CALL SHEET #2 (Date of blog: 25/11/10)

Date of blog: 25/11/10

CALL SHEET ......NO.2

Director:

 Contact:
mobile number: 07581474557

Email: 

Location: INFRONT OF THE WHITE BOARD / PROJECTOR IN THE TV STUDIO.
Stanmore Sixth Form
Elm Park, Stanmore
Middlesex HA7 4BQ

Production Manager: Warsan Bargadle  Editor: Estella Ossei 
D.O.P: Ariba Ahmed(Myself)/Nora Bubale
Unit Call: 11.00am   Monday 29th November 2010

On Location: 12.00am Monday 29th November 2010
Sets: White board in the back       Shot nos:...
Artist: Crucial (Real name: Usman Mirza)
Outfit:
Transport: Bus & Walking

CALL SHEET #1 (Date of blog: 25/11/10)

Date of blog: 25/11/10

CALL SHEET ......NO.1 

Director: Ariba Ahmed (myself)

 Contact:
mobile number: 07581474557

Email: 

Location: INFRONT OF GRAFFITI WALL AND AROUND BROADGATE ESTATE SITES.Curtain Road / Around Broadgate Estate  (both very nearby, 5mins walking distance)Curtain Road Hackney
EC2 London

Production Manager: Warsan Bargadle  Editor: Estella Ossei 
D.O.P: Ariba Ahmed(Myself)/Nora Bubale
Unit Call: 11.30am   Saturday 27th November 2010

On Location: 12.00 pm Saturday 27th November 2010
Sets: None       Shot nos:...
Artist: Crucial (Real name: Usman Mirza)

Outfit: Ariba Ahmed (Myself) Nike/Addidas trainers, plain black jacket with a hood (not too baggy or too fitted), 2 thick silver rings (on either hand), plain black snood (around the neck in some scenes and over the head in others)

Transport: Tube & Walking

11.00 : Call
11.30: Myself, Nora Bulale & Warsan Bargadle double checked the areas we wanted to shoot.
11.45: Set up equipment on Curtain Road as Estella & Warsan double checked tape/battery etc.
11.50: Checked the artists outfit was suitable and met standards (Crucial's snood sometimes covered too much of the right side of his face as the wind blew so we told him to put it further back over his head to precent this.)
12.05: Start shooting.
12.30: Took photographs of the artist (Crucial)  for digipack infront of the wall of graffiti

12.45: Pack up and walk to Hollywell lane. (Various members of the group took photographs infront of Crucial at other locations eg; other walls of graffiti, a basic art sculpture, a public staircase.
1.00: Arrived at Hollywell lane
1.05: Set up equipment and instructed the artist of what to do.
1.10: shooted shots...
1.35: Packed up equipment and left.

MAP

< (The green pointer labelled 'A' is the location on the map)

SHOOTING GRAFFITI AND WALKING SCENES.

RISK ASSESSMENTS

Risk Assessment for shoot 1 - Location; Curtain Rd, London EC2 (Graffiti Wall)

Production/Person(s) involved: Ariba Ahmed (myself), Estella Ossei, Nora Bulale, Warsan Barqadle and our artist- Crucial (Usman Mirza).
& Estella's younger sister for extra assistance.

Hazard: Cold temperatures

Nature of Risk: 
.Due to such weather, the artist/staff members may fall ill.

.Also the artist may not be able to perform to the best of their ability because their too cold.

 Preventive Measures:  All members of staff/artist were told to wear appropriate clothes (warm.)
and were given hot drinks from nearest coffee shop to keep people on location warm.

Hazard: The equipment

Nature of Risk: due to the equipment set up on the pavement the general public may trip over our equipment (this can lead to a lawsuit as this would known as negligence) (especially because we were set up on a pavement)

 Preventive measures: 

Hazard: The General Public

Nature of Risk: as we were shooting without any police/guard assistance we could have easily been targeted for theft due to our expensive equipment.

 Preventive measures:  

Hazard: Passing Cars

Nature of Risk: due to the hazard of passing cars, this could effects the recording of sound and could lengthen the time period of shooting.

Preventive measures: 

Hazard: The General Public

Nature of Risk: Due to the location being in a public place we encountered many interruptions where we had to wait for the people to pass by to continue shooting. This can lead to prologue delays with staff and actors getting frustrated.

Preventive measures: 

Risk Assessment for shoot 2 - Location;  TV Studio, Stanmore College (Projection scenes infront of white board)

Production/Person(s) involved: Ariba Ahmed (myself), Estella Ossei , Nora Bulale, Warsan Barqadle and our artist- Crucial (Usman Mirza).

Hazard: Spotlight

nature of risk: heat of spotlight could make the artists feel uncomfortable, this and the light hitting his eyes may cause damage and discomfort which will put his performance at a disadvantage

 prevention measures: only leaving the spotlight on when necessary &

having short, frequent breaks so no harm is caused to the artists and only leaving the spotlight

Hazard: Loose wires from the spotlight
nature of risk:  Team members/Artist may trip over the wires  (especially because it was slightly dark)

Preventive measures:  making sure everyone was aware of the wires and avoiding walking around there, not moving around or moving equipment around much until the main lights were on.

