RESEARCH
PRIMARY RESEARCH
Primary research is the act of gaining original data, not taken or cherry picked from outside sources. This research method is beneficiary to projects as it allows for the information obtained to be unique and have direct link to your project. This method is useful when there isn't much data available on a topic, or when the data needs to be specific to a context. Furthermore, primary research allows for better control over the quality of data gathering. Examples of primary research are self-conducted interviews, surveys, observation and focus groups.
SECONDARY RESEARCH
Secondary research is the act of taking pre-existing sources information and condensing it into a more concise form and using it to create a more comprehensive understanding of a topic. This form of research helps to identify patterns, trends, and correlations between different studies. Examples of secondary research are documentaries, case studies, articles and government reports.
QUANTITATIVE AND QUALITATIVE
Qualitative data is data gathered that is non numerical, this data is often found via observations, photographs, audio and video recordings. As its opposite, Quantitative data is number based data such as statistics and surveys. Quantitative data tells us how many, how much, or how often in calculations.
MIND MAP
HISTORICAL & CONTENT
THE VINYL
In 1877 Thomas Edison worked on two of his most prominent invention, the telephone and the telegraph. During the production of these two instruments, he invented the phonograph – used to be able to play back recorded sounds. IN 1878 Edison wrote he envisioned his device to bring about the “reproduction of music”.
Volta Laboratory, run under Alexander graham bell developed Edisons concept further during the 1880’s, producing the gramophone. Instead of constructing sound from wax cylinders like Edison’s invention, the gramophone was home to a hand operated crank that turned a solid rubber disc on a flat plate.
In 1992, phonographs and gramophones became accessible to the public, however, could only hold two minutes worth of sound, they were bulky, costly and inefficient to produce. The year 1901 saw the mass development of the wax cylinder, now created via Molds rather than engraved by stylus, the cylinders used a firmer type of wax, due to this change, the cylinders could become mass produced with 120-150 made at once.
The flat disc records popularized by Berliner play at a speed of about 78 revolutions per minute (rpm), which is why they are called “78s” by most collectors. Improving on the quality of wax cylinders, these discs could store 3–5 minutes of sound per side. They were made from a shellac resin that feels a bit heavier and more brittle than modern vinyl records.
DETERIORATION
THE CD
CDs began development in 1979, with the first prototype presented to tech enthusiasts across Europe and Japan. Two prominent electronic companies, Sony and Philips, began collaborating to publicize the CD format. The whole process takes place in an injection molding machine, where the discs are made of heated polycarbonate under high pressure in the mold. The matrix created during the mastering process is then imprinted into the disc. The disks themselves were decided to be thin and shiny – compact and capable of holding up to 80 minutes worth of content to play aloud. Depending on the type of disc and application, aluminum, silver, brass and even gold are used as a reflective layer. To protect the CD, the CD is covered with UV varnish, which is additionally covered with UV ink, i.e. overprint. The DVD, on the other hand, contains UV glue because it is glued from two substrates. By 1982, CDs were readily available and on the market. Abba making the debut with the album “The visitors”. The CD became an efficient storage format, less inconvenient and fiddly than the larger and more fragile vinyl. Some of the biggest selling CDs of all time being Michael Jacksons “thriller” released the same year as Abbas “The visitor”
THE APPEAL NOW?
DISC ROT AND DETERIORATION
THE CASSETTE
The Cassette Tape, or Compact Cassette, was first developed by the Philips company in 1962 in Belgium. Philips released the invention to Europe at the Berlin Radio Show on August 30, 1963. Prior to the invention of the cassette, music wasn’t easily portable as it was only accessible on the radio and on vinyl. The cassette meant you could create your own mixes, whereas prior, reel-to-reel audio handling had been left to professionals within the radio industry. The Compact Cassette holds two small spools inside its plastic exterior. These spools wind the magnetic-coated film and pass it from one side to the other. This magnetic film is where the audio content is stored and can be recorded on a cassette tape.
Cassette tapes were easily overtaken by the CD, despite similarity in size, the cd housed the ability to skip directly to the songs you wanted to listen to a more appealing quality, similar to how the VHS tape went the wayside to the much more sophisticated DVD.
Before the CD came around, the cassette tape was the primary format that music lovers were pumping in their headphones and at home. Invented in the early 60s, the small cassette tape allowed for better portability and durability than vinyl, even though vinyl was still widely used and loved. By the end of the 70s, people could even listen to their favourite tapes on the go, thanks to the Sony Walkman.
The Walkman was first created because Sony co-founder Masaru Ibuka wanted to be able to listen to music on long flights. The first model of Sony Walkman, the TPS-L2, was released in 1979, and it proved to be a huge hit. The original Walkman was created from aluminium, and the later models were made from plastic. The cassette format was fragile and cited as lousy after the development and comeuppance of the CD. The poor audio Quality being the standout factor of the contraption.
CDs can flawlessly reproduce the entire range of audio from 20 hertz (half an octave below the lowest note on piano) and 20 kHz (a frequency too high for most adults to hear). Data-compressed audio—using technologies such as AAC, MP3, and Bluetooth—delivers the same range, although with a few distortions that can subtly coarsen the sound of voices and instruments. Cassettes, on the other hand, start to attenuate bass tones below about 40 Hz, so instruments with ultra-deep notes—such as grand piano, large kick drums, and synth bass—lose some of their sonic power. Cassettes often damp treble tones above about 10 kHz, which means the upper harmonics of instruments like cymbals, flutes, and violins are lost, along with some of the sense of spaciousness that makes live recordings sound live. Compared with the quality of CDs, the sound from cassettes tends to be dull and somewhat lifeless.
The other stand out short falling of the cassette is the mechanisms and recording/playback heads get dirty. If enough grime builds up, it can reduce the sound quality and even suck a tape into the mechanism, which often destroys the tape. Although easy-to-use cassette head cleaners are readily available, older decks with many years of use may need a more thorough cleaning with special swabs
RETTO KITSCH AND ROMANCE
Making a mix tape for someone was an act of love and adoration. “This song made me think of you”. To create a Spotify playlist for somebody has become the modern version but has less of an intimate effect. When you give someone a mixtape, what you’re really saying is: “here, have a bit of me to keep.”
But for the aesthetic, the cassette remains an iconic part of the 70’s onwards, despite poor sound quality, the raw sound and slight hiss of the audio output is a nostalgic sound to many and remains unique and distinct much like the hum of a cd player spinning. The imperfections and quirks of analogue audio are often endearing,
THE DOWNFALL
In 2001, with the release of the apple product the iPod, iTunes was launched. For the very first-time people could buy music digitally and individually rather than having to buy whole albums on CD. In 2008, Spotify rubbed salt in the wound, offering a monthly subscription service for unlimited music. Spotify was founded by Swedish entrepreneurs Daniel Ek and Martin Lorentzon in 2006. Spotify is headquartered in Stockholm. EK, – when piracy was running rampant in the early 2000’s, imagined a way for listeners to indulge in copywrite content, as well as to share files and hold the capability of engaging with others all on the same platform. Ek had previous history was a start up company that had been bought by the digital marketing company Tradedoubler in 2006. Tradedoubler was cofounded by Lorentzon and after Ek shared his vision with the company, they founded Spotify. Two years later the platform was launched.
Ek and Lorentzon arranged agreements with various music labels to allow their artists’ music to be accessed legally. Spotify’s service was offered using the “freemium” model, whereby users could access Spotify’s content for free but could not download it. The free model also included advertisement breaks between songs. Paid subscriptions, of which there were two versions, allowed users full access to content, the ability to download content for offline listening, and no ads.
ANALYSIS
I have conducted this research to better understand and conceptualize my project. Within my FEP I wanted to explore the history behind physical media in music, how it developed and transformed but especially how old forms have never retired. Vinyl being the first way to listen to music and still being as popular and profitable over 100 years after its introduction to the market. A large portion of what I want to cover within my project is not only the historical side but also the aesthetic one. Whether indulging in this type of hobby and using CD players and vinyl is performative or out of enjoyment and how social media factors into this. So, looking into the origins of these types of media, who first was inspired to create them and put the idea into reality has been crucial to developing my idea further. Not only do I understand the aesthetic use of these media forms in the modern day, but I have broadened my knowledge to include the aesthetic gratification of these when they were in their prime. This research furthermore has allowed me to better understand the visual side of my FEP, while the information looked at will help me in forming my script, I can now visualise better the video to pair with it- this is especially relevant to the intended archive footage I intend to use. I now know what time periods I need to be looking at for this content and can avoid repetition with the accompanying b-roll.
This research gives me personal gratification. As someone who is particularly passionate about CD as a form of music, understanding their production and overall popularity has deepened my own interest regarding CD in general. The production and chemical processes of items I possess has never been something I have had interest in or elsewise would have looked into. As such this research has developed my own idea but also personal affliction.
UNDERSTANDING THE APPEAL OF VINYL
Owning and indulging in vinyl records engages all of one's senses; you can hold them, listen to them, look at them, and even smell them. To some, it is a holistic ritual, an intimate act of placing the record on the turntable and dropping the needle. It is more an activity than simply listening to music. It is intentional and requires effort.
