Day to Day Posts - Wales; Day Seven.

30th of December;
- Travelled home, took shots on the motorway and in the valleys.

Applicable Senses; 

Sights;
- Motorway,
- Cars,
- People, 
- Animals; sheep and cows mainly.
- Mountains and hills coming out of North Wales.
- Motorway signs.

Smells;

- Fresh air until we hit the motorway,
- Car fumes,
- S&V crisps,
- Cigarette smoke.

Footage

Day to Day Posts - Wales; Day Six.

29th of December;
- Went to Porthdinllaen and filmed/took photos as well as this we went to Porthmadog; here I took no footage.

Applicable Senses for Porthdinllaen;

Smells;
- Fresh air,
- Sea salt,
- Freshly cooked food,
- Sand.
- Foliage.

Sights;
- The beach,
- Water,
- The village,
- People/tourists/locals.
- Boats,
- Animals.

Tastes; 
- Sea Salt,
- Rum.

Footage 


Applicable Senses for Porthmadog;

Smells;
- Freshly cooked foods; bakery's.
- Car fumes.
- Sea Salt.

Sights;
- Shops, stalls.
- People,
- Cars.

Day to Day Posts - Wales; Day Five.

28th of December; 

- Climbed the Cnicht; took shots and footage on my phone. Drone footage will be sent to me.

Applicable Senses: 

Smells;
- Fresh, pure air.
- Foliage.
- Petrichor.

Sights;
- Mountain ranges; the moelwyns, glyders and the Snowdonia mountain range.
- Snow, sleet, ice.
- Hills,
- Old mine workings.
- Climbers.

Footage

Day to Day Posts - Wales; Day Four.

27th of December; 

- Filmed Afon Dwyfor river in Llanystumdwy as well as in Criccieth.

Sights;
- Water,
- Nature; trees, foliage, rocks.
- Animals; sheep, horses, cows.

Smells;
- Fresh air,
- Petrichor.

Footage

Day to Day Posts - Wales; Day Three.

26th of December; Boxing Day.

- Filmed on Criccieth beach, Black Rock and the little mountain next to it.

Applicable Senses: 

Tastes;
- Sea salt.

Sights;
- Mountains,
- Hills,
- Water,
- The beach,
- Hail stones,
- Sleet,
- Nature; sheep.

Smells;

- Sea Salt,
- Fresh air,
- Petrichor.

Footage

In the above two videos I have compiled the footage that I took on day three, both videos mainly focus on water - in particular, the sea and rain. 

Day to Day Posts - Wales; Day Two.

25th of December; Christmas Day.

Applicable Senses;

Tastes;
- Christmas based foods.
- Cinnamon,
- Sea Salt.

Smells;
- Cinnamon,
- Spices,
- Wine,
- Fruit,
- Variable foods,
- Sea Salt.

Sights;
- People,
- The beach,
- Snowdonia Mountain range.

Day to Day Posts - Wales; Day One.

In these posts I will document what I did on the given day, applicable senses and footage will also be linked if there is any.

24th of December - Began the journey to Wales about 3 o'clock.

Applicable Senses;
Smell - Car fumes, natural smells, fresh air.
Sights - Mountains, hills, valleys, roads, motorway signs, rivers, lakes.

Poster Analysis - 17/11/14

             

 

To the left are two posters that have inspired me in terms of my poster as the images used are simple yet still represent travel in a beautiful way.
For my poster the idea of having a simple photo with the overlay of the name of the film, titles and credits will be the best idea for my short travel-nature film.

 

Art Deco or Deco, is an influential visual arts design style that first appeared in France after World War 1 and began flourishing internationally in the 1920s, 1930s and 1940s before its popularity waned after World War II. It is an eclectic style that combines traditional craft motifs with Machine Age imagery and materials. The style is often characterized by rich colours, bold geometric shapes and lavish ornamentation.

 

 





Linking Sequences - 15/12/14

The ways in which I will link the sequences will be most likely through travel - in broader terms, it will mainly be walking, climbing and driving. However - it is possible that I will be able to use different forms of travel such as; the train, zipwire, boat etc. depending on what we do in Wales between the 24th and the 30th.

Driving
I will be able to link my sequences through driving as we have to drive to most of the places we are going to; Wales its self, Cnicht, Pen-yr-Ole-Wen etc.

