(MP3002) Individual Project Log

I final have a rough cut of my film. It has evolved again to be the story of Brian and Nick, the druid and the witch. I'm happy with the shape and direction the film has taken.

(MP3002) Individual Project Log

I'm in London to work on my documentary, According to Brian and it's day two of what I have decided to name the edit-a-thon! We spend all day sunday watching the assembly and discussing themes and where they fit. I want to keep this film simple. A portrait of Brian's life and some of the people in it. There will be themes woven into the film like spirituality, death, nature, relationships and Ghosts. Having done that we began to trim the assembly into a rough cut. The film now seems to almost be at the point of editing itself. Lines of dialogue suggesting cuts and scenes ordering themselves! Even though things are going really well I don't think the film will be of a festival standard by hand in day but at least i'll have a rough cut to submit and something to send the organizers of Sheffest. Hopefully the film will be complete by november, which is when the festival takes place.

(MP3001) Group Project - Meeting minutes

Production Meeting on 6th May 2009 Artswork Media -

Present - Kat, Adam, Freddie,Mike, Kirsty, Nic, Dani

Minutes - Dani - let me know if you need anything changed.

Nic - We are meeting to discuss event to showcase peoples work.
Freddie - the - best locations seems to be the Chapel venue - near the Lamb and Lion. - www.chapelarts.org - Audience would be invited group of people to view display of the works
Nic - Would people like to have a screening or spaces with films to watch in different spaces? I can have a conversation with you each introducing the films.
Kat - Some of the films are boring because the are commissioned works for specific purposes
Kirsty - we could have them in the background and have name badges
Dani - maybe the context form the conversations will help to reflect the diversity of work being made at AWM/
Freddie - the talking will break it up.
Mike - We could start the presentation with a promotional trailer
Kat - shots of the space working people intercut with showreel items.
Nic - You are all busy
Kat When will it be?
Freddie - Early June
Nic - There is a mini festival at the Chapel. A variety of events in one space - 16 May - mini festival - bands, multimedia, samba, new audio, manga factory, a greaty big melting put of funky jazz.
Nic - Does the venue have projection facilities?
Nic - What would be the value of doing something like this?
Mike - I would like industry professionals to see my work
Nic - target creative bath list and sws list as people in the area
Freddie - will ask contacts, should get exposure though uni.
Nic - Can we use goldbrick house? - Bath vs Bristol - we are bath based, but media professionals are mainly in Bristol
Nic - Watershed
Kirsty - Cube cinema 150 - 1000 pounds
Freddie - Is everyone leaning more to wards using a cinema.
Dani - what about a Bathspa band
Kat - Band from Bathspa - Kill it Kid, Boycon
Nic - I am not happy with the way the films are being screening
Mike - Explains the NFTS screening with program time table, and gave out diplomas. People came on stage.
Freddie - As long as it sticks with timetable
Mike - Food, then Screenings, then band then music
Nic - there is another way of doing this - We could screening things at AWM.We could use a second space next door, do BBQ outside on the decking. Can do music in space next door.
Mike who is cooking?
Nic the space next door is empty
Kat - two floor spaces open
Nic - How about three screenings during day and and evening in AWM?
Space opposite AWM too small.
Mike - What films do we have to show?

List of works to show -

Elana - 3 x 1.5 minutes
Ariel two shorts
Jona - ???
Kat 5 Mini micro bio shorts - 10m min
Noise - 10 minutes in all
Lloyd - minutes
Mike - 25 minutes
Fiends - 10 minutes
Kirsty 2 minute trailer for 'Squatters'
10 minutes event talk.


