Research and Development Journal
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Friday, 19 May 2017
Commissions | SUBMISSION (Links)
Bumps In The Road (Documentary Film)
Research and Development Journal
Research and Development Journal
Commissions | Project Evaluation
What worked?
I am pleased with how the edit turned out, on the whole. After some issues with structure, I think we were able to work them out to form a coherent argument, as well as having some funny and key moments.
Unlike my last few projects, I have not had any major issues with during post-production so the edit, although it took a while, was not as stressful as it could have been.
Collating all our work on Google Drive made the entire project a lot easier in terms of sharing with everyone in the group.
I had never considered presenting something like this before, but I am proud of myself for being able to stand in front of the camera for a change. I have room for improvement, but for my first shot at presenting, I think I did rather well.
I am also very pleased with most of the sound design in the finished edit (except for a few quiet moments in the interviews). The music and buzz tracks really added a lot to the tone of the documentary.
What didn't work?
Overall, I am not happy with our documentary and this is down to a number of reasons.
For a BBC Three documentary, car insurance for young people is not the right subject area. I feel that we did not consider enough ideas as a group, since we only fully looked into this idea together. Car insurance is a fairly dull topic anyway, yet our attempts to make it more light-hearted distracted us from the brief which said our documentaries should be 'edgy' and 'serious'.
As a group, we also had a lot of difficulty in distributing the tasks in a balanced way during the pre-production and shooting period. I feel that I rose to the role of producer/director, but naturally that also led to me taking control of many other tasks as well. On the whole, I led most of the pitch, conducted the majority of the research, wrote the script, directed the shoots, presented the documentary and had the final say on the edit. Since I took so much creative control, I think the other members of the group did not feel obliged to add as much input. During post-production, however, I feel we really banded together and each put in the right amount of work to get the documentary finished.
We lost a lot of potential contributors, including a driving instructor and student, which would have been perfect.
Some tasks also became very difficult as some members of the group could not attend certain shoot days, or could only commit to a short amount of time to get things done, which led to a lot of frustration, especially during the planning and shooting period.
What did I learn?
I learned that I like to be in control of a team. As I have said in my previous projects, I feel unusually comfortable in the director's chair and having a production team throughout the whole project has shown me how to take control of difficult situations, distribute tasks, and ensure everyone is contributing a fair amount.
I also learned that there is a lot more preparation and planning that goes into a documentary than I had initially assumed. I did not realise how much input a director can have on the interview process and how much footage is cut away in the editing process - one of our interviews, for example, was cut from 20 minutes down to around 2 minutes, to the point where I found it difficult to remove sections that I felt were important beforehand.
I learned of the importance of transcribing and scripts whilst making a documentary, not just for pre-production, but for shooting and post-production as well. The transcripts were became very valuable assets when it got the creating the sync assembly.
What could I develop?
I did enjoy being the presenter for our documentary, but I feel that I need to develop my communication skills so that I am more comfortable when speaking to the camera.
Time management is also something that I could develop, as we ended up running out of time to shoot the vast majority of the documentary. This includes trying not to leave shoots too late so we lose natural light, as we did in our closing shot - however, I have looked into the plugin that Gavin showed us, 'Neat Video' and seen how that can be used as a last resort to fi grainy footage.
Going back to the first point, better communication with other contributors would also be a good thing to improve upon. If we were more confident and assertive in this project, we may have been able to acquire some more interesting and colourful characters to interview which would have added more layers to the narrative.
I am pleased with how the edit turned out, on the whole. After some issues with structure, I think we were able to work them out to form a coherent argument, as well as having some funny and key moments.
Unlike my last few projects, I have not had any major issues with during post-production so the edit, although it took a while, was not as stressful as it could have been.
Collating all our work on Google Drive made the entire project a lot easier in terms of sharing with everyone in the group.
I had never considered presenting something like this before, but I am proud of myself for being able to stand in front of the camera for a change. I have room for improvement, but for my first shot at presenting, I think I did rather well.
I am also very pleased with most of the sound design in the finished edit (except for a few quiet moments in the interviews). The music and buzz tracks really added a lot to the tone of the documentary.
What didn't work?
Overall, I am not happy with our documentary and this is down to a number of reasons.
For a BBC Three documentary, car insurance for young people is not the right subject area. I feel that we did not consider enough ideas as a group, since we only fully looked into this idea together. Car insurance is a fairly dull topic anyway, yet our attempts to make it more light-hearted distracted us from the brief which said our documentaries should be 'edgy' and 'serious'.