Fans of vinyl who are motivated only by the aesthetics of the format are discussed by others, with conversation regarding whether it is found to be bothersome or cringy. The common consensus, however, is that it is those people’s money to spend so who are they to judge? However, the few outliers believe that people only in it for the aesthetics should find different platforms to use as an outlet, that they ought not to associate with the REAL vinyl connoisseurs. Another spoke about how they do not understand it, that yes, it is their money to spend, but it is an object that has practical operation and instead they just look at it.
Another post within the R/Vinyl subreddit was a confessional. The user is talking about how in general, the act of owning vinyl, whether it is performative or practical, is all-around aesthetic. They argue that with the higher price of records in comparison to cd or digital streaming, vinyl is not a practical way to enjoy music. This is also combined with the potential for warping and the difficulties that come with storing them due to that. The user believes vinyl to be an aesthetic choice no matter how you utilise it, that regardless, one gets gratification out of it.
SALES
SIMILAR PRODUCTS
HITLERS SECRET SEX LIFE
Hitler's secret sex life is a four-part docuseries centred around Dictator Adolf Hitler's private sexual life. Each series episode aims to cover one woman unfortunate enough to have been involved with the Führer, such as Geli Raubal and Eva Braun.
What draws you into this program is undoubtedly the title, the possibility and scandal of looking into the Führers intimate history and relationships when what you tend to know about the man is his inane acts of cruelty. It's morbidly fascinating, and a need is born within the viewers to know how he compared intimately with his public persona, whether it's two sides of the same coin or in any way kind.
The major flaw with this product is the repetition. With 45-minute long episodes, the expectation was that the series would explore in detail the aspects of Hitler's afflictions. The series covers Hitler's health shortcomings, such as his drug addiction during the war, as well as genetic defects such as only having one testicle. How he was conscripted into the Austro-Hungarian Army, journeying to Salzburg on 5 February 1914 for medical assessment only to be subsequently deemed unfit for service.
However, that’s about all it covers. The series touches on this as well as the women in his life, but within each episode, there is only about 10 minutes’ worth of new content; the other 35 have already been presented to the audience in previous episodes. One cannot even argue that it is to refresh the memory on what they watched prior as it's almost word-for-word repetition. The same interview clips are used, the narration is only reworded, and the same images appear on screen in every episode, providing no aid to the story or viewer.
The only benefit of this is the increased traction. With the repetition, the audience waits on new information to be presented regardless of how long it may take, only for when it to come, it be minimal. However, the audience keeps on to the next episode to see whether or not it will be better. They begin to get bored by the end of episode 3, going on to watch the fourth just for the sake of finishing the series. This makes the series disappointing and appears to have no redeeming qualities.
Despite my documentary being one part and stand alone, covering a vastly different area of information, Hitler's secret sex life is an example of what not to do: be repetitive and dull – a chore to finish. To ensure my interviews are not lacklustre, my archival footage not overused and recurring, and my script engaging and informative but straight to the point. I shouldn’t say things just for the sake of saying things unless it is conversational with my interviewees.
KNOX
Knox, a documentary created by Joe Allen and Jacob brown, follows the activity of a boxing gym in Sheffield. The documentary highlights the stories and day-to-day of club members and trainers alike. The audience quickly becomes endeared to the people presented to us: Damien “combo” Brown, Jermaine Miller and Steve Stocks. Ordinary people who become so special. across the 24 minute product you go from becoming acquainted with them and by the time the credits roll you feel like you know them personally. It feels as though they each give a part of their hearts to the camera; it is natural and fluid, and especially when Combo is present, it becomes inspirational. The documentary makes you want to get into a community like Knox, to find family and a hobby and a home in a place like that.
The documentary is observatory yet participatory at the same time. While neither Joe nor Jacob get involved on camera, their casual conversation, humour and laughter can be heard from behind the camera and is subtitled onscreen. The two serve to make the interviewees more comfortable with being filmed; it feels casual and easy between them and their subjects, like they are having fun being there. They encourage answers to their questions rather than probing. Something I believe to be especially essential when they speak to Jermaine, who brings up rather personal information about himself. They don’t need to appear on camera for you to see they care about what they are doing.
The relaxed nature of the documentary is a stand-out feature; the majority of the filming appears to be handheld, as if it is just them and a camera. Interviewees are at ease and seem more than happy to be involved, in no way begrudged. Combo, especially, is particularly happy to be able to talk on camera and share his opinions and experience. He talks within the documentary about how people view the Knox gym as an outlet and form of therapy, but when he's on camera, it appears that he finds it therapeutic to talk about it all, that without the opportunity of Joe and Jacob filming with them, he wouldn’t otherwise express those feelings and emotions so eloquently.
Due to the severe difference in documentary styles and the fact that both share zero similarities, it is difficult to compare the two products. However, in terms of overall quality (scripting, filming, editing, etc), Knox is overwhelmingly the stronger product.
ANALYSIS
I have conducted similar products research for the same reasons I explored my inspirations—to better understand how I want my documentary to look. However, unlike my inspiration research, this analysis has provided valuable insights into filming styles and production techniques, particularly in how to engage with interviewees. It has also highlighted what not to do.
While the Knox documentary has helped me define the mode of documentary I want to create, shaping my approach to filming and audience perception, Hitler’s Secret Sex Life has served as an example of what to avoid. Emulating the latter would work against my vision for my FEP, leading to the opposite of what I aim to achieve. Although watching the docuseries felt disappointing and, at times, like a waste of time, it has been a valuable lesson—not in the life of the Führer, but in understanding what makes a documentary ineffective.
INDUSTRY PROFESSIONALS
BOB DYLAN
Born in Duluth Minnesota on May 24, 1941, Bob Dylan (real name Robert Zimmerman), is an American folk singer and song writer. He made the controversial transition to rock music in the 1960s however continued to inflect his lyrics with intellectualism and poetry. Dylan sold tens of millions of albums, wrote more than 500 songs recorded by more than 2,000 artists and performed all over the world. In 2016, Dylan was awarded the Nobel prize for literature, the ceremony for which he did not attend, believing his odds on winning where akin to him "standing on the moon". Bob Dylan became the first songwriter to win the prestigious award, and the first American since novelist Toni Morrison in 1993.
in 1968 sidestepping the desires of the critics, he went in any direction but those called for in print, he lacked conformity. He embodied the ideals of Punk. A movement with broader anti-establishment ethos reflected in their attitude and actions. The term “punk” often conjures the stereotype of liberty spikes, necklaces, and dark leather jackets alongside a visual manifestation of the middle finger aimed at turning your back on societal norms. While Dylan did not have this image or indulge in the subculture’s clothing trends, his attitude in media appearances and recording sessions exuded character that seamlessly aligned with those of punk icons. His unapologetic candour and defiant stance resonated with the spirit of movement, making him a flame to the fire before it had even been fully ignited.
In a rare interview, Bob Dylan spoke to the wall street journal about music golden era vs streaming. Dylan shared that “everything's too easy” and how technology might represent the end of civilization.
When asked how he himself listens to music and his preference on format, Dylan expressed love for multiple mediums “I listen to CD’s satellite radio and streaming, I do love the sound of old vinyl though.” In the decades since he first burst into the public's consciousness via New York City's Greenwich Village folk music scene in the early 1960s, Bob Dylan has sold more than 125 million Records himself. Dylan expresses his love for the medium, story telling about how the little records are miraculous and have so much depth, that they curate a nostalgia within him, back to when life wasn’t linear and that laws of time felt like they didn’t apply.
The preference for physical format is far from unexpected from the 81 year old singer. Dylan goes on to detail how he believes technology can hamper the creativity of individuals. That technology is witchcraft and becomes an extension of oneself, it can both stall you and start you and that it causes unknowns.
In a second interview with NME, Dylan elaborates that modern records he's not a fan off, believes them to be atrocious and too much, much preferring older counterparts. He applies this also to the compact disc format. Despite saying this is a way he consumes music in the previous interview – Dylan rubbishes them. “CDs are small, there’s no stature to it” “no definition of nothing, no nothing, just like… static.”
From this it appears that to listen to music in any now is a matter of taking what he can get, almost like with developments in technology, its not real anymore- not worth the trouble or effort. Much like his opinion on music downloads “It ain’t worth nothing anyway.”
Analysis
Research into industry professionals proved difficult for me to begin with, struggled finding anyone who I could directly apply to my topic rather than just emulate when it comes to styles of presenting or simply because they are standout journalistic figures.
However Bob Dylan, while far from a saint proved an interesting figure. His recent movie biopic where he is portrayed by Timothee Chalamet provided inspiration to my FEP. It helped me consider aspects such as colour scheme and soundtrack especially. Dylan remains a nonchalant yet poetic figure and his stance on physical media intrigued me, if towards it he was be as nonplussed as he seems to be about everything else. As a 1960s musician it is a topic he has heavy correlation to, as stated previously Bob Dylan has sold more than 125 million Records. It will have been the primary way his content was released to the general populous.
