28/02/12-
Today we went to the Masonic Hall, Tettenall, Wolverhampton
We managed to get an interview with a freemason called James Barrie Rouse the Provincial Grand Secretary of Staffordshire, even though our topic is Illuminati, it has been said that Freemasonry has been linked very closely with Illuminati so we thought we'd investigate a little further.
We wanted to get an interview with a active Freemason which would give a sense of balance to our documentary so it wasn't us just throwing allegations around and not giving them a chance to explain.
On the 28th of February we decided to go to the lodge and investigate, we also had some specific questions that we wanted answering. When we arrived at the lodge we met a man called James Barry Rouse the Provincial Grand Secretary of Staffordshire who agreed to answer our questions.
J.B. Rouse offered knowledge far greater than many members due to the rank he was. He explained that Freemasonry wasn't just a gentleman's club but it went in further depth touching on being a religion, and also explained what happened during the ceremonies but didn't allow us to film inside the ceremony room.
After the interview we had a tour of the masonic lodge but wasn't allowed to film it, his reason being that we might become a freemason so it would ruin our experience which i saw no logic if we was having the tour anyway.
He also gave us some background information on past members that were very well known e.g. The Duke of Kent, Mozart and The Archbishop of Canterbury.
Tuesday, 28 February 2012
Friday, 24 February 2012
Expert drop out
Our potential expert, Nicki Mann who said will feature in my documentary has dropped out. Me and my team gave her a set out of questions to revise and we agreed that we would shoot 2 weeks after, which would of gave her enough time to be familiar with the questions but she has dropped out unexpectedly, but hasn't given us a reason just this email:
hi matt,
I am so so so sorry but im going to have to drop out from the documentary. I feel really bad for letting you down at such short notice but i hope you will understand that i wouldnt do so without good reason. Please dont kill me!
thanks for your understanding,
Miss Mann
However we feel that we could use this to our advantage as it is very mysterious that she has just dropped out suddenly as she was very excited to feature in the documentary so we don't know whether she is scared or has been silenced by the Illuminati,we will try find this out.
hi matt,
I am so so so sorry but im going to have to drop out from the documentary. I feel really bad for letting you down at such short notice but i hope you will understand that i wouldnt do so without good reason. Please dont kill me!
thanks for your understanding,
Miss Mann
However we feel that we could use this to our advantage as it is very mysterious that she has just dropped out suddenly as she was very excited to feature in the documentary so we don't know whether she is scared or has been silenced by the Illuminati,we will try find this out.
Technical Errors
We have had a lot of technical errors with equipment as we have changed from Sony Handicam to a Nikon D3100 SLR so I had to familiarize myself with the camera as I am the camera man/director, so I had to learn how to use the camera settings to get effects like aperture integrated into my documentary.
Also at times two people were needed to operate the camera as I had to change the focus settings from automatic to manual so I could manually blur the background to make the narrator more poignant, but there were two changes that had be done simultaneously to achieve the effect we wanted so I got Josh to rotate the zoom to what I wanted and I had to rotate the focus lense simultaneous which was very frustrating as it took time to perfect as we both had rotate at the same time which was very awkward as we could sometimes get in the way of each other so we had to cut filming and start again, and we had to rotate the zoom to suit the focus so the camera work didn't seem odd or blur out the shot completely. This took time to get right.
Also there were some sound errors as the camera couldn't pick up the narrators voice very much so we had to move the camera closer instead of zooming sometimes which could take away from the shot as it could sometimes cut part of the narrators face off, so we had to work out our area that we could film in where the camera could pick up the voices and not cut anything out.
Also at times two people were needed to operate the camera as I had to change the focus settings from automatic to manual so I could manually blur the background to make the narrator more poignant, but there were two changes that had be done simultaneously to achieve the effect we wanted so I got Josh to rotate the zoom to what I wanted and I had to rotate the focus lense simultaneous which was very frustrating as it took time to perfect as we both had rotate at the same time which was very awkward as we could sometimes get in the way of each other so we had to cut filming and start again, and we had to rotate the zoom to suit the focus so the camera work didn't seem odd or blur out the shot completely. This took time to get right.
