Film-Maker All Over the Workplace


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Film-Maker

Harvey and Sam are two ambitious rookies who want to make it in the world of film-making, so they join presenter Alex Riley to explore the business.


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Transcript


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-We push our rookies hard. They see the good...

-How cool is this?

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-..the bad...

-Ugh!

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..and the downright astonishing.

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We give them glamour,

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show them excitement,

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get their hands dirty... SHEEP BLEATS

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..put them under pressure...

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-Oh, no. No.

-No, no!

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..and make them laugh,

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all so they can experience their dream jobs.

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Today, it's lights, camera, action,

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as two rookie film-makers visit a high-profile movie set,

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witness a serious stunt, and also take a film from script to screen.

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Let's go All Over The Workplace!

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BELL RINGS

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CHEERING

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BELL RINGS

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CHEERING AND APPLAUSE

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To make any film or TV production come together,

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there's actually a big team behind the scenes.

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For example, we've got a cameraman, a second...

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Look, I'll show you.

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We've a cameraman,

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a second camera,

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a sound man,

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director,

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researcher, and runner.

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I'll have one later, thanks. Thanks, Fraser!

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Not only that, but there's a big team back in the office

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putting together all the logistics before we even go out on the shoot,

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and then there's an edit team that cuts all the footage together

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and creates the final TV programme that you see.

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So, there are loads of opportunities out there for our rookies.

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The question is, will they learn enough to make a clean sweep

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at the awards, or will they just be left picking up the popcorn?

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Hi, I'm Sam,

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and I really want to be a film-maker.

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I'd really like to be a camera operator first,

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and then I'd really want to go into

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the director and producer kind of side.

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I think the thing that makes a really good film

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for me is a really good bit of action,

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a good storyline,

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some great actors,

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and a really good bit of cinematography.

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Hi, I'm Harvey and I'd like to be a film-maker.

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Action. I really, really, really

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want to be a director.

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There's nothing, really, else.

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It'd be amazing when I have my name

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in the credits of the first film I've done.

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I'd feel very proud of what I've done,

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and proud of everyone else

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that's worked on that film.

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Budding directors Harvey and Sam have travelled from their homes

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to join Alex in London. Action!

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So, rookies, film-making, what is it that you love about it?

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Well, it's just very creative and exciting.

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You can show your emotion in film

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and just do anything you want with it.

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So, have you actually made a film yourself, Sam?

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I actually have. I've made two short films.

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And what are they about?

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They're about some criminals breaking in, and trying to be spies.

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Wow. I'd love to see that film. What about you, Harvey?

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-Do you make films?

-I've made one short film, and it's a spy film.

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I'm in it, but I'm directing and acting.

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Do you want to just control everything? You want to be in it,

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you want to film it, you want to produce it...

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Well, you both obviously think you know what you're doing when it comes

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to film-making, but let's find out what your parents think.

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Some of the skills that he brings are the...the imagination.

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He can picture things.

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He's never had to work under pressure

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because he's doing things in his own way.

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He may find it quite a challenge

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if he has to do things for a set time.

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Sometimes when we're watching a film with Harvey, he will say,

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"I wouldn't have done it like that."

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And you think, "Well, can you just sit and enjoy and watch the film

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-"rather than trying to work out how it's been made?"

-Yeah.

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I think a challenge for Harvey would be keeping to a time schedule.

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Right, then. So, they both think that you might struggle

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if you've got a deadline.

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What do you think about that, Sam?

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It'll be hard, but I think I can get through it.

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-Yeah? Harvey?

-Yeah, it'll be a chance, but I like a challenge.

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-OK, rookies, are you ready for your first assignment?

-Yes.

-Yeah.

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Good, because you're really going to love this,

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because it takes place on a real-life film set.

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But, before we go, I think we need to have a little snack.

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Marmalade sandwiches, anyone?

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Back before cinema burst into glorious Technicolor,

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the world of film was in black and white.

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Not only that, but it was silent,

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apart from someone playing a jangly old piano in the cinema.

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Nevertheless, huge stars were made in the silent era.

