{"id":128,"date":"2021-09-28T14:27:47","date_gmt":"2021-09-28T13:27:47","guid":{"rendered":"https:\/\/digitalspace.bradfordcollege.ac.uk\/media\/?page_id=128"},"modified":"2021-11-15T13:55:26","modified_gmt":"2021-11-15T13:55:26","slug":"contemporary-video-production","status":"publish","type":"page","link":"https:\/\/digitalspace.bradfordcollege.ac.uk\/media\/contemporary-video-production\/","title":{"rendered":"Contemporary Video Production"},"content":{"rendered":"\n
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Behind the Scenes of Florida Project (2017) Directed by Sean Baker. <\/figcaption><\/figure>\n\n\n\n

Module Aims<\/strong><\/p>\n\n\n\n

This module will provide you with an insight into techniques that Directors and Cinematographers use when creating footage both in the utilisation of the camera and the decisions they make \u2018dressing\u2019 a scene. You will analyse shot types and camera movement as well as the use of certain lighting or costume. You will learn what pre-production paperwork is involved in the creation of video content and will utilise this to create a number of short scenes to create a portfolio of work. The portfolio will show experimentation’s with different camera techniques and processes. You will also learn initial skills with regards how to order footage and edit it to create a sequence.<\/p>\n\n\n\n

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Greta Gerwig on-set for Ladybird (2017)<\/figcaption><\/figure>\n\n\n\n

Assessment Brief<\/strong><\/p>\n\n\n\n

FdA-L4-Contemporary-Video-Production-Assessment-Brief-2<\/a>Download<\/a><\/div>\n\n\n\n

Learning Journal Guidance<\/strong><\/p>\n\n\n\n

FdA-L4-Contemporary-Video-Production-Assessment-Brief-3<\/a>Download<\/a><\/div>\n\n\n\n
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Gibbs’ Reflective Cycle <\/figcaption><\/figure>\n\n\n\n

Reflective Practice<\/strong><\/p>\n\n\n\n

Throughout your modules, you will be required to critically reflect on your practice and evidence reflection. Sometimes the skills and knowledge we have developed from an exercise or experimentation, isn’t always obvious, so it essential that we take time to reflect on our experiences. Being able to recall what happened, and turn your insights into an action plan that identifies actions going forward and demonstrates how you have developed as a practitioner. <\/p>\n\n\n\n

Narrative Structure<\/strong><\/p>\n\n\n\n

PRESENTATION<\/em><\/p>\n\n\n\n

Narrative Strands, Structure and Character <\/p>\n\n\n\n

https:\/\/prezi.com\/pzlei41i8zfn\/narrative-theory\/<\/a><\/p>\n\n\n\n

JOURNAL ARTICLE<\/em><\/p>\n\n\n\n

Tzvetan Todorov and Arnold Weinstein <\/p>\n\n\n\n

Todorov, T., & Weinstein, A. (1969). Structural Analysis of Narrative. NOVEL: A Forum on Fiction<\/em>, 3<\/em>(1), 70\u201376. https:\/\/doi.org\/10.2307\/1345003<\/p>\n\n\n\n

https:\/\/www.jstor.org\/stable\/1345003<\/a><\/p>\n\n\n\n

B Roll<\/strong><\/p>\n\n\n\n

What does B-roll mean in film? B-roll is a term used to describe\u00a0secondary footage<\/strong>, often used as cutaway footage, to provide context and visual interest to help tell your story. The term derives from the early days of Hollywood when they used to shoot on film.<\/p>\n\n\n\n

Why use B-Roll?<\/strong><\/p>\n\n\n\n

There are many ways to use B-roll footage and having additional B-Roll will support you in the cutting room to add context. These include:<\/p>\n\n\n\n