Freddie bottom line is a chance to showcase the work
Nic Chappel designed for bands. I am interested in it a s a marketing.
Freddie - can we show other work .
Kat I think its us
Freddie - why are we unique.
Nic People making a commitment to come and see us.
Fred 50 percent faculty.
Nic -there is no point of the doing it at 11am at the watershed.
Dani - how about tagging it on to the side of cinemfomation
Mike Media Tuesdays
Dani - thats a social event
Nic - spaces to see different things. Get baffles between eahc display.
Kat it would give it a more relaxed thing. Less scary.
Freddie - People can come and go at different times
The draw back would be people would not see your film
Nic - we would have a brosure, program, with the students in and info about the film.
There are people here who can come and see stuff
Freddie - we would have
Dani we would need headphones, where are there any.
Mike - at western - we had a station for each person, prizes and buffet.
Freddie -This site is a bit out the way.
Kat- think people would come,
Nic - my anxiety about the cube is that it says something different than some of our material. A bit of a gear change.
Essentially a lot of what you are doing is corporate work, where would I want to show my stuff, would I want to go to the cube. I would do it at the watershed rather the cube.
Freddie - of the Nokia stuff the attitude is that it is a party, but you have the opportunity to see thing while you are there.
Kirsty - the Boca bar event space - they would make money on the bar.
Freddie - the design of the boca bar.
Nic - we going for the event is the thin
Freddie we would like around 100 people , but our space will only hold around 50 people
Are people liking the 'art gallery' style event?
Nic - What are the dates for the event?
Dani - The UWE similar events last year where around June 10. Are you people going to have the time to do this after 27th May?
Freddie -we need to do this after we have had time to relax
Dani Putting on the event will not be relaxing, it will mean putting on the time
Mike - I can only put in 1 evening only.
Nic - this is not the right time to discuss this.
Nic - Freddie - you need to share this with other people. Can we do another Wednesday meeting.?
Kirsty - we have a deadline next weds. - fiction script writing.
Nic Freddie your obligation is to make sure everyone voices an opinion.

ACTIONS -

Freddie to write up options
Meeting 11am on 13th May
Decide on which space - Bocabar, AWM, Watershed, Cube, Chapel
Make Program
Material for display at event

Other business -

8th May - Student televisions Workshops at Barbican.
5 and 6 January Script factory Event.

(MP3003) Professional Practice - Don't Blink

"Don't Blink" is a seminar on the creative industry put together by Jake Shaw, CEO of Fire Factory one of the UK's leading production companies. Jakes no nonsense, hard hitting approach has been a hit all around the world and now it was our turn! The workshop was quick paced and I had to concentrate to keep up. Jake's belief is this, all our ideas are valid, but we must believe in our own worth! We must seize each opportunity that comes our way. "Don't Blink" says Jake or we'll miss an opportunity! The thing is though, everyone has to blink sometimes don't they? otherwise our eyes would dry up! But seriously though he does have a point as freelancers or even professionals looking for long term employment we need to focus our energy on our strengths an target specific employers. We need to know what we want and where we're going. There are many people in the media industry that will work for little or no money and if we don't want to be one of them we need to sell ourselves and our skills properly. The lecture was food for thought and got me thinking about my C.V and show reel. are they really good enough to help me get noticed. I'm not sure, maybe it's time I updated them both after all they are often the first thing a respective employer will request in any industry. If someone else's C.V impresses more than mine and I blink, I may miss an opportunity. Check out Jakes website here

