1. By
Amy
Becker
and
Harry
Slagel

2. Brief
• Task:
create
a
5
minute
short
film
in
it’s
en5rety
• We
were
inspired
by
4Docs,
and
decided
to
make
a
short
documentary
based
on
a
genre
of
music
that
we
are
both
interested
in
• The
aim
of
the
documentary
was
to
establish
whether
or
not
the
way
in
which
Dubstep
music
has
spread
and
achieved
interna5onal
recogni5on
is
a
posi5ve
development

3. “The
epitome
of
the
transforma5on
economy
is
“Story
is
important
for
documentary,
but
the
way
it
encourages
consumers
to
transform
percep5on
is
even
more
important.
Tproducing
Savvy
consumers
therefore
become
hink,
first,
themselves
into
or
‘prosumers’
aare
invited
to
consumers,
producers.
whey
s
eeing
yhad
T
what
the
viewers
will
feel
hile
s Toffler
our
co-­‐create
the
product
they
aDan
Gilmor’s
vision
predicted,
thus
embracing
re
sikely
to
of
your
l
shots.
Then,
form
a
drama5c
tructure
consume…which
directly
leads
nvironment.
to
an
ac5on
film
using
temocra5c
mto
their
feelings.”
of
a
d he
changes
edia
e
taken
in
response
to
this”
Victor
Kossakovksy,
short
Edvardsson,
film-­‐maker
documentary
2005

5. Types
of
Documentaries
In
order
to
establish
the
conven5ons
of
a
documentary
and
whether
our
film
uses,
develops
or
challenges
them,
it
is
necessary
to
note
the
relevant
types
of
documentaries,
and
what
is
generally
associated
with
those
types.
3)
P bserva5onal
2)
Expository
1)
Oar5cipatory
-­‐
Events
and
situa5ons
presented
are
re
observed
nd
altered
-­‐ Situa5ons
and
pto
the
areac5ons
a influenced
a
direct
address
eople’s
udience
by
No
interviews,
no
music,
no
narra5on
the
presence
of
the
filmmaker
-­‐ argumenta5ve
frame
with
a
narra5on
voice-­‐over
-­‐
Nichols:
“ The
filmmaker
steps
out
from
behind
the
cloak
of
-­‐ ‘Fly
on
the
wall’
hat
is
steps
away
from
poe5c
medita5on,
emphasizing
wperspec5ve
voice-­‐over
commentary,
happening
-­‐ Example:
At
Home
With
nd
opinions,
oNen
becomes
a
steps
down
from
a
f
facts
a The
Noonans
and
with
persuasive
Combina5on
o fly-­‐on-­‐the-­‐wall
perch,
techniques
social
actor
(almost)
like
any
other”
-­‐
Example:
Mxclusive
footage,
pictures
aA
Love
Story
Include
eichael
Moore’s
Capitalism:
nd
interviews
-­‐ Example:
An
Inconvenient
Truth

6. Use
of
Archive
Footage
 Use
of
archive
footage
gives
certain
documentaries
a
professional
feel,
especially
when
explaining
the
growth
or
change
of
a
movement
over
5me
 A
Legacy
in
the
Dust:
The
Four
Aces
Story
by
Winstan
Whier
also
incorporates
magazine
and
newspaper
to
emphasise
a
sense
of
controversy
and
fame
 Our
documentary
conforms
to
this
conven5on
oNen
seen
in
expository
documentaries,
as
we
have
included
footage
taken
from
YouTube
of
Skrillex
winning
a
Grammy
award,
and
an
animated
image
of
Skrillex
on
the
cover
of
Mixmag
magazine

7. Archive
Footage
iused
in
oedia
Products
–
wxtract
Archive
Footage
n
Real
M ur
film:
Skrillex
einning
from
G
Legacy
An
the
Dust:
T2012
Ceremony
a
Arammy
i ward
at
the
he
Four
Aces
Story

8. Magazine
Headline
used
in
our
film:
cartoon
Skrillex
on
December
2011
issue
of
Mixmag

9. Style
of
Interviews
 Conven5onal
to
set
interviews
in
the
natural/rela5ve
environment
of
the
subject
 In
the
following
extract
from
The
Interview
Project,
the
interviews
are
casual,
relaxed
and
similar
to
ours
in
that
the
interviewer
is
not
seen
or
heard
 Ligh5ng
was
not
too
bright,
relevant
to
early
Dubstep
and
fits
with
our
narra5ve
theme