The interview found on NME, was particularly difficult to find due to the age of it. Having been published in August 2006, 4 months before I was even born. I was able to find snippets on Gear space forums but finding the full thing was a struggle. However it proved worthwhile, while it is brief, it expresses true feelings on the matter of Vinyl, CD and digital downloads.
INSPIRATIONS
A CULTURE DRIVEN CREATURE
The graphic contains styles i will 100% use within my documentary. Pink is often a colour that is my first choice however for this i will likely keep a similar font but use orange as my primary colour. The main appeal of this is the scrawling white text on top of the more professional main text. It makes the graphic feel used and lived in, its not boring it has difference and contrast due to the two styles it contains. My documentary i want to have a warm and homely feel, i want it to stir something nostalgic within my audience and i think title cards that include a font that mimics messy handwriting would be a good way to achieve that effect and vibe. Alongside using this style i could find additional graphics and icons to implement across it and after it, such as ink stains and finger prints.
HELMET
This style of title card would make a good introduction to my product, the more cartoonish and comic style graphic fits well with my intended starting point of covering development of music throughout the 70s and 80s. This style also fits nicely with the pop art theme my pitch followed and using graphics like this with the documentary itself would allow for my project, context and research as well to follow the same style and be more linear. The graphic is bold, follows my intended colour scheme of warm tones, red and yellow, and is unique, the font is not the traditional comic book style one however would not look out of place should it be placed in one. The shadow of the text on top of the red background allows for the lettering to be more striking and contrast more - intensifying the appeal. The downside to using a graphic like this is again the consistency throughout my documentary. Ideally i would stick to the exact colours as shown within the title as well as use the same font however i feel like with a more stylized font such as this, it could become boring due to lack of diversity. Within my project i need to decide whether i continue my streak of bold chunky text or not and this graphic while appealing has lead me in the opposite direction and inspired me to play around with potentially thinner or more cursive styles.
THE GRUMPY BAKER
When it comes to deciding on colour schemes for my projects i often go for bold and bright colours, Last years FMP featured a pulp fiction style font, mustard yellow blocky text with a pink blurred outline to it. However this graphic has inspired me to look at softer colours for this project. The purple while more pastel is still in the same kind of chunky font i tend to use, and remains vivid enough to be eye catching and interesting. In no way is it dull like a white or beige would be. While likely not a colour i will go for within this project due to a want to utalise a warm toned colour scheme, reds and oranges and yellows, the purple has opened my eyes to potential accent colours i could implement, or could use to show changes in decade or genre throughput the documentary. A new colour for each era.
MONTE CARLO
This graphic carries an airier and lighter feel than others looked at. The font is smooth and minimal, with slight translucency. It is easy on the eyes and softer. To use this type of font and colour scheme would give my project a more subdued feeling. However, with my project likely including a lot of bright colours from props such as vinyl covers and shops alongside my more hard rock-esque soundtrack , this style would be too contrasting. I feel it would be better fit for a magazine or overall slower more understated product.
SADOMANIA
This graphic is similar to the Grumpy Baker style. It uses a light purple font and blocky text . However the hanging chain detail on the letter O is what is appealing about this graphic. It gives an otherwise basic style character and intrigue. The chain detail is fluid and feels like a natural addition to the design. The lettering could appear quite bland without it. However due to this detail the lighter colour works well, it doesn't take away from the the design nor is it overstimulating to the eyes. The detail of the chain, while not fitting within my documentary, could be replaced by more relevant objects, the letter O could be interchangeable for a CD or vinyl however whether making that look good on premier pro is attainable or not i am unsure. Consistency is a large factor within my work, even if things are not the same i want them to look good side by side and fit the same theme. I feel if one letter O was replaced with an object, all letter O's would have to be replaced. I doubt this would hold much aesthetic appeal should it even be aesthetically achievable.
LOS ANGELES CA
This graphic contains a style i considered implementing within last years FMP, but ultimately decided against due to premier pros lack of co-operation. However it is a style i would like to use within either the opening or end title of my FEP. The bold black background/border fits nicely with the overall desired style of my product, instead of a still image i would minimize my video footage, containing it within the same frame as used within the image. Underneath i would place the title and subtitle of my product, or if i use this style towards the end of my project i will use it to detail the credits of myself, any one who has aided in my production and my interviewees. Ideally if i use this style of onscreen graphic i will use warm toned footage to pair with the starkness of the black border. The only off putting aspect of this design is whether or not it could disrupt consistency within my product, switching to or from a minimized video to an enlarged full screen one, i need to consider whether or not this would be off-putting and see how well i can use editing to transition.
UNRULY AND MURDEROUS
When deciding the colour schemes of this project while i want there to be visual appeal i also have to think about the effect it may have on myself. This graphic has extraordinarily bright yellow within it, while appealing short term, it may become headache inducing when editing due to having to look at it for prolonged time. Not only for me but this is a factor i also have to consider regarding my audience, bright yellow may be headache inducing for them as well. My intent is for my product to around 15-25 minutes long, that is a while to sit and watch a product, especially all in one go. This style is more appealing as a one time thing or on still images rather than prolonged video content. This graphic was drawn to me in the first place as its akin to a sticker, the red and yellow often being a trademark of the ones found on CD's . The style overall would fit well within my documentary and would provide visual interest.
ANALYSIS
I have done inspirations research as visual appeal and quality of my products is something I always want to achieve to a high standard. I want to generate intrigue and create specific atmospheres via things as simple as colour schemes and fonts. Regarding my progression, I want to continue after college into a digital media production course, with a heavy focus on the editing side of things. Therefore, when it comes to the editing of my FEP, as my final product at college, I want it to be astounding. However, to edit well, I need to have a basic understanding of what the running theme will be within my product. Conducting this research, looking at preexisting graphics and an array of colours and styles has allowed me to rule out and narrow down my preferences. I want to stray away from the basics, but I don’t want to be absurd. I want my themes to fit my idea but without taking away from the actual a-roll within the documentary. Due to this research, I understand I want to follow a warmer colour scheme, at least for the beginning of the documentary, very 70s retro style, reds, oranges and yellows. I believe there is potential I may transition to colder colours when scripting changes to speak about specific albums. Whether that will allow for consistency within my product or look outlandish or not, I am yet to discover. However, I know for a fact I want to implement a similar style as the first graphic card I looked at – “A CULTURE DRIVEN CREATURE”. The sprawling, messy yet somewhat coordinated notes over the actual bold-faced text are massively appealing to me and I believe fits well with my envisioned end product as well as overall topic of my documentary.
PRODUCTION & EQUIPMENT
Within my production research I have organised a day to conduct test shots and a short faux interview with a peer, the interview was shot broadside rather than direct address and featured my interviewee answering one question.
The interview and production research were done to establish the possible camera positioning, and the effect lighting can have. The lighting in the video above is one large light head-on from the subject, it does not cast a flattering shadow nor does it suit the topic and tone of the question asked. The atmosphere should be light-hearted but instead is made dismal due to the lighting.
The lighting in the second clip, while better, is too much. The atmosphere remains drag and the lighting instead of casting shadows, washes me (The subject) out. It makes me far paler than I am, causing me to look almost sickly and bored. The position of the light remains the same as within the interview however the positioning of the camera, background and chair are what has changed.
The lighting within both clips is from two sources positioned on the left- and right-hand sides of the subject. The lighting in these shots is an improvement to the setup we had prior; it offers a more saturated look, and every detail of both the background and interviewee is clear and in focus. This lighting offers a more flattering perspective.
The interviews are shot broadside however one is at a further distance. The closer shot is the preferable one to me, it feels slightly more casual and less apprehensive than the other. The wider framing gives a slightly more formal effect. The only flaw is that within the closer short, the broadside is not as obvious as the short side is nearly equal in length. The interviewees within both clips are relaxed and easily talkative as the broadside angle offers a less intimidating environment.
This clip is set up with the same dual lighting however the camera is positioned at a lower angle and on the opposite side to the previous test shots. The angle is more relaxed and unpretentious, however slightly awkward in reference to distance from the interviewee. The camera is positioned very close to them and was fiddly to set up. The closeness of the tripod also becomes inconvenient if, like me, gesticulates when speaking.
As short b-roll shots this set up would work well, but due to the time spent fiddling with it and getting everything in focus, combined with the comfort of the interviewee coming into consideration, this a not a shot type I would use when interviewing strangers for prolonged amounts of time.
The shot is filmed as direct address, the camera is set up about 2 metres away from the interviewee and is zoomed in slightly. The shot uses the same lighting as the previous ones. Within this shot you can tell the uneasiness radiating from the subject, within the first 10 seconds of the clip, my eyes consistently dart towards the side and away from the camera, it’s not until I start properly talking that the discomfort eases a bit, however my eyes struggle to stay on the camera or even focus behind it throughout the whole duration. The only reason I can speak towards the camera and retain a modicum of eye contact with it is due to the placement of my interviewer. Lewis was sat directly behind the tripod and therefore I could look at him.
Direct address is not an interview mode I would use within my documentary, as someone quite comfortable In front of a camera, for me to be visibly looking away from it, to put that upon someone with less experience being interviewed, it would only cause them to feel unsettled and unnerved. Within my documentary, I would like the atmosphere to be relaxed and casual, this form of interview does not reflect that.