As a group, we also had a lot of difficulty in distributing the tasks in a balanced way during the pre-production and shooting period. I feel that I rose to the role of producer/director, but naturally that also led to me taking control of many other tasks as well. On the whole, I led most of the pitch, conducted the majority of the research, wrote the script, directed the shoots, presented the documentary and had the final say on the edit. Since I took so much creative control, I think the other members of the group did not feel obliged to add as much input. During post-production, however, I feel we really banded together and each put in the right amount of work to get the documentary finished.
We lost a lot of potential contributors, including a driving instructor and student, which would have been perfect.
Some tasks also became very difficult as some members of the group could not attend certain shoot days, or could only commit to a short amount of time to get things done, which led to a lot of frustration, especially during the planning and shooting period.
I learned that I like to be in control of a team. As I have said in my previous projects, I feel unusually comfortable in the director's chair and having a production team throughout the whole project has shown me how to take control of difficult situations, distribute tasks, and ensure everyone is contributing a fair amount.
I also learned that there is a lot more preparation and planning that goes into a documentary than I had initially assumed. I did not realise how much input a director can have on the interview process and how much footage is cut away in the editing process - one of our interviews, for example, was cut from 20 minutes down to around 2 minutes, to the point where I found it difficult to remove sections that I felt were important beforehand.
I learned of the importance of transcribing and scripts whilst making a documentary, not just for pre-production, but for shooting and post-production as well. The transcripts were became very valuable assets when it got the creating the sync assembly.
What could I develop?
I did enjoy being the presenter for our documentary, but I feel that I need to develop my communication skills so that I am more comfortable when speaking to the camera.
Time management is also something that I could develop, as we ended up running out of time to shoot the vast majority of the documentary. This includes trying not to leave shoots too late so we lose natural light, as we did in our closing shot - however, I have looked into the plugin that Gavin showed us, 'Neat Video' and seen how that can be used as a last resort to fi grainy footage.
Going back to the first point, better communication with other contributors would also be a good thing to improve upon. If we were more confident and assertive in this project, we may have been able to acquire some more interesting and colourful characters to interview which would have added more layers to the narrative.
Thursday, 18 May 2017
Commissions | Scripts and Transcripts (+ Utilising Google Drive)
I took on the task of writing the bulk of the script, and in order to keep the rest of the group in-the-know, we opted to use Google Drive as a platform for sharing our documents. This meant that we could each work on the same document, at the same time over the internet, making a lot easier to collaborate when we were not physically in the same place.
In the shared folder, we also stored the edit files as backup, and all our research so we could refer to it at any time, no matter what system we were using. I would highly recommend using Google Drive, or a similar tool when working on a project such as this.
Back to the script, I decided to stand up as lead script writer - since I was presenting he documentary, I felt that I would be able to write the commentary how I would naturally say it, hence why I seemed most suitable for the role. That being said, Katie, Jason and Sonia each contributed their ideas for the pacing and content of the script, and when it came to transcribing, Katie and I split the transcripts, with Sonia helping to pick out parts for the sync assembly as well.
I began by typing up the basic structure of the documentary in paragraph form in the aptly named 'Script Vomit' document, which I would use as a very basic foundation to develop our ideas into written form:
I then set about typing this into a sort of script, although the formatting needed a lot of development:
After speaking to Helen, she demonstrated what needed to be improved from this initial script: generally speaking, I was being too descriptive about the shots and visuals, and nowhere near specific enough about the sync. She gave us an example of what a documentary script usually looks like, and so I reworked the script into the second draft:
This version of the script gave us a much clearer idea of the overall structure of the documentary and the formatting was much closer to what it should be. I had yet to add some of the finer details and had left some placeholders in there to be added or changed later, for example, I did not script what I would be saying in the pieces to camera as we had not conducted the interviews yet and I felt that in order for the commentary to make sense, it needed to flow naturally from what was said in the interviews.
