Pre-Proposal for Disconnected

Concept:

The inspiration for the project came from the societal shift we have witnessed since the popularisation of the internet along with handheld technology, where we have grown to be deeply reliant on smartphones and tablets to aid our lives that we now cannot imagine life without them. So, we asked the simple question:  how would we as a species cope without the technology that we are so reliant on to actuate our lives today, if it wasn’t there anymore? Would we as a species be rendered useless by an over-reliance and complacency on technology, or would we be able to adapt and survive without its existence, despite our dependence on it? It is a question which certainly has relevance in the 21^st century today, considering how advantageous and regarded technology is as a tool to benefit our lives.

We wanted to explore this theme in the project with a video narrative, with our target audience being the society that we would be profiling in our video.  We personally felt that because of the subject matter being a contemporary issue with wide appeal, and our own personal reservations that society has become “disconnected” from reality by an overindulgence and trust in technology with a disregard to its fellow human being, we would target not a specific demographic, but a far-reaching one as the subject matter is ubiquitous and in essence, encompasses not a linear audience, but a universal one, and we would want to target as much people as we can, due to our strong feelings about society’s attachments to technology. Therefore, we believe our project would be suitable for an extensive audience.

Project requirements:

To record our narrative, we will borrow a HD video camera, along with a tripod from the FASS Loans Room. Our main asset for the video, is our main character who the narrative revolves around, will be played by group member Ceysun Dixon, with cameo appearances by group member San Mao, Kingston students and other particular individuals, who will be used to propel the main character within the narrative. The proposed video will need props: a mobile phone, a map, hand-written letters, among other props. The project would also need a range of suitable locations as detailed in the storyboard, such as an automobile repair shop, a university grounds, a commuter train and a shopping centre. The video will be edited using Final Cut Pro within the campus computer rooms. And finally, both collaborators on the project will need to be extra flexible with their schedules should any unexpected issues arise during the production of the project.

Project timeline:

·       

           November 2013

-          Finalising what concept to use for the final video

-          Finalise  800 word pre proposal

-          Submit pre-proposal on 8^th November

-          Research and gain inspiration for project by viewing media content.

-          Experiment using recommended software that we would use towards our video narrative

-          Discuss with group members the equipment that is needed for the project

-          Create mock videos to find out whether the project concept works

-          Watch tutorials on Lynda.com and websites like YouTube to gain further knowledge on how to operate production equipment

·    

            December 2013

-          Commence production on video narrative

-          Find actors and extras suitable for the video

-          Find locations that will portray our concept effectively

-          Create a script of the narrative

-          Finalise draft of storyboard if any changes occur

-          Finalise actors, locations and script

-          Start filming video

·       

            January 2014

-          Finish filming video

-          Make an edit decision list

-          Start editing  and experimenting  using various editing techniques

-          Consider and source sound for video

-          Finalise editing

·     

         February 2014

-         

                    - Gain feedback on video by distributing to different social platforms

-                                     -- Arrange public screen test for video

·         

     March 2014

-        

             Submit portfolio on 24^th March

Product Description:

The production to our definition will be a “realistic drama” centred on contemporary life, and focuses on a man’s overzealous reliance on his smartphone, with a negligent approach to living his life without it. His device would one day become inoperable, and he would realise that without his phone, he does not possess fundamental basic skills such as interpersonal communication, map reading or even letter writing which the use of his phone had covered up, which his life requires him to do and know. He would be forced to using archaic means to live his life while his phone is being repaired. He would at first find a basic way of connecting with people difficult, but over time, he learns a valuable lesson, and eventually rejects his phone, embracing his life without it. 

My blog address:

ceysundixonk1326851.blogpost.co.uk

Word Count: 768

500-Word Evaluation

 The idea for the project spawned from the societal shift witnessed in recent years in the evolution and subsequent popularisation of handheld technology, where it is now in almost every pocket. However, as more people become dependent on the technology to aid their lives, what would happen if the unthinkable were to happen and the technology ceased to exist? We wanted to explore this theme, and thus, “Disconnected” was born.

But fulfilling the project and bringing it to life, was challenging throughout, and marred by a variety of problems. The most challenging aspect I found during this project, was working with a particular group member, who for the most part, did not want to participate, rarely contributed, did not seem they like they wanted to and whose attitude was dreadful throughout, which made fulfilling the project more demanding than it should have been. Other problems which were faced included a lack of plan which inhibited filming for a while; once I was the one to take the initiative to make one, did the project take off.  An SD card which held the final day’s footage was lost as well. Although this issue was solved by filming the last day again, there is a massive continuity flaw with the character’s appearance as a result.  And finally, with all these problems, it did not leave us a lot of time to edit the video as convincingly as we could have. Under these circumstances, a lot could be done differently the next time; however, I am pleased that the project was completed in the end.

As detailed, the project was ambitious, especially the narrative. To make it relatable for an audience, I thought about what we had in terms of resources and the story we originally wanted to tell. Because of this, I had to scale down the story a little and make it more universal: about love, and considering the resources we had – actors and locations – the project then became easier to fulfil and allowed it to proceed into production, when it had stalled.

Watching the final video, I can see a number of ways that it can be improved. There was a lack of care with shooting particular sequences during production which editing could not put right, and will make immersion for an audience into the narrative fairly difficult. Owing to the number of problems the project dealt with, leaving it with little time, the video was edited quite hastily and languidly, for that matter. The project required sound to be implemented in some form and we went for it to be synchronous with the action on the screen; but with little time remaining, we couldn’t experiment with the sound as much; however the way that sound was used in the video, accentuated the narrative and made it all-the-more powerful; and arguably better.

Choosing a platform to showcase the video is fairly simple partly because of the subject matter and the age of the characters within. I believe the video would be fitting for a place like YouTube; and that is because the video has the potential, I feel, to develop a cult-like status owing to the heavy use of the Rocky theme tune and self-conscious acting, and with the power of social media, would allow an extensive audience to see it, and share it further.  

Ceysun Dixon KU ID: K1326851

Post-Production: So, That's It

The project has now come to an end, by implementing the answer to its most compelling question: "how will your product work with music or sound?" And by God, has it been answered emphatically.

Within our group of collaborators, we settled on the incorporation of sound as a narrative device. If the character is experiencing a moment of joy, or an instance of sorrow - the sound heard will communicate the story being told by the visuals, to make the story all the more powerful.

As straightforward as it would be to include sound in this way to compliment our narrative, the problem with thinking is that it is much simpler to envision ideas in the safety of the mind, then to put them into practise within the reality of a real world. And we had some issues not only applying sound into the narrative, but also deciding what type of sound should be included.

