A2 pt2 STUDIO REVIEW

1 From your studio, reflect on an aspect of two other students/group’s media work on the website in terms of specific insights they produced about a key idea addressed by the studio? 

The aim of People + Places was to construct a story out of a character/location and to capture them in a documentary format, ethically and entertainingly.

One of my personal favourite films in the class was ‘Intoxicated’ by Charlie Stamatogiannis and Jaden Arendtsz. From everything we learnt in class, they executed impressively. Not only is their character and location great, but their editing, multi-media usage and sound all add to create a fantastic documentary. I think at the core of it all their subject, Sylvie Leber, has a really interesting life and story to tell. Even when I watched the work in progress without the editing, I was fascinated by the storytelling and structure of the documentary, and I was sad it was only 5 minutes. They did a great job of getting the core arrangement of the footage right and the editing only added another level of entertainment. We are really sucked into Sylvie Leber’s world with the cartoonish-images and sounds. You can also tell Sylvie is really comfortable and looks happy to talk about her life in the rock world as a female which highlights the studio’s idea of ethical work. Overall, I think the film greatly represents what we were asked for in class, a high-quality and entertaining film that takes us into the world of the subject.

Another film I really loved was ‘Bourgeois +61’ by Sabrina Hua and Ellis Lee. I think the work was really visually stunning. The camerawork pracs we did in class obviously did wonders for them. Every shot was in focus and well thought out. The lighting and mise-en-scene of shots really elevate the film to another level. Again, the interviewee looks very comfortable talking about her life learning to sew and her fashion brand, which shows that Sabrina and Ellis worked ethically.

Overall, I think everyone did a great job in creating a non-fiction film & I’m really happy I completed the studio!

 

2 Choose one other studio from this list (we suggest selecting a studio that you would not normally be interested in). Then describe a key idea that you think the finished media/studio work communicated with reference to two specific examples (i.e. particular individual/group works) 

The studio I chose to look at was Poetic Video. I am not a great filmmaker, so these kinds of subjects are not something I’m usually drawn to. The key idea I believe from the two examples I watched, (“where it went wrong” by Abi Upson & Briana Richards and “spinning stories” by Claudia Floros, Rose Kavanagh, and Bonnie Carmichael) is to mostly explore the idea of narrative in film making. From what I watched, the short films seemed to challenge the idea that films must be cohesive and have a ‘start-middle-end’ structure. Though these films did make sense, the timelines of shots, stories and interviews were not in sequential order. I believe that this style of film, poetic video, adds an extra artistic and stylistic element to the work, as well as making the films really interesting to watch; very unpredictable.

In ‘where it went from’ by Abi Upson & Briana Richards the film follows a problematic couple from the first-person view of the girl in the relationship. The shots jump from different timelines in the relationship, from a drunken argument, to when they first met, to a date etc. I think this works incredibly well in the work, although we know the end result of the relationship (that it doesn’t work out), it is a rollercoaster of emotions watching the relationship through its extreme highs and extreme lows. I think also experimenting with first-person film creation was a great move, it put us as the audience into this turbulent relationship and experienced it ourselves.

The second piece I watched, “spinning stories” by Claudia Floros, Rose Kavanagh, and Bonnie Carmichael was really different for the first one in the sense that it took a documentary style format into it rather than fiction. This film though, as well had a jumping timeline and multi-media integrated into it which made looking at the life of a chaotic DJ a whole lot more realistic. I think both pieces were really excellent and tested this idea of poetic video making, I loved watching them and I think they had great final projects, they should be really proud of their work.

A4 SUBMISSION

52-year-old Rebecca Wilkins never comes home deprived of treasures from her travels. She has found a way to justify her adventurous aptitude, venturing far and wide around the world to scout products to sell in her quaint shop in Braidwood, NSW. Beck recalls the time a chunk of turquoise is given to her in India and she must find her way through a Mosque to find a man in exchange for furniture for her shop. The piece, The Travelling Shop, will be a 5-minute documentary made by Joe Lawless and Saskia Christensen.