LOCATION: INFRONT OF THE WHITE BOARD / PROJECTOR IN THE TV STUDIO

Hazard: Spotlight
Nature Of Risk: heat of spotlight could make the artists feel uncomfortable, this and the light hitting his eyes may cause damage and discomfort which will put his performance at a disadvantage
  Prevention Measures: only leaving the spotlight on when necessary &

having short, frequent breaks so no harm is caused to the artists and only leaving the spotlight

Hazard: Loose wires from the spotlight
Nature Of Risk Team members/Artist may trip over the wires  (especially because it was slightly dark)

Preventive measures:  making sure everyone was aware of the wires and avoiding walking around there, not moving around or moving equipment around much until the main lights were on.

Hazard: Noise
Nature of risk: noise from  next door may distract team members and more importantly the artists so we may not all work tot he best of our potential

Preventive measures:  before we start shooting, inform the people next door so they don’t make unnecessary noise  

Hazard: Food/drink
Nature of risk: Spillage of food/drink could damage equipment (especially because shooting would be done during lunch hours)
Preventive measures: no food/drink would be allowed on set.

Hazard: Noise
Nature of risk: noise from  next door may distract team members and more importantly the artists so we may not all work tot he best of our potential

Preventive measures:  before we start shooting, inform the people next door so they don’t make unnecessary noise  

Hazard: Food/drink
Nature of risk: Spillage of food/drink could damage equipment (especially because shooting would be done during lunch hours)
Preventive measures: no food/drink would be allowed on set.

STORYBOARD

storyboard

Treatment

MUSIC VIDEO TREATMENT

ON

CRUCIAL ''STRAIGHT HIP-HOP''

Treatment

CAMERA TILTS UP & ZOOMS IN- to show mid-shot of upper body (waist upwards). Low-key lighting used here.

STRAIGHT CUT to feet.

STRAIGHT CUT back to turso. Spotlight in the same place. Points to camera and says ‘This is Hip-Hop right here…Crucial’

STRAIGHT CUT to show face again & upper body but this time spotlight moves up and down twice.

………………………………………………………………….

STRAIGHT CUT of mid-shot (waist upwards). Natural lighting used here with pale cream background.

CAMERA POSITIONED IN A DIAGONAL ANGLE to view artist performing in front of camera. Ends at ‘new breed..’

STRAIGHT CUT of same shot but camera positioned more to the right. Viewer can no longer see camera screen. Here lyrics start from ‘Suicide ain’t the path that I lead..’ till ‘Crucial execution scene’.

………………………………………………………………….

STRAIGHT CUT to mid-shot of artist in front of grafitti wall. Natural lighting used here.

CAMERA PANS artist walking to the right. Starts from lyrics ‘This is Hip-Hop in its purest form..’

………………………………………………………………….

CUTAWAY of location with the yellow and white skull. Starts from lyrics ‘Recognise it G, the beats are supreme..’ till ‘No-one fuking with the way that I speak..’

………………………………………………………………….

CAMERA AT LOW-ANGLE SHOT so artist is crouching and comes close to the camera.

CAMERA PANS a little to the right when artist smacks and you see a glimpse of the grafitti location. Lyrics here are ‘So why compare me to Lowkey or Immortal Technique when I’m just doing me.’

………………………………………………………………….

STRAIGHT CUT to mid-close up shot (shoulders and face). Here we are able to see the camera screen.

Background out of focus. Screen in foreground clear and in focus.-Differential/Variable focus.

Natural lighting used here.

STRAIGHT CUT to mid-shot (showing waist upwards) of artist performing in front of camera

Natural lighting used here too. Lyrics start from ‘I’m governing my own religion..’ till ‘You know me.’

A SERIES OF STRAIGHT CUTS back to mid-close up scene and then another straight cut to the mid-shot scene x 3. Both shots of same scene edited together.

………………………………………………………………….

STRAIGHT CUT to mid-shot (waist upwards).

Then CLOSE UP as he approaches towards the camera and whistles. Lyrics here are ‘Anti-fascist, anti-gimmicks’.

………………………………………………………………….

STRAIGHT CUT to projection scenes of mid-shot (waist upwards).

Low-key lighting used here.

A SERIES OF STRAIGHT CUTS to close-ups of the same scene in projection scene of his face. Lyrics here are ‘Above average annalists..’ till ‘All you people talk about terrorist threats’

CLOSE UP of writing ‘You ain’t seen terrorist yet’.

………………………………………………………………….

STRAIGHT CUT OF LOW-ANGLE to long shot of him walking down the stairs.

STRAIGHT CUT of low angle mid-close up shot of him sitting down. The camera is positioned to view him in a diagonal angle from the left. Lyrics here are ‘Till the break of dawn I practise scientology’ till ‘our cries in vain’.

