12.1 Be able to obtain key contextual information relating to editing audio-visual material
1.1 Identify the house style of the commissioning agent program or channel.
The house style for our DCASlive sessions was originally created and set by Martyn, this format was identified as a creative way used to open and end the show to give it a professional look. The logo is a representation which our viewers can refer to. Below is an example of the iden we use.
1.2 Identify the targeted audience
The DCASlive sessions are mainly targeted at young musicians looking to progress within the music industry. However DCASlive covers many other target audiences for example, people that have an interest in music, radio stations and music event holders. We have specifically formatted the show to make it appealing to these target audiences by using our social media platforms, Facebook, Twitter and Youtube.
1.3 Identify the intended time and duration of transmission
Over the course of 6 DCASlive sessions the intended duration of the sessions have been quite consistent as all the sessions feature two performances that usually lasts 3-4 minutes each and an interview which lasts up to 7 minutes. All of our sessions have been in the region of 12-16 minutes so our intended time and duration will more or less stays the same.
1.4 Identify key elements of editorial brief.
Timescales - DCASlive has a timescale of one month as it is a monthly live session published around about the same time each month. Assessing how much time is spent on each section of the production line is simple. Pre production consists of one day preparing ideas for the backdrop of the set, gathering research on the upcoming artist, producing interviewing questions and checking that all equipment is in good working order and ready for film the following day. Production includes setting up all relevant equipment, rehearsals of the show, shooting all video and audio recoding requirements and finally tidying away all the equipment. All this being completed within 4 hours. The final element of the production is editing which requires a timescale over a few days as this can be the longest process. We give the whole production a month to complete as that leaves enough room for experimentation, creativity and quality.
Dates, time and location - Liaising with your artist what day is suitable for both parties and also choosing a time is one of the first elements of the pre production stage and it is important that all parties of the project are aware of the agreed date, time and location.
Structure - The DCASlive production has a particular structure that has been successful each time, the structure is that the presenter starts with an introduction to the show followed by two performances by the artist and finished off with an interview. This splits the show up nicely as it gives the artist a chance to relax and speak about their passion after their performance. It also has worked well throughout the editing process.
Overview of why? - We make these monthly live sessions not only to support the artists involved but to promote the studio and the centre as a whole, looking to capture acoustic sounds from local people around Derbyshire. Pushing young people to progress in their musical journeys.
1.5 Check the suitability of the location, indicating relevant factors for consideration.
The location setting of the DCASlive is based in the recording studio at DCAS. This location is the most suitable for what we aim to produce as it gives us easy access to any musical materials we may need. It is also located directly next door to the control room which is where we record all audio. The location features sound proof materials such as acoustic treatment tiles which are used to absorb reflections made within the time of recording. This produces a more accurate sound which is a useful tool when doing this kind of work. For health and safety reasons we ensure there are risk assessment documents that outline any hazards that could arise from the DCASlive sessions which is shown below. The room is also suitable as it is a large space which allows the musicians and the personnel to move around freely when performing and recording.
1.6 Identify effective picture and audio and actuality possibilities as required, indicating relevant factors for consideration.
In a real life situation our viewers of the DCASlive sessions would be watching through our online Youtube channel so it should be filmed in 1080p and exported as a MOV file once edited so it would be appropriate for online use. After further research I found that Youtube supports other formats such as:
The reality of the way our viewers will watch the live session would most likely be through their mobile phones or laptop, this could effect the picture quality depending on the steaming quality of the device and also its internet connection. The way our viewers will listen to the video could be either through headphones or the provided speakers on the device they are watching it on. This might be of poor quality in relation to the quality the sound was recorded at.
12.2 Be able to use equipment and recording techniques appropriate to the task
2.1 Check suitable equipment for the task
DCASlive is a big job and there is a lot of equipment needed to make the session run smoothly and successfully. The key items required to run the DCASlive sessions are as follows;
Cameras - During the recording we use up to 3 Canon cameras, those being Canon 650, Canon 760 and Canon 1100 accompanied by a camera lense which are selected appropriately for the task. Making sure the cameras consist of a clear SD card and a fully changed battery is also essential.