 

REFLECTION POSTS:

A4: REFLECTING ON DOCUMENTARY ETHICS

A4: REFLECTING ON COLLABORATION

A4: REPRESENTING THE REAL WORLD

A4: CONSIDERING THE FINAL ARTEFACT

 

The Travelling Shop

A film by Joe Lawless & Saskia Christensen

Archive footage and photographs 

Rebecca Wilkin’s personal collection 

‘Photo L2006092810206’, Public Resource, Archive.org

‘Photo L2006102410629’, Public Resource, Archive.org

Music

‘Go Easy’

Produced by eeryskies

https://eeryskies.beatstars.com

‘Ambience – Mosque with People and Call to Prayer’

Composed by Aashish 

https://drive.google.com/file

With thanks to 
Josh Nelson

Studio Instructor

Rohan Spong

Created as part of 

PEOPLE + PLACES

School of Media and Communication

RMIT University

2023

A4: REFLECTING ON DOCUMENTARY ETHICS

1 x blog post reflecting on documentary ethics 

Our ethics charter for our film production:

  1. Turn the camera off at the request of the participant (Rachel Boynton, DOC NYC, 2016).
  2. Show the participant the finished film before the public (Rachel Boynton, DOC NYC, 2016).
  3. Love the people that you film. (Rachel Boynton, DOC NYC, 2016).
  4. Don’t edit the footage in a way that modifies the story/viewpoint in order to make the Documentary

look better.

  1. If asked a question, answer with complete honesty, even if it affects your documentary.
  2. Do not release any personal information about participants without asking.
  3. If we plan on changing the final product after the participants have been shown, we must show

them again and only use the work if given permission.

  1. All release forms must be signed prior to the filming process.
  2. Work around the participants schedule with regards to filming.
  3. Show the participant a plan/outline in advance of how the filming process is going to work, with a

focus on how they will be involved.

 

For our work, I would definitely emphasise the importance of number 10. When we arrived at Braidwood to film with Beck, she was excited but very confused as to what she actually had to do. We did not inform her enough as to what was expected from her, and although she was great, it would have helped on her behalf to know exactly what was needed to be done. Because of this, our interview was quite messy and required a lot of editing to get a storyline because she was unaware that there needed to be a structure to our documentary which was our fault. This also would have helped with collective archives, she had not looked photos because we did not inform her enough as to what we were looking for.

If I were to add anything, I’d add to number 3, ‘Love the people that you film’, (Rachel Boynton, DOC NYC, 2016). I think it’s also important to get to know the people you film. I had never met Beck before filming this documentary, being Joe’s family friend, she was obviously very comfortable with him. Luckily, the day before we filmed, we spent the night at her house with dinner and some wine. I got to know Joe and Beck’s relationship as well as getting to know her myself. It not only made her more admirable to me, but it made her comfortable talking to me. Because she was a bit unsure as to what was expected of her, it meant the next day (to film the interview), I was able to explain the interview process comfortably to her and give her advice from behind the camera. I think it shows in our film, her bubbly and kind personality exudes through the interview because she was comfortable and I think had I not gotten to know her before, it would have seemed more forced and less organic.

I think the ethics charter was a great guide for us to look back on and reflect on and helped shape a lot of the way we conducted our film production.

 

REFERENCES:

DOC NYC PRO: Casting Case Studies 2016, streaming video, DOC NYC, New York, viewed 1st April 2023, <https://www.youtube.com/watch?v=Bndwq27kkjc>.

A4: REFLECTING ON COLLABORATION

1 x blog post reflecting on collaboration Were you a good collaborator? Reflect on what you did well and where you may improve for future productions

 

I think a lot of the project relied on teamwork, especially feedback from peers and in my case, Joe. I think it was extremely important to work together as a group to allow both of our strengths to flourish in our documentary project. I believe I was a good collaborator and contributed a lot of my time and work actively to create our final piece. I believe I was particularly good at the editing component of the work; I would send videos and ideas to Joe during the editing process, asking for feedback and what we could perhaps change. I definitely am not at all a master at Premier, but I think I worked diligently regardless of the skills I have. I think I also did well in taking Rohan’s advice into consideration and going to my best effort to change and make adjustments to things he thought needed to do so. I think that listening actively when I was in class and making notes of changes helped to enhance our work as a group.

I think that I could improve my camera skills for future productions because this was my first time using a professional camera, I was clueless before this class on how to use one at all. Because of this, I did find it quite difficult to get the camerawork right when we were filming, I do think some of our shots are not as crisp or nice as they could be if I improved on my camerawork. As well as this, I think my time management could be better for future productions, as pointed out in our original consult with Rohan, we were ‘behind the 8-ball’. We were quite slow to get started with things and overall could have managed our time better to ensure we had as much time as possible to refine our final project and get it to be our best work. We could have done this with better communication and more dedicated time management to make sure we were both on top of the things we needed to be for that week. I also think that it may have helped more to assign specific roles between Joe and I, I think because of our inexperience in creating film projects, we were kind of unsure of what we both could manage to take on. I believe from the start; we should have found a better way to maximise our individual skills to work in a group because things became a little muddled at times.

