Tuesday, 25 January 2011
New Deadline Extension
Today, I was informed that there has been a new deadline set. This is useful because I now have more time to work on anything that needs tweeking on my ancillary tasks...
Monday, 24 January 2011
Audience Feedback Questions
.1. How did you find the film?
Good - 70% Bad - 30%
.2. How would you rate the film?
1 Star - 0% 2 Star - 5% 3 Star - 40% 4 Star - 30% 5 Star - 25%
.3. Would you say the project challenged the conventions of documentary filming?
Yes - 47% No - 53%
.4. Did you feel that the story-line and plot was interesting enough?
Yes - 68% No - 32%
.5. In terms of information, how useful was the film?
Very - 20% Moderately - 65% Not Very - 15%
.6. Was the narrative a useful feature in the film?
Yes - 80% No - 20%
.7. Did you feel as though the nature/scenery clips were needed?
Yes - 42% No - 58%
.8. Would you like to see a longer feature?
Yes - 68% No - 32%
.9. Did the film poster grab your attention?
Yes - 60% No - 40%
.10. Would you watch this feature again?
Yes - 70% No - 30%
Good - 70% Bad - 30%
.2. How would you rate the film?
1 Star - 0% 2 Star - 5% 3 Star - 40% 4 Star - 30% 5 Star - 25%
.3. Would you say the project challenged the conventions of documentary filming?
Yes - 47% No - 53%
.4. Did you feel that the story-line and plot was interesting enough?
Yes - 68% No - 32%
.5. In terms of information, how useful was the film?
Very - 20% Moderately - 65% Not Very - 15%
.6. Was the narrative a useful feature in the film?
Yes - 80% No - 20%
.7. Did you feel as though the nature/scenery clips were needed?
Yes - 42% No - 58%
.8. Would you like to see a longer feature?
Yes - 68% No - 32%
.9. Did the film poster grab your attention?
Yes - 60% No - 40%
.10. Would you watch this feature again?
Yes - 70% No - 30%
Evaluation
- In what ways does your media product use, develop or challenge forms and conventions of real media products?
My documentary includes shots which depict the whole project as a story and like most documentaries, the narrative's view is seen to be the 'correct' opinion and is often challenged by characters in the documentary.
Another way in which my project used the conventions of a real media project is the way that it featured a voice-over which help tell the story to the audience throughout the project. I was inspired through watching various Nick Broomfield documentaries such as 'Kurt and Courtney' and 'Aileen Wuornos - Life and Death of a Serial Killer.' From these inspirations, I drew some of the neccessary components of documentary making, and incorporated them into my own project. These components include, the ability to tell a story, ability to capture opinions, voice-over and the occasional shot of scenery etc which would depict my back-story int he way of the Jersey surf lifestyle.
Another way in which my project uses the traditional conventions of a real documentary is that it includes any uncomforatble and akward scenes such as interviews, which are used to make the story more genuine.
My magazine review uses the traditional conventions of a real magazine film review through the way it is set out and its structure. For example, I incorporate clear collumns in my piece as well as using bold subtitle for texts such as my credits and synopsis.
My documentary develops the forms and conventions of a real documentary in the way that it does not only just include shots which depict what is going on in the story, but also shots that establish where the story is taking place. For example, in my project there is occasional a short clip in which breaks away from the story and characters in the story, showing wildlife or the surrounding environment, which is a feature which is seldom used in documentaries.
My documentary challenges the regular forms and conventions of real media projects in the way that the climax of the story is not what the audeince is expecting. The search is led in vain and the narrative and the narrative's opinion is wrong. This is different to normal documentaries due to the fact that the voice-over is seen as either being un-bias or correct. In my documenatry, the voice-over and narrative is neither.
How effective is the combination of your main product and ancillary texts?
The combination of my main product and ancillary texts is extremely effective due to the fact that I have maintained the same kind of theme throughout all three pieces of work.
The ancillary tasks go well together in the way that a person who has not watched my main project would be able to associate the ancillary tasks with the main project due to information and the themes presented which I have carried out through all the projects.
My ancillary task poster is very effective due to the fact that it grabs the audience's attention due to its eye-catching bold colour scheme and background contrast.
The magazine review had to be done after I finished my main project due to the fact that it had to be an accurate description of what was happening in the film. The review had to be truthful when describing the features of the film and I could not simply make things up.
