Production 2024 sunderland culture final - Copy.pptx

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1. Production 

2. Creating the Title Card  The title card is something that was created digitally in post-production when creating the opening sequence therefore I did not need to go out and photograph any locations or edit using Photoshop. Originally, I had a plan for creating the title card manually using photography and editing together a title card using photoshop however I feel that I have captured the essence of the plan of the title card and enhanced it by making it animated. The animated title card incorporates the colour schemes and style of text from the original plan carrying the essence of what I wanted to achieve. The story of Molly Moselle took place in 1949 however due to me creating a project that was half a fiction short film set in 1949 and half a non-fiction documentary set in 2024 I wanted to create something that would link the time periods together therefore I took the writing and the colour scheme from the plan when I based the title card more on the 1949 elements and gave it a modern twist by adding the police tape and blood that is more of a convention associated with modern day true crime stories and podcasts. Plan of title cards that later got animated  Stills of animated version of title card 

3. Creating the Cover Photo The mystery of  Molly Moselle Original drawn flat plan Digital flat plan using place holders My original idea was to have the cover photo like the promotional poster with the same ghost and person on the front and the same writing style and layout of the title with a background change which would be a change to the inside of the Sunderland Empire. The first challenge I faced was gaining access to the inside of the Sunderland Empire to take these images and after countless emails to no avail this idea needed to be reconsidered. During this period of reconsidering ideas, I went back to researching not only audience and consumer information but platform logistics. As this documentary would be going on YouTube the cover photo needed to be something that would fit onto the platform. YouTube videos typically do well when the audience know what they are getting themselves into before even clicking on the video meaning that the cover photo needed to tick boxes that I hadn't previously thought about for example it needed to be landscape as well as have connotations of true crime and include the title of the documentary. When reconsidering my idea for the cover photo I had already created my title card sequence that hit all these criteria so when looking at the still of the finished title card I realised that it would be perfect for the cover photo as it had the police tape as a nod to true crime as well as being landscape and included the title of the documentary. By using a still from the title sequence, it meant that there would be continuity for the audience and allow for links to be made within the audience's heads. After looking back, I believe this was the best decision for me to make for the cover photo and the overall documentary.

4. Creating the Promotional Poster   31/10/23 The production for the poster was minimal due to most of the effects being added in post-production however there were still some images to take. For the background I went to the Sunderland Empire and took the image of the front facade with my Panasonic Lumix camera. For the image of a silhouette of a person I took the image in my own house with the person in front of a window so that the side facing the camera (Panasonic Lumix camera) would be dark due to the shadows created by the light. On the day the weather was forecast to rain in the morning with light rain in the afternoon however it had been raining all week and for the production schedule to run smoothly the shots especially outside of the Sunderland Empire had to be taken therefore this was the best day of that week weather wise as I had planned to take these images days prior however was unsuccessful due to this rain. On the day itself there was a window of around 4 hours with no rain or fog this is where I travelled to the different locations that had to be filmed and or take images that week to get everything done to stay on schedule. Even though I hadn't planned to film on that day I had kept everything I needed packed ready to go when the weather was suitable meaning I was prepared and could take advantage of what little time I had. Images Taken on the day 