(MP3003) Professional Practice - Commercial Radio

I worked in the commercial radio industry for almost five years. I began as many people do, at the bottom. I gained work experience at Star radio, photocopying documents and making tea. What I longed to do was production work and Del who presented the breakfast show was also production manager. Any production job to large for him was farmed out to group production in Bristol. I convinced Del to let me produce the breakfast promos so he could concentrate on other things. I became very skilled at using Cool edit, which was the software the station favoured for production. I was also send out to collect Vox pops for the news desk. At first I hated that job but I discovered I was a natural with the public. This is when I discovered my voice. As my confidence grew so too did my aspirations. I decided I wanted to try presenting and my first assignment was to do a movie segment on breakfast. This was great fun and I enjoyed the interaction between the two presenters, Gazza and Del and myself. I began doing overnight shifts, which is a rite of passage for most presenters. It was tiring but great fun. I would go on air at 2 am and finish at four. A lot of people say they got into radio by accident and this was certainly true for me. I’d been on nightshifts for a few months when I received a call from the station manager, one of the presenters had been in an accident and they needed cover. This was my big chance. Up until now I hadn’t been paid for my work. This was my first paying gig. I did well and started to cover more and more shifts until I was offered my own show on weekend breakfast. During this time I saw many staff come and go from the station. Star radio is considered something of a stepping-stone or launch pad to bigger and better things. That coupled with the low salaries meant that staff loyalty was non-existent. The sales department in particular seemed to suffer from this and despite managements best efforts they were unable to retain staff so although the on air team was strong the sales team was not. All this was at a time when commercial radio’s reach was falling, less and less people were tuning in and less people felt that radio was a viable medium for advertisement. The station made cut backs, staff were made redundant, asked to take pay cuts and people took on more than one role to make their positions within the company tenable. I didn’t escape this and found working at the station more and more stressful. I wasn’t enjoying presenting and hadn’t done any production for years and that was my first love. I weighed up all my options. My belief is that commercial radio is a dying medium. The internet will eventually take over from it completely and although I’m very grateful to Star radio for all the opportunities I’ve been given after a lot of soul searching I decided that it was time for me to leave the station and concentrate on my degree. I hope to marry up my skills as a project worker with my media skills and get into community based media projects with an emphasis on sound recording.

(MP3003) Professional Practice - Business Meeting

Business meeting at Artswork Media on monday 24th April 2009

Present
Nick Jeane, Lloyd Dunsieth, Adam Boyce, Elana Rose, Dan Hooper, Jona, Kat Davis, Ollie Kensington, Daniel Ashton, Mike Huck.
Minutes
Daniel Ashton is a senior lecturer in media journalism. He’s hoping to find out about the work we do here both in groups and one to one basis.
Liquid soap launch on Wednesday. There will be a live feed covering the event which can be accessed via the Artswork website.
Nick discussed the subject of film festivals in particular Sheffest.com, encounters and 4talent.
Steve May reminded us about the deadline for submissions, which is may 27th.
Jeremy Humphries will be holding a Master class on camera work on June 16th. His website is jeremyhumphries.com
Discussed schedule and format for a screening of our work. I suggested a program of events, which we could achieve by liaising with publishing at bath spa.
We will meet next wednesday at 11.30 am.

(MP3002) individual project

Today I met with my brother to discuss the film. We have decided on a title "the Glastonbury knome". I watched to film, which is now down to one and a half hours. I felt upon reflection that my idea to tell the story of the relationship between the two men, brian and nick isn't going to work well as I don't have enough footage of the two together. I have decided instead to make this film the story of brian and his eccentricities. Hence the title the Glastonbury knome. Our aim is to have the rough cut ready in 3 weeks time!

(MP3001) Group Project - Science Lab

Up and out of the house by 7.45 am I arrived at Bath Spa for 9 am. I was part of the Kat's film crew for the group project that she was leading on. We met outside newton and collected the kit from Ashton.


This was a 3 camera shoot. We had 3 Z1's and as there would be a v.o we decided after some discussion to use a boom mic and the onboard camera's.

The science lab was a fairly difficult location to film in. The natural light caused lens glare and when we lowered the blind's we had to make adjustments to the camera settings, the f-stop and white balance.




I filmed close ups on camera 3, with Kat on camera 2 and mike on the first camera. Once we had set up things moved fairly quickly after which, i shot some B-roll for cut-aways.

