0:00:02 > 0:00:05- We push our rookies hard. They see the good...- How cool is this?
0:00:05 > 0:00:06- ..the bad...- Ugh!
0:00:06 > 0:00:09..and the downright astonishing.
0:00:09 > 0:00:12We give them glamour,
0:00:12 > 0:00:14show them excitement,
0:00:14 > 0:00:16get their hands dirty... SHEEP BLEATS
0:00:16 > 0:00:17..put them under pressure...
0:00:17 > 0:00:19- Oh, no. No.- No, no!
0:00:19 > 0:00:21..and make them laugh,
0:00:21 > 0:00:25all so they can experience their dream jobs.
0:00:25 > 0:00:27Today, it's lights, camera, action,
0:00:27 > 0:00:31as two rookie film-makers visit a high-profile movie set,
0:00:31 > 0:00:35witness a serious stunt, and also take a film from script to screen.
0:00:35 > 0:00:38Let's go All Over The Workplace!
0:00:38 > 0:00:40BELL RINGS
0:00:43 > 0:00:45CHEERING
0:00:45 > 0:00:47BELL RINGS
0:00:53 > 0:00:55CHEERING AND APPLAUSE
0:00:57 > 0:01:00To make any film or TV production come together,
0:01:00 > 0:01:02there's actually a big team behind the scenes.
0:01:02 > 0:01:05For example, we've got a cameraman, a second...
0:01:05 > 0:01:07Look, I'll show you.
0:01:07 > 0:01:08We've a cameraman,
0:01:08 > 0:01:09a second camera,
0:01:09 > 0:01:11a sound man,
0:01:11 > 0:01:12director,
0:01:12 > 0:01:14researcher, and runner.
0:01:14 > 0:01:17I'll have one later, thanks. Thanks, Fraser!
0:01:17 > 0:01:19Not only that, but there's a big team back in the office
0:01:19 > 0:01:23putting together all the logistics before we even go out on the shoot,
0:01:23 > 0:01:26and then there's an edit team that cuts all the footage together
0:01:26 > 0:01:29and creates the final TV programme that you see.
0:01:29 > 0:01:33So, there are loads of opportunities out there for our rookies.
0:01:33 > 0:01:36The question is, will they learn enough to make a clean sweep
0:01:36 > 0:01:39at the awards, or will they just be left picking up the popcorn?
0:01:39 > 0:01:40Hi, I'm Sam,
0:01:40 > 0:01:43and I really want to be a film-maker.
0:01:43 > 0:01:46I'd really like to be a camera operator first,
0:01:46 > 0:01:48and then I'd really want to go into
0:01:48 > 0:01:50the director and producer kind of side.
0:01:50 > 0:01:54I think the thing that makes a really good film
0:01:54 > 0:01:56for me is a really good bit of action,
0:01:56 > 0:01:57a good storyline,
0:01:57 > 0:01:59some great actors,
0:01:59 > 0:02:01and a really good bit of cinematography.
0:02:01 > 0:02:04Hi, I'm Harvey and I'd like to be a film-maker.
0:02:04 > 0:02:06Action. I really, really, really
0:02:06 > 0:02:08want to be a director.
0:02:08 > 0:02:10There's nothing, really, else.
0:02:10 > 0:02:13It'd be amazing when I have my name
0:02:13 > 0:02:16in the credits of the first film I've done.
0:02:16 > 0:02:19I'd feel very proud of what I've done,
0:02:19 > 0:02:20and proud of everyone else
0:02:20 > 0:02:21that's worked on that film.
0:02:22 > 0:02:25Budding directors Harvey and Sam have travelled from their homes
0:02:25 > 0:02:29to join Alex in London. Action!
0:02:29 > 0:02:32So, rookies, film-making, what is it that you love about it?
0:02:32 > 0:02:35Well, it's just very creative and exciting.
0:02:35 > 0:02:37You can show your emotion in film
0:02:37 > 0:02:39and just do anything you want with it.
0:02:39 > 0:02:41So, have you actually made a film yourself, Sam?
0:02:41 > 0:02:43I actually have. I've made two short films.
0:02:43 > 0:02:45And what are they about?
0:02:45 > 0:02:48They're about some criminals breaking in, and trying to be spies.
0:02:48 > 0:02:50Wow. I'd love to see that film. What about you, Harvey?
0:02:50 > 0:02:53- Do you make films?- I've made one short film, and it's a spy film.
0:02:53 > 0:02:56I'm in it, but I'm directing and acting.
0:02:56 > 0:02:58Do you want to just control everything? You want to be in it,
0:02:58 > 0:03:00you want to film it, you want to produce it...
0:03:00 > 0:03:03Well, you both obviously think you know what you're doing when it comes
0:03:03 > 0:03:05to film-making, but let's find out what your parents think.
0:03:05 > 0:03:09Some of the skills that he brings are the...the imagination.
0:03:09 > 0:03:10He can picture things.
0:03:10 > 0:03:12He's never had to work under pressure
0:03:12 > 0:03:14because he's doing things in his own way.
0:03:14 > 0:03:16He may find it quite a challenge
0:03:16 > 0:03:18if he has to do things for a set time.
0:03:18 > 0:03:22Sometimes when we're watching a film with Harvey, he will say,
0:03:22 > 0:03:23"I wouldn't have done it like that."
0:03:23 > 0:03:27And you think, "Well, can you just sit and enjoy and watch the film
0:03:27 > 0:03:29- "rather than trying to work out how it's been made?"- Yeah.
