NUBI Magazine

NUBI Magazine is a online business based in Birmingham, UK. They have a small core team of 15 creatives who write, record, and shoot content for the online platform. Aimed at ‘millenials’, 18-27, NUBI Magazine is about the new and the original. Similar to VICE, content is created for audiences just off the edge of mainstream media. The up and coming artists, underground fashion, and subjects about to hit new heights.

I am working at NUBI as a content creator intern. My responsibilites include but are not limited to, coming up with new ideas, assisting video and photography shoots, writing articles, and networking in the midlands area. I started April 20th and have so far enjoyed this fantastic opportunity. I have developed new contacts in the media world, flirted with journalism, and planned a mini-doc series on street art for their new YouTube channel.

NUBI also has a commercial division, this is NUBI Natives. Natives has very similar targets to it’s magazine counterpart. It develops and promotes young brands to it’s audiences, promotional videography, photography, brand design and web design included.

My internship at NUBI gives me the opportunity to work on both ends of the business. NUBI Magazine offers me extremely gratifying creative freedom, I have the ability to do passion projects, do what I want, as long as it is targeted at millenials (myself). In addition I will gain further professional skills and thought process as I work with clients at NUBI Natives.

As an aspiring director of photography, this internship at NUBI gives me the fantastic opportunity to develop my practice in the commerical sector. Working for a variety of clients, adding diversity to my experience. My camera and lighting skills will differ by project. I will learn a lot about meeting and succeeding expectations, delivering on tight schedules, and networking advice.

Overall I look forward to spending the next few months working for NUBI, I hope to become an integral team member both on and off the field.

NubiNatives

The Night Sitter (2016)

My experience in Nashville is one I will never forget. I have developed greatly on both a personal and professional level. I have learned a great deal working closely alongside grip and electric on The Night Sitter. I have established new contacts that have helped me understand and develop a personal career path. In addition, I assisted the camera and art departments, as well as working as a PA (production assistant) for a short while.

After this experience, I believe I have a much stronger and wider view of the film industry. In fact, I’d say I know more about American filmmaking than British. Hopefully, success follows The Night Sitter, and I return to the USA again to work on the next feature from Roller Disco Massacre. This opportunity might possibly have got my ‘foot in the door’ in America. It will certainly enhance my CV and allow me to create an IMDB page.

There are hundreds of pieces of equipment that the grip and electric departments are responsible for. They are all used for different purposes throughout a shoot, in regards to lighting, framing, etc. I found it very difficult to remember the name/title of every object, some were silly such as a ‘lollipop’ which is the head of a combo stand. I don’t think I can remember them all but I do know most of them.

This experience has been immense, one of the best 2 weeks of my life. I met so many great people, learned so much, and overall had a really special time in Nashville. This experience has allowed me to get hands-on with real professional experience in the American film industry. I have networked and gained contacts in both Atlanta and in Los Angeles. The ability to get professional feedback on my own work and the chance to gain further work in the USA is fantastic. I imagine, in the future, I will look back on this experience as being the Kickstarter of my career.

Forward Filmmaking

Forward Filmmaking is a team of talented and enthusiastic Coventry University Media Production BA (Hons) students. We aim to share our skills and passion for filmmaking with the youth communities across Coventry and potentially across the West Midlands in the near future. We want to educate young people on the creative art of filmmaking, that the art form itself incorporates lots of different talent and styles. Filmmaking doesn’t require large, expensive equipment. It doesn’t need year’s worth of training and experience. Our workshop aims to give participants the chance to shoot and edit their very own short film all on their smart phone. Smart phone camera technologies have rapidly developed in the past decade, the iPhone 6S Plus currently boasts a 12-megapixel camera that can shoot in 1080p HD at 60fps. As well as camera technologies, mobile application software has also increasingly developed in recent years. The free editing app ‘Adobe Premiere Clip’ is packed full of user-friendly content, it is fast, simple video creation. With an easy interface it ‘packs a punch’ just like it’s professional counterpart Adobe Premiere Pro.

Smart phone camera technologies have rapidly developed in the past decade, the iPhone 6S Plus currently boasts a 12-megapixel camera that can shoot in 1080p HD at 60fps. As well as camera technologies, mobile application software has also increasingly developed in recent years. The free editing app ‘Adobe Premiere Clip’ is packed full of user-friendly content, it is fast, simple video creation. With an easy interface it ‘packs a punch’ just like it’s professional counterpart Adobe Premiere Pro.