The beginning of the video was easy to add music in, as we had already decided that music would play at the beginning and we had filmed the character choosing a song from his phone before he began texting someone and walking at the same time. The reason for starting with music at the beginning was to mislead the audience into who the character was and what was really happening to him. We specifically chose the song "Levels" by Avicii due to its up-beat tempo and buoyant connotation; as the character walked down a street at the same time texting someone with his headphones blaring the upbeat "Levels", he was oblivious to anything but himself, bumping into someone and narrowing being run over by a car as he was obnoxiously engaged with his phone.

We had a prolonged discussion as to what type of sound should come after he trips and falls down, breaking his phone in the process, as the music would come to an abrupt end as the phone would become inoperable. We came to the conclusion that with a massive disconnect from the narrative and the music with the fall, the sound should represent his reality that the music covered up; that he is a man too far selfish and indulged with his smartphone to realise his reality: that he is an ordinary person, and without his smartphone, he just that. Once he falls down and the music stops, sounds of his surroundings - car noises and people talking away - are heard to symbolise his reality, when the one he believes in, no longer exists.

The story we are trying to tell in our video, is of a man trying to locate his love interest without the use of his smartphone, once it breaks. Once his phone is broken he would have to resort to using archaic methods to find her; and the first form of antiquated technology he uses is an information board, where the next sound kicks in, with the choice, rather controversial.

In the pre-proposal, we defined our video as a "realistic drama", and the footage we filmed upheld this notion. However, with the music we selected for this segment of the narrative and a lot of scenes within it, the seriousness of the narrative may be undermined. As we wanted an inspirational sound to signify the character's plan to find his love interest without his smartphone - no easy feat, I tell you - we went for arguably one of the most inspirational songs of all time: The Rocky theme tune. It works as a narrative device to suggest that the character is inspired to carry out his plan, but it takes away, I feel, from the gravity of what our piece was planned to be.

We also came across some objects within the piece that had no sound when it became active in the film, which looked really strange and felt quite odd to behold. For example, as music is placed over most of the narrative to make the story more all the more powerful, certain objects that the character interacts with - namely a phone inside a telephone box and a paper map - do not have their own sound in the film, whereas they would in the real world, as music was put over most of the narrative. To give life to some objects within our narrative, we sourced some ambient sound and placed them over the relevant objects the character interacts with, to bring them to life and to add some authenticity into our film - which is now complete, after having the piece de resistance of sound was implemented.

Which means that the long-lasting saga that was this group video project, has come to an end. For most of the project's duration, this stage never looked likely, but it is strangely the reality. From its dreadful beginnings, to its stalled middle and finally, to its cumbersome but successful ending, I am glad the project has reached this stage; and finally over - until the next one begins, that is...

Ceysun Dixon KU ID: K1326851

Post-Production: Rome Wasn't Built in A Day

Since the preceding post last week, which stated that the video was about 80% complete, the video is just about finished with the only thing separating it from its glorious end, the implementation of sound, before it is to be burnt onto a DVD disc, for submission this upcoming Monday.

This past week, Gendrick and myself have putting the final touches to the video, smoothing out the rough edges, and contemplating fitting music and sound to ensure the video resembles something of a masterpiece we would be proud of and not something that would be made fun of, by those with critical eyes and namely, by ourselves. 

Before we met to put an end to Post-Production this week, we had agreed that Gendrick would put together the remaining 20% of the video himself over the weekend, as that would help speed up the editing process for when we would meet up and because we had decided to edit using his personal laptop as the University's computers, simply, are sup-bar and frankly, unusable.

Meeting up this week, after some complications from his end putting the remaining 20% together, the video was more-or-less in a complete state, but very rough in nature with some sequences poorly linked to one another and without music, which is undoubtedly the piece de resistance that this project requires.

These were the only steps remaining for the video from being finalised, and for them to be taken, we began by watching the video in its rough finished condition, and quickly, it became obvious as to what needed to be smoothed out, and improved.

The opening of the video begins with a sequence of a text exchange between the main character played by me, and an unknown person, played by San. At the time of filming these text sequences, there were periods of 30 seconds from the message sent by me to a reply being sent back, which means as we were shooting the text exchange from my view, the camera recorded that 30 second wait.

As we have a story to tell and a a contemporary audience whose attention span in the modern age is non-existent, we obviously cannot include this 30 second wait in-between messages, and so, we have had to condense the wait to about a few seconds. The only problem however, is that these sequences do not match up whatever we do as my hand does not - and cannot - remain idle in an alleviated position for long as was required; and that is the problem within these scenes: with cuts to turn the 30 second wait to a few seconds, my hand is instantly in another position which ruins the immersive experience our film tries to provide. The only solution for such a problem that has no solution, is to make that problem as small as possible; and we done that as best as we could within these scenes but even then, it makes the problem no better.

Another scene which came to our attention, was a quick cutaway from a shot of me running, to a shot of my feet buckling, as a result of the frantic run. Whenever a film laden with special effects has something that looks counterfeit when presented to be genuine, those watching with a judgmental mind are likely to utter "that looks so fake" at the offending material. Witnessing that particular segment together, we did the same and both laughed at how disproportionately out of sync the cutaway looked within the falling-down sequence of the character and so, after the giggles died down, we cut it out, which will ensure the audience will not lose the immersive experience we want to provide, as they did with films like Sharktopus (2010) and The Scorpion King (2001).

Another complication within the video that we came across in its finished state, was perpetrated by my ill-advised but lovable group member Gendrick, who had forgotten to include a scene that was mutually deemed important to incorporate. When looking through the video together, I watched the main character who was standing at a pedestrian crossing, waiting to cross, looking at something for a long time, then walking off and thought to myself: "why was he looking over there; what was over there that compelled him to look for so long?" I turned to him and said: "Why didn't you put in the close-up of the traffic men symbols that we agreed should be in there?" His hand moved promptly to the mouse pad and in went the close up.

The consensus with the film is that not only is it to include sound/music, but also a logo of some sorts and a credit sequence to acknowledge those who made the film possible. After going through the video with a microscopic comb and ironing out the inconsistencies as mentioned, we engaged in collaborative discussion to address this topic, and it began in a somewhat facetious manner.

With suggested production titles like "Bad-man Productions" and "Rudest Boyz Presents" first out of our system, it allowed us make more sophisticated suggestions representing the theme of our "realistic drama." We decided to give the typography of our film "Disconnected", a typeface representing what the narrative is about: being disconnected from technology in the modern age. The letters for the title are loosely connected to one another, and grainy in appearance to give out an ambience of desolation. We also inserted in a credit sequence which would follow on from the title at the end of the film, accrediting the people who worked to make the film even possible: the writer, actors and producers are all rightly acknowledged, as without their hard work, we wouldn't be on the verge of finishing a video-making process which has been dismal from beginning to end, and never looked as if it would make it to this stage.

Music is all that's left to be incorporated to complete the video in its entirety, and of course, for the project to meet its end. For all the details, read on...