0:03:29 > 0:03:34I think a challenge for Harvey would be keeping to a time schedule.
0:03:34 > 0:03:39Right, then. So, they both think that you might struggle
0:03:39 > 0:03:40if you've got a deadline.
0:03:40 > 0:03:42What do you think about that, Sam?
0:03:42 > 0:03:44It'll be hard, but I think I can get through it.
0:03:44 > 0:03:47- Yeah? Harvey?- Yeah, it'll be a chance, but I like a challenge.
0:03:47 > 0:03:50- OK, rookies, are you ready for your first assignment?- Yes.- Yeah.
0:03:50 > 0:03:52Good, because you're really going to love this,
0:03:52 > 0:03:56because it takes place on a real-life film set.
0:03:56 > 0:03:59But, before we go, I think we need to have a little snack.
0:03:59 > 0:04:01Marmalade sandwiches, anyone?
0:04:06 > 0:04:09Back before cinema burst into glorious Technicolor,
0:04:09 > 0:04:11the world of film was in black and white.
0:04:11 > 0:04:13Not only that, but it was silent,
0:04:13 > 0:04:16apart from someone playing a jangly old piano in the cinema.
0:04:16 > 0:04:20Nevertheless, huge stars were made in the silent era.
0:04:20 > 0:04:24Cheeky chappy Charlie Chaplin made an astonishing 35 films
0:04:24 > 0:04:26in the year 1914.
0:04:26 > 0:04:2812 years earlier, in 1902,
0:04:28 > 0:04:32George Melies created the world's first science-fiction blockbuster,
0:04:32 > 0:04:35Le Voyage Dans La Lune.
0:04:35 > 0:04:37That's "Trip To The Moon", to you and me.
0:04:37 > 0:04:41It had a huge cast and included ground-breaking special effects.
0:04:41 > 0:04:44It was a gigantic international success.
0:04:46 > 0:04:52In 2014, blockbuster movie Paddington made over 268 million
0:04:52 > 0:04:56in its opening weekend, and topped the box office for two weeks.
0:04:56 > 0:04:59After the success of the first film, a sequel was announced,
0:04:59 > 0:05:02and today, the rookies are dropping in amongst the hustle and bustle
0:05:02 > 0:05:04of a working movie set.
0:05:04 > 0:05:06Keys! Keys, keys...
0:05:08 > 0:05:11Set production assistant Ashley Wild is going to be
0:05:11 > 0:05:13guiding our rookies round the set.
0:05:13 > 0:05:15Her job is to look after cast and crew,
0:05:15 > 0:05:16so that they know what they're doing,
0:05:16 > 0:05:18where they're meant to be,
0:05:18 > 0:05:19and that they're on time.
0:05:20 > 0:05:2291, take one.
0:05:22 > 0:05:25On set, the Paddington 2 crew are busy filming top-secret shots
0:05:25 > 0:05:27for the movie.
0:05:27 > 0:05:29Behind-the-scenes, Harvey and Sam are having a chat with
0:05:29 > 0:05:31a member of the camera team, Roy.
0:05:31 > 0:05:33- Hello.- Sam's keen on camera work,
0:05:33 > 0:05:37so Roy's showing him how to work top-of-the-range cinematic lenses.
0:05:37 > 0:05:39Now, there's a special way we pass lenses over
0:05:39 > 0:05:41all the time to make sure that...
0:05:41 > 0:05:44It's a really expensive piece of glass - you don't want to break it.
0:05:44 > 0:05:46How much do you think it would be worth?
0:05:46 > 0:05:50These cameras are about £30,000 to £40,000.
0:05:50 > 0:05:53The lens is about £20,000.
0:05:53 > 0:05:56When you put all of the little pieces on, it's like £120,000.
0:05:56 > 0:05:58- So, not cheap.- Not cheap, and we are responsible for that.
0:05:58 > 0:06:01If we scratch it or ding it, you know what I mean,
0:06:01 > 0:06:02we get in big trouble.
0:06:02 > 0:06:04Right, that's enough camera chat.
0:06:04 > 0:06:06Let's actually get on set.
0:06:06 > 0:06:09So, this is our set that we're shooting on at the moment.
0:06:09 > 0:06:12Currently, they're setting up for a shot with some of our actors.
0:06:12 > 0:06:14Look at this. It's a real-life film set.
0:06:14 > 0:06:16It's really exciting.
0:06:16 > 0:06:17- Amazing.- Looks really good, yeah.
0:06:17 > 0:06:19Can you see yourself here in a few years' time?
0:06:19 > 0:06:20- Definitely, yeah.- Uh-huh.
0:06:20 > 0:06:23- MAN:- All right. Absolute silence, thank you.
0:06:23 > 0:06:25So, obviously, this is a working set,
0:06:25 > 0:06:27and, at the moment, we're just going for a take
0:06:27 > 0:06:29so we have to be really quiet.
0:06:29 > 0:06:30Keep your phone switched off.
0:06:30 > 0:06:32Paddington 2, take two.
0:06:32 > 0:06:34PHONE RINGS Alex, get that phone off!
0:06:34 > 0:06:35This is serious business.
0:06:37 > 0:06:39Phew.
0:06:39 > 0:06:41Hi, Mrs Kitts.
0:06:41 > 0:06:42Hello there.
0:06:42 > 0:06:44Colonel. How are you?
0:06:44 > 0:06:46- The rookies look like they're watching closely.- Still rolling.