10. Interview
eextract
rom
David
lm:
Freddie
and
Interview
xtract
ffrom
our
fi Lynch’s
Interview
Jack
McTavish
Project

11. Interview
Technique
 Interviews
in
a
documentary
give
the
viewer
a
sense
of
realism,
that
the
documentary
maker’s
views
are
mutually
shared
by
another
person
or
source,
and
thus
more
valid
 In
order
to
achieve
sufficient
relevant
detail
and
opposing
opinions,
we
included
clips
of
only
a
few
minutes
from
each
interview
 Interviewees
in
our
documentary
conformed
to
the
conven5on
of
the
subject’s
eye
line
not
being
directly
pointed
to
the
camera
 If
the
subject
looks
directly
at
the
camera,
it
is
portrayed
that
that
they
are
addressing
the
audience
about
a
certain
issue,
e.g.
as
a
news
reader
would
do
–
although
a
lot
of
the
peopled
interviewed
are
essen5ally
informing
the
audience,
this
is
not
the
style
that
we
wanted

12. The
Voice
Over
The
use
of
voice
over
is
a
main
conven5on
of
expository
Here
is
an
extract
from
a
documentary
about
Tutankhamen
dwn
one
to
narrate
our
documentaries,
and
therefore
we
recorded
our
o emonstra5ng
the
use
of
voiceover
in
real
media
products.
the
music
studio
to
record
our
voiceover,
film.
We
used
Logic
Pro
in
and
edited
it
using
Sound
Track
Pro.

13. Use
of
Effects
 During
the
post
produc5on
stages
of
our
documentary
we
added
several
effects
to
make
transi5ons
flow
smoothly,
create
different
moods
and
to
make
the
film
more
interes5ng
to
watch
 We
put
a
black
and
white
filter
over
the
shots
of
Freddie
and
Jack,
which
gave
the
interview
an
underground,
urban
feel;
relevant
to
early
Dubstep
and
conven5onal
for
old
interview
footage
 We
used
a
fish
eye
lens,
which
we
added
to
our
footage
filmed
at
Cable
nightclub
as
this
is
conven5onal
for
club/
rave
scenes
 Conven5onal
for
expository
documentaries,
use
of
the
fish
eye
lens
manipulates
reality
in
that
the
dancing
and
general
asthe5c
of
the
club
is
exaggerated

14. The
CreaUve
Treatment
of
Actuality
 We
used
low
angles
when
filming
footage
of
passing
taxis,
buses
and
the
queue
for
the
montage
sequence
at
Cable
night
club,
with
the
inten5on
of
crea5ng
an
underground
atmosphere
or
perhaps
a
view
from
the
‘guer’,
which
represents
the
genre
of
Dubstep
 We
used
handheld
camera
shots
inside
the
club
to
exaggerate
the
observa5onal,
spontaneous
nature
of
the
scene,
as
well
as
including
an
establishing
shot
and
zoom
of
the
DJ
booth
and
the
dance
floor
 By
using
these
camera
angles,
techniques
and
mo5fs,
we
were
essen5ally
altering
reality
in
an
oNen
subtle
but
crea5ve
way,
which
to
some
extent,
is
a
theme
present
in
all
documentaries

15. ConvenUons
of
a
Magazine
Review
Here
is
an
example
of
a
film
review
from
Empire
magazine
that
we
looked
at
for
ideas
of
the
layout
and
content
conven5ons…
Sec5on
before
ar5cle
begins
explains
actors
who
star
in
the
film,
directors,
length
and
magazine
ra5ng
Picture
indent
showing
the
poster
for
the
film
Pull
quote
highlighted
by
yellow
box,
coordina5ng
with
the
colour
of
the
5tle
Cap5on
for
photo
in
white,
over
the
image

16. Our
Magazine
Sec5on
sta5ng
the
main
actors
featured
in
the
doc,
the
directors,
the
length,
produc5on
company
and
FreQuency
magazine
ra5ng
Small
poster
picture
indent
White
cap5on
over
image
Director
profile
showing
the
details
of
the
directors
and
a
vox
pop
interview,
challenges
conven5on
Pull
quote
in
larger
font
Month
of
magazine
issue
on
the
leN
of
the
footer,
page
number
on
the
right

17. The
Poster
–
ConvenUons
of
a
Dubstep
Club
Night
Flyer
Name
of
the
night
at
the
top,
in
red
and
black,
two
colours
oNen
associated
with
Dubstep
Simple,
minimal
informa5on
and
large
date
Text
gradient
–
black
to
grey
to
light
grey

18. The
Poster
–
ConvenUons
of
a
Poster
for
a
Documentary
Three
reviews,
quote
larger
than
source
Large,
striking
picture
Director/writer
above
the
name
of
the
film
Informa5on
about
the
film
in
white
upper
case
at
the
boom