 

This community workshop developed my leadership and organisational skills to a large degree. Teaching like minded people about camera techniques and the importance of concepts such as storyboards really pushed my own personal ability. Explaining it somewhat made it all ‘real’ to me, from this experience I have felt very reassured that I know my ‘stuff’ when it comes to DSLR videography and photography.

As an aspiring director of photography, this teaching method helped me develop crucial leadership skills. I took control of my class, talking in detail and answering all questions with a good sense of informality. This workshop was very friendly and easy going. When working on a set a DoP often takes charge of both camera and lighting departments. Each of these departments can have several teams (depending on the size of the production), taking on board information and leading with kindness are two things that I believe to be very important to retain strong command.

Overall Forward Filmmaking was a fantastic development that further realised the logistical side of filmmaking. The participants were all amateurs 18+ but I certainly felt responsible for their work and it was a good challenge to be so influential and critical in a short amount of time.

 

Short Film Production // God Of Love

Short films can range in length from 45 seconds to 30 minutes. However, the longer they are the harder it is to keep the audiences attention. Festivals usually accept short films less than 20 minutes long. This is because lengthy films can take up their schedule, preventing them showcasing a variety of films. Luke Matheny’s God Of Love (2010) has a runtime of 18 minutes. His Oscar award winning film perfectly combines an original narrative, great acting, and high production values.

The funding and distribution of short films has rapidly developed in recent years. Filmmakers make use of online networking platforms such as Shooting People and Mandy to hire crew. Casting can often take place over Skype or a sent video clip. In comparison to feature filmmaking, short films require crew to take on responsibilities for multiple roles. There isn’t as much money to go around, crew double up and are often paid with food and drink or just their expenses. However, unlike feature filmmaking, the production teams of short films have a greater chance to develop on various personal levels. Crew and cast become one big family unit, friends are made and networking comes naturally. Luke Matheny is the writer, director, and lead actor in his short film God Of Love.

Crowdfunding is an extremely popular way of raising part of or an entire budget to make a short film. Websites such as IndieGoGo and Kickstarter are used by millions of people everyday. These platforms allow both amateur and professional filmmakers to pitch their film ideas to global audiences. Luke Matheny funded God Of Love partly from a grant he received from the AmericanLife TV Network. In the UK, there are many grants available to the arts ranging from the BFI (British Film Institute) to local city councils.

Short films are distributed similarly to indie feature films. Professional productions are sent out to film festivals around the world in the hope of being accepted and shown. Distributors pick up films, which they can sell to online platforms, VODs, and add to Blu-Ray editions of Hollywood features. God Of Love was included in the Blu-Ray edition of Danny Boyle’s 127 Hours (2010). Upcoming filmmakers particularly use short films to prove their talent to experienced agents and producers. Short films are great to build up portfolios and develop a wide range of skills. Traditionally a director would direct several successful short films before moving onto their first feature. Cinematographers, scriptwriters, producers and other important crew also benefit from various experiences in short films.

“Filmmaking is like playing an instrument. The more you practice the piano, the better you get. The more film you shoot the further you grow as a director.” (Levy)

Since the release and success of God Of Love Luke Matheny has gone on to direct two feature films. A Birder’s Guide To Everything (2013) and Lovesick (2014), both of these feature films are comedies. Romance and comedy are the two most popular genres when it comes to short film distributors. The quirky nature of God Of Love has propelled Luke Matheny into traversing that genre more. Other famous directors that started their careers making short films are Christopher Nolan, Martin Scorsese, Stanley Kubrick, and Tim Burton.

Bibliography

127 Hours. Danny Boyle, 2010. Film.

A Birder’s Guide To Everything. Luke Matheny, 2013. Film.

God Of Love. Luke Matheny, 2010. Film.

Levy, Frederick. Short Films 101. New York: Perigee, 2004. Print.

Lovesick. Luke Matheny, 2014. Film.