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Cheeky chappy Charlie Chaplin made an astonishing 35 films

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in the year 1914.

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12 years earlier, in 1902,

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George Melies created the world's first science-fiction blockbuster,

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Le Voyage Dans La Lune.

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That's "Trip To The Moon", to you and me.

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It had a huge cast and included ground-breaking special effects.

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It was a gigantic international success.

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In 2014, blockbuster movie Paddington made over 268 million

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in its opening weekend, and topped the box office for two weeks.

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After the success of the first film, a sequel was announced,

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and today, the rookies are dropping in amongst the hustle and bustle

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of a working movie set.

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Keys! Keys, keys...

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Set production assistant Ashley Wild is going to be

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guiding our rookies round the set.

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Her job is to look after cast and crew,

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so that they know what they're doing,

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where they're meant to be,

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and that they're on time.

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91, take one.

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On set, the Paddington 2 crew are busy filming top-secret shots

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for the movie.

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Behind-the-scenes, Harvey and Sam are having a chat with

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a member of the camera team, Roy.

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-Hello.

-Sam's keen on camera work,

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so Roy's showing him how to work top-of-the-range cinematic lenses.

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Now, there's a special way we pass lenses over

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all the time to make sure that...

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It's a really expensive piece of glass - you don't want to break it.

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How much do you think it would be worth?

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These cameras are about £30,000 to £40,000.

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The lens is about £20,000.

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When you put all of the little pieces on, it's like £120,000.

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-So, not cheap.

-Not cheap, and we are responsible for that.

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If we scratch it or ding it, you know what I mean,

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we get in big trouble.

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Right, that's enough camera chat.

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Let's actually get on set.

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So, this is our set that we're shooting on at the moment.

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Currently, they're setting up for a shot with some of our actors.

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Look at this. It's a real-life film set.

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It's really exciting.

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-Amazing.

-Looks really good, yeah.

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Can you see yourself here in a few years' time?

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-Definitely, yeah.

-Uh-huh.

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-MAN:

-All right. Absolute silence, thank you.

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So, obviously, this is a working set,

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and, at the moment, we're just going for a take

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so we have to be really quiet.

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Keep your phone switched off.

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Paddington 2, take two.

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PHONE RINGS Alex, get that phone off!

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This is serious business.

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Phew.

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Hi, Mrs Kitts.

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Hello there.

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Colonel. How are you?

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-The rookies look like they're watching closely.

-Still rolling.

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The cast and crew have broken for lunch,

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so it's the chance for the rookies to get up close on set.

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Are people still living in these houses while you're filming?

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Yes, they are, and obviously we have to work with them to try

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and accommodate them.

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But we need access to the balconies on some of them.

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Like, we have scenes where the ladies who live in the floral house,

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they're on the balcony doing their gardening.

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Thank you so much, Ashley,

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for showing us around and giving us a little insight

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into the world of film.

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You're welcome.

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BELL RINGS AND CROWD CHEERS

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A casting director works closely with a director to help him or her

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decide which actors to be in their film or TV programme or play.

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To cast the right person in a film,

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you have to make sure that you've considered all your options.

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You have to make sure you have seen everybody who could be right,

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and you collaborate closely with the director and the producer,

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and you trust your instincts.

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MUSIC: Theme from Casualty

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BBC medical drama Casualty is the longest running prime-time

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medical series in the world, and it's been on our screens since 1986.

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During that time, the Casualty team have filmed over 500 stunts,

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ranging from car stunts, to fires, and even a helicopter crash.

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Today, the rookies are on set with the Casualty crew to watch them

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shoot yet another stunt for their new series -

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this time, it's involving cars.

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TYRES SCREECH

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On location in an

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underground car park,

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there's a large team beavering away

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to get everything ready for the stunt.

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Everyone has their own special job and there's lots of them -

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directors, directors of photography, camera assistants, focus pullers,

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sound recordists, stunt coordinators, assistant directors,

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costume, make-up and runners!

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Not to mention the actors.

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Alex and the rookies have managed to pull stunt coordinator

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Julian Spencer away from his busy schedule for a chat.