It was fairly difficult to compose a review in which sounded like it had actually been written by a film critic, however, with the combination of clever use of language and a good text structure, composed on In-Design, I managed to complete what I was aiming for.
I feel as though my ancillary task film review ended up being effective due to the fact that I had looked at numerous examples before hand and so had a fair idea in my head as to what the review should look like as well as how it should be set out and structured.
In terms of creating the magazine poster, I found this to be the easier ancillary task due to the fact that I had already gained a wide range of knowledge on how to use Adobe Photoshop CS4 from the previous year. I decided to make the poster simple as from what I could tell by looking at other examples, this was the most effective way. I had to base my project around a picture and so I went out and took a long shot of a friend surfing before using the 'bevel and emboss' effect and cutting the picture down to size in combination with the 'blur' effect before I was ready.
Editing and finding the most aesthetically pleasing enhancement to use was the most difficult aspect in which I had to decide for this project. Once I was satisfied with the picture I had used and edited, I then added in text and star stamps for the ratings.
The star stamps in which I used under the reviews were very effective because it made the magazine poster look genuine.
What have you learned from your audience feedback?
From my audience feedback, I have learned that a similar feature of an extended duration would go down well due to the fact that most people said they would like to see a longer documentary.
I also gathered that most people found the subject matter interesting which tells me that it is an issue in which I can perhaps establish more.
From the audience feedback, I also understood that despite my efforts, just over half the audience felt as though my project did not challenge the codes and conventions of a real documentary.
I found out also, that only 20% of people found the information from the documentary very useful despite that 68% of people suggested that the plot line was interesting enough. The conclusion that I can draw from this specific poll is that perhaps in future projects, I will need to sacrifice more of the story - side of the project in order to get more useful information across to my target audience.
How did you use media technologies in the construction and research, planning and evaluation stages?
Within each of the stages, I used various multimedia technologies during the onstruction and research, planning and evaluation stages.
Firstly, when I tackled my first ancillary task, the film poster, I used Adobe Photoshop CS4, which I had already gained experience with during the previous year. Photoshop allowed me to experiment and manipulate images and texts to suit and present how I wanted the final ancillary project to be.
Secondly, when I took on the next ancillary task, producing a magazine review, I was able to set my written review out so that it looked genuine, with a decent picture in contrast to a clear background which would give the audience an idea of what the subject of the review was at a glance. The only problem I had with this ancillary task was the fact that I had to use the program 'InDesign' in which was very useful, but complex also, bearing in mind that I had little experience with this software. Soon, I managed to pick up the basics and so constructing a magazine review became much easier.
During the planning stage of my main task, I simply used www.blogger.com to record any ideas I had, along with my storyboard and timetable.
During the research stage of my main task I wrote down which answers people gave in response to my questions and so I was then able to insert these statistics into the Microsoft Excel database. Once I entered the statistics, I was then able to produce detailed bar charts which gave a smoother, more aesthetic idea of the answers that I had received.
During my main task, I shot my documentary using a Panasonic G2 camera which was suited and had HD recording. I edited my footage in iMovie and Final Cut Pro. I started off editing my program in iMovie and then realized that although it was useful for cropping and organizing my footage, it did not include the more sophisticated features in which were compulsory in order to come out with a decent final project.
Once again, iMovie was useful for constructing the basics of my project and as we can see from below it easily allowed me to use 'ducking' where by I cold alter the volume of the original audio so that I could make the voice over more clear when need be.
During the evaluation stages of my project, I showed 40 of my peers my project and recorded their opinions one by one after the project had finished. I answered any questions and had then gathered enough information to store it, like my planning and research into Microsoft Excel, where I could then manipulate the statistics into bar charts and graphs as to get an alternative and perhaps clear, more aesthetic view on my poll.
Thursday, 20 January 2011
Equipment
Below is a list of features and equipment that I will be using to complete my enitre project:
1. Panasonic G2 camera.
2. Tripod.
3. Adobe Photoshop CS4.
4. FinalCutPro.
5. iMovie.
6. Car and actors.
1.
2. 
3. 
4. 
5.
6.
Interview Script:
Below is a list of some rough questions (and 'Stinky Bay' - related questions) in which the narrator may consider asking during the interviews.