This shot causes a juxtaposition to the effect of the previous direct address interview. The camera has been moved forward by a metre and is zoomed in to be a close up. However, despite this my eyes leave the camera less than in the previous clip, my ability to talk comes across more natural, however I do think this is due to the established friendship between interviewee and interviewer. That level of comfort would likely not be achieved with a stranger and therefore to achieve the same effect, the camera would have to remain further away and zoom and lenses would have to be utilised to a fuller effect.
This is a style i would use for a more anecdotal interview, however would not use it for the full duration. It would be a good way to start a narration as a piece to camera however.
This shot, while still a close up, is done broadside. This gives it a more formal and serious feel, the lighting of the shot however means the clips still seems quite relaxed and airy. Had the lighting been darker in the background, this shot would be good for more serious and hard topics. The shot would easily capture emotion well and give an interview a rawer feeling.
This shot is often seen in Netflix documentaries, especially in series such as Drive to survive.
This shot resembles the Netflix style I reference in another evaluation. It sets the tone as quite serious and makes the viewer pay attention. The lighting within this shot came from the single overhead light, due no other lighting within the room and the over the shoulder angle it gave the background a very dark and diluted effect. The downside of this, while an interesting shot, is that in an ideal word the subjects face wouldn’t be as dark as the background and instead would be clearer. To achieve this however I would likely need a separate lighting attachment for the camera. This however would not be relevant to my documentary unless I am filming in a dark environment
These shots were conducted as an experiment, the lighting was not adjusted nor was the tripod height. These shots were done to explore the difference in position of over the shoulder and POV shots and what angles work best for them. The lighting within these poses both positives and negatives. One of the negatives is the graininess of the shots due to directly facing the light, this means lighting either must be adjusted which is dependent on the location, or it needs to be fixable in premier pro with the de-noise effect. Having previous experience with using that effect, it does not work to a substantial amount. Within my editing research I will have to explore whether my lack of faith in the effect is due to me using it incorrectly or if there are limits on how much it can handle.
One of the positives of this shot however, is the shadows and lighting around my subject’s face, it makes for a quite nice visual. However, I do believe, that much like other test shots we conducted, that this is a shot more relatable to more serious subject matter
ANALYSIS
Within this research I have established the effects various lighting can have on a product, I have explored shots I would, in the moment, not consider when on production and come to understandings of what works and what doesn’t, what’s appropriate and what’s not. This research has allowed me to better understand how I will go about conducting interviews when it comes to production and how simply positioning the camera differently can affect tone and atmosphere. Furthermore, this research has helped me understand that while on production a dual camera set up would be best to be able to capture real over the shoulder and low angled shots. For this I will have to invest into new SD cards which is something I will explore within my budgeting research. I want my documentary to feel warm and casual and the time taken to conduct test shots has granted me the ability to understand how best to curate that.
THEORY
The End of Audience Theory – Clay Shirky
Clay Shirky (born 1964) is an American writer, consultant, and teacher specializing in the social and economic effects of Internet technologies and journalism. His "End of Audience" theory challenges the traditional view of media consumption, arguing that audiences are no longer passive but active participants in content creation.
In the past, broadcast media followed a one-way communication model: content was produced and distributed to a mass audience who had little interaction with each other. Engagement was limited—if someone wanted to respond to a newspaper article, they had to write a letter to the editor. However, the rise of new media—digital communication platforms like the internet—transformed this dynamic. Audiences can now interact, comment, like, and share content instantly, dissolving the barriers that once separated them from both creators and fellow consumers.
More than just engaging with content, audiences have become content creators themselves, leading to the term "prosumer" (a combination of producer and consumer). Unlike traditional media professionals, amateur creators often value community and collaboration, producing content driven by passion rather than profit. Platforms like Wikipedia exemplify this shift—where once media companies controlled the flow of information, now everyday users can create and refine content, following a "publish then filter" model rather than the traditional "filter then publish" approach.
Strengths and Criticisms of the Theory
A key strength of Shirky’s theory is its recognition of how media consumption has evolved. It acknowledges the increasing accessibility of content creation and the shifting power dynamics between producers and audiences. However, the theory has been criticized for assuming that all audience members are active participants. In reality, many online users remain passive, consuming content without engaging or sharing. This challenges the idea that the audience has entirely transformed, as many still function primarily as consumers.
Another critique is that Shirky’s theory blurs the distinction between producers and audiences. While new media has undoubtedly made audiences more influential, it is unclear whether the traditional media hierarchy has truly disappeared or simply become less rigid.
Applying This Theory to Vinyl and CD Trends
I’ve explored Shirky’s theory as it connects to my documentary’s focus on the resurgence of CDs and vinyl, particularly vinyl’s growing trendiness and rising costs. This theory directly ties into social media’s role in shaping consumer behavior—especially through "prosumers" who both consume and promote products, often unintentionally.
Social media users showcasing their vinyl collections may not see themselves as advertisers, yet they influence others by making records seem desirable. Owning vinyl has become an aesthetic statement, and as more people engage with this trend, demand skyrockets, driving up prices. Influence exists whether people realize they have it or not—users promote lifestyles and products simply by appearing cool.
This raises interesting questions:
- Is the vinyl resurgence about music, or is it about image?
- Are people making independent choices, or are they unconsciously shaped by social media algorithms?
- How does the exclusivity and rising cost of vinyl contrast with the democratization of media?
By exploring these ideas, my documentary will examine how everyday social media users—whether influencers or casual posters—help drive trends, reinforcing the power of the modern audience in shaping media and consumer culture.
The uses and gratification theory examines why people consume the media they do and how they obtain certain fulfilment from it. The UGT, unlike other theories, shines the limelight on the consumer rather than the media.
The Uses and Gratifications Theory - Blumler and Katz
The UTG understands the consumers as active, rather than passive. They are self-aware of the reasons they consume media.
This theory was first introduced in the 1940s by Blumler and Katz. Katz (born May 31st 1926) attended Columbia University where he studied sociology. Katz went on to work with his mentor Paul Lazarsfeld to write Personal Influence: The Part Played by People in the Flow of Mass Communications.
Jay G. Blumler (Born 18th February 1924) was an American theorist of communication and media and went on to become a professor of public communication at the University of Leeds.
The uses and gratification theory came into play when scholars sought to find why specific media appealed to different people, this was then expanded in the 1970s when researchers began investigating not just the gratification that consumers wanted but in turn what they actually obtained.
Based on this notion, the UGT specifies 5 assumptions about media consumption
- Media use is motivated and goal-oriented – there is a reason for consuming media whether it is habitual or a need for entertainment
- Media is selected via the expectation it will satisfy specific needs and wants
- Media use is driven by social and psychological needs
- Media compete with other forms of communication, especially that of in-person.
- Due to people being active media users, media messages don’t exert particularly strong effects on people.
The UGT places the consumer at the forefront of media use. This means that they have the capability of intaking and selecting specific content and can interpret media messages making them applicable to their daily lives. As a result, they control how media impacts them.
In 1973, Katz, Gurevitch and Haas dictated a scheme of five social and psychological needs gratified by media use
- Cognitive needs, the need to acquire information
- Affective needs, the need to have aesthetic or emotional experiences
- Integrative needs, the need to build confidence, status and credibility
- Social integrative needs, the need to strengthen relationships with peers and family
- Tension release needs, the need to relax by lessening one's self-awareness.
These needs are based on the gratifications gained from old media (books, newspapers, radio, Film and TV). Work by Sundar and Limperos sees that while old media and new media may fulfil similar psychological needs and gratifications, new media has created unique needs that the theory overlooks
the suggested new needs fall into 4 categories
- Modality-based gratifications: New media content can be presented in a wider range of forms from audio to video to text. The use of these can satisfy the need for realism, and novelty, or when it comes to AI and VR, can make the user feel as though they’ve experienced things they have not.
- Agency-based gratifications: New media gives people the ability to create and share information and content, giving each individual a certain amount of power. This can satisfy needs such as agency enhancement, community building, and the ability to tailor content to one's specific desires.
- Interactivity-based gratifications: The interactivity of new media means the content is no longer static. Instead, users can interact with and impact content in real-time. This satisfies needs such as responsiveness and more choice and control.
- Navigability-based gratifications: Users move through new media, and the navigation offered by different interfaces can greatly impact users' experiences. Positive new media navigation experiences satisfy needs such as browsing, guidance through navigation (or scaffolding), and the fun that comes with moving through spaces and, if one's playing a game, levels.
The positive regarding this theory is that it is audience-focused and acknowledges the active role consumers play in the consumption of media, that they seek to fulfil and satisfy themselves via it. The theory recognises different motivations that drive individuals and branches out the research to consider human psychology. The theory differs from others by assuming self-awareness and a certain level of intelligence from consumers, unlike theories such as the hypodermic needle. The theory is aware of personal preferences and the aspect of choice.