Say Cheese! Critical Analysis & Reflection

The production process of Say Cheese has taught me far more than I imagined it would. I applied for the role of ‘director of photography’ because I wanted to challenge myself. Cinematography is what I have wanted to do for a long time, this short film has fortunately reassured me of my ambitions and interest in the role both on and off set. I believe my keen eye for composition, colour, and framing have really come to fruition. Feedback from my team and fellow course mates has been extremely positive, many have been impressed that the images shown are entirely raw with no colour grading.

My work ethic, attention to detail and motivation developed immensely during the pre-production process. I was held up from doing my script analysis and breakdown due to several delays in the writing of the script. However, I spent this additional time researching lenses and lighting techniques. I now know about ‘china ball’ lighting and the fantastic power of neutral density filters. This pushed me to such an extent that I shot 90% of Say Cheese using a Canon 85mm f/1.4 with a Hoya ND filter. This was challenging in several practical circumstances but maximising the low aperture and colour from the assigned filter allowed me to create a visually stunning film. Overall I am satisfied with the extent of my script breakdown, storyboarding, and the writing of the shooting script. I learned that the relationship between the director, director of photography, and 1^st assistant director is imperative in filmmaking. Fortunately, the relationship with my director (Anna Fantuzzi) was fantastic. We shared and developed the same creative vision from day one. We were both extremely happy using Wes Anderson and Woody Allen as key influencers in our creative direction. Although, I do wish I could have done further research into the films by these directors and their favourite cinematographers such as Wes Anderson’s Robert Yeoman. I learned a lot about Robert Yeoman from his influencers and styles, to what are the first things he does when he receives a script.

The production of Say Cheese was both strenuous but very rewarding. It was great to see my plans come to life. I believe I was calm and collective on set, I communicated well with my director and 1^st AD. We mostly stuck to the shooting schedule and only fell behind schedule on the first day. In fact, for the next 3 days we were ahead of schedule. Unfortunately, due to unforeseen circumstances, my camera operator failed to join us during the shoot in Prague. The role and its responsibilities fell to me to execute. This was tough, really tough. I was fulfilling two roles on set, which I believe hampered the visual identity of Say Cheese. I was not allowed time to think and visualise what myself and Anna Fantuzzi had planned. Instead I spent a lot of time carrying around equipment, setting up a tripod and framing the camera. To some extent these new responsibilities and tasks further developed me, as I had to think on my feet. I developed a greater initiative and problem solving skills. My team had no sympathy for me on set, which further pushed me to work harder and be faster. The majority of the shots Anna did not suggest changes to, in fact she spent more time away from the camera than she did with the camera. I learned an incredible amount about natural lighting, directing the positioning of reflectors was a first for me, as well as using shadows to create a deeper image.

Upon review of rushes and further post-production methods I discovered that a few shots were ‘soft focus’ or entirely out of focus. This frustrated me because on set and during shooting it looked well, I received approval for every shot from my director before rolling. From this particular experience I have learned the benefit of using a larger monitor, of having a focus puller on set, and the difficulties that low apertures present to camera operators. Many of the images are fantastically cinematic using large depths of field, especially the interior of the café. However, the soft focus and sometimes out of focus seconds take the audience away. They do not know where to look, they do not propel the narrative. My close attention to detail and ‘perfectionist’ mind set fell flat. On my next production I will be sure to learn from these mistakes and make a success of my failures.

The post-production of Say Cheese was a manic affair. The few weeks given before the deadline added pressure and the prevention of going back to Prague meant we were stuck with what we had shot. I knew this before leaving of course but I was still concerned about it all, there is only so much an editor can do with poor footage. I offered my advice throughout, witnessing several rough cuts. I suggested preference for each take to both the director and editor (Sam Watts). This stage was minimum work load for me in comparison to the rest of the project but I still developed a strong understanding of the importance of the edit. Prior to shooting I adjusted my 5D Mark iii image settings, I reduced contrast and saturation to create a more ‘flat’ image. This was to help the editor colour correct, and grade during post-production. I did my best to aid as many crew members as possible so that they would feel more comfortable and potentially have more control over what they were doing.

To conclude I found Say Cheese an exhilarating experience. I have developed both on a professional and personal level. This was the first time I was isolated to one role, and even though I had to fulfil two roles I still found the limitations very helpful. This is how it is in the real world. Being restricted allowed for others to flourish and for myself to grow so much more as a media professional. My knowledge and understanding of camera technicalities has progressed, my understanding of lighting has begun but I feel as though it is my creative skills and the way that my brain thinks which has rapidly changed the most from this whole experience.