At this stage, we were also still planning on adding the challenge element to the doc, following me as I get around without my car. We decided against this idea as it would make the overall narrative lose form and make it seem disjointed as there would be no natural way to introduce the interviews. We also had not worked out the situation with our contributors yet, so we were planning for scenarios with or without the driving instructor, student and my dad. This led us to the next version of the script which we used whilst shooting:
In this version of the script, I colour-coded each segment to make it easier to track what had been filmed and what had not been filmed. Green represented what was yet to be filmed, yellow marked what had already been filmed, and blue was used for the commentary, which would be recorded at a later date. We did not manage to shoot everything on the script, largely due to member of the group having prior commitments which meant they could not help with shooting, but I feel we had enough footage for the rough edit, and if we needed any more footage, we could get these shots fairly easily.
Now shooting had concluded, we had to transcribe the interviews so that we could start on the sync assembly. Katie transcribed the interview with the insurance broker, whilst I transcribed the interview with Aidan, and we both worked on transcribing the interview with my grandparents as this on was the longest:
This seemed a very laborious task, but would prove to be very useful once it came to the edit. Every member of the group went through printed versions of the transcripts and highlighted the parts we felt would be most important for the narrative:
then put the sync into the script, cutting out parts we thought we did not need, but there is still more to be cut during the edit:
After hearing the feedback from Zoe, we decided to restructure the documentary so that the narrative was more non-linear. Therefore, we interjected parts of Samantha's interview throughout. Here is the final version of the script:
I found the whole process of writing the script very different to what I am used to with drama scripts, mainly because I was editing it before during and after the shoot and edit periods. The transcripts, whilst tiresome, were incredibly useful during the edit and it really helped having a text version of the documentary to help make the actual one.
In the shared folder, we also stored the edit files as backup, and all our research so we could refer to it at any time, no matter what system we were using. I would highly recommend using Google Drive, or a similar tool when working on a project such as this.
Back to the script, I decided to stand up as lead script writer - since I was presenting he documentary, I felt that I would be able to write the commentary how I would naturally say it, hence why I seemed most suitable for the role. That being said, Katie, Jason and Sonia each contributed their ideas for the pacing and content of the script, and when it came to transcribing, Katie and I split the transcripts, with Sonia helping to pick out parts for the sync assembly as well.
I began by typing up the basic structure of the documentary in paragraph form in the aptly named 'Script Vomit' document, which I would use as a very basic foundation to develop our ideas into written form:
I then set about typing this into a sort of script, although the formatting needed a lot of development:
After speaking to Helen, she demonstrated what needed to be improved from this initial script: generally speaking, I was being too descriptive about the shots and visuals, and nowhere near specific enough about the sync. She gave us an example of what a documentary script usually looks like, and so I reworked the script into the second draft:
This version of the script gave us a much clearer idea of the overall structure of the documentary and the formatting was much closer to what it should be. I had yet to add some of the finer details and had left some placeholders in there to be added or changed later, for example, I did not script what I would be saying in the pieces to camera as we had not conducted the interviews yet and I felt that in order for the commentary to make sense, it needed to flow naturally from what was said in the interviews.
At this stage, we were also still planning on adding the challenge element to the doc, following me as I get around without my car. We decided against this idea as it would make the overall narrative lose form and make it seem disjointed as there would be no natural way to introduce the interviews. We also had not worked out the situation with our contributors yet, so we were planning for scenarios with or without the driving instructor, student and my dad. This led us to the next version of the script which we used whilst shooting:
In this version of the script, I colour-coded each segment to make it easier to track what had been filmed and what had not been filmed. Green represented what was yet to be filmed, yellow marked what had already been filmed, and blue was used for the commentary, which would be recorded at a later date. We did not manage to shoot everything on the script, largely due to member of the group having prior commitments which meant they could not help with shooting, but I feel we had enough footage for the rough edit, and if we needed any more footage, we could get these shots fairly easily.
Now shooting had concluded, we had to transcribe the interviews so that we could start on the sync assembly. Katie transcribed the interview with the insurance broker, whilst I transcribed the interview with Aidan, and we both worked on transcribing the interview with my grandparents as this on was the longest:
This seemed a very laborious task, but would prove to be very useful once it came to the edit. Every member of the group went through printed versions of the transcripts and highlighted the parts we felt would be most important for the narrative:
then put the sync into the script, cutting out parts we thought we did not need, but there is still more to be cut during the edit:
After hearing the feedback from Zoe, we decided to restructure the documentary so that the narrative was more non-linear. Therefore, we interjected parts of Samantha's interview throughout. Here is the final version of the script:
I found the whole process of writing the script very different to what I am used to with drama scripts, mainly because I was editing it before during and after the shoot and edit periods. The transcripts, whilst tiresome, were incredibly useful during the edit and it really helped having a text version of the documentary to help make the actual one.
