2020) The Panasonic Camera. [Photograph] In possession of: the author: Kent. 

Fig. 2 Emmerson, S. (2020) The TelePrompTer. [Photograph] In possession of: the author: Kent. 

Fig. 3 Emmerson, S. (2020) The grid with font. [Photograph] In possession of: the author: Kent. 

Fig. 4 Emmerson, S. (2020) The grid options. [Photograph] In possession of: the author: Kent. 

Fig. 5 Emmerson, S. (2020) The Logo that I created. [Photograph] In possession of: the author: Kent. 

Fig. 6 Emmerson, S. (2020) The Moving Sequence that I created. [Photograph] In possession of: the author: Kent. 

Fig. 7 Emmerson, S. (2020) The Timeline for the Sequence. [Photograph] In possession of: the author: Kent. 

Bibliography:

Buchanan, E. (2017) What does the Future hold for UHD?. At: https://www.bbc.co.uk/blogs/academy/entries/d84e8062-340d-421d-b9c6-489f906a6840 (Accessed on 23/11/2020)

Mitchell, L. (2009) Broadcast Journalism: A Critical Introduction. [online] At: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=362312 (Accessed on 23/11/2020)

Boyd, A (2008) Broadcast Journalism: Techniques of Radio and Television News. [online] At: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=1074583 (Accessed on 24/11/2020)

Harrison, J. (2009) Broadcast Journalism: A Critical Introduction. [online] At: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=362312 (Accessed on 23/11/2020)

Snow, J. (2005) Shooting History: A personal Journey, London: Harper Perennial

Ward, M. (2009) Broadcast Journalism: A Critical Introduction. [online] At: https://ebookcentral.proquest.com/lib/ucreative-ebooks/reader.action?docID=362312 (Accessed on 23/11/2020)