5. Creating the documentary 

6. Production Timetable  Date  Who? Where? What? 31/10/23 Chloe, Claire  Beamish Museum, Garden Place, Eden Street   Filming test shots to review angles and shot framing  2/11/23 Chloe  Home address  Reviewing footage filmed  5/11/23 Chloe, Claire, Jeff Home Garage  Filming of the detective office scenes  20/11/23 Chloe  Home address  Reviewing footage filmed  30/11/23-08/1/24 Everyone  ------------------------------------------------- Production break  12/01/24 Chloe Sunderland College Starting to edit footage  17/01/24 Chloe, Claire Beamish Museum Filming for the documentary after reviewing test shots. 18/01/24-Continuous  Chloe Sunderland College Editing the first draft 14/02/24 Chloe  Sunderland college First draft completed 15/02/24 - 29/02/24 Chloe  Sunderland College  Editing  01/03/24 Chloe  Sunderland College  Second draft completed  04/03/24 Chloe, Claire  Garden Place, Eden Street, Sunderland Empire, Roker Beach, Stadium of Light, Secret Gardens  Filming and photography. 05/03/24 Chloe  Home Address Voice over recorded 05/03/24-Continuous Chloe Sunderland College  Editing  13/03/24 Chloe  Sunderland College 3rd Draft Completed  14/03/24-27/03/24 Chloe  Sunderland College Editing  27/03/24 Chloe  Sunderland college  Documentary complete 

7. Resource list  Camera Tripod SD Card  Micro SD Props  Ring light and speaker to power it  Microphone  Swan neck  Camera battery 

8. Props list 

9. Planning-4/11/23   When preparing for the production phase of the project I needed to gather resources. These resources included props such as a brief case, hat and typewriter along with costume and set. The biggest challenge was transforming my garage into a detective's office. This required me finding set pieces such as a table and chair that would work for the time period the story is set in as well as finding things to dress the set. " To dress a set means to put all the decoration items designated for that set-in place. In other words, to dress a set means to put books on shelves, cushions on sofas, vases on tables, dishes in the dishwasher, curtains on windows, etc. To dress a set means to make the set look like someone lives there."-Studio Binder. To dress the set, I needed to add something to act as a table cover, a runner for the table, a desk light and a type writer as permanent pieces with the addition of a briefcase that enters and leaves the permanent props at different parts. As I knew that I would shoot the footage in black and white I was able to experiment with colour and appearance/texture whilst testing it against the black and white filter on the camera which allowed me to create something that fits the time period on no budget. Pictures of my set in my garage  Black and white stills from the opening scene of my short film.

10. Preparation In addition to creating the set and gathering props a key component to the script was a detective's board that the person playing the detective could use and interact with. Due to keeping the mise- en -scene of the short film as accurate as possible for the 1950s I wanted to continue this theme into the detective board allowing for a seamless transition. To do this I looked through magazines and newspapers and cut out images and text that would fit the theme as well as conducting searches for time accurate pieces such as 1950s bus timetables, maps of the city and a flyer of the show that Molly Moselle was working on at the time of her disappearance. I also printed pictures of Sunderland in the 1950s as well as pictures of Molly Moselle and Bunny Doyle as I felt it important to include their faces like a real detective board would according to my research. Through my research I also explored some conventions of a detective case board such as including anonymous photos and the impact of images surrounding the image of a person being related back to the photo such as photos with friends, family and people associated with the specific person. Once I had enough resources, I then spent time putting them all together and creating a mockup of what I wanted the board to look like once filming began and it became part of the set. I also took a photo of this plan which can be seen above to be able to reference when filming. Although the detective board didn’t end up looking like this completely it was helpful to have this reference photo as it meant I had a plan to go off and a back-up in case something went wrong whilst filming.

11. Tech Set-Up Kit Used Canon camera  Panasonic Lumix camera  Rode microphone  Light box  Ring light For filming I used a range of tech to achieve the look I wanted. The main camera I used was a canon camera that was borrowed from college with a rode microphone and light box attached on top of it. This allowed me to capture a higher quality of sound and footage as well as the ability to add extra artificial light as the room was extremely dark and had no power. For the light box I used the warm light cover as even though I was shooting in black and white it would still allow for the room and set to be illuminated but wouldn’t create any harsh reflections or shadows. As I used the lightbox as the main source of light for the full room it meant that it was hard to see therefore, I used a regular ring light again on a warm muted setting as a filler/performer light in order for details and performance not to be lost or missed by the camera. On these scenes I also used an additional camera which was my smaller Panasonic Lumix camera I used these for a contrast of shots angles and positions as well as hand held shots that would have been harder to execute using the bigger canon camera.