The researcher Ien Ang also criticized uses and gratifications approach in such three areas:
- It is highly individualistic, considering only the individual psychological gratification derived from individual media use. The social context of the media use tends to be ignored. This overlooks the fact that some media use may have nothing to do with the pursuit of gratification - it may be forced upon us for example.
- There is relatively little attention paid to media content, researchers attending to why people use the media, but less to what meanings they actually get out of their media use.
- The approach starts from the view that the media are always functional to people and may thus implicitly offer a justification for the way the media are currently organized (cited by CCMS-Infobase, 2003).
Due to the hardship of tracking media usage patterns via observation, the uses and gratifications theory research relies largely on self-reports (Katz, 1987). These reports however are based on Katz personal memory which lays foundation of doubt of their credibility (Nagel et al., 2004). As such inability to accurately recall how they have behaved when engaging with media and therefore may cause distortion within the study.
The uses and gratification theory are the most relevant one to my project overall. The theory establishes the effect media has on the consumer but regards it from the consumer perspective. The theories individualistic outlook allows for it to be applied to other topics and interpreted differently. My project is largely focused on the consumer perspective, what the opinion used to be on cd’s and vinyl’s, what it is now, and why it has changed. This theory related both to the capitalism of artists outputting content, and can be used to ask the question “is the gratification and satisfaction of owning content such as albums, worth the price?” . Is the amount of money spent on these things going to play on people’s minds and turn them away from further investing money into them? How does that then affect artist profits? Is it due to inflation or selfishness and greed?
Within my research I wanted to explore why owning physical copies of things brings satisfaction to people, whether it’s because its trendy or because it’s out of genuine passion. So to understand a theory that explores the idea of using media to satisfy oneself has been an important part of my research portfolio and from this point will aid me in both the fine tuning of my idea and my overall content research.
With a historical aspect of my project, a theory that was first established in 1940’s and then developed further in the 1970’s, the decade Intend to start my documentary with, being able to still relate the theory to the media of that day and time to the modernity of today’s media is very interesting to me.
AUDIENCE
With the rise of streaming services in the early 2000s, the way people consume music has evolved significantly. Today, listeners have more options than ever, from digital platforms like Spotify and Apple Music to traditional formats such as CDs, vinyl, and radio. The choice ultimately depends on personal preference and convenience.
Globally, 64% of people access music via the internet, though in various ways. Among them, 24% use subscription-based streaming services, while 8% opt for ad-supported platforms like Deezer. Video streaming services, such as YouTube, account for 19% of music consumption, while 8% engage with music through short-form video apps like TikTok. Additionally, 5% of listeners discover and enjoy music through social media platforms such as Instagram and Facebook.
Despite the dominance of digital streaming, only 10% of people still purchase music—whether in physical formats like vinyl and CDs or as digital downloads. However, physical music remains popular, particularly among younger audiences. A study by Key Production, the UK’s largest vinyl packaging firm, found that 59% of 18-24-year-olds listen to physical music releases, a significant increase compared to the 40-45% reported in older age groups (25-34, 35-44, 45-54, and 55-65).
One of the key factors driving vinyl’s resurgence is environmental consciousness, with 71% of 18-24-year-olds stating they would pay a premium for vinyl LPs produced with a proven reduced environmental impact. Beyond sustainability, vinyl has become a cultural phenomenon among Gen Z. A survey of over 2,500 vinyl fans found that 76% of Gen Z purchase new records at least once a month, with 80% owning a record player.
Social media plays a significant role in this revival. As the first generation to grow up during the decline of CDs, MP3s, and the rise of streaming, Gen Z actively uses social platforms to enhance their interest in vinyl—whether through record collection videos, setup tutorials, or maintenance tips. TikTok alone has over 252 million posts related to ‘vinyl’ or ‘vinyl records,’ offering an accessible entry point into the culture. Young collectors frequently share ‘vinyl hauls,’ showcase their turntables playing favorite albums, and decorate their spaces with colorful discs and album sleeves.
A report by Vinyl Alliance found that 50% of participants believe vinyl offers a break from digital life, with Gen Z at the forefront of replacing screen time with record listening as a form of mental well-being. This growing trend is reflected in industry sales—according to the BPI, UK vinyl sales increased for the 17th consecutive year, with the Entertainment Retailers Association (ERA) reporting a 10% growth in vinyl album sales, reaching £196 million in 2024. The demand has been so strong that HMV recently reopened its flagship Oxford Street store, marking a significant moment for the physical music market.
VINYL CONSUMERS
One of the key factors driving vinyl’s resurgence is environmental consciousness, with 71% of 18-24-year-olds stating they would pay a premium for vinyl LPs produced with a proven reduced environmental impact. Beyond sustainability, vinyl has become a cultural phenomenon among Gen Z. A survey of over 2,500 vinyl fans found that 76% of Gen Z purchase new records at least once a month, with 80% owning a record player.
Social media plays a significant role in this revival. As the first generation to grow up during the decline of CDs, MP3s, and the rise of streaming, Gen Z actively uses social platforms to enhance their interest in vinyl—whether through record collection videos, setup tutorials, or maintenance tips. TikTok alone has over 252 million posts related to ‘vinyl’ or ‘vinyl records,’ offering an accessible entry point into the culture. Young collectors frequently share ‘vinyl hauls,’ showcase their turntables playing favorite albums, and decorate their spaces with colorful discs and album sleeves.
A report by Vinyl Alliance found that 50% of participants believe vinyl offers a break from digital life, with Gen Z at the forefront of replacing screen time with record listening as a form of mental well-being. This growing trend is reflected in industry sales—according to the BPI, UK vinyl sales increased for the 17th consecutive year, with the Entertainment Retailers Association (ERA) reporting a 10% growth in vinyl album sales, reaching £196 million in 2024. The demand has been so strong that HMV recently reopened its flagship Oxford Street store, marking a significant moment for the physical music market.
CD CONSUMERS
A 2018 study revealed that 42% of people still accessed music via CDs, with 41% citing them as their preferred format. However, only 18% of these listeners purchase new CDs each month, highlighting the format’s waning appeal compared to vinyl.
CDs tend to attract an older demographic—53% of CD buyers are aged 55 and over, while only 6% come from Gen Z (16-24). Unlike vinyl, which offers aesthetic appeal through limited-edition collectibles, colored discs, and unique designs, CDs are often seen as more standardized and lack the same level of artistic presentation. Additionally, affordability has become a concern for CD buyers, with 18% believing the format has become too expensive. While the average CD price remains around £7.99, albums from major artists often retail between £15.99 and £17.99—the same price as some vinyl records.
Many CD buyers also feel excluded from the modern music industry, with 40% expressing frustration when music is released exclusively on specific streaming platforms or services.
APPLYING THIS TO MY DOCUMENTARY
Conducting research into the statistics surrounding the consumption of physical media in music has given me a better understanding of whom to tailor my documentary towards. My research has shown that while vinyl is more popular now with my own age range of 16-24, CD is preferred by older generations primarily. I have understood from the very beginning of idea generating that I wanted my documentary to be appealing to both the older and younger generations, and now I understand that the overall content that I will cover within it already aids me in that field. CD and vinyl are the most prominent areas of discussion I will present within my FEP, and with different demographics likening to both of those aspects, its simply becomes how to afflict my voice and overall tone, as well as how I style my product. However, when it comes to style, that is something I have looked into and decided by conducting research into similar products and inspirations.
TARGET AUDIENCE
Daisy is an 18-year-old girl, she lives at home but is stuck in the vicious rapids of deciding whether or not to stay home and go to a university nearby, or brave independence and move further afield. Daisy has a part-time job and whether or not she’s willing to leave it is factoring into her decision. She lives on TikTok and Pinterest. She tries to curate the same sense of style and authenticity as the girls she sees on the respective apps – she longs for the coolness of women like Stevie Nicks and Joan Jett. With her source of income she often pays visits to shops like HMV, she knows prices are steep but they’ve started doing student discounts now and independent stores have the potential to be pricier. She pays for Spotify but she likes the intimacy of putting a record on the player, being able to call it hers because she owns it.
She grew up with CDs in the car and her father asking her “who sings this?”. She still doesn’t know the answer most of the time but she’s beginning to ask it back as she’s developed her music taste.
David works 9-5, Monday to Friday. He drives to work listening to Greatest hits radio, or whatever CDs are in the glove box. They are a mix of his and his wife. They’ve stopped buying them since Daisy got older, started taking the bus to school, and is old enough for the free version of Spotify and eventually the premium one. Still, pink Lloyd and Guns and Roses sit in their cracked cases – faithful and adoring. He misses introducing her to new music, getting to struggle as she didn’t know who was who so he could go on a tangent. Mark Knopfler is the greatest guitarist of all time regardless of what Clapton says.
to explore whether or not in the pursuit for independence from big companies and their goal of temporary ownership, is the resurgence of vinyl and cd only playing into more capitalistic hands.