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Now, these guys both want to be directors.

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How do you find working with directors

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and them, sort of, describing to you what they want?

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Gone are the dinosaurs in this job where they turn round and say,

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"That's what we want - that's what I want you to do."

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You know, cos there's always a bit of give and take with directors.

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So, if you said to me, that's the shot you want,

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then I'll work really closely to give you that shot,

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and I'd say seven times out of ten we can get to do that shot.

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For the other three, we have to use special camera tricks.

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No CGI - I hate doing CGI because I like to do it for real.

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So I work very closely with directors, I have to,

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so I know what's in their mind and they know what

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I can and can't do for them.

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Stunt coordinators often work closely with

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specialised stunt people,

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but what does Julian think about actors doing their own stunts?

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I love it when they do. Erm, we know...

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A good coordinator will know when to draw the line.

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I'll let them bash cars and crash cars at slow speed,

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but if they want to go over 15mph,

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then I've got to put a stuntman in,

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because obviously the risk of injury is quite great.

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But I love it when they say they do their own stunts.

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The entire crew have been under pressure trying to get

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all the shots they need done on time,

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and, after a hard day of work, they finally finish filming.

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Or, as they say in the business, "That's a wrap!"

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This is the rookies' chance to have a chat with

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director Steve Brett and director of photography Simon Walton.

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What's the difference between a director

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and a director of photography?

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Well, I get the script, and then I tell him what to do!

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And I recreate what he wants, basically.

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I'm there to...

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I'm there to transform his vision into pictures, basically.

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I mean, it's a bit more of a team effort than

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I just made it sound, but...

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-It's a collaboration.

-Yeah.

-Yeah.

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Is it quite a responsibility, knowing that you've got to turn

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a script into a high-quality piece of television or film?

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It didn't until you said that!

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Suddenly it's about to hit you!

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Ultimately, you want to make something for yourself

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that you're proud of, but, at the same time,

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with a show like Casualty or any other long-standing show,

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you've got to take the audience into account because

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they tune in every week, and if they see something they don't like

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or that's slightly different, you know, they'll start turning off,

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and if they turn off, you won't get a job any more.

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Did you go to film school?

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You can go to film school - that's great -

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but I would try and go and work on a set.

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Do your time.

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-Yeah.

-Work up from the bottom.

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-Start as a trainee.

-Learn everybody's job.

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And then you learn the craft along the way.

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And when you two are big and huge, just remember I might want a job.

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My experience made me more excited about becoming a director.

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I thought I learned a lot, including knowing what it's actually like,

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seeing how many people are there, and getting to use their cameras.

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I've learnt different tricks, and ways to film different genres.

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From what Simon and Steve said,

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it's made me want to be a cameraman before a director,

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because then I'll have more experience in the actual work,

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but I still do want to be a director.

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The Met Film School is based in London.

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The school now has over 1,000 students

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and, last year, they made a total of 800 short films,

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three feature films, and three TV series.

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I wonder what they did in their spare time(!)

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Let's meet our next mentor, Emma Lindley.

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She comes from a family

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of film professionals.

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Her dad was an editor

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and mum was an actress.

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Emma worked her way up in the industry,

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progressing from runner,

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to set PA, to researcher.

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Then, after film school, she became a director.

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Let's hear her top tips.

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You need to trust your instincts

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because you have to think very quickly and on your feet.

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I think, also, that you have to listen to other people,

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because you're working with a really big crew

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and they've all got good ideas as well,

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and I think you just have to keep making films,

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cos I think the more you make films, the more you learn.

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The films you make are going to be different from

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everyone else's films, and that's, kind of, what's important.

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Emma's top tips are...

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Trust your instincts,

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as directors need to make a lot of decisions under pressure.

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Listen to other people.

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Your crew can also offer great advice.

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And keep making films -

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this will develop your film-making skills,

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as well as your own unique style.

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So, your assignment is, you're going to direct a film,

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and you're going to edit a film,

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and then you're going to screen that film quite quickly.

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-THEY LAUGH

-Amazing.