(MP3003) Professional Practice - interview

Here is the transcript from my interview with retired BBC Sound Man, Steve Taylor:

I got into sound recording through the NFTS although I must admit I had done years of sound in theatre and music before that, so file and TV was the only kind of sound work I hadn't done by then and it was really a matter of filling in the gaps.
What surprised me when I got into film school and the actual job is how simple the gear is, although it's not cheap, as it has to work perfectly all the time in all sorts of tricky situations. The format that's recorded on to has changed since I was doing it (we'd shoot either on timecoded DAT for film or into a Beta SP camera for TV), but the gear you use before you plug into that is basically the same- most sound recordists have one boom mic, two radio mics and a mixer. The boom mic is still as far as I know a Sennheiser MKH416, although there are others available; then you need a windshield for it (probably made by Rycote but Sennheiser make them too) and a boom (but if you're shooting drama you may need two for those wide shots you can't cover with a short boom). The radio mics in my day tended to be Microns or Audios, but since then I've discovered Sennheiser radios which are much better (in my opinion). The portable mixer still seems to be an SQN, made in the Isle of Man. SQNs are brilliant- they do exactly what you need, don't go wrong, don\t waste battery power, and have the most useful compressor (at least for TV recording) I have ever heard on anything. Even the VU meters seem to be more useful than they usually are on mixers. They cost about three grand or something which seems ridiculous for a four channel mixer but it's worth it when you're standing on a freezing beach doing an interview and not having to worry about the gear.
Since I haven't done this for years I don't know what the gear really costs these days but it's not hard to find out on the net, and bear in mind that I never actually owned all this kit myself- I usually hired it or worked for people who already had it. I bought myself a portable DAT machine and a mic or two for shooting pickups and stuff. Often on a documentary you'll end up with the cameraman off shooting mute GVs (general views) and cutaways (those close-ups of stuff you've already seen in the main footage) so then I'd be wandering around recording the sound of stuff we didn't get particularly clean the first time (background sounds, relevant things like church bells or machinery- editors like that kind of thing to play with) If I'd carried on any longer I would have bought all the proper kit but at the time it wasn't necessary. If you do own you own kit, you add a hire price for hiring it to the production as well as yourself- I've no idea what the going rate is these days.

(MP3003) Film Festival

From conception it has always been my intention to submit my documentary in the film festival circuit. Today I began researching which Documentary Film Festivals would be appropriate for submission of my film. There were many suitable festivals all over the world from the sun-dance documentary festival in california to festivals in our very own Bristol. The majority of festival submission dates had closed for this season leaving me no choice but to apply to those next year, although I have found two festivals that I'm going to submit to. Amsterdam International and Sheffest. Sheffest documentary festival is perhaps the biggest and best in the UK. I have registered as an applicant with them on their website. Submission closes on June 14th, which gives me plenty of time to get the film ready. My ultimate aim would be to sell the film to a film company or television channel but I also hope this film will raise my profile within the media industry - and - a win would look pretty good on my C.V!

(MP3004) Editing Pedestrians

I have finished editing Pedestrians! It proved a real challenge, some of the artifacts captured during the recording stage made mixing the drama quite difficult. In scene two the natural reverb of the space in which the recording was made muddied the speech and the reflections colored the sound. I tried the workaround suggested (double tracking and gating but found it difficult to mix the two because of the high noise floor on the original track. Using a touch of EQ I did eventually find a mix I was happy with. I also created the musical sting for Pedestrians, which I wanted to keep simple. This music was to be used to break up scenes, I wanted the music to be ironic, whimsical, slightly comical and melancholic. I achieved this using a four chord guitar riff. In scene five the noise floor was so high that the sounds of duvets and pillows being ruffled was inaudible unless I drove the level really high but this made the noise too obvious and didn't sound good so I dropped it from the scene. In the final scene it had been suggested that when phil goes to get coffee we should hear sounds of a coffee machine. However upon listening to the scene i felt this didn't work very well. The scene suggests Phil goes far enough away to get coffee that he surprises them when he returns as we hear George say ' Here he is now'. I did however include hospital background noise, which gave the scene an authentic feel. The final task was to record the foley for the fight scene. I was fairly limited with the equipment at my disposal but one of the good points of the scene being recorded in the toilet (mimicking a cell) is that it provides sound camouflage( DID I JUST COIN THAT TERM??). I set up a mic to record Dani the technical demonstrator at ArtWorks and myself wrestling, slap our legs and faces and even punching myself in the stomach! Do I need a risk assessment for that? Finally I had a few good foley effects which i overlaid into the scene. Over all I think it works well, If I was able to do it over again, despite I would want to be present at the recording stage even if I was just observing.