Before the interview, the 'crew' will film the narrator sitting down and 'briefing' the one of the interviewees on what the interview will entail - (note that the interviewees will be 'off camera' (hidden camera) and will state that he will refuse to answer any Stinky Bay related questions.
All three interviews willl be fairly similar in terms of the questions aksed and the responses provided. The only significant difference will be the attitudes displayed by the interviewees and also how the individuals react when trying to deflect any questions about stinky bay.
Questions:
.1. How long have you been surfing for?
.2. Who were your inspirations when growing up?
.3. When did you get your first sponsorship deal?
.4. How does surfing in Jersey compare to surfing away?
.5. What is your favourite spot in Jersey?
.6. What board are you currently surfing?
.7. What are your other hobbies/interests?
Stinky Bay - Related Questions:
.1. Have you ever heard of a surf spot called Stinky Bay before?
.2. Can you tell us anythign about Stinky Bay?
.3. Are you sure you've never heard of Stinky Bay before?
.4. Have you any information in the where-abouts of Stinky Bay?
.5. Have you ever surfed Stinky Bay Before?
Before the interview, the 'crew' will film the narrator sitting down and 'briefing' the one of the interviewees on what the interview will entail - (note that the interviewees will be 'off camera' (hidden camera) and will state that he will refuse to answer any Stinky Bay related questions.
All three interviews willl be fairly similar in terms of the questions aksed and the responses provided. The only significant difference will be the attitudes displayed by the interviewees and also how the individuals react when trying to deflect any questions about stinky bay.
Questions:
.1. How long have you been surfing for?
.2. Who were your inspirations when growing up?
.3. When did you get your first sponsorship deal?
.4. How does surfing in Jersey compare to surfing away?
.5. What is your favourite spot in Jersey?
.6. What board are you currently surfing?
.7. What are your other hobbies/interests?
Stinky Bay - Related Questions:
.1. Have you ever heard of a surf spot called Stinky Bay before?
.2. Can you tell us anythign about Stinky Bay?
.3. Are you sure you've never heard of Stinky Bay before?
.4. Have you any information in the where-abouts of Stinky Bay?
.5. Have you ever surfed Stinky Bay Before?
Planning of the Story and Camera Shots/Angles.
The documentary will open with a title and a few credits - 'A creamwork Pictures Production' along with various actors' names etc. with the sound of the sea and waves quietly playing in the background. The background shot whilst these credits are appearing will be a panning shot which will capture almost the whole of the five mile road and St.Ouens bay in order to give the audeince an idea of the location and setting of the film whilst depicting the naturistic side of the documentary also.
Here enters the voice-over, giving a brief history on surf in Jersey and what the viewers can expect from the piece. Whilst this is occuring, there will be finely edited clips of people surfing in Jersey. These clips will be finely pieced together.
Next up, the voice-over will provide an introduction to the story, for example, 'My journey began with...', which will lead to the first opening clip.The opening clip will show the narrator of the voice-over and the leader of the documentary atthe seaside giving details on his objective... a quest to find Stinky Bay.
The next shot will be of fast, close-up clips all with the same questions and answers really -
'Can you tell me about Stinky Bay', or questions similar to this will all be replied to with the same shifty answers for the 'public' - 'er no' etc.
Next there will be a still long-shot which I will capture from on top of the bunker at Big Verns (surf spot). This shot will simply capture the tranquility of the sea and the Jersey surf lifestyle. Whilst this shot is rolling, the voice-over will enter and the narrator will inform the audience that due to lack of response, there will be some set-up interviews with three local pro's.
The next part of the project will entail a shot of the narrator and documentary leader, turning up in his car, getting out, stating that he is 'anxious' for the interviews and walking up to the door of the interviewee's house. following on from this short, the narrator and documentary leader will be filmed greeting and shaking hands with the interviewee before finally entering the house.
The next shot will be based upon a still camera positon and will be the interview - (interview number1).
Questions (see 'Interview Script' post) will be reeled off with the interview building up to the ultimate question: 'Can you tell us anything about Stinky Bay?'
The first interviewee will provide no information or evidence for the existance of Stinky Bay.
The second interviewee will let slip that 'the best surf is in the far west side of the island'.
The third interviewee will accidently say that it is 'down a hidden, paved, slipway.'