 

 

 

 

Say Cheese (2016)

The production process of Say Cheese has taught me far more than I imagined it would. I applied for the role of ‘director of photography’ because I wanted to challenge myself. Cinematography is what I have wanted to do for a long time, this short film has fortunately reassured me of my ambitions and interest in the role both on and off set. I believe my keen eye for composition, colour, and framing have really come to fruition. Feedback from my team and fellow course mates has been extremely positive, many have been impressed that the images shown are entirely raw with no colour grading.

My work ethic, attention to detail and motivation developed immensely during the pre-production process. I was held up from doing my script analysis and breakdown due to several delays in the writing of the script. However, I spent this additional time researching lenses and lighting techniques. I now know about ‘china ball’ lighting and the fantastic power of neutral density filters. This pushed me to such an extent that I shot 90% of Say Cheese using a Canon 85mm f/1.4 with a Hoya ND filter. This was challenging in several practical circumstances but maximising the low aperture and colour from the assigned filter allowed me to create a visually stunning film. Overall I am satisfied with the extent of my script breakdown, storyboarding, and the writing of the shooting script. I learned that the relationship between the director, director of photography, and 1^st assistant director is imperative in filmmaking. Fortunately, the relationship with my director (Anna Fantuzzi) was fantastic. We shared and developed the same creative vision from day one. We were both extremely happy using Wes Anderson and Woody Allen as key influencers in our creative direction. Although, I do wish I could have done further research into the films by these directors and their favourite cinematographers such as Wes Anderson’s Robert Yeoman. I learned a lot about Robert Yeoman from his influencers and styles, to what are the first things he does when he receives a script.

The production of Say Cheese was both strenuous but very rewarding. It was great to see my plans come to life. I believe I was calm and collective on set, I communicated well with my director and 1^st AD. We mostly stuck to the shooting schedule and only fell behind schedule on the first day. In fact, for the next 3 days we were ahead of schedule. Unfortunately, due to unforeseen circumstances, my camera operator failed to join us during the shoot in Prague. The role and its responsibilities fell to me to execute. This was tough, really tough. I was fulfilling two roles on set, which I believe hampered the visual identity of Say Cheese. I was not allowed time to think and visualise what myself and Anna Fantuzzi had planned. Instead I spent a lot of time carrying around equipment, setting up a tripod and framing the camera. To some extent these new responsibilities and tasks further developed me, as I had to think on my feet. I developed a greater initiative and problem solving skills. My team had no sympathy for me on set, which further pushed me to work harder and be faster. The majority of the shots Anna did not suggest changes to, in fact she spent more time away from the camera than she did with the camera. I learned an incredible amount about natural lighting, directing the positioning of reflectors was a first for me, as well as using shadows to create a deeper image.

Upon review of rushes and further post-production methods I discovered that a few shots were ‘soft focus’ or entirely out of focus. This frustrated me because on set and during shooting it looked well, I received approval for every shot from my director before rolling. From this particular experience I have learned the benefit of using a larger monitor, of having a focus puller on set, and the difficulties that low apertures present to camera operators. Many of the images are fantastically cinematic using large depths of field, especially the interior of the café. However, the soft focus and sometimes out of focus seconds take the audience away. They do not know where to look, they do not propel the narrative. My close attention to detail and ‘perfectionist’ mind set fell flat. On my next production I will be sure to learn from these mistakes and make a success of my failures.

The post-production of Say Cheese was a manic affair. The few weeks given before the deadline added pressure and the prevention of going back to Prague meant we were stuck with what we had shot. I knew this before leaving of course but I was still concerned about it all, there is only so much an editor can do with poor footage. I offered my advice throughout, witnessing several rough cuts. I suggested preference for each take to both the director and editor (Sam Watts). This stage was minimum work load for me in comparison to the rest of the project but I still developed a strong understanding of the importance of the edit. Prior to shooting I adjusted my 5D Mark iii image settings, I reduced contrast and saturation to create a more ‘flat’ image. This was to help the editor colour correct, and grade during post-production. I did my best to aid as many crew members as possible so that they would feel more comfortable and potentially have more control over what they were doing.