(MP3001) Midsummer nights dream

I have received an email from Kate Cross with details on the 2nd part of the brief, the Booker's trailer:

Dear Michael

Here with our suggested cut-ins for Midsummer Night’s Dream promotional showreel. The piece needs to be only a few minutes long…and we have chosen these extracts to give the viewer an insight into the style of production because obviously everyone knows the story. Does it jar a little if you have short extracts with sound? Just a thought….

Captions should read:

The egg/Shakespeare Unplugged Festival presents

A Midsummer Night’s Dream
Adapted from William Shakespeare’s original by Hattie Naylor
Director – Lee Lyford
Designer – Hayley Grindle
Music – Paul Dodgson
Lighting Design – Anselm Harrison

First produced in the egg and on tour to schools in February 2008 for the Shakespeare Unplugged Festival

For booking information contact kate.cross@theatreroyal.org.uk
01225 823435

Suitable for small to mid scale arts venues, aimed at children and adults aged 6+.

We may ask for further words, e.g. we may quote some of the script, but that bit will come next after we have seen the next cut.

Hope all this makes sense. Good Luck,



Kate Cross
Director - the egg
(Work Mondays, Tuesdays and Thursdays)
Theatre Royal Bath, Sawclose, Bath BA1 1ET
Tel: 01225 823435 Fax: 01225 444080
Box Office: 01225 448844
www.theatreroyal.org.uk

(MP3004) Editing Pedestrians

I've almost worked through the list of changes given to me by Lloyd, which if I'm honest seemed slightly over the top, but never the less I have done as he asked. I've worked very hard on this project to make up for the fact I was away during recording putting almost a weeks worth of work into it, if not more. I have locked down the arrangement and will be doing the final sound mix tomorrow. The only headache I have left is the fight in scene 3 as I have no fight sound effects, none were recorded in situ which is unfortunate as it would have been much more realistic than overlaying the sounds. I'll have to see if I can record a couple of the lads having a scuffle at paint-works tomorrow, Jona and Lloyd maybe?! Really anyone will do though!! Want a fight Nic??

(CS3003) Script Writing for Television

Last wednesday my step out line got work-shopped in class and guess what? I survived! What's more I learnt from and enjoyed the experience. When I wrote the step outline I was conscious that it was quite short (a page) and also that it lacked a clear direction. This was reflected in the feedback i received from the group, who felt that in parts my step outline was vague and could benefit from some development in areas. One part of the step outline that the group felt I could develop further was the story-line about the witches from stanton drew warning Brian off of holding a ceremony there. This story line alone could take up an episode and could even see Brian could do battle with the coven! It was also felt that the title of my script needed to be changed to something more fitting, some of the suggestions that came back were 'you runed (ruined) my life', 'ritual humiliation' and 'stand on ceremony'. Great suggestions I'm sure you agree! So in summary the group feel it's a great idea for a script and it is coming together it just needs more direction. Doug also added as a footnote that he felt the script almost felt as though it started somewhere in the middle of the story and would benefit from a beginning, if at least just to fill out the pages of which, there were few! Some good advice and lots for me to think about as I start work on my treatment!

(MP3003) Syncshare.com

Here's a video of the preentation from syncshare. you can check out their website here

(MP3002) individual project

I'm writing this blog entry as I sit on a coach bound for London! I love my iPhone. I'm attending my brothers graduation at NTFS. It's quite exciting. There will be many industry professionals at the event so it will be a good chance to network. The other purpose for my visit is to work on the rough edit of beyond the weird withy brother Lawrence. I spent yesterday on the assembly stage. I wanted to have something to show him so he could get an idea of what I'm trying to achieve with this film. Also this allows me to have some creative control on the edit rather than give Lawrence free rane over it. Right that's enough blogging for now I need the rest of my battery to listen to the prodigys new album!