Ceysun Dixon KU ID: K1326851 

Post-Production: Composing the Mona Lisa

Having now completed filming, and leaving the status of "Production" firmly behind forever, the project has now moved into its final phase of post production, with editing now its only step separating it from its triumphant end.

Having edited a few videos previously, I thought it would be wise to expend some time renaming every video we shot before jumping into it, to make the process easier - as we have about 97 usable videos to edit from.

If the videos are not renamed, they will simply be displayed by a generic file name, making it incredibly difficult to distinguish a specific shot from another and subsequently make that shot harder to find when it is needed in the editing room. For example, all the files we have are by default named "MOV" followed by a number at the end indicating its position among our footage folder, the only differentiating feature separating any unique file, but that does not help reveal its exact contents.

And to make the process less burdensome, I went through each and every single one of the 97 files, naming them by what its held in its contents; giving some files the title of "walking out of the tube station" or "zoom into the red telephone box", depending on what shot the file contained.

Having solved a problem before it became one which would have seriously inhibited editing before it really began, me and Gendrick met up to enact the beginning of the editing process, to bring an end to a project long overdue.

As we had filmed our sequences in a chronological order and with the renamed files now grouping every file into a specific sequence of events, finding the files and then deciding where they would go in Final Cut Pro's timeline proved not one problem in part to the methodology in filming the narrative in a chronological manner and giving every generically named file, a specific title, facilitated a typically tedious and monotonous editing process, and made it more of a rapid and gratifying experience, to begin with, at least.

After a long period of sitting down engaged in a repetitive process with virtual cuts of a blade ending the life of an inanimate video being the only respite for two easily bored gentleman, the typical dissent displayed by young men having had to endure such an unenviable process for a few hours, finally began to show.

As straightforward as it was for us to put videos files in the timeline, cut them down to size through mutual discussion so they would link up with another video to make the narrative work, that was then replaced with petty arguments and insults as it became clear the honeymoon period had elapsed having edited for a few hours, and carrying on with the same process any further, would have been detrimental to our working and personal relationship.

It was decided at that point to go our separate ways, but we ended on a high point with about 80% of the video put together.

With little time before the video must be finished and submitted by, we agreed in the benefits of speeding up the editing process that Gendrick would put together the remaining 20% and once we meet again, we would discuss - and probably edit - the video for its ultimate form.

Step by step, we near the finishing line that we should have crossed long ago and now the only prize that we can win, is of redemption. And slowly, we near it.

Ceysun Dixon KUID: K1326851

Production Day 4: That's A Wrap...Again

As a result of an unexpected act of naivety unwittingly masterminded by my lovable but ill-advised group partner Gendrick, misplacing the SD card which contained the last day of filming on a street somewhere, we returned back to Southwark to make up for his imprudence and to move back into "Post-Production" by filming scene-for-scene exactly what we had captured before.

The problem this time however, is our return to Southwark to film the same sequences as we had before, coincided with beginning of a working week for London, which meant the location of filming was now bustling full of people and more populated than the weekend we had stepped foot with camera in hand and wrapped up filming.

This made re-recording the narrative more taxing than we thought it would be, and soon the idea that we could just as easily record what we did previously was replaced with a overwhelming sense of consternation that it wouldn't be as simple as that, by the virtue of a functioning landscape that we did not expect and could not control.

Southwark station: returning once again to film

However we had to re-record what we had lost and did the best we could do, battling to duplicate what had been shot 9 days earlier, and despite knowing what we filmed and how we positioned a particular take those 9 days earlier making the process somewhat easier than the first time we shot in Southwark, the huge difference this time was having to contend with a moving and alive city, which meant some takes had to be re-shot a few times, in part to the swathes of people interfering with camera and thus story we wanted to tell: but through trial and error, thankfully, we managed to pull off what we did before; the downside being, it took longer than the first time.

Not only that, another problem we faced filming the same sequences again, is that 9 days on, memories become quite fuzzy. A lot of time was spent reminding each other what was filmed before and from where, then debating if that was the case. Meaning a lot of time was expended arguing and trying to convince one another what we had done 9 days earlier, making the idea of simply re-recording everything again, more of a fairy tale only confined to books that drove the amount of time we were on location - in the frightening cold - trying to avenge the folly of a certain group member.

Trying to capture exactly what we had before, we hoped for another meeting with deja vu. The previous time we stepped on location to film, we required the courteous consent of others to make particular elements in the narrative work, and having requested help from members of the public to facilitate our dreams, they listened and gracefully obliged.  This time however, requesting help again from the people of London, we got it, alright - but we also got something else.

After politely requesting help from two possibly French bystanders to be supporting actors - with the unenviable task of removing a phone from a pocket and then handing it over when prompted - within the narrative, they regonised me as a bonafide acting superstar. As we had wrapped up the the take and were setting up for another scene, they approached with the rest of their friends - about 20 of them - requested autographs and pictures, and because I love my fans too much, I had to oblige. Being an actor is not as easy as it is made out to be...

Famous: signing autographs and dealing with girls 

In an earlier post, I mused if we would get the same "mutual, enthusiastic participation" that we had before from within, as having perspicuity ingrained into my psyche, I cannot overlook such factors due in part to my experience in dealings with other homo sapiens and my understanding of the way they are wired. Although there was participation, it was far from enthusiastic as I had expected and despite my efforts - or of any other - there really is - and was - little chance of generating any, but I am pleased to have received the participation aspect at least, as it meant filming could be completed.

Now, we have wrapped up filming once again, and I am pleased to say it will remain that way, as logic requested I be the one to keep hold of the SD card - and the intriguing case that logic makes, it was hard not to listen.

We move onto editing now, and a step closer to finishing a project long overdue, but now in sight...

Ceysun Dixon KU ID: K1326851

Eh...Houston, We Have A Problem...

This should have been a post, which logic would have expected, to be about editing. Having wrapped-up and finished with production, logic could have only expected one thing to be discussed at this stage.

However, a single act of idiotic naivety by Gendrick, my lovable but ill-advised group partner, has shocked my dear friend logic into doubting himself forever and ruined what this post was to be about, as my brilliant partner, has lost the SD card which contained the final day of shooting.  

Now, if Gendrick had listened to my friend logic before he lost the SD card, he would have either backed-up the files on his computer, or put the card in a safe place that would have enabled it to be secure during transit, where the card was supposedly lost. Yes, by now, I'm guessing some kid who was watching out for processed doggie treats on the pavement has come across the card, and is now laughing at our footage, with plans to record over the footage with episodes of Spongebob. 

It isn't all bad, I must say. As a believer in the power of logic, I often am compelled to listen to it, and the loss could have been far more worse than it is. You see, after the first and second day of filming, I took home the camera and SD card, and with logic making too compelling a case, I saved the footage onto my computer. So, it isn't all bad.