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So, we've got a script for you,

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and we're going to have some actors to read the script with you

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so that we can get an idea of what the story is

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that you're going to tell,

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and then you're going to work out how you might shoot that.

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-OK?

-OK.

-OK.

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-So, this is Mia and this is Sasha.

-Hey.

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Often, in the early stages of shooting a film,

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the cast will get together with the director for

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-a read-through of the script.

-Interior, living room.

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You'll see for yourself. I'll be there in 20 minutes.

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Don't be late.

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This is a chance for the directors to give advice and direction to

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the actors to develop their performances.

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I can just imagine her face, just as Jenna comes in,

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just her face, just...

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Have you ever tried a Sprinkle Cupcake? They're really good.

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Alex has also got a part in their film.

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He'll be the voiceover artist heard on the TV commercial

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for Sprinkle Cupcake.

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-IN AMERICAN ACCENT:

-Sprinkle Cupcake - the cupcake just for you.

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The film the rookies are directing is set in a living room

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shared by two friends.

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One character brings home a trendy cupcake and leaves it

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trustingly in her friend's care,

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but will temptation get the better of her?

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Anna!

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The bit where she opens the box and she looks at the cupcake,

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I'd like a very bright movement,

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like a zoom-in shot on to the cupcake or something.

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Mm-hm. Brilliant. We're going to bring the actors back later,

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and you're going to rehearse with them.

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You, from now on, are the directors of this film, so we'll be looking to

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you to lead the way.

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-Ready?

-OK.

-Yeah.

-Brilliant.

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Films don't just happen.

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There's lots of planning and preparation to be done.

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Emma gives the rookies some guidance in making a floor plan, which helps

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when thinking about positions for actors, cameras and lights.

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So, for the start, I think we should have a shot on the sofa,

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so, probably, over the TV.

0:14:350:14:38

Why not, like, a close-up? Like, a diagonal? So, like, there?

0:14:380:14:42

Another important thing to think about is a storyboard -

0:14:420:14:45

a sequence of pictures which help to communicate how a story should be

0:14:450:14:48

told, how it should be filmed, and how each shot should look.

0:14:480:14:52

It's almost time for the rookies to put all their planning into action.

0:14:520:14:56

-No, just a table into there...

-Yeah.

0:14:560:14:58

BELL RINGS AND APPLAUSE

0:14:580:15:00

My top three tips for aspiring film-makers are the following.

0:15:030:15:07

First of all, you have to be really persistent and never give up.

0:15:070:15:11

The second thing is, surround yourself with the right people.

0:15:110:15:15

If you work with the best people, the nicest people,

0:15:150:15:19

the people who are going to understand your vision

0:15:190:15:21

and what you want to achieve, then you'll fly.

0:15:210:15:24

And the third thing is,

0:15:240:15:27

choose stories that you feel completely passionate about.

0:15:270:15:31

It's your passion for that story that you tell

0:15:310:15:35

that will drive everything.

0:15:350:15:36

Back with our rookie directors.

0:15:370:15:39

So, Harvey, Sam, this is your crew.

0:15:390:15:42

-Hello.

-Hi.

0:15:420:15:43

-We're just going to run it through.

-Uh-huh.

-Action.

0:15:430:15:46

-After a quick look at the set, rehearsals begin...

-Crowded.

0:15:460:15:49

This is a chance for the rookies to give the actors some direction

0:15:490:15:52

before the filming starts.

0:15:520:15:54

No, it's different. I'm telling you, it's different.

0:15:540:15:56

When she comes in, I give her a smile?

0:15:560:15:58

Like a weirdly fake smile, like...

0:15:580:16:01

And then you give her a weird look.

0:16:010:16:03

-Just, kind of, give her a death stare kind of thing.

-Yes. Good.

0:16:030:16:06

-So, shall we talk shots with your DOP?

-Yes.

0:16:060:16:11

How is that?

0:16:110:16:12

If she walks closer, we may need it a bit, a tiny little bit up.

0:16:120:16:17

All right, so we're going to go for a take, guys.

0:16:170:16:19

Sound.

0:16:190:16:21

Camera.

0:16:210:16:23

Slate one, take one.

