LO2: Be able to record production materials for an extract for an original TV programme or short film

LO2: Be able to record production materials for an extract for an original TV programme or short film

Evidence of Filming

When filming, the script was a pertinent item in assisting actors and director; reading and rehearsing voice lines, checking shot-types for the scenes and stage directions for the actors to follow. This photo features an actor reading through the script.

Understanding when actors are ready to film was also an important step to ensuring a good take: this photo features an actor giving the green light for the shot to be taken.

Within this shot, the crew discusses how the scene will play out and where each actor and crew member needs to be within the scene.

When developing a shot which changes focus to achieve a shallow depth of field, checking that the shot works and the camera focuses correctly through test takes was a necessary step to creating an effective shot.

During filming, we had advisors to recommend whether a shot or a scene would work as they watched it; allowing us to rehearse the scenes as they were viewed in real time.

How Meaning is Conveyed Within Production Materials

Meaning within I'm So Lucky was created in relation to characterization of the main characters and how they conform to, or juxtapose conventions typical of the crime drama genre. 

The mob boss is characterized through a costume which is comparative to the other mob member who meets with him: adorned in formal attire and accompanied by connotations of dominance and importance through continuous low angles and a representative older age in contrast to the rest of the characters. The object of a whisky glass is also significant in this characterization through signifying maturity and distinguished taste which would be attributive to the head of an organised crime unit, akin to how Coppola's 'The Godfather' is represented. The character of the unnamed, mysterious mob boss was intended to be typical of the crime genre so that his dichotomy with Custeau would be humorously contrasting.

This juxtaposition in costume and attitude was also applied to editing sequences: the introductions of the unnamed mob member and the protagonist Custeau, parallel one another through montage and opposing costumes which characterize them differently. The connotations of organised crime signified by organised, similar, costume whilst Custeau entirely juxtaposes that serious, organised tone, with an unkempt outfit consisting of a bath robe, trainers and sunglasses indoors. This therefore, conveys a comedic contrast as Custeau defies conventions of the crime drama genre through this editing parallel. Having these montages synchronise with classic Italian music furthers this disconnect as the diegetic music of the location characterizes the bar in a way typical of 'old school' Italian influence mob culture.

Characterization was further achieved through props: this is evident in the whisky glass and Jackie's cigarette in a later scene. This in conjunction with his generic costume and non-cholent attitude create connotations of a 'stoner' personality as Jackie partakes in a cigarette during his introduction; eyes closed whilst nodding his head rhythmically to the diegetic soundtrack.