MARKET
Stuck in the Groove (2021)
Stuck in the groove is an hour and a half long documentary produced by Taylor Golonka. The documentary explores the history and evolution of records, it involves interviews with a multitude of relevant people such as historians, musicians and fans to best encapsulate different perspectives. The documentary films sets out to take the audience on a journey of vinyl mania and nostalgia. The documentary has no rotten tomatoes score however holds a 6.5/10 rating on IMDb. On Letterboxd, 47% of viewers rate the documentary as 3 stars, 11% believe it to be 4 stars worthy with another 11% rating it only 1 star.
Vinyl (2000)
Vinyl, produced by torotono film maker Alan Zweig, explores the gratifications and phenomenon of record collecting. The film stands at 110 minutes long. Zweig wants not to talk to people who collect records to discuss music, but rather to discuss what drives someone to collect records in the first place. Zweig spends a large portion of the film in stylized self-filmed "confessions", where he expands on his life in regard to record collecting, feeling it has prevented him from fulfilling his dreams of a family. The reviews of this product allow me to understand it as hard hitting and poetic. It activates a form of self actualisation and reflection within its audience.
The documentary has a 7.2/10 rating on IMDb, and a 3.7/10 rating on Letterboxd. 15% of the platforms users rating it 5 stars, 33% rating it 4 stars, 16% rating it 3 stars, and only 1% rating it 1 star.
Vinyl Revolution (2022)
The 2017 documentary Vinyl Revolution, directed by Aaron Bell is 31 minutes long. The documenray aims to explore the unexpected comeback of vinyl in the digital age, and why consumers are falling in love with music all over again due to records. However the documentary seems to have been swept under the rug, it has no ratings on letterboxd and only has 8 listed viewers on the site in comaparison to 871 who watched ‘Vinyl’. Furthermore there is no ratings or reviewers on either IMDb or on rotten tomatoes.
ANALYSIS
Each Product looked at is centresd soleley on the history or motivation behind collecting vinyl, this already contrasts my own idea of combining the historys and motivations behind vinyl alongside CDs and cassettes. These documentaries have given me a baseline idea of the way my documentary will end up looking in regards to the footage involved, there is not much difference when talking about the same subjects, b-roll will consist largely of record shops and close ups on the records themselves, archival footage of the production and then interviews to tie it together.
Market research is an area I have looked into to better understand the similarity of my idea for FEP with what is already available to watch. I have understood from the beginning that my idea is not particularly unique, that it's far from unheard of; however, within my Pitch, I explored the reasoning behind this. Music is something that, in general, is incredibly important to me, and as an avid collector of CDs, my idea as a whole is something I am passionate about. But It was intended to be a slightly safe concept. During FEP I wanted to be able to use the time allocated for production to refine my practical skills, such as editing and camera work, and a less niche idea would allow for more focus to be poured into the quality rather than content. However, this idea, I believe, will balance both of those aspects. While this research has helped me understand that there are similar documentaries, professionally produced, it's now up to me to avoid emulating them, make mine distinctive, and figure out how I can make it appeal to audiences more than its competition.
SKILLS AND ABILITIES
TIME MANAGEMENT
Time management has always been a challenge for me, particularly when it comes to staying focused on projects. I often struggle to dedicate time to coursework, frequently prioritizing tasks that feel more enjoyable over those that are essential. Effective time management requires the ability to plan, prioritize, and, most importantly, overcome procrastination.
One of the greatest benefits of strong time management is reduced stress. Managing multiple tasks—whether independently or within a larger project—without a clear strategy can lead to anxiety and mental strain. This, in turn, can impact both physical and mental well-being. Physically, chronic stress can cause muscle tension, pain, high blood pressure, heart disease, sleep disturbances, and weight fluctuations. Recovery from chronic stress typically takes around three months, while burnout can take anywhere from three months to a year.
Mentally, procrastination is more than just a bad habit—it has been linked to symptoms of depression, anxiety, and low self-esteem. Although procrastination is often mistaken for laziness, they are fundamentally different. Procrastination is the unnecessary delay of tasks, while laziness is a reluctance to put in effort. Unfortunately, chronic procrastination can lead to negative perceptions from others, adding further pressure to those who struggle with it.
Strategies for Effective Time Management
- Prioritization
Mastering time management starts with distinguishing between what is important and what is urgent. Covey, Merrill, and Merrill (1994) introduced the Time Management Matrix, which categorizes tasks into four quadrants:
- Urgent & Important – Tasks that require immediate attention (e.g., deadlines, emergencies).
- Not Urgent but Important – Tasks that contribute to long-term success (e.g., planning, studying, skill-building).
- Urgent but Not Important – Tasks that feel pressing but have little long-term impact (e.g., interruptions, some meetings).
- Not Urgent & Not Important – Time-wasters (e.g., excessive social media, unnecessary distractions).
Creating a structured to-do list can be a simple yet effective way to prioritize. Depending on your lifestyle, you may need daily, weekly, or monthly lists. However, it’s important to keep lists manageable—focus on small, actionable tasks rather than overwhelming multi-step goals. Ranking tasks in order of priority ensures that the most critical work gets done first.
- Identifying & Reducing Distractions
Recognizing personal distractions is key to preventing time-wasting habits. One of the most common culprits is the smartphone. Apps and online content are deliberately designed to capture attention, using notifications and updates to keep users engaged. This makes it easy to fall into the trap of endlessly checking messages or scrolling through social media.
Utilizing the Do Not Disturb feature on your phone. This prevents unnecessary notifications from interrupting your focus. However, self-discipline is still necessary—turning off notifications won’t help if you continue to check your phone out of habit. Setting designated time blocks for work, study, and breaks can help maintain balance and reduce temptation. One example of this is the POMODORO study method: designed to improve focus and productivity by breaking work into intervals, typically 25 minutes of focused work, followed by a 5-minute break. After completing four cycles, you take a longer 15–30 minute break.
3. Avoid Multitasking
Psychological studies have shown that multitasking does not save time. The opposite is often true. You lose time when switching from one task to another, resulting in a loss of Routine. Multi-tasking may lead to difficulty in concentrating and maintaining focus. Do your best to focus on just one task at a time by keeping your area clear of distractions, including turning off notifications on your devices, and setting aside dedicated time for specific tasks.
Time management is my Achilles heel when it comes to projects, in every evaluation I ever must write it’s my main are I detail for development, yet I never seem able to develop it. Endlessly reliant on the ability to feel pressurised by deadlines and using it only then get things done. A strategy now failing me, the more I do it the less pressure I feel by time constraints, arrogant in my own ability to get it done regardless. I will stress yet still not do anything to help myself. Due to this I looked in time management as a skill to understand the effect causing yourself unnecessary stress can cause, how to potentially rectify it and why its vital to creating effective products while remaining fit.
I went to research into a soft skill rather than a hard skill first as when it comes to hard skills that comes more under my equipment, editing and production research. These are aspects I have continued develop over the last two years and am now putting into practice, they are not theoretical and skills that io believe are better gained by primary research such as test shots. I could look at articles or papers on why its important to have good camerawork or know ones way around whichever the preferred software is, but I don’t believe that I would actually gain anything from doing so.
TYPES OF PLANNING
RISK ASSESSMENTS
Definition
Risk assessments are utilized across a multitude of industries such as construction, engineering, finance, Health care, firefighting, retail and food management
Risk assessments for filmmaking identify the hazards that a production may face on set or location and provide recommendations for eliminating or controlling those risks. They assist producers to make decisions and set budgets that allow for safe workplaces and minimize the chance of increased cost, delays or cancellations.
Due to differential risks, each location of production needs to be assessed individually,
There are 5 things a risk assessment should include,
- Identifying hazards
- Determining who may be harmed and how
- Evaluation of risks and control measures
- Recording of findings
- Review of the risk assessment
1. Identifying hazards
When identifying hazards, the most common ones remain that of physical risks. Slips and falls, any injure that may occur from these. This is a particular important one to consider when filming as not only are you in the foreign environment of the location, you add in the component of additional equipment, Camera, Tripod, mics etc. All things that have a physical presence, occupy space and when in the case of mics and lighting equipment also come with the risk of wires – a large hazard for physical injury.
Weather is another overlooked hazard, with the danger usually regarding the safety of the camera equipment/ However factors regarding the crew also need to be considered. Appropriate dress for both hot and cold weather, staying in the shade and wearing sun cream when outside all day in the heat to avoid heart stroke or rash. Wearing coats and taking cover in the event of rain to avoid sickness.
Time pressure is another overlooked risk due to the lack of physicality. When pressed for time, crew and producer may become sloppy, make mistakes and cut corners. This stress can lead rushing, causing both physical injury if those aren’t aware of themselves, sloppy work when it comes to the actual product, and overall raised blood pressure. Time management becomes an essential skill and production schedules factor in as a beneficial document/ Allocating enough time and ensuing prolonged access to locations becomes a way one can control this hazard.
2. Who may be harmed and how
When filming on production, identifying who may be harmed is crucial. When working on solo projects, should one to come to harm or become unsafe, that becomes a hazard and controls such as contact information for both the producer and the location ought to be provided to next of kin or emergency contacts. When filming then involves others, knowing who you are on location with and their details is a needed to ensure the correct people are informed. When looking at the risk assessment and accompanying location Recce document, should possible harm occur, the suitability of the location and necessity of it needs to be assessed and discussed.
