Main Task

Below is my script, storyboard and a table which outlines the specific content of each shot in written form. It was my intention to film this however during the production process, lockdown restrictions meant I was unable to film whilst simultaneously complying with Coronavirus restrictions. This preceeded a period of self isolation from the 5th December as I had come into contact with a positive case of Coronavirus at my school. When my self isolation period finished on the 16th December, my school had announced closure due to rising Coronavirus cases which meant that it was impossible for me to complete any production at all. However, the pictures below show my intentions of what I would have otherwise produced.

SCRIPT

Below is my script which I would have provided my main cast member Sasha Haxell, in order to film the opening 3 minute sequence. I've used conventions of scripts in order to outline in written form exactly . As I have shot lists and storyboards that pay close attention to the content of the frame, my biggest goal in the script was to outline my sound. Through up beat music and casual yet informative dialogue, my script outlines the clear importance of sound in my production as well as providing detail about the content of my frames

 

SHOT LIST

This table / shot list was an additional activity I completed as director so I could visualise and imagine what was going in the frame at each point in the script. The advantages of this were I could double check which aspects would be more likely to theoretically work before shooting. With a script format, it's harder to imagine the full frame beyond dialogue and some of the direction and visuals but this format enabled me to better visualise the content I was creating. I highlighted in bold font my camera angle per shot to ensure variety, as per my statement of intent.

STORYBOARD

The storyboard stage was critical in merging my sound as detailed in my script and the shot list properly in order to create a detailed visualisation of my product. I have annotations but am also writing brief summaries of areas I wish to expand upon in my storyboard below.

Shots 2 and 3 are particularly important for convergence. As annotated on my storyboard, in post production we would have edited in the BBC logo, a link to the website and our social media hashtag (#SASHA) in order to encourage cross media participation, thus keeping up with rising trends in the youth demographic for media consumption. The focus on technology in these introductory shots, through mise-en-scene of props, is to establish the predominant form of political participation in young people- technology which would begin to explain why younger people are becoming increasingly political.

Shots 4 and 5 were particularly problematic to come up with a contingency for under Coronavirus restrictions due to the sheer amount of ensemble needed and the importance of these shots in establishing the stereotypes vs the reality of political participation in younger people. Shot 4 was meant to demonstrate the socialable and politically neutral stereotype of the younger generation which would have introduced prejudices of older people. Natural lighting, the use of make up and a mixture of smart and casual costumes on cast members for these shots would demonstrate an atmosphere of partying which is in stark contrast to politics, reflecting the view that younger people don't care about politics. Shot 5 would be designed to challenge this, stressing the increasingly particapatory role younger people play in Politics. This is important because the programme wants to encourage continued political participation of the younger people in order to appeal to reformers.

Shots 6-10 reflect camerawork conventions of documentaries. Usually in an outdoor setting, the documentary presenter, dressed in smart casual clothing, explains key information in order to establish the narrator's journey as they develop more and more insight into the subject. The camerawork is usually midshot to reflect formality, as a midshot is used for official identification such as passports. In this documentary, the journey of the narrator is to establish insight into the increasingly political nature of young people as well as how this differs from the older generations. This journey is starting through the analysis of trends in political participation for younger people in order to indicate how this compares to older people and see if this reflects differing attitudes and views.

Shot 11 is split into two since it is essentially the same shot in style but from different angles and will use extras of different genders. The purpose is to illustrate the connection between social media and political participation which the voiceover will describe. The Close Up will visibly demonstrate the role of Twitter in engaging young people to politics. Beyond this 3 minute sequence, the presenter would have investigated if there was a connection

 

Shots 14-17 establish the interview which builds up the narratology for the rest of the episode. The interview is designed to introduce differences between younger and older people in political ideology and participation. It will set up Sasha's journey as she delves deeper into the issue. In keeping with the values of the BBC, the aim of this introductory interview is to begin to inform people and since its not too much of a dramatic moment, the documentary would do so in an entertaining way.