Commissions | The Edit + Feedback
Once the shooting period had ended, we were eager to get into the edit as quickly as possible, as this was the longest film we had produced so far on the course.
The first part of the edit we completed was the sync assembly, which meant referring to the transcripts to assemble the footage into an order that made sense in the narrative. Since two of our interviews were a lot more conversational than a standard interview, this was a bit difficult as there were a number of hesitations and moments where different people speak over each other which was a bit of a challenge to edit around. Nevertheless we cut down the interviews a great deal and have moved them around the timeline. Zoe thought that the initial edit was very linear, which we agreed with: the documentary essentially was three acts which led on from each other with little intrigue, so this is something we have changed through the editing process.
In our group, we split up the edit between the four of us. I took charge of the master edit so once the others had edited individual parts, I put them all together and integrated them into the main edit. Katie, Jason and Sonia worked on individual sequences: Katie edited the interview with the insurance broker, Jason edited the closing segment, Sonia worked on the opening sequence and the interview with my grandparents - All of us did little tidbits throughout.
I feel this worked well, but the main issue with the edit was working on different systems. After each day of editing, we would upload the project files onto Google Drive, but if we were working on different systems, we had to spend about half an hour copying the footage onto the system which wasted time that we could have been editing. I think the only way to prevent this in future would be for me to finally upgrade to a MacBook as my Windows laptop cannot handle too much editing. This would mean that I would not need to rely on using the same systems at the studios.
From the feedback we received from Zoe and Sam, the overall feeling was to fix the structure of the documentary, so it followed a more non-linear and interesting narrative. This would mean cutting down the interviews a great deal and pacing each sequence well so that it does not seem to waffle and become uninteresting. Zoe also said that we need to draw less attention toward me, the presenter, as in the earlier versions of the edit, I was in virtually every shot so the audience would likely get a bit sick of seeing me by the end of it. Audio is also something that needs to be worked on, which I intend to do once the bulk of the edit is done so I can blitz it all at once.
We had to shoot some pickup shots on other days as well during the edit process, such as establishing shots and G/Vs.
We had some trouble with the closing sequence of the film due to poor lighting, and since we did not have the time to re-shoot the sequence, we opted to try and doctor the footage to remove the grain and accommodate for this. Gavin recommended and helped us a lot with fixing the grain using a Premiere plugin called 'Neat Video'. Though there is still some grain, the shot looks a lot better than it initially did and has saved us a lot of hassle with re-shooting which would have been ideal, but with the time constraints became impossible.
For part of the intro sequence, I wanted to introduce the title of the documentary by masking footage of my car driving away so that the title would appear behind it. I was unsure how to do this, so I looked around YouTube for some tutorials and found this one which helped a lot to achieve the effect I wanted:
Overall, I am satisfied with the final edit. I would have liked to have got it done faster but everyone in the group pulled their weight and followed my lead which made the process feel a lot more relaxed than my previous projects which I worked on alone.
The first part of the edit we completed was the sync assembly, which meant referring to the transcripts to assemble the footage into an order that made sense in the narrative. Since two of our interviews were a lot more conversational than a standard interview, this was a bit difficult as there were a number of hesitations and moments where different people speak over each other which was a bit of a challenge to edit around. Nevertheless we cut down the interviews a great deal and have moved them around the timeline. Zoe thought that the initial edit was very linear, which we agreed with: the documentary essentially was three acts which led on from each other with little intrigue, so this is something we have changed through the editing process.
In our group, we split up the edit between the four of us. I took charge of the master edit so once the others had edited individual parts, I put them all together and integrated them into the main edit. Katie, Jason and Sonia worked on individual sequences: Katie edited the interview with the insurance broker, Jason edited the closing segment, Sonia worked on the opening sequence and the interview with my grandparents - All of us did little tidbits throughout.