Tripods - Two of the cameras need to be stabilised by using a tripod which securely keeps the cameras in place, this is done so that you can gather the best quality footage.
Wall of amps - These are placed to the back of the room directly behind the performer, this is so that it gives the footage some character and a back drop rather than the plain wall. This is a suitable background choice as it is music based and not too noticeable.
Lighting - To give the video some atmosphere we use lights to give the performer the suitable and most appropriate shade of lighting.
Microphones - Depending on what instrument the performer is playing will determine which microphones we use and how many of. However if the performer is just playing the guitar then only two microphones will be needed for the vocals and base of the guitar.
DI box - This is another form of transmitting sound from a guitar and is used during the production of the session.
These are just a few key elements used for the DCASlive sessions, more or less materials are added depending on the performers needs and requirements.
2.2 Check that equipment is in good working operational order before use.
Being prepared before the session can make the event run much more smoothly as it avoids any interruption or delay in the recordings. Making sure all cameras are in good working order and that the lenses are clean. Another thing to consider is the stability of the tripods to avoid any damage being made to the equipment. It is important to check that all the wires and cables are working before use, this can avoid wasting time changing them for ones that do work.
2.3 Use equipment to achieve the best possible technical quality of recording.
Audio - To get the best quality of sound it is important you use the most suitable microphones for particular instruments. A condenser microphone is often used for vocals as its sensitivity is more suited for this purpose. The pre amp which the microphone is sent to can also determine the quality of sound you will produce. Gaining the correct and suitable levels is an important factor when recording for a live session and this can be done whilst the performers are practicing.
Video - Using good quality lenses can have an effect on the video footage as they can be the key to a good quality image. Using manual focus can also improve the intended image. A camera stabilizer is a good piece of equipment that can be used for shots that capture steady movement. Unfortunately DCAS do not have the budget to have this equipment although would come in good use for commercial filming projects. Using lighting equipment can sometimes create a better quality piece of footage by producing a mood or atmosphere to the picture.
2.4 Identify any equipment failures and breakdowns ensuring that these are resolved promptly.
On occasions we have identified problems with the cables we use during the session and this was resolved immediately by safely replacing the cables with ones that work. Throughout the recording session is it important that you are prepared for equipment failure especially when on set as this can cause disruption in your timescale.
2.5 Keep recording equipment secure at all times.
During this project specifically there are less risks of the equipment being damaged, stolen or misplaced due to the secure location of DCAS. However ensuring that all recording equipment is safe and secure at all times is still something we consider during the session and more so when in other locations. Keeping all recording equipment together in an area where there are no risks of damage and also keeping it in eye sight, these are ways which can maintain the security of the equipment during recording.
3.1 Brief relevant parties on details of the story and recording requirements.
Contacting the relevant participants in DCASlive is done through online social media messaging, this has proved to be an informal, easy way to communicate with our featured artists. Details such as a brief description of what they would need to prepare, date and time of recording and the timescale. Once the artist has arrived we often spend some time before the recording introducing crew members and their role, making them feel comfortable and at ease, explaining the structure of the shoot, discussing and negotiating interview questions and ensuring they feel relaxed prior to the recording.
The way we communicate between crew members are through group discussions. In these group meetings the key elements are discussed,such as recording requirements, plan of action which includes dates, times, schedule and structure. This is done so that we have the chance to share ideas and ensure we all have a mutual understanding of the project.
3.2 Brief interviewees accurately about recording arrangements and techniques.
Prior to the recording we discuss the recording arrangements with the artist/interviewees, relating specifically to the DCASlive projects the recording arrangements are as follows.
Firstly the presenter will introduce the show, then the artist performs two songs of their choice followed by an interview at the end. These are done as separate takes and then rearranged in the editing process in the structure we use for the sessions.