All three interviews will last approximately 45 seconds each and will include subtle questions/references to Stinky Bay which will then be deflected by the interviewees who will grow seemingly uncomfortable with any queries on the secretive bay.
Between each interview there will be short clips of the narrator giving his opinions and showing his growing frustrations with the lack of evidence pointing towards the existance of the mysterious bay, even though the narrator is positive it exists.
After each interview, there will also be cmara shots of the narrator leaving the first house and then driving and entering the second and so on.
Finally, in the third interview, the interviewee/actor will let slip the rough whereabout of the location - 'Down a hidden, paved, slipway'. After this statement the actor will recoil in horror, making it obvious that he has just given away some valuable information.
The narrator will thank the interviewee for his time before the next shot.
The next shot will be of scenery, whilst the voice-over speaks of how it is a case of driving and spotting the location.
The next shot will be on the actual drive to the location of Stinky Bay and will film the driver/narrator talking whilst driving. The clip will stop and then the next shot will capture the narrator getting out of the car and running towards the direction in which he thinks Stinky Bay lies.
The climax of the documentary will be when the narrator become hopeful and excited that he has finally solved the mystery of the existance of Stinky Bay, only to be crushed when he walks down the slipway to find a group of local surfers, including the interviewees, laughing at the practical joek they have pulled.
The next shot will be of the narrator and the leader of the documentary storming off and putting his hand over the camera, saying 'Turn it off, just turn it off.'
The end clips will be either still or pan shots in which capture the enivonment and provide an opportunity for the conclusive voice-over, stating that an urban myth, as far as it could be told, was an urban ledged - nothign more, and that a hopeful search and turned into a playful hoax. The narrator wil state that the irony of this is that in his attempt to also capture the playful Jersey surf lifestyle, he had fallen and been absorbed into one big practical hoax in the process after being so focused on a silly myth.
The final clip will fade-out.
Any gaps in the project will be filled with edited clips of under-water shots or people paddling/surfing so as to make the documentary more vivid, imaginative and interesting.
Here enters the voice-over, giving a brief history on surf in Jersey and what the viewers can expect from the piece. Whilst this is occuring, there will be finely edited clips of people surfing in Jersey. These clips will be finely pieced together.
Next up, the voice-over will provide an introduction to the story, for example, 'My journey began with...', which will lead to the first opening clip.The opening clip will show the narrator of the voice-over and the leader of the documentary atthe seaside giving details on his objective... a quest to find Stinky Bay.
The next shot will be of fast, close-up clips all with the same questions and answers really -
'Can you tell me about Stinky Bay', or questions similar to this will all be replied to with the same shifty answers for the 'public' - 'er no' etc.
Next there will be a still long-shot which I will capture from on top of the bunker at Big Verns (surf spot). This shot will simply capture the tranquility of the sea and the Jersey surf lifestyle. Whilst this shot is rolling, the voice-over will enter and the narrator will inform the audience that due to lack of response, there will be some set-up interviews with three local pro's.
The next part of the project will entail a shot of the narrator and documentary leader, turning up in his car, getting out, stating that he is 'anxious' for the interviews and walking up to the door of the interviewee's house. following on from this short, the narrator and documentary leader will be filmed greeting and shaking hands with the interviewee before finally entering the house.
The next shot will be based upon a still camera positon and will be the interview - (interview number1).
Questions (see 'Interview Script' post) will be reeled off with the interview building up to the ultimate question: 'Can you tell us anything about Stinky Bay?'
The first interviewee will provide no information or evidence for the existance of Stinky Bay.
The second interviewee will let slip that 'the best surf is in the far west side of the island'.
The third interviewee will accidently say that it is 'down a hidden, paved, slipway.'
All three interviews will last approximately 45 seconds each and will include subtle questions/references to Stinky Bay which will then be deflected by the interviewees who will grow seemingly uncomfortable with any queries on the secretive bay.
Between each interview there will be short clips of the narrator giving his opinions and showing his growing frustrations with the lack of evidence pointing towards the existance of the mysterious bay, even though the narrator is positive it exists.
After each interview, there will also be cmara shots of the narrator leaving the first house and then driving and entering the second and so on.