Now, we are forced to move from "Post-Production" and back into "Production" again. The wave of triumph that all within the group were riding on since we had wrapped-up, has been replaced with an unexpected sense of blistering annoyance. 

Listening to logic, he tells me that as a result of this schoolboy calamity, it may not be as straight forward to simply re-record the scenes that were lost. You see, he tells me that there may be a massive problem in maintaining continuity between the second day of filming with the future day of filming, as the time in-between these two periods will be 9 days. 

Let me give an example of the problem logic foresees. The second day of filming consisted of recording myself - who plays the main character in the video - getting off the train and out of the station. The next day of filming to rectify the lost footage comes 9 days later. The next set of sequences that are to be recorded again, will show me leaving the station with a close-up of my interaction with an information board. Once the video is edited together using footage recorded 9 days apart from one another, the character's hair and beard will have grown incredibly through one train journey. Thanks a lot, Gendrick. 

Perspicuity and not logic this time, tells me that the factors of mutual, enthusiastic participation that we had before, may be harder this time to guarantee again - which would certainly be the biggest inconvenience to come about from this situation. But if logic gets through, we may have a chance at least.  

Once we re-record the scenes that were lost - and most likely the ones we already have - logic tells me that I should hold onto the card containing our precious footage, once we wrap up again. 

Logic is a wonderful trait to the beholder and helps make life easier. But when the beholder does not hold any, then life is made difficult - for everyone. 

Ceysun Dixon KU ID: K1326851 

Production Day 3: That's A Wrap

As the third and final day of production arrived, a significant question remained lingering over the proceedings of production that was about to begin for the last time: would we have learnt from the failings of the first day of production, that required that the second day be solely about redeeming the errors of the first? Would history repeat itself again, or would be able to change it?

With such a feasible repeat likely, the decision to scout around the area of the day's filming the day before, ensured that this day of filming was to be unlike the others we had experienced before. On top of the failures felt with the project in days previous, we came into filming more aware and prepared to ensure such inefficaciousness with the aforementioned would not transpire once again; and I can confirm that no such repeat took place again.

Having scouted the area before and with the lessons dished out by the video-making process, we all were more prepared and ready when we met up outside Southwark tube station, and with a few minutes spent discussing the day that lay ahead, we began filming immediately, with the first shot being the main character - played by myself - exiting the tube station, walking towards an information board, with the hope it can point him in the direction of his romantic interest.

Information Board: "Where the hell are you?"

From there, through collaborative discussion, it was decided that the character would leave the information board, to use a nearby telephone box, where he would find a map inside, which - with the aid of London's samaritans - would find himself at the Southbank, beside the River Thames, and eventually sitting by his romantic interest on a bench looking at the serenity of the river together: that was the planned sequence of events which we planned to film, and we managed to get everything we wanted in less time than it had took to film our scenes over the previous two days.

We did come across some elements which were out of our control and required the courteous consent of others to facilitate making the narrative in the video even possible. One of scenes we wanted to film involved the main character asking a member of the public for the use of their phone. To make this a reality, I approached a member of the public, explained what we were doing and what I wanted them to do, handed over my phone and by the sheer power of courtesy, the sequence was able to be achieved. As we were in the Southbank, a heavily populated area of people, some scenes needed to be recorded again and again, as many were ruined by the interference of bodies coming into view, taking away from the story we wanted to tell.

Samaritan: Helping the video being made 

Although the day of shooting superseded all of which came before it and went spectacularly than it could have been envisioned beforehand, it wasn't without its problems. Besides the issues already mentioned, we had one notable dilemma involving the outline which showed what was to happen in the narrative and subsequently, be filmed. A few debates took place about what scenes should take greater precedence in the narrative outlined, and be filmed. This was because of the character's journey from the train station to the final location of the Southbank, which takes 15 minutes in real time. The story is not of a colossal walk of a man, but of a rendezvous between two love interests, which meant there had to be discussions on how to overcome this problem in the narrative, which initially did not seem of concern before filming began.

Despite of these minor issues on the day, once realised, they were dealt with decisively through collaborative thinking, which is a huge contrast to how the group was functioning on the first day of mutual collision; were it was a non-existent component of the group.

The group produced its greatest display of collaborative efficiency it has so far seen on the day's shoot, which minimised disruptions to planned sequences for shooting and maximised the time in which we were able to get everything done by. Although there are numerous reasons and factors for the group's immaculate exhibition of competence, the failures of the first day of shooting only rectified by the second and a lack of harmonious consultation rarely seen on the former and latter, certainly played a pivotal role in ensuring there would be no repeat of the acts of our former selves.

With filming now over and wrapped, this means that production has finally come to a brilliant end, from its dire beginning. At one point  - and through many - this stage did not look even possible, yet by divine intervention, we find ourselves here.

Editing is the next hurdle, and now, we prepare to jump into it.

Ceysun Dixon KU ID: K1326851

Production Day 2: And So We Begin...Again

The project has just completed its second day of filming, and the errors made during the first day of principal photography, were recognised and not repeated again.

After viewing the footage we had shot for the first day, I realised we had made some catastrophic mistakes with how we shot most of our scenes. To use a particular example, there is a sequence of the character walking down a footpath at the beginning of the narrative - which required the camera to be positioned in a multitude of areas to capture a range of different camera angles. Reviewing the footage, I noticed that it would not have been able to be cut this sequence - and others - together convincingly because there had been a lack of care of filming without the editing room in mind. 

The plan for the second day was to record the remaining 50% of the narrative and wrap up production, but considering a large portion of  footage for day one would be unusable, meeting up at the location that was to begin the second and final sequence of the narrative, we discussed the reality of the situation of continuing ahead without remedying the fundamental errors we made in filming on the first day, and thankfully, we all agreed on returning back to Vauxhall to re-shoot most of the footage again - with the plan of returning back to where we had started the day, the Southbank, to look around the area for ideal locations to film the rest of the narrative in. 

Having arrived at Vauxhall, there was hardly a repeat of the previous day where most of it was spent discussing what we were going to film. This time, we knew what we were going to film as we had gone through our sinned footage and set about rectifying the errors of misjudgment, that hindsight could only have foretold. 

We decided to air on the safe side of caution, by re-shooting almost everything that was shot on the first day, as a precautionary measure in order to prevent returning to the scene of the crime again, as the plan for the second day was to finish filming, not re-shooting scenes we thought we had got already.

Power of hindsight: filming the first day again 

We filmed the character from interacting on his phone, to walking down the street, crossing the road and falling flat down on the pavement and breaking his phone, caused by his devotion to continually overindulging in his phone even while walking. These particular sequences that were filmed previously, when compared to the same sequences filmed again, were a massive improvement and will now be easy to splice together in the edit than it would have been before, having reviewed the filmed footage after we finished for the day. 