Overall, I learnt a lot about collaborative film work, and I will use what I have learnt from this class for future productions throughout university.

A4: REPRESENTING THE REAL WORLD

1 x blog post reflecting on representing the real world as part of a nonfiction media practice (500 words). We’ve talked a little about the way that recorded images and sound can convey a sense of authenticity and/or persuade us to think about the real world. Is there a shot, edit or scene within your finished work that you find to be effective at doing either?
 

I think that there are a few moments of authenticity throughout our film, and we made sure to keep these moments alive when editing our film. Like keeping in laughs, jokes or staying focused on her face when she begins to talk about more serious topics.

In particular, I can think of the moment in our finished work where she talks about the disrespect and un-comfortability she felt as she walked through the Mosque in India without a headscarf and appropriate clothes for the religious environment. I think that there is a real raw moment there where we see the authenticity of Beck as a human, describing the discomfort she felt. This connects the audience to her as not only an authentic person, but one that is considerate and respectful. This moment reflects Bill Nichol’s observational mode documentary by discovering the truth of the subject, Beck (B. Nichols, 1991). We observe Beck as she describes her emotions at that point of time in the story, and how her actions truly affected her.

Additionally, I think there is a slight crossover with Bill Nichol’s participatory mode in moments of our film where we can see Beck laughing at what Joe and I are saying or doing something for the camera for us, (eg. The shot of her showing her apron to us in the store). This mode is the interaction of the filmmakers and their subject, (B. Nichols, 1991), and you can see us interacting with Beck throughout our final film. This adds a layer of authenticity because her bubbly personality shines through, but it also displays that Beck enjoyed her time with us, making moments like these more natural and unscripted.

I think that it is really important to have these unplanned moments as it reminds the audience as to the realness of the character, humanising them in a sense. We did not struggle with this at all luckily, because Beck is such a likeable person.

As well as this, in a way, the building and hammering you can hear in the audio throughout the film adds a layer of authenticity of the ‘real world’ around her. Because it is set in a country town, it hints to viewers as to the development of these types of remote places and enhances the realism of being there with the character.

 

REFERENCES

Nichols, B. (1991). Representing reality : issues and concepts in documentary. Indiana University Press.

A4: CONSIDERING THE FINAL ARTEFACT

1 x blog post considering the final artefact Imagine you are going to keep working on that media piece (e.g. to screen it somewhere else like a festival, or develop it into a different kind of work, and so on) – what would be the core things you would want to improve and extend and why?

If I were to further develop our documentary into something bigger, there would be a lot I would improve and aim to extend on. If I had more a lot more time to work on this project and really make it something I was proud of, I’d honestly start with reshooting it. I think that our camerawork is not bad, but once I began to edit it, I found slight flaws like camera shakiness or out-of-focus-ness in some of our shots and they either became unusable or had to be edited to hide the flaws. I would also definitely get some more compelling B-Roll that I would be able to use, some more thought-out shots from inside the shop and maybe more from her little country home in Braidwood. I would then go to a great effort to get some more quality shots, making sure everything was up to par. With this, I would also probably redo the interview, sadly because of the hammering sound throughout our interview, it disturbs the story a bit. If I could recreate it without this sound, I think it would add another layer of professionalism to the work.

Another layer that I would add to my work would be going through Beck’s archives with her, we had a lot of issues getting these from her (most of her photos would not share). This way, we could cherry-pick and really collect the photos and videos that we thought perfectly matched the story and would create really strong sequences of overlays over the interview. I think the archives we got were good, but there was not enough and did not exactly match the story we were telling but nonetheless, we had to make do.

I would also improve on the pace of our film because Beck had a lot to talk about, it was often hard to fit it all into a 5-minute piece and make it into a storyline. I found myself cutting up the interview a lot, pulling sentences and phrases from everywhere. I think if we were able to slow down the film, maybe cut out some things, more pauses – it would be an even better final artifact.

Overall, I am generally happy with the final product, film production has never been my thing so I’m glad I gave it a try. With Rohan’s guidance and feedback, I have learnt a lot in the course and will take a lot out of what I have been taught this semester into future projects.

A3- A WORK IN PROGRESS

Things that must be worked on before completion

  • Organising and putting on our B-Roll over the story Bec tells (making sure to keep gaps of interview in emotional moments eg. talking about her feeling scared or disrespectful)
  • Cut out unnecessary phrases and words that drag on the interview for no reason
  • More B-roll
  • Different music during the story-telling
  • Fixing banging noise in the background, or finding a way to mask it as the atmosphere