0:06:48 > 0:06:50The cast and crew have broken for lunch,
0:06:50 > 0:06:53so it's the chance for the rookies to get up close on set.
0:06:53 > 0:06:56Are people still living in these houses while you're filming?
0:06:56 > 0:07:00Yes, they are, and obviously we have to work with them to try
0:07:00 > 0:07:01and accommodate them.
0:07:01 > 0:07:04But we need access to the balconies on some of them.
0:07:04 > 0:07:07Like, we have scenes where the ladies who live in the floral house,
0:07:07 > 0:07:10they're on the balcony doing their gardening.
0:07:10 > 0:07:11Thank you so much, Ashley,
0:07:11 > 0:07:13for showing us around and giving us a little insight
0:07:13 > 0:07:14into the world of film.
0:07:14 > 0:07:16You're welcome.
0:07:16 > 0:07:18BELL RINGS AND CROWD CHEERS
0:07:21 > 0:07:26A casting director works closely with a director to help him or her
0:07:26 > 0:07:31decide which actors to be in their film or TV programme or play.
0:07:31 > 0:07:33To cast the right person in a film,
0:07:33 > 0:07:36you have to make sure that you've considered all your options.
0:07:36 > 0:07:39You have to make sure you have seen everybody who could be right,
0:07:39 > 0:07:42and you collaborate closely with the director and the producer,
0:07:42 > 0:07:44and you trust your instincts.
0:07:44 > 0:07:46MUSIC: Theme from Casualty
0:07:46 > 0:07:50BBC medical drama Casualty is the longest running prime-time
0:07:50 > 0:07:55medical series in the world, and it's been on our screens since 1986.
0:07:55 > 0:07:59During that time, the Casualty team have filmed over 500 stunts,
0:07:59 > 0:08:03ranging from car stunts, to fires, and even a helicopter crash.
0:08:04 > 0:08:07Today, the rookies are on set with the Casualty crew to watch them
0:08:07 > 0:08:10shoot yet another stunt for their new series -
0:08:10 > 0:08:12this time, it's involving cars.
0:08:12 > 0:08:14TYRES SCREECH
0:08:16 > 0:08:17On location in an
0:08:17 > 0:08:18underground car park,
0:08:18 > 0:08:20there's a large team beavering away
0:08:20 > 0:08:23to get everything ready for the stunt.
0:08:23 > 0:08:27Everyone has their own special job and there's lots of them -
0:08:27 > 0:08:30directors, directors of photography, camera assistants, focus pullers,
0:08:30 > 0:08:33sound recordists, stunt coordinators, assistant directors,
0:08:33 > 0:08:35costume, make-up and runners!
0:08:35 > 0:08:37Not to mention the actors.
0:08:40 > 0:08:43Alex and the rookies have managed to pull stunt coordinator
0:08:43 > 0:08:46Julian Spencer away from his busy schedule for a chat.
0:08:46 > 0:08:49Now, these guys both want to be directors.
0:08:49 > 0:08:51How do you find working with directors
0:08:51 > 0:08:53and them, sort of, describing to you what they want?
0:08:53 > 0:08:56Gone are the dinosaurs in this job where they turn round and say,
0:08:56 > 0:08:58"That's what we want - that's what I want you to do."
0:08:58 > 0:09:01You know, cos there's always a bit of give and take with directors.
0:09:01 > 0:09:03So, if you said to me, that's the shot you want,
0:09:03 > 0:09:05then I'll work really closely to give you that shot,
0:09:05 > 0:09:10and I'd say seven times out of ten we can get to do that shot.
0:09:10 > 0:09:12For the other three, we have to use special camera tricks.
0:09:12 > 0:09:15No CGI - I hate doing CGI because I like to do it for real.
0:09:15 > 0:09:18So I work very closely with directors, I have to,
0:09:18 > 0:09:20so I know what's in their mind and they know what
0:09:20 > 0:09:23I can and can't do for them.
0:09:23 > 0:09:25Stunt coordinators often work closely with
0:09:25 > 0:09:27specialised stunt people,
0:09:27 > 0:09:30but what does Julian think about actors doing their own stunts?
0:09:30 > 0:09:32I love it when they do. Erm, we know...
0:09:32 > 0:09:34A good coordinator will know when to draw the line.
0:09:34 > 0:09:37I'll let them bash cars and crash cars at slow speed,
0:09:37 > 0:09:40but if they want to go over 15mph,
0:09:40 > 0:09:41then I've got to put a stuntman in,
0:09:41 > 0:09:43because obviously the risk of injury is quite great.
0:09:43 > 0:09:46But I love it when they say they do their own stunts.
0:09:46 > 0:09:48The entire crew have been under pressure trying to get
0:09:48 > 0:09:50all the shots they need done on time,
0:09:50 > 0:09:53and, after a hard day of work, they finally finish filming.
0:09:53 > 0:09:57Or, as they say in the business, "That's a wrap!"
0:09:57 > 0:09:59This is the rookies' chance to have a chat with
0:09:59 > 0:10:03director Steve Brett and director of photography Simon Walton.
0:10:03 > 0:10:05What's the difference between a director
0:10:05 > 0:10:06and a director of photography?
0:10:06 > 0:10:09Well, I get the script, and then I tell him what to do!
0:10:09 > 0:10:12And I recreate what he wants, basically.
0:10:12 > 0:10:13I'm there to...
0:10:13 > 0:10:16I'm there to transform his vision into pictures, basically.
0:10:16 > 0:10:18I mean, it's a bit more of a team effort than
0:10:18 > 0:10:19I just made it sound, but...