(CS3003) Script Writing for Television - Pitch

I felt quite anxious about starting this module. My script writing abilities are fairly limited and I wasn't looking forward to producing a TV pilot due to the sheer amount of work thats involved. I decided to turn my documentary into a script so I wrote a pitch and pitched it to the class. I'm quite lucky in some respects as I've done several pitches in the past so I knew what to expect from the experience. I also brought along some visual aids, pictures from the shoot and recounted my experiences from the project. Doug felt that when pitching an idea based in reality its important that you make the panel aware of it. He also thought that because the idea was based on reality my passion for it shone through during the pitch.

Beyond the pale
Sitcom in a Mockumentry style following Student Paul Cowling, Druid Brian Conquer, his wife Jacquie and their lodger a Witch/Druid called Nick Oxbow and their preparations for the winter solstice. (Think last of the summer wine meets wicker man!).

Characters
Brian Conquer is a 60 something retired postal worker and arch druid. He drives a green robin reliant that he calls Felicity (happiness). He smokes like a chimney. He has health problems because of this. He’s married to Jacquie who’s his second wife. Brian is slight but has a huge character and seems very genuine. He’s passionate about his beliefs, which is infectious.

Jacquie Conquer in her late sixties is Brian’s wife is a retired nurse and a Witch and according to Brian she’s the seventh daughter of a seventh daughter, which in supernatural terms makes her very powerful. Jacquie loves to dance although she has a bad back, which has given her a stoop. This prevents her from dancing too often.

Nick Oxbow is in his forties an unemployed bricklayer, who’s on the dole. He claims to be a witch and is Brian’s apprentice. He believes himself to be clairvoyant. He’s tall and surly. He takes himself very seriously. Socially he’s quite clumsy and doesn’t have many friends.

Paul Cowlings is a thirty something struggling ex addict and wiseass student. He’s Australian but he’s been living in this country for 10 years. He’s making a documentary on Brian and his friends. He’s got a very dry sense of humor. He gets on well with Brian but Nick is weary of him and doesn’t trust him.

(CS3003) Script Writing for Television-Step Outline

Here is my step outline for beyond the pale, which I found challenging to write. Especially writing in present tense!

Brian, Nick and Paul are in the pub discussing the project: a documentary about Brian’s life as a druid. Brian secretly hopes the film will become his legacy. Nick is suspicious of Paul’s motives and worries about being publicly ridiculed. Paul wants to expose them as being completely mad but appears sympathetic to them.
Nick refuses to be involved and hates the prospect of being filmed, but Brian blackmails him and says he will not continue his apprenticeship, unless he agrees to be part of the project. Resentfully, Nick agrees, but vows to make life as difficult as possible for them. He casts spells and concocts potions to delay the project.
Plans are set in motion to perform a ceremony at Stanton Drew, stone circle. Brian prepares for the event and collects materials from the woods to make magic tools.
Nick seeks revenge on Paul and Brian for blackmailing him into taking part in the film. He tells them that the local coven of Witches sent a warning not to perform a ceremony at Stanton Drew. Brian decides to call it off and makes the decision to perform the ceremony in his back garden. At the ceremony Brian hears Nick tell his girlfriend that he was responsible for the ceremony changing location.
Brian confronts Nick and relieves him of his apprenticeship. Paul’s beliefs about the Pagan way of life begin to change and he decides to ask Brian to take him on as his new apprentice.

(MP3004) Editing Pedestrians

So I finally managed to get the other group members together to listen to the rough edit of pedestrians. Here is a list of the feedback and points given to me by Lloyd.