0:16:230:16:25

Action.

0:16:250:16:26

Yeah, I just got it.

0:16:260:16:28

That place was crowded.

0:16:280:16:31

Anna!

0:16:310:16:33

Cut.

0:16:330:16:34

Hold. Hold for directors' notes. Are you guys happy with that?

0:16:360:16:38

- Yeah. That's fine. - That's fine.

0:16:380:16:40

All right. So, camera, if you can set up for the deep two-shot.

0:16:400:16:43

Could we get a four by...?

0:16:430:16:45

-The shoot looks like it's going well.

-And action.

0:16:450:16:47

The rookies are busy directing their crew to pick up shots of

0:16:470:16:50

the scene from different angles.

0:16:500:16:52

And cut.

0:16:520:16:53

Time is against them, though,

0:16:530:16:55

and it's not long before the rookie directors realise

0:16:550:16:57

that they might not be able to shoot everything they'd planned.

0:16:570:17:00

Now is a good time to come up with a plan B.

0:17:000:17:03

I don't know if we'll bother with that, cos the telly won't be on.

0:17:030:17:05

Yeah, I agree. I think you can cut that one

0:17:050:17:07

-cos we don't want to see the TV.

-Cut that one and cut that one.

0:17:070:17:10

Sam and Harvey's plan has pulled them back on schedule.

0:17:100:17:13

Their crew are getting set up for the final shot of the shoot.

0:17:130:17:16

And action.

0:17:160:17:17

End board.

0:17:240:17:26

Brilliant.

0:17:260:17:27

You've got to say those magic words that everybody's waiting to hear.

0:17:270:17:30

On the count of three. One, two, three...

0:17:300:17:32

-It's a wrap!

-That's a wrap!

0:17:320:17:34

CHEERING

0:17:340:17:36

My favourite moment about making my own film was seeing it all come

0:17:370:17:43

together, and watching what it would look like on the monitor.

0:17:430:17:47

When I was told that me and Harvey were going to be directing,

0:17:470:17:50

I was actually pretty nervous

0:17:500:17:52

because I didn't know how big the crew was going to be,

0:17:520:17:54

and I didn't know what we were going to do.

0:17:540:17:56

It definitely felt a bit weird when I was having to

0:17:560:17:59

tell people older than me what to do,

0:17:590:18:01

because normally it's the older people that tell me what to do.

0:18:010:18:05

I've learned that it is not very easy to be a director,

0:18:050:18:08

but it does give me more experience on making another film.

0:18:080:18:13

Sam, I thought you did a great job today.

0:18:130:18:15

I think you were a little bit shy, to be honest, when you started,

0:18:150:18:17

but then, once you got on the set,

0:18:170:18:19

I think you really, kind of, got into it,

0:18:190:18:21

and I think, by the end, you were really noticing stuff

0:18:210:18:23

on camera, which was great.

0:18:230:18:24

Harvey, I think you're a bit of a natural.

0:18:240:18:26

You've got a great way with the actors,

0:18:260:18:28

a really good way with the crew,

0:18:280:18:29

and you weren't afraid to speak your mind right from the beginning.

0:18:290:18:32

To be honest, guys, I was a little bit worried that

0:18:320:18:34

you wouldn't get all the shots done in time,

0:18:340:18:35

but you were so decisive,

0:18:350:18:37

and you were so quick and you were so precise in your directions

0:18:370:18:40

that, about halfway through the shoot,

0:18:400:18:41

I just stopped worrying and I knew you were going to finish on time.

0:18:410:18:44

Film in the can,

0:18:440:18:45

it's time to meet our next mentor.

0:18:450:18:48

Editor Pete Appleyard is just the man to

0:18:480:18:50

help the rookies cut their film

0:18:500:18:52

into a finished piece.

0:18:520:18:53

What are your top tips for getting into the film industry?

0:18:530:18:56

Number one, be early for everything.

0:18:560:18:59

When it comes to studying film, try and enjoy films first of all.

0:18:590:19:02

If you're watching an action movie,

0:19:020:19:04

don't think about where the camera is or how it's being edited,

0:19:040:19:06

and if it does work for you,

0:19:060:19:08

then maybe deconstruct how it's been put together.