Before that happened however, me and Gendrick made our way back to Southwark station, which is a few minutes walk from the Southbank, where the narrative is planned to finish at, to choose locations for the next day of filming. We looked at the area around the train station, as the narrative will begin from this point - and end up at the Southbank. 

We saw an information board outside the station and a phone box across the street, which we will use when we film for real. We then walked over to the Southbank, keeping an eye out for possible locations to use on the way there. A few minutes later, our walk was ended in front of the Tate Modern by the sheer beauty of the river flowing across from it. We mutually agreed that the narrative will end here. We then made our way back to the station and parted ways - having learnt from the failures we have incurred so far since beginning production. 

The next time, we'll be more prepared and ready than we have ever been to ensure there isn't a repeat of the mistakes that we have made so far. Now having made them, we will be more aware of the consequences in imitating the acts of our former selves.  

Ceysun Dixon (KU ID: K1326851)

Production Day 1: And So We Begin...

The project has finally transitioned from its perpetual phase of "Pre-Production", and now can the prefix of preparation be forever disassociated from existing alongside the project, as it has have moved into "Production", with a day of filming already behind it.

It has been a long time in the making, and a moment which could not have come anytime sooner: it has finally arrived, and we have made the most of the opportunity to set things right by putting the final pieces of the puzzle together - finalising the step outline, booking out the technical equipment needed for shooting and joining forces with the mutual intention of succeeding - to initiate in this period of prosperity that we have all been waiting for.

Preparing to film

Despite that moment having now arrived, the first day of principal photography did not go as smooth as it could have. And the main reason for this is a lack of preparation; it has always been a factor which has plaugued and inhibited the trajectory of the potency that we as a group have in order to succeed, to get the best out of our collective potential: the group is apathetic, and that has always played against us.

And because of that census, filming sequences of the narrative was more of a hassle than it should have been. There was a lot of time spent discussing the positioning of the camera for a particular take, and what action was to be captured in that take; a lot of time was expended experimenting on ideas suggested on the day, which meant we hardly maximised our day of shooting because of a lack of depth in a plan for the day of filming.

We did however, manage to film about 40-50% of the narrative, but having reviewed the footage later, some scenes will have to be re-shot, and that is mainly down to the errors in presentation of the sequences. A few scenes involving a close-up of a mobile phone - attributable to the natural lighting conditions - are rendered almost unusable as the texts displayed are hard to make out due to glare.

Another problem with some scenes is the positioning of the camera for a sequence of movements. There is a particular scene which involves the character walking down a pavement. The first shot shows him walking towards the camera and passing it, and the next shot has the camera behind him and he is walking away from it, continuing down the pavement. In the edit, when these two separate scenes are put together, it will not match up; it will look out out of sync with one another as the second sequence begins with him at an unreasonable distance to where he should be from the first sequence. Some scenes will need to be shot again.

Duct tape cam: good idea, just not for the project

The day of filming was not all bad, it has to be said. We did manage without much planning to film the majority of the narrative, with a few hours of work. There are some scenes that will look stunning to the eye of the beholder, and was shot in a way, that once in the editing room, without much trouble, will be able to be cut seamlessly with all rest of the footage.

We have finally taken the first step towards the ending of a beginning long overdue. We've taken the first step, but there is much to do if this experience has taught us anything of what will need to be recognised in order for failings of the first day of filming not to be revisited, the next time filming commences.

Ceysun Dixon (KU ID: K1326851)

Pre-Production: Screen Testing

One of the ideas discussed at the infancy of the project was the possibility of putting on a screening of the video for an audience, once it was finished.

Although we are about to enter principal photography, it is certainly an idea which would help the quality of the narrative and would allow us to receive critical feedback which would improve the overall product, before we would have to supply the video for submission for 24/3/14.

And it is wise I feel, to start considering this as time begins to slowly run out.  

We have an idea of what will work for the narrative and plan to carry this out to fulfill our vision for the video, but it remains to be seen if what we have envisioned, will resonate with a test audience, and be validated as being worthy of the merits that we would hold it to. 

That is the problem in bias; it blinds you to the truth. And what we feel is great in the narrative within the group, may not be reflected by another group of individuals. That is the appeal in putting on a screen testing, and that is a certain possibility once we finish: to make the product all the more better through critical engagement.

However, I strongly believe that what is planned to be filmed would require no other to pass comment on its quality and content, as the plan to enact a high quality product, is assuredly confident in allowing me to say that the video narrative would not need such a thing once it is finished.

But that is hypothetical on my part, and in the nature that this project has carried on throughout the time it began, leads me to question my confident mentality this time. 

There are an abundance of rooms within Kingston University that are possible to book to put on a screening of "Disconnected" once it is finished and invite a assortment of students to watch and then leave feedback with the possibility of improving the overall quality of the video. We could make posters advertising the screening, acquire drinks and food to incentivise the student population into coming along.

We may very have; we will see....

Ceysun Dixon (KU ID: K1326851)

Pre-Production: The Audience

The project has entered a place it was believed it would not enter again, and it is unfortunate that another passing week hasn't meant that a simple lesson has been learnt in order for it to refrain from returning to old habits.

The impediment of the project is again down to the same reasons which have inhibited it for as long as I have had the will to mention it, and I have mentioned it far more times than it is reasonable - and I will not detail it here again.

As we are almost on the cusp of a scintillating beginning, and a beginning that will have to be met next week as there is no more time for delays anymore, to prepare for that period of certain incipience, I thought it would be wise to think about who the audience for the video narrative is, in order for the final product to reflect the demographic it was envisioned for originally.

The pre-proposal ambitiously justified the target audience for the narrative to be a "universal one" and that is because the subject matter is undeniably a ubiquitous one, and will arguably be understood by a large, encompassing audience as most have been affected - for good or bad - by man's emphasis on an overindulgence on the use of technology, which at times has been to the detriment of a society which relies on the good of humanity and its competence to prosper, and sadly that census has been forgotten as man has become more materialistic - and the smartphone, the technology the narrative is centred on,  is one of many symbols that epitomises the reality of how humanity is today.

But it would be easy to generalise the project's intended audience in this manner; it is far more complex to broadly state the intended audience in such a way. However, it is the intention to target as many people as possible with the narrative, as this project has an underlying message to a society that we feel has forgotten its roots, and it is justified in that regard; yet every film attracts a particular audience, and our narrative would be no different in doing so.

Our narrative focuses on a young, working professional in London who relies on his smartphone to navigate from one place to another to fulfill his working commitments. To make the narrative more appealing to a wider audience there are nuances of comedy scattered within, but the narrative is defined and is to be a "realistic drama." Based on this evidence, perhaps the audience can  be defined as working professionals in London who are from low to middle class backgrounds and use their phones frequently and who can resonate with the depiction of a contemporary working life that will be showcased in the narrative.