0:10:19 > 0:10:20- It's a collaboration.- Yeah.- Yeah.
0:10:20 > 0:10:23Is it quite a responsibility, knowing that you've got to turn
0:10:23 > 0:10:27a script into a high-quality piece of television or film?
0:10:27 > 0:10:30It didn't until you said that!
0:10:30 > 0:10:32Suddenly it's about to hit you!
0:10:32 > 0:10:35Ultimately, you want to make something for yourself
0:10:35 > 0:10:37that you're proud of, but, at the same time,
0:10:37 > 0:10:40with a show like Casualty or any other long-standing show,
0:10:40 > 0:10:43you've got to take the audience into account because
0:10:43 > 0:10:45they tune in every week, and if they see something they don't like
0:10:45 > 0:10:48or that's slightly different, you know, they'll start turning off,
0:10:48 > 0:10:50and if they turn off, you won't get a job any more.
0:10:50 > 0:10:51Did you go to film school?
0:10:51 > 0:10:53You can go to film school - that's great -
0:10:53 > 0:10:57but I would try and go and work on a set.
0:10:57 > 0:10:58Do your time.
0:10:58 > 0:11:00- Yeah.- Work up from the bottom.
0:11:00 > 0:11:02- Start as a trainee. - Learn everybody's job.
0:11:02 > 0:11:04And then you learn the craft along the way.
0:11:04 > 0:11:09And when you two are big and huge, just remember I might want a job.
0:11:10 > 0:11:14My experience made me more excited about becoming a director.
0:11:14 > 0:11:17I thought I learned a lot, including knowing what it's actually like,
0:11:17 > 0:11:22seeing how many people are there, and getting to use their cameras.
0:11:22 > 0:11:27I've learnt different tricks, and ways to film different genres.
0:11:27 > 0:11:29From what Simon and Steve said,
0:11:29 > 0:11:33it's made me want to be a cameraman before a director,
0:11:33 > 0:11:36because then I'll have more experience in the actual work,
0:11:36 > 0:11:38but I still do want to be a director.
0:11:40 > 0:11:43The Met Film School is based in London.
0:11:43 > 0:11:45The school now has over 1,000 students
0:11:45 > 0:11:48and, last year, they made a total of 800 short films,
0:11:48 > 0:11:51three feature films, and three TV series.
0:11:51 > 0:11:54I wonder what they did in their spare time(!)
0:11:54 > 0:11:57Let's meet our next mentor, Emma Lindley.
0:11:57 > 0:11:58She comes from a family
0:11:58 > 0:11:59of film professionals.
0:11:59 > 0:12:01Her dad was an editor
0:12:01 > 0:12:02and mum was an actress.
0:12:02 > 0:12:04Emma worked her way up in the industry,
0:12:04 > 0:12:05progressing from runner,
0:12:05 > 0:12:08to set PA, to researcher.
0:12:08 > 0:12:10Then, after film school, she became a director.
0:12:10 > 0:12:12Let's hear her top tips.
0:12:12 > 0:12:14You need to trust your instincts
0:12:14 > 0:12:16because you have to think very quickly and on your feet.
0:12:16 > 0:12:18I think, also, that you have to listen to other people,
0:12:18 > 0:12:20because you're working with a really big crew
0:12:20 > 0:12:22and they've all got good ideas as well,
0:12:22 > 0:12:24and I think you just have to keep making films,
0:12:24 > 0:12:26cos I think the more you make films, the more you learn.
0:12:26 > 0:12:28The films you make are going to be different from
0:12:28 > 0:12:31everyone else's films, and that's, kind of, what's important.
0:12:31 > 0:12:33Emma's top tips are...
0:12:33 > 0:12:34Trust your instincts,
0:12:34 > 0:12:38as directors need to make a lot of decisions under pressure.
0:12:38 > 0:12:40Listen to other people.
0:12:40 > 0:12:42Your crew can also offer great advice.
0:12:42 > 0:12:45And keep making films -
0:12:45 > 0:12:47this will develop your film-making skills,
0:12:47 > 0:12:49as well as your own unique style.
0:12:49 > 0:12:52So, your assignment is, you're going to direct a film,
0:12:52 > 0:12:54and you're going to edit a film,
0:12:54 > 0:12:57and then you're going to screen that film quite quickly.
0:12:57 > 0:12:59- THEY LAUGH - Amazing.
0:12:59 > 0:13:01So, we've got a script for you,
0:13:01 > 0:13:03and we're going to have some actors to read the script with you
0:13:03 > 0:13:05so that we can get an idea of what the story is
0:13:05 > 0:13:06that you're going to tell,
0:13:06 > 0:13:09and then you're going to work out how you might shoot that.
0:13:09 > 0:13:10- OK?- OK.- OK.
0:13:10 > 0:13:13- So, this is Mia and this is Sasha. - Hey.
0:13:13 > 0:13:16Often, in the early stages of shooting a film,
0:13:16 > 0:13:18the cast will get together with the director for
0:13:18 > 0:13:20- a read-through of the script. - Interior, living room.
0:13:20 > 0:13:22You'll see for yourself. I'll be there in 20 minutes.
0:13:22 > 0:13:23Don't be late.
0:13:23 > 0:13:26This is a chance for the directors to give advice and direction to
0:13:26 > 0:13:29the actors to develop their performances.
0:13:29 > 0:13:32I can just imagine her face, just as Jenna comes in,
0:13:32 > 0:13:34just her face, just...