Walking
I am in walking distance of some of my filming locations; Black Rock Sands, Black Rock mountain, Criccieth Beach and Criccieth town.

Climbing
As we are climbing in Wales this year I am able to film my experience when climbing the Cnicht and Pen-yr-Ole-Wen. I am able to not only film the scenic side of it, but the gruelling demanding side of climbing.

 

Sounds for Soundscape - 11/12/14

Alongside snippets of the above sounds I will incorporate a score; by doing this I hope to create a soundscape that reflects the visuals in my short film.

Feedback - MGS 11/12/14

1. Need to explore how each sequence will be linked.
2. Will it be a form of travel? Such as, car (Think about Fishtank.) or will it be walking? Climbing?
3. Could have shots of feet climbing? Reaching out with hands?
4. Could be about how you travel to places literally and metaphorically; the above image could link all the sequences; as they are the physical things/the process of getting to a place, the place you're in in your head when you're at that place could be different.
5. When you are climbing or in those places; record on phone how it makes you feel - what you see - what you smell - what you taste. Sensory experience. - Under lay of the soundscape? As it happens.
6. Think about recording ambient sounds to use in the soundscape.
7. To document via my blog each day I.e. like a diary. This is reflective. How did you climb, did you film? etc.
8. Research different types of sounds I will use for nondiegetic soundscape.

Research and Ideas - 09/12/14

"drawing upon theories of myth, folk and fairytale as well as upon anthropological studies of oral storytelling in order to place film narration within the tradition of the ‘popular’ arts." - University of Kent.

1. Record own thoughts about the locations; can be voiced by another.

Inspiration - #2 - 28/11/14

Ceol na Mara: The Uist Selkie Story

The Uist Selkie Story is the first film in 'Ceol na Mara - Sound Of the Sea' a new series of shorts devised, produced, directed and edited by Ruaraidh Urpeth, that explores the relationship between the Outer Hebrides and the sea through art, music and storytelling.The Uist Selkie Story is told by Ian Stephen, and is a traditional story from South Uist that tells the tale of a selkie who becomes trapped in human form and is unable to return to the sea.Selkies are a common subject of North Atlantic seaboard stories, and are seals who can shed their skins and come on land, assuming human form but they can only return to the sea if they put back on their own skins which they stow by rocks at the shore.The Uist Selkie Story is from the tradition of female selkie stories.
I particually like this short film as I think it's a complete original piece of work; the use of storytelling as well as landcsape videoography mingled into one is what makes this short film so breathtaking.

Upon watching this short film and having a conversation with my teacher, I have decided to go ahead and use the quote from Annie Dillard's novel, however - I will be using it in a way that is not just the audio; if all goes to plan my short film will include a storyteller that tells Dillard's passage from her book.

MGS - 25/11/14

1. Do some test shots this weekend, revolving around seascapes. Sandwich Bay. St Margarets. Broadstairs, etc.

2. Record Kayleigh and ask Ms Lambert about the audio overlay. A range of voices?

3. Start researching possible sounds that I may use for the blended soundscape.

4. Storyteller?

Filming Locations - 23/11/14

 Image One: Llanbedrog, posed in front of the 'Iron Man.'

 Image Two: Within Llechwedd Slate Caverns.

Image Three: Aerial view of Tryfan.

Image Four: The Cnicht.

 Image Five: Black Rock Sands, Criccieth/Porthmadog.

Image Six: Criccieth Beach.

Image Seven: The Iron Man, Llanbedrog.

Image Eight: Faerie Glen. 

Image Nine: Ty Coch Inn - Porthdinllaen, Llyn Peninsula.

 Image Ten: Sunset at Criccieth Castle.



Image Eleven; The woodland walk up to Llanbedrog's 'Iron Man'.