3. Evaluation of risks and control measures
Should locations be decided and risks are unable to be removed, you need to plan the controls for them. For example, when working in a biomed lab, one would inevitably encounter hazardous substances and chemicals. But ensuring protective gloves, lab coats and goggles are in place and used, reduces the risk of injury.
When in media, working with equipment that may prove itself to be a trip hazard, if possible, instead implement wireless or Bluetooth devices in its place. If not possible than cordon off risks, tape down wires to avoid tripping or associated accidents.
4. Recordings of Findings
When recoding the findings of the risk assessments there are three areas that need to be clarified
Accountability for the risk assessment taking place, proof that the potential hazards have been identified and addressed. That controls have been addressed. Compliance with health and safety regulations and evidence of it. And clarity, ensuring that all people involve understand the risks and have been presented with the controls for them.
5. Review of the risk assessment
Reviewing the risk assessment up until the day of locational filming is necessary, it will ensure any newcomers to the production are informed any new apparent hazards are covered and controlled.
SHOT LIST
Definition
A shot lost is a detailed document containing the progression of shots and visuals within a product. The shot lists specifies shot angles, accompanying audio for visuals, time stamps, lighting and camera position. It acts as a guide for crew and producers during production; a predetermined timeline for media such as documentaries, tv shows etc.
A shot lost is a detailed document containing the progression of shots and visuals within a product. The shot lists specify shot angles, accompanying audio for visuals, time stamps, lighting and camera position. It acts as a guide for crew and producers during production; a predetermined timeline for media such as documentaries, tv shows etc.
- 1. Shot number: the reference number assigned to each individual shot.
- 2. Shot description: a short description of the action and/or dialogue.
- 3. Shot size: how big or small the subject is in the frame.
- 4. Shot type: the camera angle, or how the camera frames the subject.
- 5. Movement: how the camera does (or doesn’t) move within the shot.
- 6. Equipment: the type of camera that captures the shot.
- 7. Lens: the camera lens used to capture the shot.
- 8. Frame rate: the frequency at which the frames are captured.
- 9. Location: where the shot is captured.
- 10. Presenter/Interviewee/Actor
- 11. Sound: how the sound and/or dialogue are captured.
- 12. Extra notes: remaining anecdotes and notes to be considered by the crew
PRODUCTION
A production schedule is a detailed timeline of the events of the production period. The schedule outlines the activities, deadlines and locations of the period and allows for filming/ editing to take place In an organised and timely manner. The aim of a production schedule is to minimize idle time and increase productivity, using the designated time to the best of one’s ability. It also acts as a visual guide to the time allocated, offering a better idea of how to manage the time.
The production schedule considers multiple elements and irons out the elements of filming for the crew.
Elements include things such as prohibited filming, areas that may require further access granting or things unable to be filmed at all, aspects that need to be remembered when on location. Furthermore knowing who, aside from the crew, is going to present also factors in to this. Risk assessments provided to parents if needed should children be present and sullying release forms to anyone documented within the end product.
Shot list and timing. Knowing what will take place at the location and when is a crucial part of the production schedule. Rather than turning up at the site and playing it by ear, ensure the type of shots are included and interviews are arranged before hand, scheduled to avoid any obstruction or miscommunication. Within this the style of filming should be considered so camera settings can be configured.
Equipment Security –When working with professional equipment on new locations, considering the safety of is necessary. bit of kit. From cameras and lights to go-pros, gimbals and drones. Working individually especially but also when in a crew you may not have the manpower to carry everything around all day, and doing so may hinder the quality of production if you are working around bags etc so ensuring there is a space that can be used to securely store all the equipment not in use will ensure the safety of it and ease any anxiousness. Including this within the schedule can save stress.
Any factor of filming ought to be included within the document, even aspects such as parking, the schedule is there to help production run smoothly.
Without the production schedule, it can cause liability to the end product and on the day filming. Prime shots and time to set them and equipment up may be dwindled due to things not having been prepared prior. For the sake of sacrificing a few hours to compile the document, it can ensure an overall better production and end result.
LOCATION RECCE
A location Recce document is a document filled out to identify the pros and cons of a potential filming location, It’s a comprehensive form that factors in the suitability, logistics, hazards and health and safety risks, access and lighting. The document also explores the physical characteristics and aesthetics of a location.
Doing a location recce before filming is a key part of planning a documentary. It’s not just about seeing the space, it’s about understanding how it works for your shoot and making sure it’s safe and practical. Taking photos during the recce is a big part of that process.
Images help you visualise your setup in advance. You can check lighting, space for equipment, power access, and sound conditions. It’s a reference point when you’re back planning shots or discussing things with the crew. Everyone can look at the same visuals and be on the same page.
But location images are also important when filling out your risk assessment. They give context. Instead of guessing, you can spot actual hazards—slippery floors, low ceilings, tight walkways, bad lighting, or anything that could become a safety issue. Photos let you log those risks properly and plan how to manage them. If a space is cramped, you might bring fewer crew. If a cable’s running across a walkway, you’ll note that and plan to tape it down.
Photos also act as proof. If someone questions how you planned for safety, you’ve got a visual record of what the space looked like and what risks were flagged. That matters, especially when working with public or unfamiliar locations.
So in short, location recces help you plan. But taking images makes that plan clearer, easier to share, and safer—especially when linked directly to your risk assessment.
SCRIPT
Even though documentaries are based on real life, having a script is still essential. It gives the project structure, helps shape the story, and keeps everything focused—from planning to editing.
In pre-production, a script helps you figure out what the documentary is actually about. It lays out your main themes, the questions you want answered, and the scenes or interviews you need to capture. This stops you from going in blind and wasting time on footage that won’t be useful later.
During production, it keeps you on track. Documentaries can be unpredictable, but a script helps you stick to a direction. You’ll know what you’re trying to get, even if the story shifts. It’s not about controlling everything—it’s about knowing what matters.
Post-production is where the script becomes critical. Sorting through hours of footage is hard without a plan. A script helps you find the key moments, structure the edit, and make sure the final story is clear and consistent. It also makes it easier to spot gaps or weak points early on.
A script doesn’t mean everything is fixed from the start. It’s flexible. But without one, you’re likely to lose time, miss the point, or struggle to tell a strong story. With one, the whole process runs smoother—and the final film is stronger.
EQUIPMENT AND BUDGETING
When you’re filming a documentary, a lot can go wrong—and usually at the worst possible moment. That’s why equipment and budgeting forms aren’t just admin tasks you tick off—they’re essential tools that keep the whole production from falling apart.
Starting with equipment forms, these are your safety net. They help you keep track of every piece of gear you need: cameras, lenses, mics, lights, batteries, even memory cards. When you’re out in the field, often in unpredictable situations, you don’t have time to realise you left something behind. Equipment forms make sure you’ve got what you need before you even get to set. They’re also useful for knowing what’s rented vs. owned, what’s been packed, and what’s still missing. If you’re working with a crew, it helps keep everyone on the same page about who’s in charge of what gear. That kind of clarity saves time and avoids problems later on.
Then there’s the budgeting side. Documentaries don’t usually come with massive budgets, so every penny matters. Budgeting forms help you plan out exactly where your money’s going—gear rentals, travel, post-production, editing, maybe even archival footage or music rights. Without a clear breakdown, it’s way too easy to overspend in one area and end up short when it counts, like during post-production or distribution. These forms give you a full view of the financial side of your project so you can make smart calls from the start.
In short, equipment and budgeting forms aren’t just paperwork. They’re the foundation of a smooth, stress-free shoot. They save time, cut down on mistakes, and let you focus on what matters most: telling a real, compelling story. Without them, even the best ideas can fall apart in production chaos. With them, you give your documentary the structure it needs to actually make it to the finish line—and do it well.
RELEASE FORMS
A Release form is a legal document that grants the producer of a production the right to use a person’s voice, image, performance and likeness within any area of media. The form usually details of how this person’s attributes will be used and any limitations or restrictions. The contracts allow for proper authorization to allow this and protects you from potential legal liabilities and repercussions.
Without signing a release form, should a person denouce their want to be included within your product, you have no right to use the content.
Release forms protect you from lawsuits, . Media Consent and Release Forms often contain language that holds you/your crew harmless, ensuring that the individual cannot sue you or assert claims for unauthorized use. This protection can be invaluable, especially if your business creates or relies on user-generated content.
An example of what could happen is: A company uses images of a local artist's work in a promotional video without obtaining permission. The artist sees the video and decides to sue the company for copyright infringement. Had the company secured a signed Media Consent and Release Form, they would have been protected from potential damages.
What is the difference between a release form and a filming notice?
A filming notice is a general announcement informing the public that filming is taking place. Filming notices are often used in public spaces to alert people to the possibility of being filmed and therefore should they be caught on camera, you have agreed to be in the film. release forms relate to specific individuals intentionally filmed and included.
- Roughly 50% of people will sign it without even reading.
- 30% will read AND sign it.
- 15% will read it and have some questions (and you get to answer them!)
- 5% or less will say “hell no I’m not signing that.”