12. Day of Filming-5/11/23 For the detective scenes I had one day to film all the scenes required. I spent the morning preparing, dressing the set, setting up lighting, carrying out test shots and making sure I had everything I needed to film. Once filming began, I filmed the scenes in order reviewing footage as I filmed to know whether I needed to reshoot a scene, capture a different angle or shot or if I was able to carry on, the shoot ran smoothly with no major hiccups or problems. The only issue I incurred was the traffic noise as I was filming in a garage that was on the same road as a school so when it got to around 3pm there was an influx of traffic and sound quality issues therefore we paused filming until around 4pm to avoid those sound issues. Another problem was that the person playing the detective was unable to remember his lines therefore I improvised and inserted the script into the type writer where previously there was a police report in order to make it easier for him to do the scene to have his lines in front of him, this also made filming easier as it meant he didn’t forget any lines and we could go over the scene multiple times without the risk of lost continuity missed or interpretations of lines. Filming wrapped around 5pm and all the set and equipment was packed away leaving the location as it was found around 20 minutes later.

13. Filming on Location

14. Locations  Outside the Sunderland Empire  Eden Street  Garden Place  Home Garage  Beamish Living Museum of the North

15. Beamish – Living Museum of the North Beamish,  Living Museum of the North I decided to film at Beamish Museum as not only was it a location close to me, but it meant I could go to historically accurate locations and film there. Prior to my visit I emailed Beamish Museum regarding the regulations about filming in which I got a response that said that as long as I didn’t get anyone else in the shot or if I did, they were far enough away not to be recognised then I could film wherever I wanted to. The first location I wanted to film at was the back lane of the houses in the 1900s town although I was able to get some test shots there it was too busy and noisy to film there so I moved the location of where that sequence would be shot to a new location in Beamish that can be seen in the images below where I carried out the rest of my test shots. Upon reviewing the footage, I then returned to Beamish to film the actual scenes as well as gather B-roll that would be used in another section of the documentary. 31/10/23       17/01/24

16. Outside the Sunderland Empire, Eden Street, Garden Place  After I had completed my location risk assessments for filming, I decide that I would film at all of these locations on the same day due to the close proximity of the different locations that can be seen on the map. These locations were important for me to film at as they are the exact locations where Molly Moselle would have been therefore creating a bond between the story and what I am making, which makes the documentary more grounded for the viewer as they can see the locations. I filmed on the 4th of March, although I didn’t have an exact date set of when to film, I looked at the weather schedule and decide it would be the best day as it was dry and sunny meaning that there wouldn’t be further risks to add to the risk assessment. For filming I used my Panasonic lumix camera and hand held it for the shots this gave me a lot more freedom and movement in the shots and how I set them up for this shoot. Eden Street Garden  Place Outside the Sunderland Empire Theatre  Eden Street   Outside the Sunderland Empire 31/10/23 4/3/24

17. The Secret Garden Stadium of Light  Roker Beach  04/03/24 On this day I decided to collect my b-roll footage around Sunderland I went to The Secret Gardens, Stadium of Light and Roker Beach. I decided to do all these shots the same day as it would allow for more continuity between shots and meant that the weather was suitable, and I could get it all done in one day meaning I had more time to edit. I filmed all these scenes on my Panasonic Lumix Camera all with the same filter of "Expressive" which meant that all the scenes would have similar looks to them and fit in with the rest of the documentary. For these scenes I decided to handhold the camera as it meant that I could get smoother shots and more fluidity that a tripod cannot give you.

18. Recording the Voice Over   Recording the voice over for the documentary was quite simple as once I had set up my camera making it head height to provide optimal conditions to capture the best sound quality, I was able to read through my script ,pause when I needed to and add extra lines to make it more natural as well as filming extra lines to place throughout the documentary.  05/03/24