19. Our
Poster
Layout,
date
and
style
conven5onal
for
night
club
flyer
‘Page
curl
effect’
adds
to
night
club
flyer
look
as
it
gives
the
impression
it
is
stuck
on
the
wall
Reviews
from
magazines/
newspapers/TV
companies
conven5onal
for
film
poster
‘Official
Selec5on’
Award
from
film
council
makes
the
poster
seem
professional
Twier
and
Facebook
icon
represent
buzz
and
are
conven5onal
for
documentaries
Symbol
for
cer5ficate
15
makes
it
easily
recognisable
as
a
film

21. Target
Audience
 The
target
audience
for
our
film
is
people
aged
16-­‐25
 Nearly
everyone
who
took
part
in
our
ques5onairre
said
that
they
would
be
interested
in
watching
a
documentary
about
Dubstep,
perhaps
simply
because
they
want
to
know
more
about
where
it
came
from
 Youth
culture
is
heavily
associated
with
Dubstep,
and
this
is
also
the
age
range
of
people
who
are
likely
to
aend
Dubstep
club
nights/raves

23. Listening
to
Dubstep
Music
A[end
Dubstep
Nights
Dislike
YES
Like
NO
Would
Watch
a
Documentary
about
Dubstep
YES
NO

24. It
therefore
seemed
logical
to
ask
people
that
fit
the
criteria
of
our
target
audience
for
some
feedback
on
the
first
cut
of
our
film.
Below
are
a
few
clips
of
feedback
that
we
filmed
on
an
iPhone
and
edited
it
in
iMovie.

25.
ANer
receiving
this
feedback
we
aempted
to
resolve
the
issues
that
were
men5oned:
-­‐ We
corrected
some
of
the
sound
problems
by
expor5ng
the
movie
back
into
Sound
Track
Pro
and
adjus5ng
the
volume
levels
-­‐ We
used
the
crop
tool
in
Final
Cut
Pro
to
ensure
that
the
boom
microphone
was
no
longer
visible
in
any
of
the
shots
-­‐ We
used
the
text
tool
in
Final
Cut
Pro
to
create
cap5ons
showing
the
name
of
the
interview
subject
and
added
credits
at
the
beginning
and
end
of
the
film

26. Sharing
Our
Final
Film
Online
•
The
label
that
Revo
is
signed
tfinished
hared
our
film
tto
YouTube
Once
our
documentary
was
o
then
s we
uploaded
it
o
their
Facebook
page,
wYouTube
25,000
n
Facebook
and
Twier
to
gain
• We
posted
the
hich
has
video
o fans!
views
and
feedback
• We
also
shared
the
link
to
the
Facebook
page
of
the
ar5st
Revo
who
produced
the
song
‘Shoa’
which
we
used
in
our
film,
so
that
it
was
visable
to
his
1,000
Facebook
fans…
‘Likes’
and
comments
by
Dubfreaks
fans
Our
film
now
has
over
300
views


28. The Poster
 Idea
for
poster
was
to
combine
the
conven5ons
of
dubstep
club
night
flyers
with
a
conven5onal
film
poster
 This
was
done
using
a
variety
of
techniques,
and
displays
an
effec5ve
combina5on
of
our
main
product
and
ancillary
texts
as
the
poster
is
recognisable
to
our
target
audience
as
being
associated
with
dubstep
music
or
club
nights
 Also
a
level
of
synergy
created
because
the
fonts
used
in
the
5tle
in
the
film
are
iden5cal
to
those
chosen
on
the
poster

29.
We
stuck
both
draNs
of
our
poster
on
to
the
wall
of
the
classroom
for
audience
feedback.
9
out
of
the
10
people
that
we
asked
preferred
the
poster
on
the
right,
as
the
majority
felt
that
it
looked
more
like
a
film
poster
about
Dubstep
music,
rather
than
the
poster
on
the
leN
that
can
be
easily
confused
with
a
flyer
for
a
Dubstep
club
night.

30. Black
and
nroduc5on
cop5ons
ialppeal
all
lso
used
udience,
tnderground
ash
tag
hat
lso
Social
p etworking
ompany
rick
wan
gives
te
sto
rban,
u he
Twier
h st
the
end
of
ubstep
This
white
effect
on
the
b ogo
cs
o
also
b he
u indent
the
credits
a ense
t is
a D
This
mage
i t a young
a een
aNer
represents
and
is
portrayed
o
ihe
he
lm
through
r5cle
sound
and
filters
the
documentary
-­‐
cagazine
ynergy
referred
it in
n
t magazine
review
ar5cle
n
t the
fi m reates
s aligh5ng,

31. Language
and
Style
The
language
used
in
our
magazine
ar5cle
shows
an
effec5ve
combina5on
of
our
main
product
and
ancillary
texts
because
it
is
wrien
in
a
colloquial
style,
which
is
easy
to
read
and
therefore
appealing
to
our
target
audience.
Twier
hash
tag
also
referred
to
on
poster