Arranging which shots that will go with the Narrative - 17/11/14

 “Think of a globe, a revolving globe on a stand. Think of a contour globe, whose mountain ranges cast shadows, whose continents rise in bas-relief above the oceans. But then: think of how it really is. These heights are just suggested; they’re there….when I think of walking across a continent I think of all the neighborhood hills, the tiny grades up which children drag their sleds. It is all so sculptured, three-dimensional, casting a shadow. What if you had an enormous globe that was so huge it showed roads and houses- a geological survey globe, a quarter of a mile to an inch- of the whole world, and the ocean floor! Looking at it, you would know what had to be left out: the free-standing sculptural arrangement of furniture in rooms, the jumble of broken rocks in the creek bed, tools in a box, labyrinthine ocean liners, the shape of snapdragons, walrus. Where is the one thing you care about in earth, the molding of one face? The relief globe couldn’t begin to show trees, between whose overlapping boughs birds raise broods, or the furrows in bark, where whole creatures, creatures easily visible, live our their lives and call it world enough. What do I make of all this texture? What does it mean about the kind of world in which I have been set down? The texture of the world, its filigree and scrollwork, means that there is a possibility for beauty here, a beauty inexhaustible in its complexity, which opens to my knock, which answers in me a call I do not remember calling, and which trains me to the wild and extravagant nature of the spirit I seek.”
― Annie Dillard, Pilgrim at Tinker Creek

'Think of a globe, a revolving globe on a stand.' - Preferably a macro/supermacro shot of a revolving globe in the outdoors.

"Whose mountain ranges cast shadows, whose continents rise in bas-relief above the oceans' - This shot will be done in North Wales. It'll most likely show the Snowdonia or Carneddau mountain range.

"But then: think of how it really is. These heights are just suggested; they’re there…." - Unknown shot.

"….when I think of walking across a continent I think of all the neighborhood hills, the tiny grades up which children drag their sleds." - A possible revolving shot/pan from the top of the Cnicht or another mountain.

"It is all so sculptured, three-dimensional, casting a shadow." - N/A currently

"That if you had an enormous globe that was so huge it showed roads and houses- a geological survey globe, a quarter of a mile to an inch- of the whole world, and the ocean floor!" - N/A

"Looking at it, you would know what had to be left out:"  - N/A

"the free-standing sculptural arrangement of furniture in rooms, the jumble of broken rocks in the creek bed, tools in a box, labyrinthine ocean liners, the shape of snapdragons, walrus." - Macro/supermacro shots of corners of furniture looking out over the sea.

"Where is the one thing you care about in earth, the molding of one face?" - N/A

"The relief globe couldn't begin to show trees," - Pan out from the woods; Location: Llanbedrog 'The Iron Man' walk.

"between whose overlapping boughs birds raise broods," - If possible this shot will include a flock of birds, preferably this will be filmed over Criccieth beach or Black Rock sands.

"or the furrows in bark, where whole creatures, creatures easily visible," - Unsure of what this shot will be of, however I would like it to be macro.

"live our their lives and call it world enough." - N/A

"What do I make of all this texture?" - Possibly the shot taken from the plane when flying back from India. 

"What does it mean about the kind of world in which I have been set down?" - N/A

"The texture of the world, its filigree and scrollwork, means that there is a possibility for beauty here," - N/A

"a beauty inexhaustible in its complexity," - These three shall be linked. Although I do not know what shots I will be using just yet, I plan to have a mixture of both my Wales and India footage.
"which opens to my knock" 
"which answers in me a call I do not remember calling,"

"and which trains me to the wild and extravagant nature of the spirit I seek.”  - N/A

Screenshots for Possible Footage - 14/11/14

I love this shot due to the sunrise in the background as well as the fact that the wing of the plane stretches out across the entirety of the shot. As well as this, I believe that the subtle movements within the clip.

I will be using this shot in my film as I feel as if it reflects certain parts of the narrative perfectly. The close-up shot of the crab shows the subtle movements of the crab and the free flowing stream, touching on natures beauty.

13/11/14 - MGS Feedback

1. Go through each sentence/phrase and think of a visual that may link to it.
2. Screen shots of India footage and a short analysis of each shot.
3. Where there are blanks for the phrases start thinking about what sort of images you can use to fulfill this in Wales.
4. Document what you are planning at the moment to shoot in Wales.

Footage from India - 03/11/14

Questions posed:

1. Why did you take this footage?

 

2. What purpose does it hold?

3. Can you use the footage that you have collected; if not, why?

Footage will be uploaded beneath.

#1 Possible Overlay - Annie Dillard; Pilgrim at Tinker Creek. - 06/10/14

I have begun to look into possible overlays for the film I hope to create later this year/next year.
During my reasearch I came across an extract from Annie Dillard's 'Pilgrim at Tinker Creek' after reading it over once I found that was a simplistic beauty to her words and the extract caused me to begin to imagine what the visuals would look like if I was to use this piece of literature.