Finally, in the third interview, the interviewee/actor will let slip the rough whereabout of the location - 'Down a hidden, paved, slipway'. After this statement the actor will recoil in horror, making it obvious that he has just given away some valuable information.
The narrator will thank the interviewee for his time before the next shot.
The next shot will be of scenery, whilst the voice-over speaks of how it is a case of driving and spotting the location.
The next shot will be on the actual drive to the location of Stinky Bay and will film the driver/narrator talking whilst driving. The clip will stop and then the next shot will capture the narrator getting out of the car and running towards the direction in which he thinks Stinky Bay lies.
The climax of the documentary will be when the narrator become hopeful and excited that he has finally solved the mystery of the existance of Stinky Bay, only to be crushed when he walks down the slipway to find a group of local surfers, including the interviewees, laughing at the practical joek they have pulled.
The next shot will be of the narrator and the leader of the documentary storming off and putting his hand over the camera, saying 'Turn it off, just turn it off.'
The end clips will be either still or pan shots in which capture the enivonment and provide an opportunity for the conclusive voice-over, stating that an urban myth, as far as it could be told, was an urban ledged - nothign more, and that a hopeful search and turned into a playful hoax. The narrator wil state that the irony of this is that in his attempt to also capture the playful Jersey surf lifestyle, he had fallen and been absorbed into one big practical hoax in the process after being so focused on a silly myth.
The final clip will fade-out.
Any gaps in the project will be filled with edited clips of under-water shots or people paddling/surfing so as to make the documentary more vivid, imaginative and interesting.
Wednesday, 19 January 2011
Monday, 17 January 2011
Considering The Codes and Conventions of a Documentary.
In terms of a voice-over, I will have to make the voice over seem authoritative and I will also need to find a way of encouraging the the audience to feel as though the narrative has some sort of 'specialist knowledge.' For example, in Nick Broomfield's documentaries often include his opinions being depicted as correct, and what the audience should believe/follow.
Documentaries are generally regarded as being non-fiction and so the sole convention of a documentary is that all the events that the viewers are presented with are seen as being 'real'.
I will also consider visual coding when developing character roles in my documentary. For example, in terms of the mise en scene and developing a situation I will provide my actors with clothes which make them look suitable for particular roles.
In my project it will also be important to include natural light and sound so as to add to the authenticity and the technicality of realism of the documentary.
To add more authenticity to the documentary, I will also want to include some archive footage and add further information which the film make cannot apparently obtain.
I will also stage some interviews with 'experts' in my project. In documentaries, interviews with experts are used to authenticate the piece of work and sometimes the opinions given will disagree with the message of the documentary. I will incorporate this aspect of documentary filming into my project in the way that I will interview some 'professional' surfers who 'grew up in Jersey' and I, as the narrator and director will be questioning the existence of Stinky Bay whilst providing evidence for it's existence. At the same time, the 'expert' will be challenging the message which is being given in the documentary.
I feel as though this would be a good idea for my project as it would add to the realism of the work.
In the way of text, I will use on screen words occasionally in order to establish an environment or to achieve time awareness for the viewers. This is a vast way to convey information when needed.
In terms of sound I will also need to take into consideration the use of non-diegetic sound. If I do use non-diegetic sound in my project i will have to consider what effects this will have upon my footage and what message it will portray. For example, on the documentary, 'Supersize Me', there was childish music in which undermined McDonalds. This is a factor which contributes to the message of the production.
I will plan what music, if any, that I will use to associate particular aspects of the documentary after considering how I want certain features to be portrayed.
Documentaries are generally regarded as being non-fiction and so the sole convention of a documentary is that all the events that the viewers are presented with are seen as being 'real'.
I will also consider visual coding when developing character roles in my documentary. For example, in terms of the mise en scene and developing a situation I will provide my actors with clothes which make them look suitable for particular roles.
In my project it will also be important to include natural light and sound so as to add to the authenticity and the technicality of realism of the documentary.
To add more authenticity to the documentary, I will also want to include some archive footage and add further information which the film make cannot apparently obtain.
I will also stage some interviews with 'experts' in my project. In documentaries, interviews with experts are used to authenticate the piece of work and sometimes the opinions given will disagree with the message of the documentary. I will incorporate this aspect of documentary filming into my project in the way that I will interview some 'professional' surfers who 'grew up in Jersey' and I, as the narrator and director will be questioning the existence of Stinky Bay whilst providing evidence for it's existence. At the same time, the 'expert' will be challenging the message which is being given in the documentary.