I feel this worked well, but the main issue with the edit was working on different systems. After each day of editing, we would upload the project files onto Google Drive, but if we were working on different systems, we had to spend about half an hour copying the footage onto the system which wasted time that we could have been editing. I think the only way to prevent this in future would be for me to finally upgrade to a MacBook as my Windows laptop cannot handle too much editing. This would mean that I would not need to rely on using the same systems at the studios.From the feedback we received from Zoe and Sam, the overall feeling was to fix the structure of the documentary, so it followed a more non-linear and interesting narrative. This would mean cutting down the interviews a great deal and pacing each sequence well so that it does not seem to waffle and become uninteresting. Zoe also said that we need to draw less attention toward me, the presenter, as in the earlier versions of the edit, I was in virtually every shot so the audience would likely get a bit sick of seeing me by the end of it. Audio is also something that needs to be worked on, which I intend to do once the bulk of the edit is done so I can blitz it all at once.
We had to shoot some pickup shots on other days as well during the edit process, such as establishing shots and G/Vs.
We had some trouble with the closing sequence of the film due to poor lighting, and since we did not have the time to re-shoot the sequence, we opted to try and doctor the footage to remove the grain and accommodate for this. Gavin recommended and helped us a lot with fixing the grain using a Premiere plugin called 'Neat Video'. Though there is still some grain, the shot looks a lot better than it initially did and has saved us a lot of hassle with re-shooting which would have been ideal, but with the time constraints became impossible.For part of the intro sequence, I wanted to introduce the title of the documentary by masking footage of my car driving away so that the title would appear behind it. I was unsure how to do this, so I looked around YouTube for some tutorials and found this one which helped a lot to achieve the effect I wanted:
Overall, I am satisfied with the final edit. I would have liked to have got it done faster but everyone in the group pulled their weight and followed my lead which made the process feel a lot more relaxed than my previous projects which I worked on alone.
Monday, 8 May 2017
Commissions | Sync Assembly Workshop (8th May 2017)
The shoot was over, and now we had to form a sync assembly from the transcripts taken from our interviews. This meant reading through the transcripts and picking out the most important parts to form the narrative and plan the structure of the documentary with the unscripted footage in mind.
We were given some sample footage from a documentary by Sam and Helen to create the sync assembly using the transcript and timecodes in the script. Here is the interview from my sync assembly:
Though this was a little tedious, this will save us a lot of time in the edit and it was a very useful thing to learn.
We were given some sample footage from a documentary by Sam and Helen to create the sync assembly using the transcript and timecodes in the script. Here is the interview from my sync assembly:
Though this was a little tedious, this will save us a lot of time in the edit and it was a very useful thing to learn.
Thursday, 4 May 2017
Commissions | The Shoot: Day 4 (Interviewing Aidan, Vehicle Sequence, G/Vs and Closing Words)
Today was the last day of shooting and we still had a fair amount to get done - I had to interview Aidan about his driving lessons and thoughts on the cost of driving, the rest of the opening sequence, some G/Vs and the final piece to camera. For the closing shot, Aidan and Sophie (my girlfriend) kindly agreed to help me shoot, as everyone else in the group was unavailable and we were quickly running out of time.
Crew:
Alex Hargood: Presenter
Katie Joslin: Camera, Sound
Sonia Zelenická: Runner
Aidan Robinson-Jones: Camera, Sound
Sophie Hitchings: Runner
Interviewees:
Aidan Robinson-Jones: My best friend; driving student
The Shoot:
12:00 P.M. - I rig my car to shoot the interview using two GoPro cameras.
12:30 P.M. - I pick up Aidan from his house and we drive around to film his interview.
1:30 P.M. - Aidan and I meet with Katie and Sonia in a car park in Gravesend to shoot the opening sequence.
2:00 P.M. - Sonia leaves as we wrap filming on the opening sequence and Katie, Aidan and myself begin filming G/Vs from the outside of my car.
4:00 P.M. - We finish shooting the G/Vs as Katie leaves.
7:00 P.M. - I pick up Sophie, and the rest of us head to the location for the closing shot.
7:30 P.M. - Me, Aidan and Sophie arrive at the park near the A2 in Gravesend.
9:00 P.M. - Shooting concludes.
Reflections:
We had an issue with the audio equipment when shooting the interview with Aidan, and so I had to cut the recording to fix it, and then go over some topics we had already spoken about - this was a shame as the initial interview went very well and the answers were just what we needed. Even so, what we ended up with was satisfactory. I feel we rushed shooting the opening sequence a little, as Sonia had to shoot off fairly quickly, but we somehow managed to get everything we needed. I would have liked to have got more of a variety in locations from which we shot the G/Vs of my car driving around but we should have enough for the edit. If we had the time I would have loved to reshoot the closing shot, or at least try to plan better around sunset, as we lost the natural lighting very quickly, and with no artificial light available, the final footage looked very grainy. This is something we will need to work hard on during post-production.