0:13:34 > 0:13:36Have you ever tried a Sprinkle Cupcake? They're really good.
0:13:36 > 0:13:38Alex has also got a part in their film.
0:13:38 > 0:13:41He'll be the voiceover artist heard on the TV commercial
0:13:41 > 0:13:43for Sprinkle Cupcake.
0:13:43 > 0:13:46- IN AMERICAN ACCENT:- Sprinkle Cupcake - the cupcake just for you.
0:13:46 > 0:13:48The film the rookies are directing is set in a living room
0:13:48 > 0:13:50shared by two friends.
0:13:50 > 0:13:53One character brings home a trendy cupcake and leaves it
0:13:53 > 0:13:55trustingly in her friend's care,
0:13:55 > 0:13:57but will temptation get the better of her?
0:13:58 > 0:13:59Anna!
0:13:59 > 0:14:03The bit where she opens the box and she looks at the cupcake,
0:14:03 > 0:14:06I'd like a very bright movement,
0:14:06 > 0:14:08like a zoom-in shot on to the cupcake or something.
0:14:08 > 0:14:11Mm-hm. Brilliant. We're going to bring the actors back later,
0:14:11 > 0:14:12and you're going to rehearse with them.
0:14:12 > 0:14:16You, from now on, are the directors of this film, so we'll be looking to
0:14:16 > 0:14:17you to lead the way.
0:14:17 > 0:14:20- Ready?- OK.- Yeah.- Brilliant.
0:14:20 > 0:14:21Films don't just happen.
0:14:21 > 0:14:24There's lots of planning and preparation to be done.
0:14:24 > 0:14:28Emma gives the rookies some guidance in making a floor plan, which helps
0:14:28 > 0:14:32when thinking about positions for actors, cameras and lights.
0:14:32 > 0:14:35So, for the start, I think we should have a shot on the sofa,
0:14:35 > 0:14:38so, probably, over the TV.
0:14:38 > 0:14:42Why not, like, a close-up? Like, a diagonal? So, like, there?
0:14:42 > 0:14:45Another important thing to think about is a storyboard -
0:14:45 > 0:14:48a sequence of pictures which help to communicate how a story should be
0:14:48 > 0:14:52told, how it should be filmed, and how each shot should look.
0:14:52 > 0:14:56It's almost time for the rookies to put all their planning into action.
0:14:56 > 0:14:58- No, just a table into there...- Yeah.
0:14:58 > 0:15:00BELL RINGS AND APPLAUSE
0:15:03 > 0:15:07My top three tips for aspiring film-makers are the following.
0:15:07 > 0:15:11First of all, you have to be really persistent and never give up.
0:15:11 > 0:15:15The second thing is, surround yourself with the right people.
0:15:15 > 0:15:19If you work with the best people, the nicest people,
0:15:19 > 0:15:21the people who are going to understand your vision
0:15:21 > 0:15:24and what you want to achieve, then you'll fly.
0:15:24 > 0:15:27And the third thing is,
0:15:27 > 0:15:31choose stories that you feel completely passionate about.
0:15:31 > 0:15:35It's your passion for that story that you tell
0:15:35 > 0:15:36that will drive everything.
0:15:37 > 0:15:39Back with our rookie directors.
0:15:39 > 0:15:42So, Harvey, Sam, this is your crew.
0:15:42 > 0:15:43- Hello.- Hi.
0:15:43 > 0:15:46- We're just going to run it through. - Uh-huh.- Action.
0:15:46 > 0:15:49- After a quick look at the set, rehearsals begin...- Crowded.
0:15:49 > 0:15:52This is a chance for the rookies to give the actors some direction
0:15:52 > 0:15:54before the filming starts.
0:15:54 > 0:15:56No, it's different. I'm telling you, it's different.
0:15:56 > 0:15:58When she comes in, I give her a smile?
0:15:58 > 0:16:01Like a weirdly fake smile, like...
0:16:01 > 0:16:03And then you give her a weird look.
0:16:03 > 0:16:06- Just, kind of, give her a death stare kind of thing.- Yes. Good.
0:16:06 > 0:16:11- So, shall we talk shots with your DOP?- Yes.
0:16:11 > 0:16:12How is that?
0:16:12 > 0:16:17If she walks closer, we may need it a bit, a tiny little bit up.
0:16:17 > 0:16:19All right, so we're going to go for a take, guys.
0:16:19 > 0:16:21Sound.
0:16:21 > 0:16:23Camera.
0:16:23 > 0:16:25Slate one, take one.
0:16:25 > 0:16:26Action.
0:16:26 > 0:16:28Yeah, I just got it.
0:16:28 > 0:16:31That place was crowded.
0:16:31 > 0:16:33Anna!
0:16:33 > 0:16:34Cut.
0:16:36 > 0:16:38Hold. Hold for directors' notes. Are you guys happy with that?
0:16:38 > 0:16:40- Yeah. That's fine. - That's fine.
0:16:40 > 0:16:43All right. So, camera, if you can set up for the deep two-shot.
0:16:43 > 0:16:45Could we get a four by...?
0:16:45 > 0:16:47- The shoot looks like it's going well.- And action.
0:16:47 > 0:16:50The rookies are busy directing their crew to pick up shots of
0:16:50 > 0:16:52the scene from different angles.
0:16:52 > 0:16:53And cut.
0:16:53 > 0:16:55Time is against them, though,
0:16:55 > 0:16:57and it's not long before the rookie directors realise
0:16:57 > 0:17:00that they might not be able to shoot everything they'd planned.