But considering what this project intends to relay to society, focusing the narrative to attract a specific demographic of people, would not be addressing an omnipresent issue that would be understood by more than the above demographic. In that regard, it wouldn't be honourable to classify and focus on a specific demographic for the video narrative as our subject matter transcends being confined to only a select audience.

Therefore, the video narrative will be made with no particular audience in mind, but will be made for an audience of people who will no doubt relate to it by its contentious and contemporaneous subject matter.

Ceysun Dixon (KU ID: K1326851)

Pre-Production: The Last of a Dying Breed

I am optimistic that this project can fulfill the requirements to yield its intended success, yet remain hopelessly cautious, as the fear of failure and the realisation that a second is all it takes for a slack tide to return to its former brutal glory, keeps me airing on the right side of caution when it comes to the project.

Although we now find ourselves in the slack of the tide, the storm is right around the corner, and a wrong move, will set us face-to-face with the beast which awaits. To not find ourselves on a path that would end in disastrous consequences and to get it to a terrific resolution, there cannot be a repeat of the apathy and detachment which has plagued the project from the infancy of it, and has prevented it from beginning its long overdue inauguration.

Simply put, we must work together and not against each other, we must communicate politely and efficiently to one another, and we must be mutually committed and motivated to ensuring its success from now on. Old habits must now die hard, and remain that way if we are to have get to the promised land of the end.

Pace has recently gathered and the project slowly moves in the right direction, but there is much to do to ensure it continues on its current trajectory. Before locations are to be decided as well as equipment to continue the project's rejuvenation, the step outline is to be updated again but this time with my collaborator's edition which is shown below, and it will allow the project to move into "Production", and begin a battle long overdue.

1. The sound of footsteps are heard in the background and a POV shot of the main characters iphone to show him pressing the play button then the music starts

2.POV shot of the main character walking down the street towards people, while he texts and constantly looks down at his phone with his headphones in.

3. He bumps into people who appear incensed, as he continues oblivious to what he just caused.

4. He crosses the road, and doesn't bother to look both ways as a car nearly collides into him.

5. A homeless person who he usually passes every morning, calls for him to put some money into his collection hat - he continues blind.

6. He bumps into a lamp post and drops his phone - it smashes hard into the ground, breaking.

7. He frantically rushes over to it, and tries to get it working; he fails.

8.He decides to find a repair shop but doesntknow the location. As he would normally use his phone to find information he feels lost and confused.

9. He is then forced to speak to someone, but fails to do so without conviction.

10. He locates a map to help him get to his destination and struggles to use it properly - holding it upside down.

11. He decides to use public transport but gets on a wrong bus as without his phone he wasnt able to find the correct information

12. He looks ruffled and shattered: it dawns on him the hole he dug himself into unknowingly.

13. Fortunatly he finds a repair shop in which they tell him they are able to repair the phone. (Estatic facial expression) however it wont be ready till tomorrow eveining (Dissapointed facial expression)

14. (Que sad music) He leaves the shop and makes his way back home.

15. His journey home is fairly easier altough he finds himself in another situation where his loss of contact with normal day to day duties now seems rather difficult. He remembers he has to contact someone important so he makes his way to the Post Office where he writes a letter.

16. He goes home and turns on his computer; however, his internet connection is not working - he is in disbelief.

17. He begins his day again with a smile walking down the street. He expertly handles the same events that came before convincingly. He stands at a crossing with people on their phones and looks bemused. The light turns green and he is the first to cross the road.

18. He joyfuly greets strangers on the streets

19. Visits the homeless man and gives him food.

20. Jumps on the bus happily knowing he is heading in the right direction

21. He makes his way to the repair shop. The repairman sees him and picks up the phone to hand it to him. He thinks briefly, looks the man in the eyes and says "keep it".

22. He turns away to the door and walks out - connected.

Credit: S.Mao

Ceysun Dixon (KU ID: K1326851)

Pre-Production: Thunderbirds are go?

We find ourselves here again: but this time, another passing week does not mean that this week, was like what had come before. Activity has gathered in the last few days leading up to this post, and now it seems, this post will not be about inhibition, but of progression.

For an inexhaustible amount of time, the project has been deep-rooted in apathy and indifference to the responsibility and that would lead to its success. But the consensus with apathy is that, somewhere and somehow, it will eventually lead to period of prosperous vivacity, and it appears the project is just about entering that particular phase of the cycle. 

It was always a question of "when" the project would become vigilant in the face of the storm which every passing day brought closer to inflicting its dissemination of destruction, but it seems now, the fear of that storm has awoken a project that wants no part of meeting that fate. 

A few days before this post, I met up with my fellow group collaborator to discuss the step outline that was updated, and would be used as the blueprint for filming the footage that "Disconnected" calls for, and frankly needs, in order to make it the product it ought to be. 

With that said, heading into this discussion I expected and welcomed a clash of creative difference, and I got it alright. The previous outline awaited tinkering to get a stimulus from a project severely in need of it, and to enact the passion of progress so close to Valentine's Day, as to combat that fear of not "getting sum", it led me to amend the outline for the sole purpose of progression, not finality. Which means, without any passionate foreplay, there would be no chance of  glorious "success."

As it is Valentine's Day, I can reveal the only "success" that I have tasted today, was to do with the project. And this taste was, upon argument of course, sweeter than anything I could have tasted to celebrate the wonders of Cupid's arrow, and a sensation which has eluded me for too long.

We discussed the updated step outline, its marvels, and also its blemishes in relation to filming it in practice. It was mutually agreed the narrative was protracted too far even for our capabilities, and some sequences such as the main character's frequent foray into his home, was unnecessary. The issue of contingencies to prevent a stall in production was also brought to the fore. A particular scene calls for a car repair-shop which in the narrative, will fix the character's phone once it breaks, but this aspect of fulfilling this idea in reality, may prove too difficult to achieve as it requires securing its use with another party. 

But there was an air of naivety that hung over the discussion, that makes me muse if we can actually conclude the project in the manner which was cohorted. There remains far too little time until the end of the project to expend precious time stalling it no longer. While we did discuss the outline and the shape it should be in order for it to be filmed, fundamental factors like locations and equipment that would allow it be filmed, went amiss, and the mutually agreed start date for the project, the 22nd of February, seems ambitiously imprudent.

Although there is a lot to do - a hell of a lot - from now until the aforementioned date, it can be achieved. First the step outline needs to be amended to reflect my partner's suggestions, and perhaps the ideas of the collaboration may have to be recognised in the shape of a script, instead of an outline once it is amended. Then suitable locations will need to be cross-referenced with the scenes in the script that can make it work, but thankfully I have a few in mind which should fit the context of the narrative, and make the start of filming a possibility.

