Sophie Emmerson TV Production Blog

Editing- The art of joining separate shots together to create longer sequences to make up the complete story.  What we did: On the 20th January we looked at directing the edit and how to make the complete story. We were taught that the most important thing is to keep editing as an invisible art as the viewer should not notice the edit. Something that I had not previously considered was the power and impact that editing can have; it can create: -Emotion -Drama -Rhythm -Action. We also studied the power of Cinematic Language and how jumping forward to a close up from a medium shot is not real life yet to the viewer it feels normal. I had never thought about this before yet found it interesting as it adds another power to the edit. We then were given some footage directed by Simon Welsford of a man approaching a lady to give her some folders and then leave. It was a really good task as we were all given exactly the same footage yet we all ended up with comple...

When researching for my project the first element that I considered was colour, this was because it effects props, costume, lighting and set. After creating my Directors Statement and having my colour chart I had a rough idea for what colours I wanted to include and after developing my ideas and script I also knew what themes I wanted to include; love, Christmas, family, fear, warmth and isolation. I researched these themes and found the images that I though best represented them and then placed them together in my mood board. Something that I was worried about was drowning out the film with Christmas, it can be a big distraction therefore I did not want to go too over the top so I decided that I would not have too many Christmas props around the set; I needed a tree set up for a scene but I did not want to add too many other props and decided that I would carry through the Christmas theme through use of music. Something that was very important to me was following Curtis' idea...

What We Did: During our second lighting workshop we looked at the different types of lighting and when we could use them: -Naturalism- in a gritty drama. -Pictorialism- this is similar to a painting style. -High key and Low key. -Subtractive- when light is taken away: for example using a canopy on a bright day. -Additive- Adding light -A direct source- when wanting to create hard lighting. -Indirect source- when wanting to create soft lighting. -Chiascurro- emphasises sharp light and shadows- Film Noir. During the workshop we created different lighting set ups in a team with a director telling us where they would like the lighting and what effects they want it to give off.  As the gaffer I was in charge of making sure the lighting was just as the director wanted it. The first thing that I did was collect any lighting that I thought we would need, as well as gels, diffusers and reflectors. Then I waited for the director to block the actors through what they would be do...

LOVE ACTUALLY - THE STORY OF KAREN AND HARRY STRAP LINE: All you need is love, or so they say. LOG LINE: The perfect traditional family is falling apart but can a broken mothers strength be the glue to hold it together at Christmas? SYNOPSIS: Nothing is more incredible but painful than the power of love, whether it is between a husband and wife, parent and child, it is rarely overcome. This is proved when Karen, a stay at home middle-aged mother is comfortably married to workaholic Harry, the managing director of a design agency. They have two children who are Karens pride and joy and she does everything she can to ensure they have happy childhoods with structure. Everything to do with the home is always done Karens way and Harry rarely helps. Karen is looking forward to their normal happy christmas but Harry puts a spanner in the works when it is revealed he is having an affair with his secretary. Karens first priority is her children therefore instead of getting angr...

Ben Taylor is predominantly a director but has also been a producer a couple of times. He is best known for directing the Bafta winning "Catastrophe" (2015) and majority of the episodes from series one of "Sex Education" (2019). The thing aspect of Taylor's work that interested me most was the originality to it. The visual style alone such as colour palettes and location make his shows stand out. For example with "Sex Education" it follows a year group of British Sixth students and how awkward teenager 'Otis' helps his classmates to overcome their sexual fears/ problems due to his mother being a sex therapist. Even though it is set in modern day in England there are many aspects that do not represent this. For example he uses extremely bright and contrasting colours throughout the episodes that almost add a 1970's/80's tone to it. There are also elements such as the size of houses and set up of the school that make it feel American. Tay...

Paul Whittington Paul Whittington is a director and writer. He focuses on many social realisms dramas and enjoys to "get lost in the story". He is most famous for directing 'Little Boy Blue' (2017), and 'The Moorside' (2017). Paul Whittington has a very original directing style that is almost documentary like. He uses handheld shots for almost every scene to make it seem as if we are part of the story and 'involved' in what's happening, he also uses it to emphasise panic, in more hectic scenes the shot will appear shakier. This may be because "The Moorside" and "Little Boy Blue" are both based on true stories so it's important that they feel real and handheld shots do help this therefore I like this directorial choice. The trailer to "The Moorside" portrays how much Whittington decides to use handheld: "The Moorside" (2017) trailer Another part of Whittingtons style that I like and will influenc...

What We Did: On 8th January we had our first lighting workshop with Ferg. The first ideas we discussed is why we need light and this is for three main reasons: -Exposure -Focus -Mood Ferg told us that before setting up any lighting we MUST consider what the end goal it. This is key as there is no important moving lights to different places and setting them all up and then deciding what the goal is and having to move them around when there are actors and lots of people on a set. The first light that we looked at was the Tungsten: -It renders the colour of images well which is useful for always knowing what the end result will always look like. -It is a yellow light (around 3200 Kelvins) and has a spot and a flood option. -It gets very very hot! -The further away it is from an object the more precise the shadows are but the closer the object is to the light, the shadows 'bloom' and feather at the edges. -You can shape the light with barn doors. We then learn...