0:19:080:19:10

And my top tip for editing is to go through the material meticulously.

0:19:100:19:18

Pete's top tips are...

0:19:180:19:20

Be early, as time is money.

0:19:200:19:23

Try to enjoy films before deconstructing them -

0:19:230:19:25

analysing is good but don't let it get in the way of your enjoyment.

0:19:250:19:29

And know your material -

0:19:290:19:31

get to grips with all your footage before you start to edit.

0:19:310:19:35

That's great advice, Pete, but we're on a deadline here.

0:19:350:19:38

We've got a film to edit, so what do we do first?

0:19:380:19:40

We ingest the rushes and then sync the video and the audio,

0:19:400:19:43

but that bit's already been done for us -

0:19:430:19:45

that's the assistant editor's job -

0:19:450:19:47

and today we're going to get you guys to be the editors.

0:19:470:19:49

So, let's just have a look at this first one.

0:19:490:19:51

First up, the rookies review all the footage they've shot.

0:19:510:19:54

-I like that one where she first looks in the cake.

-Yeah.

-The box.

0:19:540:19:57

Remember Pete's third tip?

0:19:570:19:59

Know your material before you start to edit.

0:19:590:20:02

That's a good take, as well. She really goes for it in that one.

0:20:030:20:06

So, maybe make a note on your script -

0:20:060:20:09

two three is the one you might want to use,

0:20:090:20:11

so we know roughly what we want to use.

0:20:110:20:13

And it's what we call a paper edit, where we actually just go through

0:20:130:20:16

and write down what shots we're going to use

0:20:160:20:18

and when we're going to cut.

0:20:180:20:19

Why don't we go straight into the booth?

0:20:190:20:21

Sounds like Pete and the rookies have a plan in place.

0:20:210:20:23

Next up, it's Alex's big moment in the voiceover booth.

0:20:230:20:26

-IN AMERICAN ACCENT:

-Everyone else too.

0:20:260:20:29

I don't really like that one. It needs more life to it.

0:20:290:20:31

Marshmallows! Chocolate drops!

0:20:310:20:34

-That's enough. Just get out now!

-Delicious frosting.

0:20:340:20:36

Hundreds and thousands over the top!

0:20:360:20:38

-Alex, cut!

-The beautiful sponge...

-Cut!

0:20:380:20:41

-Yeah?

-That was a bit too much, Alex.

0:20:410:20:42

-I think we've got it.

-We've got everything.

0:20:420:20:44

-Happy, guys?

-Yeah.

-Uh-huh.

0:20:440:20:45

Good. OK. Let's go back to the edit.

0:20:450:20:47

We could go back to that one. It's a bit...

0:20:500:20:52

The clocks are ticking,

0:20:520:20:53

and the premiere is fast approaching.

0:20:530:20:56

The All Over The Workplace team have secretly arranged for

0:20:560:20:59

Sam and Harvey's parents to join them for the premiere,

0:20:590:21:02

and the rookies have no idea...

0:21:020:21:04

yet.

0:21:040:21:06

Back in the edit, it's time to choose some music.

0:21:060:21:09

-JAUNTY MUSIC PLAYS

-I can hear Alex on top of that.

0:21:090:21:11

-Yeah.

-Yeah, this one.

0:21:110:21:13

Sprinkle Cupcake!

0:21:130:21:14

SLOWER MUSIC PLAYS

0:21:140:21:16

-No. Probably not.

-No?

0:21:160:21:17

-I'm thinking the first one as well, yeah.

-The first one?

-Yeah.

0:21:170:21:20

-ALEX:

-Sprinkle Cupcake!

0:21:200:21:21

-The cupcake just for you!

-That's good timing.

-Yeah.

0:21:210:21:23

-So...

-Yeah, let's keep that where it is.

0:21:230:21:25

Back in the day, film-making was only possible

0:21:310:21:33

if you could afford all the expensive gear needed,

0:21:330:21:35

and all the expensive people to operate it,

0:21:350:21:38

but it's 2017,

0:21:380:21:40

and everyone with a mobile phone has a movie camera in their pocket.