Also there were some sound errors as the camera couldn't pick up the narrators voice very much so we had to move the camera closer instead of zooming sometimes which could take away from the shot as it could sometimes cut part of the narrators face off, so we had to work out our area that we could film in where the camera could pick up the voices and not cut anything out.
Jump Cut
Me and my team have decided to adopt the Jump Cut technique to our documentary, we feel this will give it n edgy, uneasy feel to the documentary.
A jump cut is a cut in film editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly. This type of edit causes the subject of the shots to appear to "jump" position in a discontinuous way. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing.
I feel that the jump cut, if used correctly will have a really professional look on our documentary this is because many directors now use this technique to add intensity and a edgy/raw look and feel to there film/documentary, which is essential to our documentary as our topic is mysterious and some what horrific due to the 'rumors' that have been linked with Illuminati, e.g. Assignation of JFK, Involvement of 9/11 etc, these events are all horrific so I feel jump cut would be a good addition our documentary.
This is an example of the first time Jump Cut was used, this was by a French film maker Jean-Luc Godard, who demonstrated jump cut in his groundbreaking Breathless, the video above shows how he has used it.
A jump cut is a cut in film editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly. This type of edit causes the subject of the shots to appear to "jump" position in a discontinuous way. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing.
I feel that the jump cut, if used correctly will have a really professional look on our documentary this is because many directors now use this technique to add intensity and a edgy/raw look and feel to there film/documentary, which is essential to our documentary as our topic is mysterious and some what horrific due to the 'rumors' that have been linked with Illuminati, e.g. Assignation of JFK, Involvement of 9/11 etc, these events are all horrific so I feel jump cut would be a good addition our documentary.
This is an example of the first time Jump Cut was used, this was by a French film maker Jean-Luc Godard, who demonstrated jump cut in his groundbreaking Breathless, the video above shows how he has used it.
Problems when filming
This is a brief overview of the problems that we had filming the introduction and the interviews that we conducted.
For the introduction, due to our setting which the New Academy Wolverhampton, as we was filming outside we had some problems with younger children walking to and from classes, and also making noise, but also younger people trying to get in the shot so they were on film.
Also Faraz (Narrator) couldn't memorize his lines and had some trouble, so me and my team had to help improvise lines that he could remember. This took a considerable amount of time.
The interviews took place in the drama room, one of the main problems we faced was children knocking on the door which stopped us filming, as the knock was being caught on film which disrupted the flow of the interview so we couldn't just edit the knock out as Faraz and the interviewee's Jhavone and Itasha were getting frustrated which showed so we had to make sure people wouldn't disrupt us by putting a sign outside. the door.
For the introduction, due to our setting which the New Academy Wolverhampton, as we was filming outside we had some problems with younger children walking to and from classes, and also making noise, but also younger people trying to get in the shot so they were on film.
Also Faraz (Narrator) couldn't memorize his lines and had some trouble, so me and my team had to help improvise lines that he could remember. This took a considerable amount of time.
The interviews took place in the drama room, one of the main problems we faced was children knocking on the door which stopped us filming, as the knock was being caught on film which disrupted the flow of the interview so we couldn't just edit the knock out as Faraz and the interviewee's Jhavone and Itasha were getting frustrated which showed so we had to make sure people wouldn't disrupt us by putting a sign outside. the door.
Tuesday, 7 February 2012
Third day of Filming
This day we filmed 2 of our interview, the interview location was in the drama room. The interviewers were Jhavone Jenkins and Itasha James and the interviewer was Faraz Rafiq our presenter.
We asked an number of questions to the both of them separately and we got two opposed opinions, the interviewees did not have a copy of the questions so their answer wasn't rehearsed or made up. We wanted a genuine feel to the the interviews which is why we made them answer on the spot instead of giving them time to rehearse. Faraz ad-libbed the counter questions to there answers to add a more piercing effect.
We asked an number of questions to the both of them separately and we got two opposed opinions, the interviewees did not have a copy of the questions so their answer wasn't rehearsed or made up. We wanted a genuine feel to the the interviews which is why we made them answer on the spot instead of giving them time to rehearse. Faraz ad-libbed the counter questions to there answers to add a more piercing effect.
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