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Mikes Prezi

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Mike Laverty

on 30 April 2010

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Transcript of Mikes Prezi

Michael Laverty Concrete Canvas evaluation Q1 Conventions used in CONCRETE CANVAS are mainly
created by the camera operators and editors, we found it
hard to find a pre existing style model to base our
documentary on so instead chose the route of finding one as
similar as possible in means of a skateboarding

We looked at a lot of “documentaries”
hyphenated because a lot of the so called documentaries
seemed more like skateboarding videos showing mainly
skills and no conventions used.
The most interesting example for us to work with was called “The Yard” however this seemed to be heavily focused on promoting skateboarding as an art form, another candidate was “Canvas”. This was defiantly a documentary due to a range of conventions used however the camera work and the topics within the show were not only boring but most of the time unscripted and “free-flow”.

Taking conventions like shot types and camera effects from “The Yard” allowed us to experiment with new ideas such as sharpening focus into shots instead of using a blur tool whilst editing and “Canvas” showed us the good and poor angles for interviews, issues with sound levels that needed to be addressed and how mise en scène helps a documentary keep a solid theme. The conventions used in CONCRETE CANVAS were taken from these two documentaries and also from “Bowling for Columbine” as this is defiantly a solid documentary for us to take ideas from.

We used conventions from each documentary, from The Yard we realised the potential we had to gain interest and sustain the audience attention by constantly showing small clips of skateboarding and having section which focus entirely on an interviewee. The Yard also showed us that it works well to use sound tracks from one clip, extract that and lay it over another clip, or remove the audio from a video clip and insert that into a pre-existing reel with the existing sound overlaying it. Other conventions spotted were mainly linked to the actual clips of skateboarding which can be found in such popular skateboarding videos as Enjoi – Bag of Suck and Lakai – Fully Flared, the two most famous and well selling skateboarding videos of all time. From the start of the documentary (around 20 seconds in) you literally see through the eyes of a skateboarder with a montage of Manchester clips splitting the long clip into pieces, as you can see we followed the conventions of cutting clips before the expected finish i.e. half way through a trick, layering the sound of the skateboarding over the top of the music.

These three conventions add perspective to the clips giving the documentary a greater sense of realism. The documentary canvas also showed clear conventions throughout. From canvas and Bowling for Columbine we learnt an effective perspective for the viewer is to have the interviewer and the interviewee directly adressing each other but not the camera. This, similar to the fly on the wall style of documentary. The next image is a screenshot from Bowling for Colmbine showing this in action.
We saw some well used conventions in “Bowling for Columbine” which we chose to use and develop upon.

The developed convention was that of using a calm narrator for the show to voice over, this voice over allowed us to link together different areas of the show like “Connor Knowles – Introduction” and “Challenge Day”. We developed on this convention by inserting clips with artistic angles whilst we air the “Interview with a skater”. Throughout the section there are alternate clips of Mike Mo and security enforcements instead of one constant shot showing both subjects within.
The only convention we challenged was that from Bowling for Columbine and many other documentaries which has one main host throughout seen on camera, in Bowling for Columbine’s case it was Michael Moore. Instead of having one host constantly seen throughout we have the main show host “Connor Knowles” seen on camera once, then off camera from then on.
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