“Think of a globe, a revolving globe on a stand. Think of a contour globe, whose mountain ranges cast shadows, whose continents rise in bas-relief above the oceans. But then: think of how it really is. These heights are just suggested; they’re there….when I think of walking across a continent I think of all the neighborhood hills, the tiny grades up which children drag their sleds. It is all so sculptured, three-dimensional, casting a shadow. What if you had an enormous globe that was so huge it showed roads and houses- a geological survey globe, a quarter of a mile to an inch- of the whole world, and the ocean floor! Looking at it, you would know what had to be left out: the free-standing sculptural arrangement of furniture in rooms, the jumble of broken rocks in the creek bed, tools in a box, labyrinthine ocean liners, the shape of snapdragons, walrus. Where is the one thing you care about in earth, the molding of one face? The relief globe couldn’t begin to show trees, between whose overlapping boughs birds raise broods, or the furrows in bark, where whole creatures, creatures easily visible, live our their lives and call it world enough. What do I make of all this texture? What does it mean about the kind of world in which I have been set down? The texture of the world, its filigree and scrollwork, means that there is a possibility for beauty here, a beauty inexhaustible in its complexity, which opens to my knock, which answers in me a call I do not remember calling, and which trains me to the wild and extravagant nature of the spirit I seek.”
― Annie Dillard, Pilgrim at Tinker Creek

MGS - 3/10/14.

1. 'Imprisoned Paradise' - this has given me the idea of having a prose or poetry overlay. As well as this, the visuals are very pleasing to the eye and unique.

2. 'MOVE' - highly planned, many graphic matches as well as parrallel sound - edited to match the visual. Very quick cuts, choreographed. Centrally framed. Would need to consider actors positioned within the frame if I did this.

 

3. 'Travel Is' - Peoples perception of travel, promotional video. Quite raw footage of the moment. Peoples experiences.

4. What I need to remember is that my travel piece must have some form of narrative to promote, produce a poster and consider my audience.

5. Still explore the idea of the poetry or prose overlay. Look into whether or not I will be writing my own or taking extracts. Take poetry books to India, have the Indian children/men/women reading different cultural texts. I need to explore Indian poetry/texts.

6. Take footage out in India - what sort of footage do I want to take? Focusing on landscapes, townscapes, peoples places within them.

7. Experiment with the reading of the poetry.

MGS Feedback - 30/9/14.

1. Explore experimental film. Why?

2. Must apply intensity to own work bearing in mind my limitations, i.e. nothing too ambitious.

3. By Friday, look at at least three different videos from either vimeo, shortshorts or BBC short films.

4. Consider a theme that is fairly simple which I attempt to explore visually but in an experimental manner. E.g. Travel; journeys (spiritual, literal etc.), commutes, walking, public transport (bus, train, airplane.)

5. Analyse 'Imprisoned Paradise' - prose/poetry overlaying visuals.

6. For home and abroad - take stills or moving image of landscapes/sea scapes that appeal to me. Record bullet points and thoughts about how I feel about the stills/moving images - in both India and at home. This will give me the idea of different cultures.

7. Explore short travel films.

Film Form

"Whether concrete or abstract, the subject matter of an artwork must be expressed with form." [*http://www.elementsofcinema.com/film_form/FILM-FORM.html]
Form is a set of conventions of patterened relationships used to define, perceive and evaluate a product.

Filmmakers generally have two basic senses to explore and ignite in their productions; sight and hearing. Elements that stimulate these two senses are endless. The combination of them generates infinite different stories and styles. All of these different possibilities are found in the following;
- Narrative; tells stories.
- Documentary; exposes reality.
- Experimental; experiments on the medium.

Bottle.

 

 

I have now begun my exploration into inspiration for my own film. I am yet to decide on how I want to go about filming and whether or not I want to create a montage film. Despite the fact I have not decided on this just yet, I have decided it would be a good idea to keep searching for inspiration from short films, animations etc. to help with a final decision and later, inspiration for my actual product.

 

 

What I truly love about 'Bottle' is how an idea so simple can be portrayed in such a beautiful and tragic way yet keeping all elements of simplicity, this is what stands out to me completely. It shows that you do not need astonishingly high production values, instead you just need a good idea and a way to develop it.

 

 

 

 

 



Feedback MGS - 19/09/14.