Wednesday, 3 May 2017
Commissions | The Shoot: Day 3 (Laptop Sequence and Interviewing an Insurance Broker)
Today we shot the sequence involving myself speaking to the camera and discussing the cost of insurance for myself. Afterwards, Katie interviewed her mum, who is an insurance broker at an office in Gravesend. Here is a rough idea of how the shoot panned out:
Crew:
Alex Hargood: Presenter
Katie Joslin: Camera, Sound
Interviewees:
Samantha Joslin: Insurance broker
The Shoot:
2:00 P.M. - I begin setting up the equipment at my house and block the set to look more aesthetically pleasing.
3:00 P.M. - Katie arrives and we finish setting up the kit, and I run through my lines.
3:30 P.M. - We record my lines and get some shots of the laptop which I am using to research car insurance premiums.
4:30 P.M. - Shooting at my house concludes, Katie leaves to shoot the interview.
Reflections:
Whilst we got the shots needed fairly quickly, this shoot did not turn out how I would have liked it to. I had planned to begin shooting around 12 o'clock, but there was a lack of communication within the group and I was expecting more than just Katie to arrive. This caused me a lot of stress and I got quite worked up as I was running out of time to shoot before I went to work. When Katie did arrive, however, we shot everything we needed to before she went and filmed the interview.
Tuesday, 2 May 2017
Commissions | The Shoot: Day 2 (Filming the Opening Sequence and G/Vs)
We filmed some of the opening sequences for our doc today - one of which involved filming in my car whilst driving which was sequences. Here is a rough idea of how the shoot panned out:
Crew:
Alex Hargood: Presenter
Jason Efstatiou: Camera A, Sound
Sonia Zelenická: Runner, Location Scout
The Shoot:
1:30 P.M. - I arrive at the shoot location (Sonia's car park) having picked up Jason along the way and we begin to set up the first sequence.
2:30 P.M. - We wrap shooting this part of the opening sequence and pack away the equipment before preparing to shoot some of the in-car pieces to camera.
3:00 P.M. - Sonia has an appointment and leave, whilst Jason and I shoot the in-car pieces to camera and some GVs from inside the car.
4:00 P.M. - Shooting finishes.
Reflections:
I feel we could have got a lot more filming done, had we not had the time constraints from traffic and other commitments. It also started to rain when we were filming the in-car sequences so there ma be issues with continuity depending on which take we decide to use. That being said, I am very happy with how the opening sequence has turned out. I think that we could have potentially got more done, had we considered the time we had available, and how little we actually had.
Monday, 1 May 2017
Commissions | The Shoot: Day 1 (Interviewing my Grandparents)
Today we was the first day of shooting our documentary, and we started by interviewing my grandparents, who learnt to drive in the early 60s. We had initially planned to interview my dad, but we were able to find photographs of my grandparents around the time they both started driving which would work very well as a visual motif in the film. My grandad is also a brilliant story-teller which made the interview as a whole much more captivating. Here is a rough idea of how the shoot panned out:
Crew:
Alex Hargood: Director, Presenter
Jason Efstatiou: Camera A, Sound
Katie Joslin: Camera B, Lighting
Interviewees:
Anthony James: My grandad, has been driving for over fifty years.
Yvonne James: My gran, has also been driving for over fifty years.
The Shoot:
3 P.M. - I pick up Jason and head back to my house to run through the questions that I would be asking, and to begin setting up.
4 P.M. - Katie arrives and we finish setting up and we test the sound and lighting equipment.
4:30 P.M. - We begin shooting the interview.
5:00 P.M. - Filming the interview finishes, we move on to shoot close-ups and GVs.
5:30 P.M. - Shooting concludes and we begin to pack the kit away.
6:00 P.M. - With the kit packed away, we begin to copy the footage onto my computer ready for editing.
Reflections:
Overall, I feel that the interview went really well, although there is certainly room for improvement. We had an issue with a certain cat wandering in and out of shot, which will be a nightmare for continuity, in hindsight. We asked the right questions to receive the right answers and both of our interviewees gave good answers. I think I had a way to go in terms of how I present as well, from this I think I came across as being nervous and hesitant when asking questions which is something I will need to improve quickly. I think I will be more confident with my pieces to the camera though.
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