I feel as though this would be a good idea for my project as it would add to the realism of the work.
In the way of text, I will use on screen words occasionally in order to establish an environment or to achieve time awareness for the viewers. This is a vast way to convey information when needed.
In terms of sound I will also need to take into consideration the use of non-diegetic sound. If I do use non-diegetic sound in my project i will have to consider what effects this will have upon my footage and what message it will portray. For example, on the documentary, 'Supersize Me', there was childish music in which undermined McDonalds. This is a factor which contributes to the message of the production.
I will plan what music, if any, that I will use to associate particular aspects of the documentary after considering how I want certain features to be portrayed.
Thursday, 13 January 2011
Planning... Shots
After taking some time in considering which type of shots I will be taking, my films will be slightly different because it is a documentry and so there are not the usual type of shots that would be used in other project.
Thinking about this issue, I feel as though it would be a wise decision, when filiming in the future, to make sure the shots that I take depeict a sense of validity and realsim within the scene. This si extremely important because I want to make my project look as real as possible, and for my audience to think that a genuine search for Stinky Bay was actually carried out.
Thinking about this issue, I feel as though it would be a wise decision, when filiming in the future, to make sure the shots that I take depeict a sense of validity and realsim within the scene. This si extremely important because I want to make my project look as real as possible, and for my audience to think that a genuine search for Stinky Bay was actually carried out.
Wednesday, 12 January 2011
Planning: What I Will Need...
In terms of equipment and problems, I'll need a few surfboard and a car for transoprtation.
For the interviews I will also need a house and suitable environment to carry them out in.
For the interviews I will also need a house and suitable environment to carry them out in.
Planning... Interviews...
Although some the information stated in my project is fact, a lot of the information is fictitious and is composed simply in order to create and shape a story. Regarding this, I will add 2/3 short interviews with people who are pretending to be local, advanced surfers on this island. Although the real purpouse of these interviews is to add to the realism of the project and aid the storytelling, it will appear as though the director is interviewing the surfers so as to ty and identify key components of the surf scene int he island of Jersey, whilst also trying to fullfill the main aim and quest of the documentry, which is to locate and expose the whereabouts of Stinky Bay.
For the interviews I will prepare some questions before hand and inform the actors of some of the questions in which they will be recieving so as they know what to expect.
In a regular film, perhaps a better way to end the project would be to leave the audience in a state of awe and on a cliffhanger so as to make them think about what they have been watching, however, under these circumstances and in this case, due to the fact that I am shooting a documentry I need to fully deliver the information and provide a conclusion and outcome.
For the interviews I will prepare some questions before hand and inform the actors of some of the questions in which they will be recieving so as they know what to expect.
In a regular film, perhaps a better way to end the project would be to leave the audience in a state of awe and on a cliffhanger so as to make them think about what they have been watching, however, under these circumstances and in this case, due to the fact that I am shooting a documentry I need to fully deliver the information and provide a conclusion and outcome.
Ideas For Voice-over Script...
Rough Draft Script:
Mention the following:
Incoming swell hits Stinky Bay more directly than other areas of the island and so creates larger waves.
Stinky Bay is an urban myth.
Stinky Bay does not show up on maps of the island.
Stinky Bay is suspected to have aqquired it's name to ward of unwanted surfers.
Stinky Bay used to be old morings as is one a direct route of a shipping lane.
Surfing is big on the island.
Locals are becoming more unwelcoming (as the project progresses).
Interview with local surfers in order to aqquire information.
Nb. go into detail of local surf.
Mention the following:
Incoming swell hits Stinky Bay more directly than other areas of the island and so creates larger waves.
Stinky Bay is an urban myth.
Stinky Bay does not show up on maps of the island.
Stinky Bay is suspected to have aqquired it's name to ward of unwanted surfers.
Stinky Bay used to be old morings as is one a direct route of a shipping lane.
Surfing is big on the island.
Locals are becoming more unwelcoming (as the project progresses).
Interview with local surfers in order to aqquire information.
Nb. go into detail of local surf.
Planning
For my project I am going to produce a documentry in which will last five minutes.
I have choosen to base my documentry on an area in which I know a lot about and this area is surfing.