32. The
Fonts
The
conven5onal
logo
for
Dubstep
music,
recognisable
to
fans
of
the
genre,
oNen
seen
on
flyers/CD
covers
!"#$%&'
!"#$%&'( ‘Slime’
font
reinforces
underground,
gutte r urban
connota5ons
of
dubstep
Slanted,
formal
font
with
gold
gradient
Grammies
&#%&'(
gives
the
sense
of
class
and
elegance
associated
with
the
Grammy
Awards
)
)*+,-+* Large
date
conven5onal
for
Dubstep
club
night
flyers

33. We
took
full
advantage
of
the
opportuni5es
created
by
Web
2.0,
and
used
a
range
of
open
source
soNware,
social
networking
and
informa5ve
websites.

34. Camera
for
Filming
• We
used
a
Sony
HTV
camera
to
record
the
footage
and
a
boom
microphone
to
record
the
sound.

35. Light
for
filming
• As
we
did
not
have
a
box
light
to
use
for
filming,
we
had
to
improvise
by
using
a
light
on
an
iPhone.
We
also
used
Harry’s
Blackberry
to
film
in
one
of
the
clubs
as
it
has
an
HD
camera
and
was
more
convenient
to
use
for
filming.

36. YouTube/Photoshop
• We
used
a
tutorial
video
from
YouTube
to
explain
how
to
create
the
‘page
curl
effect’
using
different
layers
and
tools
on
Adobe
Photoshop,
to
make
it
look
as
if
the
flyer
on
our
poster
was
stuck
on
the
brick
wall.

37. Poster
–o
cIreate
the
poster
and
magazine
review.
We
•
We
used
Adobe
InDesign
CS5
in
order
t
nDesign
used
the
box
tool
to
set
and
align
each
word
or
image
in
the
exact
place
we
wanted,
used
the
swatches
to
mix
the
right
colours,
and
changed
the
angle
of
the
quotes
to
conform
to
the
conven5on
of
the
quotes
in
italics.

38. Magazine
-­‐
Indesign
•
We
used
the
wrap
tool
around
the
pull
quote
to
make
it
stand
out
amongst
the
other
text,
as
well
as
altering
the
font
size.
We
added
small
details
such
as
the
name
of
the
magazine
and
page
number
at
the
boom
corners
of
the
page
to
make
the
review
recognisable
as
a
magazine
ar5cle.

39. Voice
Over
–
Logic
Pro
• We
recorded
our
voiceover
on
a
Shure
microphone,
and
used
Logic
Pro
to
adjust
the
reverbera5on
and
volume
levels.

40. Film
–
Final
Cut
Pro
•
One
of
the
effects
that
we
created
using
the
tools
available
in
Final
Cut
Pro
was
that
we
added
text
to
show
the
name
of
the
interview
subject,
and
chose
a
box
transi5on
to
make
it
appear
in
a
smooth
and
interes5ng
way.

41. Sound
–
SoundTrack
Pro
•
We
used
Soundtrack
Pro
to
edit
the
sound
of
our
film,
and
had
to
use
it
several
5mes
to
resolve
sync
and
volume
issues,
as
well
as
cuong
and
adding
the
voiceover.

42. Sound
–
Music
 As
our
documentary
is
based
on
the
rise
opyright
permission
The
email
from
Taz
Revo
gran5ng
c and
commercialisa5on
of
dubstep,
and
as
important
to
have
dubstep
track
In
our
film:
in
our
film
it
w confirming
that
we
could
use
his
music
featured
 We
realised
aNer
filming
inside
Cable
night
club,
that
due
to
copyright
issues
and
the
quality
of
the
sound
captured
on
the
recording,
we
would
have
to
edit
our
own
music
in
in
post-­‐produc5on
 ANer
weeks
of
sending
emails
and
reques5ng
copyright
permission
from
several
ar5sts,
we
managed
to
get
a
response
from
an
ar5st
called
Revo
 The
song
we
chose
is
called
‘Shoa’
and
can
be
found
via
the
link
below:
hp://soundcloud.com/revoofficial/shoa

43. Audience
Feedback
–
iPhone/iMovie
•
We
used
an
iPhone
to
record
the
audience
feedback,
and
edited
the
footage
using
iMovie,
before
expor5ng
it
into
the
Powerpoint
presenta5on.

44. DVD
menu
–
iDVD
•
We
used
iDVD
to
create
the
menu
for
the
final
DVD
of
our
film,
and
altered
the
template
by
adding
the
word
‘Dubstep’
to
the
vinyl
and
put
Dubstep
music
in
the
background.