0:21:400:21:44

It's even possible to film entire movies with a phone camera.

0:21:440:21:47

Some directors have kick-started their careers doing just that,

0:21:470:21:50

and have gone on to make big, successful movies.

0:21:500:21:53

The wonderful worldwide web has changed film-making forever.

0:21:530:21:56

Amateur film-makers, and actually anyone with a computer and a camera,

0:21:560:21:59

can now make films and upload their content for all the world to see.

0:21:590:22:03

An expectant audience gathers in the film school's screening room,

0:22:080:22:12

ready for the big premiere.

0:22:120:22:14

Alex and the rookies have dressed for the occasion.

0:22:140:22:17

OK, rookies, we're about to have the screening of your film.

0:22:170:22:20

-How are you feeling?

-I'm really excited.

0:22:200:22:22

-Yeah?

-Excited.

-Not nervous?

0:22:220:22:24

-Well, a little bit.

-Right, good luck.

0:22:240:22:27

-Thank you.

-See you later.

0:22:270:22:28

Ladies and gentlemen, a very warm welcome to this very special

0:22:280:22:32

screening of a brand-new film, Cupcake.

0:22:320:22:35

Now, it's been made by two rookie directors,

0:22:350:22:38

-Harvey and Sam!

-CHEERING

0:22:380:22:40

There's the rookies' parents in the back row.

0:22:400:22:42

I don't think they've noticed them.

0:22:420:22:44

Or have they?

0:22:440:22:45

OK, guys...

0:22:450:22:46

Thank you all for coming,

0:22:460:22:48

and thank you to the crew and cast for helping us make this film.

0:22:480:22:51

I'd like to show you the film, and we hope you all enjoy it.

0:22:510:22:54

But, quickly, can I get a selfie?

0:22:540:22:57

CHEERING

0:22:570:22:59

Thanks.

0:23:000:23:01

-This is...

-Cupcake.

0:23:010:23:04

Sprinkle Cupcake - the cupcake just for you!

0:23:120:23:16

Sprinkle Cupcake!

0:23:160:23:17

And everyone else too.

0:23:170:23:20

Yeah, I just picked it up.

0:23:230:23:25

The place was crowded!

0:23:250:23:28

Hey, hey. This is not the same.

0:23:310:23:34

No, you'll see.

0:23:340:23:35

I'll be there in 20 minutes. Don't be late.

0:23:350:23:39

Mm-hm.

0:23:390:23:40

QUIET LAUGHTER

0:23:420:23:44

-CHOIR SINGS

-Sprinkle Cupcake -

0:23:480:23:50

the cupcake just for you.

0:23:500:23:53

Sprinkle Cupcake!

0:23:530:23:54

And everyone else too.

0:23:540:23:57

Mmm.

0:23:570:23:59

Looks like Sam's mum is overcome with pride.

0:23:590:24:02

Huh.

0:24:020:24:03

Sprinkle Cupcake -

0:24:130:24:14

the cupcake just for you.

0:24:140:24:17

Sprinkle Cupcake!

0:24:170:24:19

And everyone else too.

0:24:190:24:21

Mmm.

0:24:210:24:23

Mmm!

0:24:230:24:25

Yum.

0:24:250:24:27

Yum-yum!

0:24:270:24:28

-Oh, that tastes good.

-THUMPING

0:24:280:24:31

SOFT LAUGHTER

0:24:330:24:35

Have you ever tried a Sprinkles Cupcake?

0:24:440:24:47

SHE GRUNTS

0:24:470:24:49

They're really good.

0:24:490:24:50

Mmm.

0:24:500:24:51

DOOR OPENS

0:24:540:24:56

Anna!

0:24:580:25:01

JAUNTY MUSIC PLAYS

0:25:010:25:03

CHEERING

0:25:030:25:05

Look at those proud parents.

0:25:090:25:11

It looks like the rookies have finally spotted them.

0:25:110:25:13

I didn't notice you here.

0:25:130:25:15

Absolutely amazing. Well done.

