PROBLEM SOLVING


1.

A problem I have faced within my FEP has been difficulties with USBS.

When filming at the Brudenell social club and uploading the footage afterwards, it became apparent that my 126 GB memory stick, which had faithfully lasted me the better part of two years, had finally run out of space. I had managed to transfer all my b-roll over, but the 25-minute interview with the suckle band members was too large.

To rectify this, I ordered two 256 GB memory sticks for next-day delivery, one to complete my FEP with and the other to take to University with me when I progress. Something was evidently wrong with one; however, despite the large storage space, I am still unable to transfer the interview onto it; I get the alert that there is not enough space when out of the 256 GB, 190 GB is still free and available.

A few days later, when re-transferring footage from the Leeds Kirkgate market, it became apparent that the interview that was filmed there, I was also unable to load onto the new memory stick. I attempted to load both interviews to my Google Drive, and download the footage directly to my memory stick from there, however, the endeavour was fruitless, and the same alert, that disc space is full, appeared.

For the time being, the solution to this has been working off of the SD card and Memory sticks, respectively, having them both plugged in. SD card, when editing interviews down, the memory sticks are for the body of the product. While slightly tedious, editing this way had prevented any footage from corrupting or source information from being declared missing by Adobe Premiere Pro. 

2.

During the beginning of my editing, when using the college computers, it took 4 attempts to get Premiere Pro to load. After it finally decided to, there was approximately an hour's worth of peaceful editing, but after that, the audio disappeared. Nothing had changed, and yet the music, voice-over, and interviewees' voices were all no longer audible. The tracks were still there; however, when played had zero sound.

All other audio was working, however. When I played the music from its original file on the computer, it played fine, the voice over was the same. YouTube videos all had perfect sound to them, none muted.

Unplugging headphones and reinserting them didn’t change anything, nor did trying a new pair. Inputting it in different places on the pc also didn’t affect anything. Nor did changing the audio settings on the computer.

What solved it, upon guidance from tutor Lee, was changing the audio settings on Premiere Pro itself to play via headphones. Despite the fact that nothing had changed in between me editing with sound and me editing without, changing the settings allowed it to go back to normal.

3.

The biggest problem that has made itself known across the production of my FEP is the footage quality across all B-roll and interviews.

Out of 600+ clips and 3 interviews, every single frame is grainy, the camera quality on a Nintendo 2ds is better than that of my content.

One reason for this is the lack of lighting equipment that was available to me during production. I spoke to equipment manager Darrell on two occasions to see if an on-camera light was available for me to book out, knowing a few of my locations may not have the best lighting. Both times, however, the answer was no. Film and TV are hogging them, having a penchant for booking around 3 or 4 lights out per person.

After realising how poor the quality was, I have researched how to rectify it. Seeing if there are de-noise techniques that can improve the footage improved but to no avail.

Due to not being able to improve the quality of the footage, I have instead taken the opportunity to play into it and bounce off it. I decided and have begun attempting to edit my final project as if produced in the nineties, using MTV specifically for inspiration due to the musical topic of my documentary. I have changed my soundtrack, whereas before it was very rock and roll, the documentary so far follows a Britpop beginning, using Blur's 1994 release “Parklife”. With this development, I may try and include popular noughties icons so my documentary's backing music is in chronological order. Eminem and Radiohead are now front-runners and more preferable with this development than the previous contenders of Black Sabbath and Fleetwood Mac.

Create Your Own Website With Webador