We believe it is important that the artist has a full understanding of how the recordings will be produced, this will make them feel more informed and involved in the project. Informing the artist which each camera is covering in terms of video footage can have an effect of their performance so ensuring they feel comfortable and relaxed can contribute to the final product.
3.3 Conduct relevant interviews and vox pops, recognising and responding to any unfolding events.
The presenter of the DCASlive sessions is the person which produces and conducts the interviews with the artists, the questions are related to that artist in particular touching upon subjects such as their experiences, musical background, upcoming events ect. These questions are varied and created to suit each artist appropriate. To ensure the presenter has prior knowledge about the artist we use techniques such as secondary research to help produce correct information that goes into creating the questions. During the interview the techniques the presenter may use are, continuous eye contact with the artist, using subject terminology, including lighthearted questions and also providing unplanned follow up questions recognised throughout the interview. All these techniques can contribute to a successfully relaxed interview.
3.4 Record commentary or voice over, if required
The DCASlive sessions do not include the use of any commentary or voice over as its context does not suit or require this feature. However if the structure to the DCASlive sessions were to change this could be something to consider as a beneficial development. Here is an example of commentary and voice-overs being used appropriately, you will often find these techniques being used in music video reviews.
3.5 Maintain adequate records to support the editing process.
All recorded footage and audio is stored on an external hard drive ready to be imported to editing software for further development. During the editing process it is useful to either record a vlog or blog which talks about the editing process such as synchronization, effects that have been used, structure, and problems that may have been identified along the way. All of this also being evidenced through screenshots.
12.4 Be able to evaluate own work
4.1 Check the sufficiency and appropriateness of recorded footage to meet the editorial brief.
As DCASlive is recorded in a live style it is crucial that we don't make any mistakes whilst filming, especially as we work to a timescale for each live session. As the session is a multi-camera production we capture three different angles and this provides us with enough footage to keep the performances interesting and appealing to its audience but also creates room for any mistakes if some are made during recording. Before moving onto the editing process it is important that the footage is checked for sufficiency and appropriateness for what we intend to create.
4.2 Check that the type and variety of footage is sufficient to support the editing process
DCASlive is a multi-camera production which means that we have up to three cameras recording all at one time. As the sessions purpose it to create an appealing performance it is important we gather a variety of angles that cover all aspects from closeup recordings of the instrument/s, the artist singing, pans, tilts, wide angles etc. This amount of footage allows creativity to be expressed during the editing process.
4.3 Review the footage gathered in the light of the brief to identify any changes required.
Once all footage is imported into your chosen editing software reviewing it and identifying any changes required is something to take into consideration before you get started as this could be something that may be changed in the early stages of editing. For example due to the production being multi-camera the common fault we find in our footage is lighting, as the cameras cover the artist at different angles the lighting can change throughout the performance. Before recording we check that the settings are set appropriately for there position then if any faults are found afterwards they are changed further down production line - editing, using the colour correction or colour match tool in Final Cut Pro.
4.4 Check that deadlines for recorded material have been met.
The DCASlive sessions have a timescale schedule that lasts up to 1 hour and a half worth of recorded footage and this deadline has been met for every DCASlive session we have done to date. This footage contains two performances, roughly about 3 takes of an interview and 3 takes of the introduction. We leave enough time so that if the artist makes a mistake or isn't happy with their performance then there is time to retake.
12.5 Be able to comply with relevant legal and regulatory requirements
5.1 Comply with relevant health and safety requirements.
Recording the session in the recording studio based in the DCAS centre has made the health and safety requirements much smaller than if we were to record the footage in an outdoor location, there are less risks to consider and weather isn't an issue. However risk assessment procedures still need to be carried out for health and safety reasons. Avoiding any injuries to people involved in the project is done by communicating and discussing briefly key elements of health and safety requirements within that space, this is done at the start of every session.
5.2 Investigate relevant legal and compliance issues.
Legal and compliance issues are not much of a problem during the DCASlive sessions due to not needing any permissions to film in a public place as it is done in our centre, no restrictions on filming the public when out in a public place, and all consent forms are taken by the musicians before any recording is made.
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