0:17:00 > 0:17:03Now is a good time to come up with a plan B.
0:17:03 > 0:17:05I don't know if we'll bother with that, cos the telly won't be on.
0:17:05 > 0:17:07Yeah, I agree. I think you can cut that one
0:17:07 > 0:17:10- cos we don't want to see the TV. - Cut that one and cut that one.
0:17:10 > 0:17:13Sam and Harvey's plan has pulled them back on schedule.
0:17:13 > 0:17:16Their crew are getting set up for the final shot of the shoot.
0:17:16 > 0:17:17And action.
0:17:24 > 0:17:26End board.
0:17:26 > 0:17:27Brilliant.
0:17:27 > 0:17:30You've got to say those magic words that everybody's waiting to hear.
0:17:30 > 0:17:32On the count of three. One, two, three...
0:17:32 > 0:17:34- It's a wrap!- That's a wrap!
0:17:34 > 0:17:36CHEERING
0:17:37 > 0:17:43My favourite moment about making my own film was seeing it all come
0:17:43 > 0:17:47together, and watching what it would look like on the monitor.
0:17:47 > 0:17:50When I was told that me and Harvey were going to be directing,
0:17:50 > 0:17:52I was actually pretty nervous
0:17:52 > 0:17:54because I didn't know how big the crew was going to be,
0:17:54 > 0:17:56and I didn't know what we were going to do.
0:17:56 > 0:17:59It definitely felt a bit weird when I was having to
0:17:59 > 0:18:01tell people older than me what to do,
0:18:01 > 0:18:05because normally it's the older people that tell me what to do.
0:18:05 > 0:18:08I've learned that it is not very easy to be a director,
0:18:08 > 0:18:13but it does give me more experience on making another film.
0:18:13 > 0:18:15Sam, I thought you did a great job today.
0:18:15 > 0:18:17I think you were a little bit shy, to be honest, when you started,
0:18:17 > 0:18:19but then, once you got on the set,
0:18:19 > 0:18:21I think you really, kind of, got into it,
0:18:21 > 0:18:23and I think, by the end, you were really noticing stuff
0:18:23 > 0:18:24on camera, which was great.
0:18:24 > 0:18:26Harvey, I think you're a bit of a natural.
0:18:26 > 0:18:28You've got a great way with the actors,
0:18:28 > 0:18:29a really good way with the crew,
0:18:29 > 0:18:32and you weren't afraid to speak your mind right from the beginning.
0:18:32 > 0:18:34To be honest, guys, I was a little bit worried that
0:18:34 > 0:18:35you wouldn't get all the shots done in time,
0:18:35 > 0:18:37but you were so decisive,
0:18:37 > 0:18:40and you were so quick and you were so precise in your directions
0:18:40 > 0:18:41that, about halfway through the shoot,
0:18:41 > 0:18:44I just stopped worrying and I knew you were going to finish on time.
0:18:44 > 0:18:45Film in the can,
0:18:45 > 0:18:48it's time to meet our next mentor.
0:18:48 > 0:18:50Editor Pete Appleyard is just the man to
0:18:50 > 0:18:52help the rookies cut their film
0:18:52 > 0:18:53into a finished piece.
0:18:53 > 0:18:56What are your top tips for getting into the film industry?
0:18:56 > 0:18:59Number one, be early for everything.
0:18:59 > 0:19:02When it comes to studying film, try and enjoy films first of all.
0:19:02 > 0:19:04If you're watching an action movie,
0:19:04 > 0:19:06don't think about where the camera is or how it's being edited,
0:19:06 > 0:19:08and if it does work for you,
0:19:08 > 0:19:10then maybe deconstruct how it's been put together.
0:19:10 > 0:19:18And my top tip for editing is to go through the material meticulously.
0:19:18 > 0:19:20Pete's top tips are...
0:19:20 > 0:19:23Be early, as time is money.
0:19:23 > 0:19:25Try to enjoy films before deconstructing them -
0:19:25 > 0:19:29analysing is good but don't let it get in the way of your enjoyment.
0:19:29 > 0:19:31And know your material -
0:19:31 > 0:19:35get to grips with all your footage before you start to edit.
0:19:35 > 0:19:38That's great advice, Pete, but we're on a deadline here.
0:19:38 > 0:19:40We've got a film to edit, so what do we do first?
0:19:40 > 0:19:43We ingest the rushes and then sync the video and the audio,
0:19:43 > 0:19:45but that bit's already been done for us -
0:19:45 > 0:19:47that's the assistant editor's job -
0:19:47 > 0:19:49and today we're going to get you guys to be the editors.
0:19:49 > 0:19:51So, let's just have a look at this first one.
0:19:51 > 0:19:54First up, the rookies review all the footage they've shot.
0:19:54 > 0:19:57- I like that one where she first looks in the cake.- Yeah.- The box.
0:19:57 > 0:19:59Remember Pete's third tip?
0:19:59 > 0:20:02Know your material before you start to edit.
0:20:03 > 0:20:06That's a good take, as well. She really goes for it in that one.
0:20:06 > 0:20:09So, maybe make a note on your script -
0:20:09 > 0:20:11two three is the one you might want to use,
0:20:11 > 0:20:13so we know roughly what we want to use.
0:20:13 > 0:20:16And it's what we call a paper edit, where we actually just go through
0:20:16 > 0:20:18and write down what shots we're going to use
0:20:18 > 0:20:19and when we're going to cut.
0:20:19 > 0:20:21Why don't we go straight into the booth?