STRAIGHT CUT back to him walking down the stairs but this time he is closer to the camera than before.

STARIGHT CUT again of mid-close up back to him sitting down performing the song in front of the camera.

Natural lighting is used here.

………………………………………………………………….

STRAIGHT CUT to close-up. Viewer can see the camera screen in the frame.

STRAIGHT CUT to mid-shot of artist performing but this time can no longer see the camera screen.

SERIES OF STRAIGHT CUTS of close-up shots of his face. Lyrics start from ‘Happy with the way things are going no complaints’ till ‘Man I don’t understand you people sometimes.’

Natural lighting used here.

………………………………………………………………….

STRAIGHT CUT to projection scene and we see a mid-shot (showing waist upwards).

Lyrics here are from ‘I don’t understand why you mother-fuckers use each other all the time’ till ‘blasting holes in your history’.

………………………………………………………………….

STRAIGHT CUT to mid-shot of artist performing in font of camera. But the viewer can’t see camera screen in the frame.

A SERIES OF STRAIGHT CUTS to show just through the camera screen only. Through here we are able to see close-ups of his face to emphasise facial expressions.

Lyrics from ‘Like a cannibal I’m back from the 18^th century’ till ‘breaking bias beliefs’.

………………………………………………………………….

STRAGIHT CUT to another projection scene. This is a close-up (shoulders and face).

Low-key lighting is used here.

STRAIGHT CUT to mid-shot of the same scene. Lyrics from ‘Broadening brains’ till ‘Crucial execution scene’, where he points to the camera.

………………………………………………………………….

FADE to a black screen and then you see a blurry image of his face, whilst he is facing sideways.

Low-key lighting due to the many shadows here.

STRAIGHT CUT to clearer image of his face and shoulders.

………………………………………………………………….

STRAIGHT CUT to mid-close up of feet walking to the rhythm of the beat.

Labels

The artist we produced a music video is from a hip hop genre
Through my own research of other British hip-hop artists

Island Records UK (devlin..tinchy stryder..ndubz..lil wayne)
lowkey -independent record label lowkey productions
shady records: american hip hop record label founded by eminem and his manager Paul Rosenberg
interscope records: american record label owned by UMG

http://en.wikipedia.org/wiki/British_hip_hop

british hip hop labels : back bone labels (dj supreme)
cash cow records

We researched a variety of different record labels to choose one label that our artist could potentially be signed to. We created a criteria that the chosen record label had to have. This included the ability to attract to a wide an audience as possible and to be able to have the links and connections to other corporations and companies to be able to achieve this.

We explored the music industry to search for the best possible record label that could cater for the needs of our artist. We came across London Records which were originally marketing in US, Canada and Latin America but their headquarters are situated in the United Kingdom. They were formed in 1947 and are still active today. However they are now a semi-independent label.

They used the UK market to release American labels since the British branch of Decca Records and the American branch together formed London Records. They released the first 2 UK releases from Motown. However, the label was best known as the American imprint of the newly formed The Rolling Stones in 1971.

British Decca the company who first formed London Records were acquired by PolyGram in 1979, therefore it gave them an opportunity to obtain several subsiary and accosicated label. This gives London Records the ability to carry out cross-media promotion of their artists using a variety of methods that they can now afford. This cross-media ownership of many subsidiary companies that are also labels and specialised in the music business gives them the chance to promote their artist maybe in different territories or to a different target audience. Examples of label corporations that they now have acquired or are associated with now are Colonial, Monument, Parrot, Garpax, Deram, Phase 4 Stereo, Systematic Records etc. This is a major reason why we have chosen this particular record label as it was a part of the previous criteria that we came up with.

Universal Group the owner of American Decca acquired PolyGram in 1998 as well as the British Decca that they acquired before, that jointly formed London Records. Universal is a part of the ‘Little 3’ along with Columbia which are part of the Hollywood greats formed in 1920. This means it has several subsidiaries and has cross-media ownership of other corporations. This gives it a huge opportunity to obtain cross-media promotion. Universal Group also specialise in music therefore have a lot of knowledge about how to promote or support an upcoming new artist. Universal group is part of Vivendi-Universal and the

Vivendi corporation is a French media corporation that consists of television, music, film, publishing. This merging of enormous corporations that have several subsidiary company have the prospect of promoting each others work and dividing the profits equally by beating out the competition to acquire maximum income. There are a variety of lots of different acts that Universal music group acquire some are very well-known others not. Examples of which have broken through are Cheryl Cole who is very successful in the UK and trying to soon dominate the States too. N-Dubz too are artists signed to Universal Music group label who target the same sort of target audince we are trying to target, which are teenagers aged 11 to 19. The recently formed 2000 and since then they have had 8 top 40 hits and several awards including 2 MOBO awards. This proves that Universal can successfully market artists so that they get maximum publicity.