1. Needs to be three posts linking to film form which can be accessed through film4, vimeo, shortshorts.

Montage Filmmaking

Montage Filmmaking

 

The plan for A2 is to produce a short montage film. To do this I must ensure that I have conducted a sufficient amount of indepth research on the chosen genre/type of film.

 

 

Montage Filmmaking

 

Montage is a technique used in film editing in which a series of short shots are edited into a sequence to condense space, time and information. This term has been used in various contexts, it was first introduced in cinema primarly by Einstein. As well as this, early Soviet directors used it as a synonym for creative editing. The montage sequence is usually used to suggest the passage of time, rather than to create symbolic meaning. Between the 1930s and the 1950s montage sequences often combined numerous short shots with special optical effects, such as fades, split screens, double and triple exposures as well as dissolves, dance and music.

They were usually assembled by someone other than the director or editor of the movie

 

 

Things To Do (Pre-Production)

 

- Firstly, I must plan the most effective way to film the scenes of the film. I must consider the resources I have around me and are available to me, for example, the locations, props, people. As well as this I must consider what message or story I want to send through it.

I must ensure that all information is presented in a fast-paced, yet easily understood way.

> If my goal is to establish a tone or emotional development through the film, I must think through how to be consistent in the things like lighting, props, and scenery - I must ensure that I stay consistent as this will help me convey my message.

 

- Secondly, I must type up the individual scenes or sequences of my montage (this will be documented through blogger also.) I must ensure that I know exactly what I want to produce, how I want to produce it and what will feature with in this production.

 

- Thirdly, storyboard. I must storyboard my production to show development and change. As well as this, having a storyboard will also help me with my production completely - it will help me keep on track with what I want to produce and what shots I have in mind. My storyboard should roughly match what the final filmed montage will look like. I will make adjustments if necessary.

 
- Lastly, I must plan the shoot using the storyboard as well as my research. I should make a list of shots by location and note what actresses/actors, props, costumes, lighting and scenery will be needed at each venue/location.

 

 

The clip below is taken from Sergei Eisenstein's 'Battleship Potemkin.' This combination of shots shows a marble lion reacting to the sailors' rebellion within the harbor. Eisenstein integrates lions scultped in various postures to suggest that all of Moscow is awakening to the people's cause. The sequence requires the viewer to interpret to 'read' the metaphor inherent in the statues and to find a meaning from their presence within the diegesis.

  

 

 



A2 Examiners Report, reviewed 10/09/14.

A2 Examiners Report 

1. Ensure your research is linked to generic codes and conventions which will influence the planning and construction phase of your work.

2. Ensure that you research into existing and ancillary productions, e.g. how posters and reviews are layed out.

3. There must be a clear focus on your target audience. *Tumblr, twitter, facebook.

4. Storyboards MUST be detailed.

5. Shooting schedules.

6. Detailed treatments; what you film, the narrative, location, props, actors. Moodboards, etc.

- All must produce a pitch of the film. This WILL be filmed.

7. Annotate all locations prop shots.

8. Research informs detailed planning.

British New Wave.

British New Wave

The British New Wave is the name given to the trend in film-making among directors in Britain in the late 1950’s and early 60’s. This type of genre centered on the class and the nitty-gritty of day-to-day life. It was also known as the kitchen sink drama.

The British New Wave was characterized by many of the same thematic conventions as the ‘French New Wave.’ Usually in black and white, these films had a spontaneous quality, often shot in style on real locations with real people, rather than extras. Thus forth capturing life as it happens.

Kitchen Sink Realism

Kitchen sink realism, or kitchen sink drama is a term coined to describe a British cultural movement that developed in the late 1950’s and early sixties in theatre, art, novels, film and television plays, whose heroes usually could be described as ‘angry young men.’ It used a style of social realism, which often depicted the domestic situations of the working-class, living in cramped accommodation, which was rented. It would often show the Britons spending their off-hours drinking and exploring social issues and political controversies.

Social Realism

Social Realism is a movement known internationally which draws attention to the everyday conditions of the working classes and the poor, and who are critical of the social structures that maintain these conditions.  

Britain today is still a society in many ways defined by the class of a person. In the 1950’s divisions were far more rigid. The films known as the ‘new wave; films and sources that inspired them gave a voice to a working class that was for the first time – gaining economic power.

