We briefly had a meeting at the Library/Tamara's on the 21st. We mainly discussed the Pre-Vis for the 31st, and how the See You Soon pre-production schedule for that week would revolve around our plans for the Great Britain project.

Tamara also confirmed the shoot dates -
SHOOT DATES FOR SEE YOU SOON  - 14th FEBRUARY to the 21st of FEBRUARY

Tamara organised for us to meet just before the tutorial on the 27th to discuss the script as we had only just received it on that day. We all had a discussion on the pro's and con's of the script, mostly involving a few cliches involving the daughter & mother, and also the fact that there didn't seem to be much of a connection between them. We discussed this extensively during the tutorial, further developing the idea so that we could then relay the information to the script writer.
Kathleen discussed how we all needed our own production packs for each role, so I took a mental note for myself.
We also discussed the pre-vis shoot, and other general information involving the pre-production.

A copy of the script is below.

I approached my tutorial very skeptical of what I was actually going to do for a personal project.
I was honest and accepted that I didn't really know what to do, and thankfully Kathleen was very helpful in making me feel better about the situation. We discussed at length what it is I might be interested in/what I want to make.
We went through my past ideas, and whether any of them could work in different ways, and she gave me tips on how to come up with new ideas.
We then discussed nature, as I had made my starlings piece in the second year. We discussed how I could possibly go back and think about how people interact with nature, and whether it's a calming & healing environment to be in. She told me to explore ecology, and it really helped me to at least feel confident that I could have a direction to go in.

A project focusing on my favourite weather/time - just after the rise of dawn, the earth is bitter, dew is on the grass, silence has decended on the world, and slowly, the world wakes up. The world is heated, and grows, everything slowly awakens, and that is a real beauty in itself.
I'm interested in the fact that at night, nature takes over. It gets a hold on the world, just for that brief time, and freezes everything in its path.
The slow build of sound and of heat is so subtle & beautiful, people don't take time to realise just how beautiful it is. We are surrounded by beauty, by emotion, by feeling, by meaning. Nature is healing, it has a relationship with us, and i think we do tend to neglect it. If you just watched as nature slowly adapts to the morning sun, i think it would be a very theriputic & relaxing experience, but also make people think about what is actually happening around us.
Nature is ever changing. Especially with the seasonal differences. People complain & think that ice and snow is just interuptive. It's amazing that water can change its matter and be able to create lots of different types of weather. Mist is like the sky coming down to say hello. When i go outside just after sunrise, bitterly cold, the sun trying its best to shine its powerful light on the world, i feel the most at ease. I realise the beauty that is the earth, because it is so peaceful. The cold makes you feel even more, its like the weather is touching you. Immersing you in an environment, kissing your face with the bitter wind.



“We went down into the silent garden. Dawn is the time when nothing breathes, the hour of silence. Everything is transfixed, only the light moves.” 
― Leonora Carrington

“Have you ever heard the wonderful silence just before the dawn? Or the quiet and calm just as a storm ends? Or perhaps you know the silence when you haven't the answer to a question you've been asked, or the hush of a country road at night, or the expectant pause of a room full of people when someone is just about to speak, or, most beautiful of all, the moment after the door closes and you're alone in the whole house? Each one is different, you know, and all very beautiful if you listen carefully.” 
― Norton Juster, The Phantom Tollbooth

“It's quiet now. So quiet that can almost hear other people's dreams.” 
― Gayle Forman, If I Stay

"The stillness of the early morning scene enables me to take in and enjoy many things which pass me by during the bustle of the day.  First, there are the scents, which seem even more generous with their offerings than they are in the evening."-  Rosemary Verey

"The breeze at dawn has secrets to tell you.
Don't go back to sleep."
-  Rumi 

"With the first gleam of morning rays, the garden is a prism of a thousand hues refracted in tiny does of crystal dew, a dazzling quilt of millefleur colors covering the sleeping flower beds."-  Duane Michals, The Vanishing Act 

“There's always a story. It's all stories, really. The sun coming up every day is a story. Everything's got a story in it. Change the story, change the world.” 
― Terry Pratchett, A Hat Full of Sky (Discworld, #32)

“December's wintery breath is already clouding the pond, frosting the pane, obscuring summer's memory...” 
― John Geddes






http://www.alternet.org/environment/studies-show-amazing-ways-nature-boon-your-health

http://en.wikipedia.org/wiki/Vis_medicatrix_naturae

http://www.ted.com/talks/louie_schwartzberg_hidden_miracles_of_the_natural_world

https://www.youtube.com/playlist?list=PL4764051BE5927C92

1. Be accurate and comprehensive in the representation of subjects.
2. Resist being manipulated by staged photo opportunities.
3. Be complete and provide context when photographing or recording subjects. Avoid stereotyping individuals and groups. Recognize and work to avoid presenting one's own biases in the work.
4. Treat all subjects with respect and dignity. Give special consideration to vulnerable subjects and compassion to victims of crime or tragedy. Intrude on private moments of grief only when the public has an overriding and justifiable need to see.
5. While photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events.
6. Editing should maintain the integrity of the photographic images' content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects.
7. Do not pay sources or subjects or reward them materially for information or participation.
8. Do not accept gifts, favors, or compensation from those who might seek to influence coverage.
9. Do not intentionally sabotage the efforts of other journalists.