Scene 1

1/ Needs pedestrians (the cast) walking sounds at the beginning of the drama.
2/ Existing walking sounds, needs to be louder in the mix.
3/ The movement of the sign needs to be louder
4/ Dialogue (page 5 line 10) “I’m fine” needs to be tightened up (silence before needs to be shortened) also the same process for (page 6 line 3) “No”.
5/ Electric window of police car is far too loud.
6/ Dialogue (page 7 line 9) “Well, I think you should know better don’t you” needs to be tightened up (silence before needs to be shortened) also the same process for (page 7 line 11) “Just get yourselves home”.
7/ Car driving off is far too loud and fades too quickly.
8/ Sign being picked up by John (after page 8 line 3) is far too quiet in the mix.
9/ Not enough walking on the street (John, George and Phil) (from page 8 line 6)
10/ Longer tail on the fade in of the returning police car
11/ Sign being dragged and hitting pavement (page 12, between line 4 and 5) needs to be louder (approximately +4 volume adjustment in Logic).
12/ Pissing on the floor sound effect needs to be present (page 12, between line 5 and 6), (suggested a bottle of water with a nozzle to be used to pour water on the floor and record)
13/ More prevalent fade out on police car effect.

Scene 2

1/ The cell door sound far too loud in the mix.
2/ I suggested that the vocals (voices) in this scene are doubled up with one track much lower in the mix with heavy compression and the natural reverb tail on the voices gated. This done the same track should be equalised so that some more bass frequencies are brought out. Phase cancellation may be a problem if they are not position in juxtaposition exactly. This will be avoided if lined up correctly.
3/ Mattress sounds / seating in cell could be used to enhance the atmosphere of the script.
4/ Cell door lock sound wasn’t in the mix.
5/ Dialogue (page 19 line 1) “Settle down George” needs to be tightened up (silence before needs to be shortened)
6/ Movement of bodies as a fight ensues needs to be present in the mix.
7/ Cell lock far too loud.
8/ Dialogue (page 20 line 2) “I’m afraid they’re all full.” needs to be tightened up (silence before needs to be shortened
9/ Dialogue on page 20 line 3 needs to have the cell door hatch closing sound over lapping it. “There’s only one bed for god’s sake. This isn’t right. We can barely move in here.
10/ George’s dialogue (on page 22, lines 4 and 6) needs to be brought up in the mix slightly, to enhance his statements about his life. The level is just a little too quiet.

Scene 3

1/ Soft bed covers or duvet sounds need to be in the mix over the dialogue (page 24, line1) “Do you really have to go?”
2/ The actress who plays Alice stutters (12minites 45 seconds into the recording)
3/ Soft covers and duvet sounds need to be present to indicate movement within the scene.
4/ The dialogue on page 25 line 9 “Goodbye Phil” once finished needs to have a smoother cross fade into the next scene so that the noise floor is less noticeable in the mix.

Scene 4

1/ Shuffling sound of the holding cell mattress needs to be present (13minites into recording). Line 1 page 26 “Hey”.
2/ Prison cell door sound is far too loud in the audio mix.
3/ A shorter gap is needed (more silence removed) between line 9 and 10 on page 27. Less silence (on line 10 page 27) “Ok, time to go”. This will increase the tension slightly in the drama.

Scene 5

1/Traffic sounds far too loud (over all the dialogue) unable to hear footsteps on pavement.
2/ Telephone dialling and telephone voice too quiet (suggest +2-+3 volume increase in Logic)
3/ Traffic sound of a car passing by edit is too abrupt and needs to be faded out to seem like the car is passing by (15minites 48 seconds into the recording).
4/ Dialogue from page 31 line 4 “Right. We’ll walk it then.” needs to have footsteps (subtly) at that point to end scene. Then fade out.

Scene 6


2/Male footsteps walking away from scene and in the background stopping when coffee machine is reached (timing2-3 seconds. After line 2 page 33).
3/Coffee machine noise needs to be low in the background (atmosphere)
4/ Footsteps at the moment in the ruff cut seem too random.
5/ Page turn still present after page 34, line 9. (After “Clara”)
6/ Male footsteps running away should be present and faded into silence after line11 page 35. “Phil. Run!”

I will implement these changes then represent the program for the group to listen to.

(MP3003) Group Meeting Agenda

Email from Nic Jeune:

Hi all,

Agenda

Sync Share
Noise
Creative Bath
Café of ideas
Wells
HR
MPA
Web site
Entry cards


I have no time left on Monday for one to one but time on Tuesday apart from
11 - 12.30 and after 16.00

Best

Nic