Previously in cinema, working class characters had largely been used for a comedic effect. In the ‘new wave’ films we see their lives at the centre of the action.

 

Films included in the British New Wave movement are; A Taste of Honey, Look Back in Anger, Room at the Top, Saturday Night and Sunday Morning, A Kind of Loving and Billy Liar.

Many of these films concentrate of the conflicts within the working class, contrasting the roughest working-class lives  (the very poor, criminal, unskilled) Such as Arthur in Saturday Night, Sunday Morning with the more respectable characters whom are skilled, aspirational, educated and ‘moral’ – characters such as Vic Brown and Billy Fisher.
There is clear recognition that social change and affluence will make the system more fluid. There is also an understanding that the essentials of power shan't change – the mindset that reinforces divisions is still very much there.

http://www.screenonline.org.uk/film/id/445176/

In Britain critical writing about the state of British cinema began in the 1950’s and foreshadowed some of what was to come. Among the group of critic and documentary film makers was Lindsay Anderson who was a prominent critic writing for the influential Sequence magazine, which was co-founded with Gavin Lambert and Karel Reisz. Karel later became a prominent director also; writing for the British Film Institute’s journal Sight and Sound and the left-wing political weekly the New Statesman. In one of his early and most well-known polemical pieces, Stand Up, Stand Up – he outlined his theories of what British cinema should become. He developed a philosophy of cinema, which found expression in what became known as the Free Cinema Movement by the late 1950’s.

The Free Cinema Movement was the belief that the cinema must break away from it’s class-bound attitudes and that the working classes ought to be noticed and seen on Britain’s screens.

Notable Directors

•           Lindsay Anderson,
•           John Boorman,
•           Jack Clayton,
•           Basil Dearden,
•           Clive Donner,
•           Bryan Forbes,
•           Richard Lester,
•           Ken Loach,
•           Joseph Losey,
•           Karel Reisz,
•           Nicolas Roeg,
•           Tony Richardson,
•           Ken Russell,
•           John Schlesinger,
•           Peter Watkins
•           Peter Yates.

 

Directors, such as those above, brought wide shots and plain speaking to stories of ordinary Britons negotiating post-war social structures. “The new Wave protagonist was usually a working class male without bearings in a society in which traditional industries and the cultures that went with them were in decline.”

Relaxation of censorship enabled film makers to portray issues which were relatable to the audiences – prostitution, abortion, homosexuality, alienation, adultery etc. Characters included factory workers, office underlings, pregnant girlfriends, runaways, the poor, the depressed and dissatisfied wives.

Notable Actresses and Actors

•           Alan Bates,
•           Dirk Bogarde,
•           Julie Christie,
•          Oliver Reed,
•           Tom Courtenay,
•           Tom Bell,
•           Albert Finney,
•           Richard Harris,
•           Laurence Harvey,
•           Rita Tushingham,
•           Richard Burton,
•           Malcolm McDowell.

British New Wave Films

•           Room at the Top (1959)
•           Look Back in Anger (1959)
•           Tiger Bay (1959)
•           Saturday Night and Sunday Morning (1960)
•           Hell Is a City (1960)
•           The Entertainer (1960)
•           A Taste of Honey (1961)
•           A Kind of Loving (1962)
•           The Loneliness of the Long Distance Runner (1962)
•           Billy Liar (1963)
•           This Sporting Life (1963)
•           Tom Jones (1963)
•           The L-Shaped Room (1963)
•           A Hard Day's Night (1964)
•           The Knack …and How to Get It (1965)
•           Kes  (1969)
•           If.... (1968)

A2 Media Studies - Inspiration #1 - 01/08/14

Above I have embedded a video of which I have found myself being greatly inspired by. 'PICTURES' by Gioacchino Petronicce has inspired me for a variety of reasons. Firstly, montage films/short films generally tend to grab my attention and draw me in closer with every second. They fascinate me, as although they give the final cut a 'choppy' outcome, it is clear that thought has been put into each photograph and how they are arranged within the films.

Secondly, montage films/short films usually have wonderful stories behind them; whether they are simple or complex. In addition to this I find that to me, montage films/short films are generally very pleasing to the eye. 

Coming from a student who is deeply interested in photography, the current idea is to produce a short montage film by the end of this course. It is possible that this may change in the near future but the idea of producing a short montage film at the moment is very captivating to me as I believe it would be quite the adventure and challenge.