In order to make my documentry more specific to the subject (due to the fact that surfing is a broad topic) I will then make the subject releavmt to where I live so the project will openly be based in the island of Jersey in the Channel Islands.
From carrying out research and looking at examples, notibly the best documentries tell a story and deliver solid facts and information to the viewer. Taking this into consideration, my documentry will feature a story. This story will tell a tale of hope, fear and an undying need to achieve discovery and reach the ultimate goal.
In doing this, I will then need to develop a the story further so as to grip the viewers and create footage in which will remain with them.
Thinking about this, I feel as though a good idea, or scenario to even just base a story around would be a search for a mysterious bay perhaps. The story would then depict a tale of how a person or group of people get on when trying to track down swell in the search for an unknown bay. As the story unfolds, there will be a growing sensation of a cover up on this island and it wil become more blatante that some local/semi-professional surfers do indeed know more concerning the whereabouts of the bay, but are reluctant to share one of the 'islands biggests secrets.' As the film progresses, the story needs to be carried out in a way the allows the viewers to become aware of the growing anxiety amongst the local to maintain thier most valued and precious secret, of a hidden and secluded bay in which hold some of biggest and most consistent swell in the island.
I plan to record a narrative over the project once it is shot, pieced together and edited. In order to carry out a smooth and flowing voice over, I feel as though it would be a wise decision to prepare a scrypt. The scrypt will include both fictional and non-fictional information information regarding and effecting the surf and swell in the island of Jersey.
The outcome of the story is not definite, but I feel that in order to add a purpouse to the documentry, the outcome should be that the bay is discovered, despite the warnings and distain given out from locals and then the bay and it's features are exposed.
In the way of setting and where most of my filming will take place, it is fitting to shoot most of the documentry on the west side of the island where there are numerous surf spots and a small, relatively unknown spot named 'Stinky Bay' or 'Stinkies' for short. The reason as to why this bay is called stinkies is because of it's vast amounts of rotten seaweed in which surrounds the environment, however, the project and voice over, if i decide to use this bay I will depict the reason for the name as a way of warding of un-wanted surfers.
I have choosen to base my documentry on an area in which I know a lot about and this area is surfing.
In order to make my documentry more specific to the subject (due to the fact that surfing is a broad topic) I will then make the subject releavmt to where I live so the project will openly be based in the island of Jersey in the Channel Islands.
From carrying out research and looking at examples, notibly the best documentries tell a story and deliver solid facts and information to the viewer. Taking this into consideration, my documentry will feature a story. This story will tell a tale of hope, fear and an undying need to achieve discovery and reach the ultimate goal.
In doing this, I will then need to develop a the story further so as to grip the viewers and create footage in which will remain with them.
Thinking about this, I feel as though a good idea, or scenario to even just base a story around would be a search for a mysterious bay perhaps. The story would then depict a tale of how a person or group of people get on when trying to track down swell in the search for an unknown bay. As the story unfolds, there will be a growing sensation of a cover up on this island and it wil become more blatante that some local/semi-professional surfers do indeed know more concerning the whereabouts of the bay, but are reluctant to share one of the 'islands biggests secrets.' As the film progresses, the story needs to be carried out in a way the allows the viewers to become aware of the growing anxiety amongst the local to maintain thier most valued and precious secret, of a hidden and secluded bay in which hold some of biggest and most consistent swell in the island.
I plan to record a narrative over the project once it is shot, pieced together and edited. In order to carry out a smooth and flowing voice over, I feel as though it would be a wise decision to prepare a scrypt. The scrypt will include both fictional and non-fictional information information regarding and effecting the surf and swell in the island of Jersey.
The outcome of the story is not definite, but I feel that in order to add a purpouse to the documentry, the outcome should be that the bay is discovered, despite the warnings and distain given out from locals and then the bay and it's features are exposed.
In the way of setting and where most of my filming will take place, it is fitting to shoot most of the documentry on the west side of the island where there are numerous surf spots and a small, relatively unknown spot named 'Stinky Bay' or 'Stinkies' for short. The reason as to why this bay is called stinkies is because of it's vast amounts of rotten seaweed in which surrounds the environment, however, the project and voice over, if i decide to use this bay I will depict the reason for the name as a way of warding of un-wanted surfers.
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