Other than that, there shouldn't be anything which should prevent the project from fulfilling its long, overdue birth of activity. Stand by for action... 

Ceysun Dixon (KU ID: K1326851)

Pre-Production: Ye Old Wise Man, Thou Foretold

The inauguration of this project has gathered some pace this past week, as the pieces slowly fall in order for the commencement of it. The inhibition of progress is down to two central reoccurring issues: a lack of action from the individual, and a plan which would allow the project to progress past the current inhibition of it.

With time not on our sides anymore, and a plan for filming the main reason of reticence for the project, I have fleshed out the initial step outline that was made as a blueprint of how the narrative would progress and play out, and have now filled in the blanks so now it represents a comprehensive overview of what happens in the narrative, and more importantly, what needs to filmed now, which God-willing, will make my fellow group members rise to the occasion of a battle long overdue. 

The outline I created will no doubt be scrutinised and objectified into change; but a change I expect and really welcome. I have my own vision for this project in respects to the narrative, cinematography and general decisions which would allow the project to come to an extraordinary end. My vision for the project is tremendously excellent and my plan and abilities that will make this project successful are entirely flawless.

But are they?

The process of collaboration is to prove me wrong, and I am to be proven wrong with my conceptualisation of the nuances which I feel will make this video project the success it should be. When an idea believed to work in the mind of the thinker, is put out into the world, it will be engaged by the analytical, and that idea will grow into something else: regardless if the idea was good or bad. It will lead somewhere through collaborative discussion, from individuals all with their own ideas on how to improve the idea put forth. 

It is imperative that decisions and thoughts are always challenged, so that these musings are shaped  into something that the thinker could not come to envision on their own. My fellow group members no doubt have their own oversights for what direction they feel this project should take - and they will do their best to ensure their voice is heard among the jousting of a project which caters for the collaboration of a whole.

I have no hesitation in believing the predictions of a riot by an English rock band, once we move into principal photography; where with time constraints and unfulfilled promises due to inevitable unforeseen circumstances, not to mention the perpetual hovering of angst from the individuals whose ideas could not be implemented for judicious and justified reasons, chaos will ensue among the confine of the group, with implosion a possibility.

But these issues are to be expected and may prove to be the benefactor from which a final product was produced that all are proud in having made happen.

But then again, these issues could prove to be the final nail in the coffin of a project which once showed great promise.

We will have to wait I guess, to see if the ship sinks, or if it can withstand the constant force which forever threatens its survival...

Ceysun Dixon (KU ID: K1326851) 

Pre-Production: Amending the Step Outline

The steps of progress have been laid out for this project to finally take, as a comprehensive overview of the narrative and what is to be filmed, has now been contrived from the previous version of the step outline, in order for those steps to be taken.

However it must be said, once every single individual within the group is satisfied with the outline - which will no doubt change from the one below as creative tweaks are implemented by all within the project who have their own vision for this enterprise - will this project be able to commence. But commence it will.  

The step outline updated:

1. The main character is walking down the street towards people, while he looks down at his phone with his headphones in.

2. He bumps into people who appear incensed, as he continues oblivious to what he just caused.

3. He crosses the road, and doesn't bother to look both ways as a car nearly collides into him.

4. He comes to a set of traffic lights and waits until it is green to cross. The light turns green, but he is too absorbed to realise, while others cross.

5. Having crossed the road, a man is giving out newspapers and motions for him to take one. He fails to acknowledge the man, and carries on walking down the road still occupied with his phone.

6. Up ahead of him, a considerable amount of people are hurrying to get to work. He strides in their direction, not taking the care to look up, and bumps into a few of them.

7. He looks up from his phone, turns back to angrily engage the assailant for causing the interruption  using his phone.

8.  He turns himself to continue his journey, and crashes into a lamp post and drops his phone - it smashes hard into the ground, breaking.

9.  He frantically rushes over to it, and tries to get it working; he fails.

10. Distraught, he takes his broken phone to be repaired - he is told it will take a while.

11. He enters his home and turns on his computer; however, his internet connection is not working - he is in disbelief. He looks at the calendar on the wall, which says he has to be at a particular address tomorrow.

12. He gets up from his computer, and crashes dramatically into his bed.

13. It’s the next day. He is walking down the same street and everyone else seems to be on their phone as he passes them.

14. He reaches into his pocket to pull out his phone in instinctive fashion; his face drops once he realises his phone is not there.

15. As he usually gets his information from his phone, he attempts to talk to a passer-by for it, but fails to do so without conviction.

16. He tries again with another passer-by and the same thing occurs. He looks at his watch, panicking at how late he is.

17. He rushes to an information point and picks up a map to help him get to his destination and struggles to use it properly – holding it upside down.

18. He gets on public transport and collapses into an empty seat, looking dishevelled as others are perfectly calm.

19. He gets off the train and leaves the station. He looks ruffled and shattered: it dawns on him the hole he dug himself into with the overreliance on technology.

20. It’s night time and we see him at home, with a pen in his hand. He attempts to write a letter and begins by scribbling an illiterate phrase. He tries again, but again yields no success.  The pen drops from his hand as he looks frustrated.

21. It’s the next day, and we find the main character looking at something; it’s the repair shop.

22. He enters. The repairman is sitting reading a paper; his eyes meet his. The repairman shakes his head as to say “not today.”

23. He leaves and strolls down the street. Compared to the previous day, he walks a little reassured. He continues in the direction of members of the public; approaches and gauges information from one of them. Although he isn’t smooth, he gathers the information he sought.

24. He reaches into his pocket to make a phone call; he sighs. There’s a phone box nearby which he sees and approaches. He picks up the receiver, scans the contraption in confusion and after a few moments, he inserts some change into it: he talks to the person on the other end.

25. He then gets onto public transport and scans those around him who are using advanced forms of technology.

26. There’s a newspaper near him, and after some consideration, he decides to pick it up. He flicks through it with a sense of shame; however, he soon begins to forget why he is to be shameful and buries himself in the paper.

27. His destination breaks him from his occupation with the newspaper, and he gets off.

28. He soon notices a sight of beauty which compels him to stop and admire it; others continue to walk on by. His eyes open, while he scans a site of serene beauty no one except him notices.

29. This compels him to enter the park. He walks round admiring trees, flowers and the green of the grass.

30. He looks across the park and sees a person wearing a relaxed set of clothes.

31. A compulsion to remove his strict attire overcomes him and he takes off his blazer, shirt and tie.

32. He sits on a bench and puts his clothes beside him, astounded by his discovery of liberation about his life.

33. Children are playing on swings, birds are chirping and couples are holding hands.

34. He gets ups, takes one last look at his surroundings and heads towards the exit with his blazer over his shoulder.

35. It’s the next day, and he walks down the same street as before with a look of newfound realisation.

36. He comes up to a traffic light. He waits to cross, takes a look around him to see others on their phones. He smiles to himself knowingly and when the light turns green, he crosses first while others are occupied by their handsets.