1. Strive to ensure that the public's business is conducted in public. Defend the rights of access for all journalists.
2. Think proactively, as a student of psychology, sociology, politics and art to develop a unique vision and presentation. Work with a voracious appetite for current events and contemporary visual media.
3. Strive for total and unrestricted access to subjects, recommend alternatives to shallow or rushed opportunities, seek a diversity of viewpoints, and work to show unpopular or unnoticed points of view.
4. Avoid political, civic and business involvements or other employment that compromise or give the appearance of compromising one's own journalistic independence.
5. Strive to be unobtrusive and humble in dealing with subjects.
6. Respect the integrity of the photographic moment.
7. Strive by example and influence to maintain the spirit and high standards expressed in this code. When confronted with situations in which the proper action is not clear, seek the counsel of those who exhibit the highest standards of the profession. Visual journalists should continuously study their craft and the ethics that guide it.

Borealis from FloatingWorldsFilms on Vimeo.




dissertation:
http://www.bbc.co.uk/programmes/b00vhw1d
http://www.academia.edu/239842/Neurocinematics_The_Neuroscience_of_Film
film, neuroscience, reality, senses
http://www.excursions-journal.org.uk/index.php/excursions/article/view/2/13
http://dcl.wustl.edu/PDFs/ZacksMaglianoInPress.pdf
http://www.openculture.com/2014/02/what-happens-when-your-brain-is-on-alfred-hitchcock-the-neuroscience-of-film.html
http://books.google.co.uk/books?id=xbG4R8uHsG8C&printsec=frontcover&dq=film+and+neuroscience&hl=en&sa=X&ei=bIY-VKPDFsvB7Aa6vICIBg&ved=0CCsQ6AEwAg#v=onepage&q&f=false
http://books.google.co.uk/books?hl=en&lr=&id=kB5GggqImOAC&oi=fnd&pg=PR7&dq=Television+aesthetics+:+perceptual,+cognitive,+and+compositional+bases&ots=EUabHdEtU5&sig=flYkxdvbfilMqe26U4tf3SoIOzA#v=onepage&q=Television%20aesthetics%20%3A%20perceptual%2C%20cognitive%2C%20and%20compositional%20bases&f=false
http://ucca.ent.sirsidynix.net.uk/client/en_GB/default/search/detailnonmodal/ent:$002f$002fSD_ILS$002f0$002fSD_ILS:326181/ada?qu=Cognition+film&te=ILS

the Scared is scared from Bianca Giaever on Vimeo.


Britain from Bexie Bush on Vimeo.


Dateless from Remus Buznea on Vimeo.

Isolation - A short documentary on Depression & Anxiety from Dillon Pearce on Vimeo.

I approached Al to be involved in the project mostly because I had an idea involving asking the public to give their opinions, and even be in the film. It would be a simple view on country life in britain, a quaint view with all the typical views such as pubs, tea etc. I wanted someone that could easily approach these people and be in a more directoral role. I myself have gained more confidence with the general public, but i still feel like i need more help when it comes to solo projects with the public. 
Al came to my house & we discussed possible ideas. We ended up changing the idea up into a more photographic view on Britain. It would explore a child's idea of Britain on a day out. Firstly it involved the countryside, but next I thought it might be better to be more direct in the location so I picked Brighton as I know that area the most & I have been there as a child so know more about what would be interesting there. Al would involve his sister in the project, interviewing her by presenting her with the photos I had taken, and then this would be the voiceover to a one take shot going from one photo to the next & eventually panning out to reveal the child. 

We also started to involve Edrei, because with our photo idea, we had an idea to use a studio, as it would give us more access to a bigger scale, so would be easier to move around + equipment etc.
He is interested in set building/designing so we thought this would fit him well.


We really pushed forward with the project, I brainstormed places I could visit/places that would be good for a storyline, Al developed the production pack & Edrei designed the sets. 

We had a meeting with Rosie to discuss the set build & equipment that we would need to do the project. She seemed interested in us perusing and outisde project, and it all flowed pretty well. 
I did get a little stressed from time to time but I think this was because it felt a little rushed & it was during all the other developments so i felt it was cutting it so short!

On 22nd October, I got up ridiculously early, and headed to Brighton.
I spent around 12 hours walking around trying to take as many photos as possible. 
(ADD PHOTOS)
I felt like it was a good experience, but I did find it a little stressful due to the fact that it all happened so quickly. I joked saying that I didn't realise I was going to Brighton until I had been in Brighton for 2 hours but it felt like that. It was fun, and I think i got most of the shots I needed, but i knew that it would have been improved if the little girl was there. 

My cousin Talliesin is Autistic. He's very obsessed with certain things including trains & penguins.
I thought of him while we were discussing the Great Britain project, as i loved the idea of interviewing a child and playing with visualising their imaginations.
My cousin is the only child I know, he's 10 years old. But obviously he's different from most other 10 year olds.

I find his brain, and all people's brains with autism to be very interesting. I don't think it's a hindrance, I think it's a gift. And I thought it would be interesting to explore the mind of autism in a very simple & not in your face way.

I want to interview tallie and ask him about trains. He was just about to embark on a trip to London for a sponsored train hop around the London Underground. I felt that this might be an interesting subject to discuss. I would visualise his words with typography & visuals.

I approached my Aunt to ask if this was ok, and at first she warned me that he cannot articulate why he likes trains, he just tells you facts and statistics. I didn't mind this as i thought it was show how clever he is, and how much he loves trains.
I then approached her again and she had concerns over how the rest of my family might react to the project, so i decided it would be best not to pursue it.