0:25:150:25:16

-Hello.

-I'm so proud of you.

-It's so weird.

0:25:160:25:19

-Really good.

-It was really brilliant. Well done.

0:25:190:25:21

-Thank you.

-I'm really proud of you.

0:25:210:25:23

The final product on screen was really, really lovely.

0:25:230:25:25

I had so much fun doing it and I think it turned out so well.

0:25:250:25:29

It was hilarious. It was so well done.

0:25:290:25:31

It felt really fantastic,

0:25:310:25:34

to have my first screening in front of an audience.

0:25:340:25:36

I'm really, really proud of the film because it looks great,

0:25:360:25:39

and it looks better than anything that I've produced.

0:25:390:25:43

This process has made me more eager to make my own short films, and more

0:25:430:25:47

comedy films, because it's opened up different genres to me.

0:25:470:25:51

I do feel that everything that I've learnt will improve my film-making.

0:25:510:25:55

Harvey, you did a really good job in the edit.

0:25:550:25:57

You had great, strong opinions on the footage,

0:25:570:26:01

and you were really vocal and really clear on what you wanted to use

0:26:010:26:04

and what you didn't want to use.

0:26:040:26:06

Sam, I think you did really, really well.

0:26:060:26:08

Your technical skills were really strong.

0:26:080:26:10

Most people can't pick up the software as fast as you did.

0:26:100:26:13

If there's one thing that you could work on,

0:26:130:26:15

I think it's being a bit more confident,

0:26:150:26:17

and sharing your ideas and opinions with the rest of your film-makers.

0:26:170:26:21

Our rookies have had a fantastic film-making experience -

0:26:220:26:25

on set, learning about stunts,

0:26:250:26:28

and getting a chance to direct and edit their own short film

0:26:280:26:31

with a proper crew -

0:26:310:26:33

but have they got what it takes to be top film-makers of the future?

0:26:330:26:36

KLAXON

0:26:400:26:42

Harvey, I definitely think you can make it in the film industry.

0:26:420:26:44

You've got strong, creative ideas, and you're not shy of sharing them.

0:26:440:26:49

Harvey, I think you're definitely going to enjoy working in

0:26:490:26:52

the film business, if that's what you go into,

0:26:520:26:54

and I think there's quite a budding director inside there.

0:26:540:26:57

Sam, I definitely think you can make it in the film industry.

0:26:570:26:59

You've got really strong technical and creative editing skills,

0:26:590:27:02

but you're clearly a good director as well.

0:27:020:27:04

Sam, I definitely think you've got what it takes to

0:27:040:27:06

work in the industry, cos you've got a great eye for detail

0:27:060:27:09

and really good instincts.

0:27:090:27:10

So, just keep working on that confidence, keep making films,

0:27:100:27:13

and hopefully I'll see your name one day on the credits.

0:27:130:27:16

Well, Harvey and Sam, how much have you enjoyed

0:27:160:27:19

your time as film directors?

0:27:190:27:20

It's been a really amazing experience. I've enjoyed it all.

0:27:200:27:24

-Brilliant.

-Yeah.

0:27:240:27:25

It is really, really priceless and I will never forget it.

0:27:250:27:27

So, I've got to ask you a question now -

0:27:270:27:29

do you still want to be a film-maker?

0:27:290:27:31

Yeah, even more.

0:27:310:27:33

Definitely, yes.

0:27:330:27:34

Well, that's the end of this show.

0:27:340:27:36

You know what we have to do, don't you? One, two...

0:27:360:27:39

ALL: That's a wrap!

0:27:390:27:40

Harvey and Sam are two ambitious rookies who want to make it in the world of film-making, so they join presenter Alex Riley to explore the business! They start off by dropping in on the filming of Paddington 2 to witness the huge operation of making a film in the centre of a big city. After this they hot foot it to Cardiff to join the crew of Casualty to see how a stunt is put together and how tricky it is to film. They then get the chance they had wished for - they make their very own film! Director Emma Lindley takes the rookies under her wing as they script plan, direct and edit their film before premiering it to an eager audience!