37. He approaches a member of the public and confidently engages with them, eliciting a smile from them.

38. He comes across the man handing out newspapers, looks him in the eye and politely takes it from his grasp.

39. He opens it and begins to read from it, while he waits to get on public transport.

40. While he is on the mode of transportation, he takes a look around to see various people engaged with their technologies. He pulls out a map and assuredly plots the next part of his journey.

41. He gets off and embarks on down the street. He comes across a homeless person, and puts some change in his container.

42. A look of recognition comes across him. He heads towards a phone box and makes a phone call.

43. He enters a supermarket to pick up an item of gratitude, and presented with either paying by self-service machine or from an employee, he pays his money to the employee, and exits the store.

44. He continues towards to a coffee shop, entering it. It becomes clear who he was talking to on the phone and why he bought the gratifying item: a girlfriend/friend.

45. He greets and gives them a hug. They pull their phone out, but he takes it off them; putting it back in the pocket it came from.

46. They talk for a long time and share countless laughs and smiles with one another as the night continues.

47. It’s the next day, and the main character is looking towards something: the repair shop.

48. He enters it, and the repairman looks up from his paper. He gets up diligently, and picks up something from his desk.

49. He approaches the main character; looks him in the eye, and takes out his repaired phone.

50. The repairman extends his hand with the phone placed upon it. The main character takes a look at the phone and says: “keep it.”

51. He turns around, and heads towards the exit, while the repairman looks on with the phone in his hand.

52. The main character walks out – connected.

Ceysun Dixon (KU ID: K1326851).

Pre-Production: Discussions of a Brave Few

There is not a lot of time to ponder about the specifics of a life indebted to the pull of survival. What we feel about the definition of our existence amongst the madness of living it, divides the unity of opinions that separates us all from the aspiration of fulfilling it.

There is not much opportunity afforded to come to some form of a philosophical epiphany, to halt the flail of forgotten perspective into an environment which offers little to help those who are lost. Before working on this project, I was many of those lost amongst the madness of life which offered little to suggest its purpose, and to justify its continuance in finding the answer to that very question.

No longer do I follow, or feel need to follow the path of linearity that preceded my existence towards its destruction and only when I came to my oracle of discovery that I saw the beauty within the darkness of this madness, am I convinced that life actually means much more than what it is.

Which is partially the reason for choosing to go ahead with the concept for the video, which more or less represents the realisation of my discovery as to what is really important in life, but through the narrative do I get to shout it out, to an extensive audience, no less.

Life is confusing, as to what purpose it serves us, other than the fact that it gives us our existence and validates us purely from our breathing. Other than that, questions arise from the logic in carrying on doing so, in part to the suffering it provokes. But that's the beauty in a meaningless pursuit I find - you must continue it until you find out why it so was important that you did.

Which the character in the video comes to understand; just like I did.

Life is an astonishing thing to experience, full of hidden wonders not revealed until you're brave enough to make something of it. And those few brave who do, will come across the perils and dangers of a road with no end in sight, full of destabilising road bumps and set backs, designed purposefully to inhibit the scared but constructed to alleviate the brave who want to find out where it can lead.

The road bumps were there for a reason, only once it is overcome, will you understand why they were there; why they were necessary to be faced: why you had to overcome them.

And that's the beauty in the madness. Yet few are brave enough to find that beauty among such madness.

I hope those who watch our narrative, come to realise this.

Ceysun Dixon KU ID: K1326851

Pre-Production: Sleeping with the Enemy

We find ourselves here again; another week removed from the one that came previously. And yet, we find ourselves having not learnt from the verity of a history that in actuality, should perpetuate the indifference that inhibits the progression of an extraordinary future, that all within the group fails to comprehend.

The project again remains where it has been for a while now, waiting for a beginning to take it to a brilliant ending. It is not the intention of mine for this post to lament the project's progress or project for that matter, and take up an a considerable amount of column space explaining an enduring obstacle that could be easily dealt with, if only the dealers would be willing to deal with it. And we will have to soon enough, before it's too late.

Moving on, for the last few weeks I have been readying myself for the start of the project by scouting for possible locations, taking up acting lessons if I call it that and assorting my character's look and costume.
For this week, I thought I would get to grips with the denouement of the project before it got there: with post production editing.

I have made a few videos before using Final Cut Pro, and at first, found editing to be an insurmountable nightmare to come to terms with, due in part to a tricky and fickle system of tools and functions which, without a executive manual, was made all the more harder to use. However over time, I found myself overcome with joy at how fun and easy editing is to be.

For this project, it is my understanding that another programme is requested to be used which would render my Final Cut Pro knowledge obsolete. And that programme is Adobe Premier Pro. It took varying degrees of attempts to hold on to my sanity while getting to grips with Final Cut Pro, and to make my impending date with the fickleness of Adobe more of a joy than a nightmare, what better time I thought, to set up my date with the inevitable drudgery of destiny.

Unfortunately, for a reason which perplexes, I was unable to make use of Lynda.com which would make the £9000 I pay to use it, less reminding of the unprecedented debt I face once my academic tenure ceases. To take my mind off this inevitable onus, I headed straight to YouTube to feast from the many tutorials that are available.

A series of video I came across titled Adobe Premier Pro Tutorials* from user "thenewboston", makes me optimistic that once it comes to it, editing using the software will be less of a burden than I thought it would be.

The main features of Final Cut Pro, importing files into the programme, cutting video clips to a desired size and editing files in the timeline, appears to be more or less the same in Adobe's version. The latter's operating system however, is simplistic in comparison and would make a laborious editing process, more straighforward than tedious.

One of the plans at the moment is to insert credits at the end, and possibility to use a title sequence at the beginning of the video. Again, from what I saw and understood, the nuances which typically disassociates identical technological entities from another, in this case, appears too minuscule to make that judgment that the group would have difficulties implementing similar creative ideas into the video with Adobe Premier: there really is nothing to suggest a vast difference in using Adobe Premier to the accustomed and safe feeling that Final Cut Pro has amongst us.

We should have no problem in the near future, I feel, from what I saw, editing the tour de force that remains idle at the starting gate. As soon as the video is provoked, there will be nothing stopping it from the path of redemption it desperately wants to take.

Ceysun Dixon: KU ID: K1326851

*A few of the videos viewed:

http://www.youtube.com/watch?v=tBZNkXbUmpQ - exercising tools on Adobe Premier

http://www.youtube.com/watch?v=MfY0nD4uYAA - Using the timeline on Adobe Premier

http://www.youtube.com/watch?v=46MLWBEvgrU - Making a title on Adobe Premier