ANALYSIS
I have looked into types of planning regarding pre-production documents because I often overlook them. They are something to get out of the way and tweak later on if needed. However, they are critical for being on production and not something to skimp out on.
Documents such as the location recce and risk assessments are done for health and safety reasons, they are warnings and protective. No location should be visited without the documents having been filled out prior and supplied to contacts and crew alike. Within this research, what I have gathered is that these documents are important when working in teams but critical when working alone, regardless of hazards such as smoke machines and scaffolding; simply being alone is a hazard; you risk not only your equipment but also your own safety.
Documents such as the shot list and production schedule are tedious to create. Shot lists specifically, I struggle with, it means I actually have to sit down and envision what I want to create. But this research has proved to me that the shot list is crucial to the production process, I may not want to think about it just yet, but I need to. I don’t know what shots I want yet, but if the shot list is done before filming? Then I already know what shots to start with – what the ones I want are.
LOCATIONS
BRUDENELL SOCIAL CLUB LEEDS
The Brudenell Social Club, located in Hyde Park, Leeds, was originally established in 1913 as a working men’s club. It served as a community hub for local residents, providing social and recreational space typical of early 20th-century British social clubs. The original structure was a modest wooden building, later replaced by the current brick facility in 1978 to accommodate changing needs and to modernise the venue.
By the early 1990s, the club was experiencing financial strain, a situation common among many similar institutions at the time. Ownership transferred to Malcolm and Patricia Clark, who began to reorient the venue’s purpose to stay viable. Recognising shifts in the local demographic — particularly the growing student population — they started hosting live music events as a way to attract a wider audience and reinvigorate the space.
Their son, Nathan Clark, assumed operational control in the early 2000s and has been instrumental in transforming the Brudenell into one of the UK’s most respected independent music venues. While retaining the social club’s original features and ethos, Clark expanded its function as a performance space, introducing a programming strategy that supports both emerging local acts and internationally recognised artists.
The Brudenell now features two main live rooms, upgraded sound systems, and a consistent schedule of diverse performances. Under Nathan Clark’s management, the venue has remained financially independent and community-focused. His approach emphasises ethical booking practices, affordability, and reinvestment in the space, helping the club maintain credibility in both the local and national music scenes.
The Brudenell Social Club would work well for filming because the decor gives it a lot of personality—old posters, mismatched furniture, and a proper lived-in feel that makes the space look real on camera. You don’t need to dress it up, it already tells a story. Plus, loads of well-known and local bands have played there, so it carries that creative energy without feeling forced. It’s got a solid reputation, and that adds some weight to the visuals, especially if you’re interviewing artists or anyone linked to music or culture.
RECORD JUNKEE SHEFFIELD
Record Junkee is a well-established independent record shop and live music venue located at 7 Earl Street in Sheffield's city centre. Founded in 2009 by Martin Leverton, who has been involved in Sheffield's music retail scene since 1994, the store has become a staple for music enthusiasts.
The shop boasts a diverse collection of over 50,000 vinyl records and CDs, catering to a wide range of musical tastes, from indie and metal to bassline and post-punk. In addition to its retail offerings, Record Junkee features a 150-capacity live music venue and bar, hosting performances from both emerging local artists and touring acts.
Record Junkee is also an official chart-registered record store, participating in events like Record Store Day and supporting the local music community through various initiatives.
LEEDS KIRKGATE VINYL MARKET
The Leeds Kirkgate Record Fair is a monthly event held on the second Saturday of each month at Kirkgate Indoor Market, located in the city centre. Established in 2017 by organiser John Cox, the fair has grown to become one of the UK's largest regular record fairs. It features over 85 tables spread across two halls, offering a wide selection of vinyl records and CDs.
The fair attracts around 40 stallholders from various parts of the UK, including cities like London, Manchester, Newcastle, and Nottingham. These vendors bring a diverse range of music genres, from punk and soul to jazz and reggae, catering to both seasoned collectors and casual browsers.
Admission to the fair is free, and it operates from 10 am to 4 pm. The venue's central location makes it easily accessible by public transport, being just a short walk from Leeds Train Station and the bus station.
The Leeds Kirkgate Vinyl Fair is a solid place to film—loads of character, proper atmosphere, and you don’t need to fake anything. You've got rows of records, people digging through crates, chatting, trading—it's visually busy in the best way. Perfect for B-roll that actually feels alive. If you're talking to musicians, collectors, or anyone into music, it fits. It’s not polished, but that’s kind of the point. It’s real, local, and has that DIY feel that gives the footage some edge.
I have done research into locations due to a desire to avoid repetition. For last year's FMP, my project was also centred around music, and as such, I contacted over half a dozen locations within that industry. These included: Recording studios, theatres, and record shops. From only 2 did I get responses.
With this year's project also centred around music, I had anxiety going into production that I had already exhausted all my options for locations, and that I likely would end up visiting the same two places as the year prior and end up with all the same b-roll. This is made dearer by the fact I am reliant on public transport, so going further afield to new locations is not particularly attainable, even less so when carrying equipment around with me.
To avoid this, I gained recommendations from peers on where I could potentially film and then looked into them, I had never heard of the Brudenell or the Leeds Kirkgate vinyl fair prior to being told about them, yet both locations have proved they would supply a variation of good shots and aid my want to make my documentary visually interesting. The Brudenell with its 1950s décor, and the Kirkgate with its architectural beauty. While Leeds is further than Barnsley, it is a more accessible location to me than the town is, with it simply being one train into the centre and a second (10-minute one) to get to Burley Park, where the Brudenell Social Club is.
The Brudenell club specifically is likely a venue that had I not looked into after being told about, I would never have known or considered. Yet after the fact, it is the most appealing location out of the three and where I am most likely to get the most diverse shots.
EDITING
PRESENTATION OF WORK
Visiting the Experience Barnsley Exhibition has aided me well in inspiring my documentary’s presentation. The main aspect it helped me to visualise is interactivity.
One of the first things you notice is how well everything is laid out. It is a visual space, and you can see how much thought has gone into telling stories through images, videos, and objects. For me, that helped me think more carefully about how I want to present things—especially when it comes to visual design. Seeing how they balance text with visuals, and how they guide you from one display to the next, gave me some ideas about how to structure my own presentation so it flows better and keeps people interested.
Within my presentation space, I will have barely a fraction of the space available in the Experience Barnsley exhibit, so learning how to utilise movement within a smaller area is important for me to understand and take in. This is especially relevant considering the messier look I want my exhibition to have; it needs to fit that style while still being coordinated.
With my ideas for the presentation so far, they’ve focused more on design rather than how people can interact with it. The Experience Barnsley exhibition had multiple ways of encouraging physical engagement—setups with computer games, endless buttons to press, and even a tunnel you could crawl roughly a metre into to get a sense of what it would be like working down a coal mine as a child. Going into this, I only had one idea on how to make my presentation interactive and fit with my content: bringing in a few CDs, alongside my CD player, and letting viewers pick their album. However, after visiting the exhibition, I want there to be multiple ways to engage.
One idea I’ve had post-visit is the concept of a burn book—a journal viewers can look at and write their confessions in. I will start the book off myself with controversial opinions on music to match the theme of my documentary: “Taylor Swift is overrated,” or “I once poured my drink on someone at a concert on purpose.” Another idea is to include a small whiteboard, one that will be free for all visitors to doodle on and graffiti.
From old newspapers and letters to video interviews and interactive timelines, the exhibition is a goldmine. With it being so local and specific to Barnsley, it makes everything feel real and grounded. You feel a certain intimacy from it, and for many, a sense of nostalgia. The places quoted and elaborated on are only a few miles away.
This is something I want to apply to my presentation, but in a different sense. My goal is to match the style and setup to my target audience—mainly teenage girls, but also their parents. My bedroom is messy: makeup not put away, a bed that’s never made, a laptop usually open with the memory stick still in, and CDs I haven’t bothered putting back in the drawer. I’m hoping that by recreating a condensed version of this, it’ll resonate with my audience. “This feels like home.” “This is what I’m like.”
When it comes to the older generation part of my target audience—fathers and mothers of those teenagers—I’m hoping it resonates with them as well. Instead of “this is what I’m like,” the message becomes, “this is what my child is like. It’s like walking into their bedroom.”
Another thing I gained from the exhibit was learning how other people react and engage. Seeing how different visitors—especially kids and older people—absorbed the exhibition gave me a better understanding of what makes content interesting or boring. It also made me think about the safety of my presentation. Since it will be open to families, and young children might be around, I need to consider things like trip hazards. I also need to keep things accessible—breaking up heavy info with visuals and not overloading people with too much text or anything that takes away from the actual documentary.
The storytelling in the exhibition is another big takeaway. It’s not just a bunch of facts thrown at you; it tells real stories about real people, and that makes a big difference. I’ve started thinking more about how to tell a story in my own work—not just presenting info, but making people care about it. Whether that’s through a personal anecdote, a strong opening, or some emotional hook, that kind of approach makes a presentation way more engaging.
Lastly, visiting an exhibition made me step back and reflect on how information is presented in general—what makes something memorable, and what doesn’t.
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