To conclude I found Say Cheese an exhilarating experience. I have developed both on a professional and personal level. This was the first time I was isolated to one role, and even though I had to fulfil two roles I still found the limitations very helpful. This is how it is in the real world. Being restricted allowed for others to flourish and for myself to grow so much more as a media professional. My knowledge and understanding of camera technicalities has progressed, my understanding of lighting has begun but I feel as though it is my creative skills and the way that my brain thinks which has rapidly changed the most from this whole experience.

ATMA Promotional Film

The Association of Mixed Martial Arts were my first professional client. Listening to their desires from a business perspective and understanding the audience they wanted to engage with was something very new to me. It took me a while to adjust my view of video production, from a creative filmmaking view to that of a solely commercial and business point of view.

The client was very clear and easy to work with. Communication was excellent from my team leader which resulted in a tightly organised camera unit. I worked as a camera operator on this poroject, my main responsibilities included looking after and operating various equipment including a dolly, recording visuals requested by the client, and keeping the content ‘fresh’ and ‘diverse’.

Keeping a professional profile, asking for permissions of the subjects in attendence and sticking to a brief not set by myself were all new to me. My professionalism has been present on sets before of course but that was amongst other students, this time, in front of members of the public, was a different kind of added pressure.

This project was a success, our client gave good feedback and was very  happy with the final product. It was such a pleasure that he joined us for the Media Playground event that took place February 25th 2016. At this event I photographed him and made him feel comfortable throughout his stay with us. Many other students and public visiting our exhibition enjoyed themselves. We received a lot of positive feedback.

Kalopsia Synopsis

1960’s England, The Beatles are ruling the charts and sex drugs and rock and roll is ruling the world. James and Cynthia are a couple struggling to battle addiction and poverty living rent free with their friend Peter in Carnaby Street, London.

After a night of psychedelics and then some, James and Cynthia are found slumped in a messy bedroom surrounded by broken objects and drug paraphernalia, James wakes up sober to the mess around them encouraging Cynthia to take a look. Cynthia is very reserved to James’ words and turns away from him after glancing at the room. James begins to wonder why she is acting this way and questions her on whether she is on a downer.

Group Presentation – Reflection

Overall I am pleased with how our presentation went. I kept my strict time slot well, focusing on short and snappy points. I especially enjoyed discussing my influence from Breathless, and how I developed my knowledge of ISO from my shooting experience. We answered all directed questions well and to a sophisticated standard. I am also happy with my answer to Matthew’s question on what I would change as a source of light. I definitely would have preferred to use artificial lighting, especially for the opening “snake” sequence. However, it was certainly beneficial mentioning how the final two shots were jarring structurally. For any possibly future film festival entries I think we will cut those two shots out, finishing on the cut to black as the door slams shut.

If I could do it again I would talk more during my individual presentation piece. Unfortunately, due to limited time,  I didn’t mention aspect ratio’s and my interest in using that technicality as a creative tool. My eyes were really opened by watching Xavier Dolan’s ‘Mommy’ (2014). In addition, I would have liked to of made some gifs of scenes from the film. As stronger evidence of my visual direction as director of photography.

 

 

 

 

 

 

 

Coventry University // Rugby League

Coventry University’s men’s rugby league team travel to Oxford to face bitter rivals Oxford Brookes in one of the most gruelling matches of the season. I was the camera operator on this promotional video. I shots using a Canon 70D with the 24-105mm IS USM L series lens on a shoulder mount.

This project was very thrilling and fast thinking. It was a lot of physical work keeping up with the players whilst simultaneously keeping the camera steady. Constantly adapting to new angles and focusing on different subjects was a definite challenge.

As an aspiring director of photography this project taught me a lot about natural lighting, ISO, and Kelvin. My knowledge and understanding of the technicalities that make a DSLR has improved. I worked on this video with several other students, together I think we did a fantastic job. We communicated well, turning up 2hrs in advance to prep the location.

Overall I am very pleased with my performance and development from this process. As a director of photography it is important to understand the details, to not be just barking out ‘orders’ to crew. When I ask a camera operator to do some sort of movement, or to use the camera in ‘x’ way I want to have done it myself before. Or at least have been in a similar position.