0:20:21 > 0:20:23Sounds like Pete and the rookies have a plan in place.
0:20:23 > 0:20:26Next up, it's Alex's big moment in the voiceover booth.
0:20:26 > 0:20:29- IN AMERICAN ACCENT: - Everyone else too.
0:20:29 > 0:20:31I don't really like that one. It needs more life to it.
0:20:31 > 0:20:34Marshmallows! Chocolate drops!
0:20:34 > 0:20:36- That's enough. Just get out now! - Delicious frosting.
0:20:36 > 0:20:38Hundreds and thousands over the top!
0:20:38 > 0:20:41- Alex, cut! - The beautiful sponge...- Cut!
0:20:41 > 0:20:42- Yeah?- That was a bit too much, Alex.
0:20:42 > 0:20:44- I think we've got it. - We've got everything.
0:20:44 > 0:20:45- Happy, guys?- Yeah.- Uh-huh.
0:20:45 > 0:20:47Good. OK. Let's go back to the edit.
0:20:50 > 0:20:52We could go back to that one. It's a bit...
0:20:52 > 0:20:53The clocks are ticking,
0:20:53 > 0:20:56and the premiere is fast approaching.
0:20:56 > 0:20:59The All Over The Workplace team have secretly arranged for
0:20:59 > 0:21:02Sam and Harvey's parents to join them for the premiere,
0:21:02 > 0:21:04and the rookies have no idea...
0:21:04 > 0:21:06yet.
0:21:06 > 0:21:09Back in the edit, it's time to choose some music.
0:21:09 > 0:21:11- JAUNTY MUSIC PLAYS - I can hear Alex on top of that.
0:21:11 > 0:21:13- Yeah.- Yeah, this one.
0:21:13 > 0:21:14Sprinkle Cupcake!
0:21:14 > 0:21:16SLOWER MUSIC PLAYS
0:21:16 > 0:21:17- No. Probably not.- No?
0:21:17 > 0:21:20- I'm thinking the first one as well, yeah.- The first one?- Yeah.
0:21:20 > 0:21:21- ALEX:- Sprinkle Cupcake!
0:21:21 > 0:21:23- The cupcake just for you! - That's good timing.- Yeah.
0:21:23 > 0:21:25- So... - Yeah, let's keep that where it is.
0:21:31 > 0:21:33Back in the day, film-making was only possible
0:21:33 > 0:21:35if you could afford all the expensive gear needed,
0:21:35 > 0:21:38and all the expensive people to operate it,
0:21:38 > 0:21:40but it's 2017,
0:21:40 > 0:21:44and everyone with a mobile phone has a movie camera in their pocket.
0:21:44 > 0:21:47It's even possible to film entire movies with a phone camera.
0:21:47 > 0:21:50Some directors have kick-started their careers doing just that,
0:21:50 > 0:21:53and have gone on to make big, successful movies.
0:21:53 > 0:21:56The wonderful worldwide web has changed film-making forever.
0:21:56 > 0:21:59Amateur film-makers, and actually anyone with a computer and a camera,
0:21:59 > 0:22:03can now make films and upload their content for all the world to see.
0:22:08 > 0:22:12An expectant audience gathers in the film school's screening room,
0:22:12 > 0:22:14ready for the big premiere.
0:22:14 > 0:22:17Alex and the rookies have dressed for the occasion.
0:22:17 > 0:22:20OK, rookies, we're about to have the screening of your film.
0:22:20 > 0:22:22- How are you feeling? - I'm really excited.
0:22:22 > 0:22:24- Yeah?- Excited.- Not nervous?
0:22:24 > 0:22:27- Well, a little bit. - Right, good luck.
0:22:27 > 0:22:28- Thank you.- See you later.
0:22:28 > 0:22:32Ladies and gentlemen, a very warm welcome to this very special
0:22:32 > 0:22:35screening of a brand-new film, Cupcake.
0:22:35 > 0:22:38Now, it's been made by two rookie directors,
0:22:38 > 0:22:40- Harvey and Sam! - CHEERING
0:22:40 > 0:22:42There's the rookies' parents in the back row.
0:22:42 > 0:22:44I don't think they've noticed them.
0:22:44 > 0:22:45Or have they?
0:22:45 > 0:22:46OK, guys...
0:22:46 > 0:22:48Thank you all for coming,
0:22:48 > 0:22:51and thank you to the crew and cast for helping us make this film.
0:22:51 > 0:22:54I'd like to show you the film, and we hope you all enjoy it.
0:22:54 > 0:22:57But, quickly, can I get a selfie?
0:22:57 > 0:22:59CHEERING
0:23:00 > 0:23:01Thanks.
0:23:01 > 0:23:04- This is...- Cupcake.
0:23:12 > 0:23:16Sprinkle Cupcake - the cupcake just for you!
0:23:16 > 0:23:17Sprinkle Cupcake!
0:23:17 > 0:23:20And everyone else too.
0:23:23 > 0:23:25Yeah, I just picked it up.
0:23:25 > 0:23:28The place was crowded!
0:23:31 > 0:23:34Hey, hey. This is not the same.
0:23:34 > 0:23:35No, you'll see.
0:23:35 > 0:23:39I'll be there in 20 minutes. Don't be late.
0:23:39 > 0:23:40Mm-hm.
0:23:42 > 0:23:44QUIET LAUGHTER
0:23:48 > 0:23:50- CHOIR SINGS - Sprinkle Cupcake -
0:23:50 > 0:23:53the cupcake just for you.
0:23:53 > 0:23:54Sprinkle Cupcake!
0:23:54 > 0:23:57And everyone else too.
0:23:57 > 0:23:59Mmm.
0:23:59 > 0:24:02Looks like Sam's mum is overcome with pride.
0:24:02 > 0:24:03Huh.
0:24:13 > 0:24:14Sprinkle Cupcake -
0:24:14 > 0:24:17the cupcake just for you.
0:24:17 > 0:24:19Sprinkle Cupcake!
0:24:19 > 0:24:21And everyone else too.
0:24:21 > 0:24:23Mmm.
0:24:23 > 0:24:25Mmm!
0:24:25 > 0:24:27Yum.
0:24:27 > 0:24:28Yum-yum!
0:24:28 > 0:24:31- Oh, that tastes good. - THUMPING
0:24:33 > 0:24:35SOFT LAUGHTER
0:24:44 > 0:24:47Have you ever tried a Sprinkles Cupcake?
0:24:47 > 0:24:49SHE GRUNTS
0:24:49 > 0:24:50They're really good.
0:24:50 > 0:24:51Mmm.
0:24:54 > 0:24:56DOOR OPENS
0:24:58 > 0:25:01Anna!
0:25:01 > 0:25:03JAUNTY MUSIC PLAYS
0:25:03 > 0:25:05CHEERING
0:25:09 > 0:25:11Look at those proud parents.
0:25:11 > 0:25:13It looks like the rookies have finally spotted them.
0:25:13 > 0:25:15I didn't notice you here.
0:25:15 > 0:25:16Absolutely amazing. Well done.
0:25:16 > 0:25:19- Hello.- I'm so proud of you. - It's so weird.
0:25:19 > 0:25:21- Really good. - It was really brilliant. Well done.
0:25:21 > 0:25:23- Thank you. - I'm really proud of you.
0:25:23 > 0:25:25The final product on screen was really, really lovely.
0:25:25 > 0:25:29I had so much fun doing it and I think it turned out so well.
0:25:29 > 0:25:31It was hilarious. It was so well done.
0:25:31 > 0:25:34It felt really fantastic,
0:25:34 > 0:25:36to have my first screening in front of an audience.
0:25:36 > 0:25:39I'm really, really proud of the film because it looks great,
0:25:39 > 0:25:43and it looks better than anything that I've produced.
0:25:43 > 0:25:47This process has made me more eager to make my own short films, and more
0:25:47 > 0:25:51comedy films, because it's opened up different genres to me.
0:25:51 > 0:25:55I do feel that everything that I've learnt will improve my film-making.
0:25:55 > 0:25:57Harvey, you did a really good job in the edit.
0:25:57 > 0:26:01You had great, strong opinions on the footage,
0:26:01 > 0:26:04and you were really vocal and really clear on what you wanted to use
0:26:04 > 0:26:06and what you didn't want to use.
0:26:06 > 0:26:08Sam, I think you did really, really well.
0:26:08 > 0:26:10Your technical skills were really strong.
0:26:10 > 0:26:13Most people can't pick up the software as fast as you did.
0:26:13 > 0:26:15If there's one thing that you could work on,
0:26:15 > 0:26:17I think it's being a bit more confident,
0:26:17 > 0:26:21and sharing your ideas and opinions with the rest of your film-makers.
0:26:22 > 0:26:25Our rookies have had a fantastic film-making experience -
0:26:25 > 0:26:28on set, learning about stunts,
0:26:28 > 0:26:31and getting a chance to direct and edit their own short film
0:26:31 > 0:26:33with a proper crew -
0:26:33 > 0:26:36but have they got what it takes to be top film-makers of the future?
0:26:40 > 0:26:42KLAXON
0:26:42 > 0:26:44Harvey, I definitely think you can make it in the film industry.
0:26:44 > 0:26:49You've got strong, creative ideas, and you're not shy of sharing them.
0:26:49 > 0:26:52Harvey, I think you're definitely going to enjoy working in
0:26:52 > 0:26:54the film business, if that's what you go into,
0:26:54 > 0:26:57and I think there's quite a budding director inside there.
0:26:57 > 0:26:59Sam, I definitely think you can make it in the film industry.
0:26:59 > 0:27:02You've got really strong technical and creative editing skills,
0:27:02 > 0:27:04but you're clearly a good director as well.
0:27:04 > 0:27:06Sam, I definitely think you've got what it takes to
0:27:06 > 0:27:09work in the industry, cos you've got a great eye for detail
0:27:09 > 0:27:10and really good instincts.
0:27:10 > 0:27:13So, just keep working on that confidence, keep making films,
0:27:13 > 0:27:16and hopefully I'll see your name one day on the credits.
0:27:16 > 0:27:19Well, Harvey and Sam, how much have you enjoyed
0:27:19 > 0:27:20your time as film directors?
0:27:20 > 0:27:24It's been a really amazing experience. I've enjoyed it all.
0:27:24 > 0:27:25- Brilliant.- Yeah.
0:27:25 > 0:27:27It is really, really priceless and I will never forget it.
0:27:27 > 0:27:29So, I've got to ask you a question now -
0:27:29 > 0:27:31do you still want to be a film-maker?
0:27:31 > 0:27:33Yeah, even more.
0:27:33 > 0:27:34Definitely, yes.
0:27:34 > 0:27:36Well, that's the end of this show.
0:27:36 > 0:27:39You know what we have to do, don't you? One, two...
0:27:39 > 0:27:40ALL: That's a wrap!