0:00:14 > 0:00:18Conrad, Greg, Chrystal, Fikreye and Audrey are about to
0:00:18 > 0:00:21start working on their very first short film.
0:00:21 > 0:00:24How will they go about producing it, step by step?
0:00:24 > 0:00:28We're going to follow them as they learn how to make a film.
0:00:28 > 0:00:31Expert documentary filmmaker Cassius Rayner
0:00:31 > 0:00:33is guiding them along the way.
0:00:33 > 0:00:35The challenge is a three-minute film,
0:00:35 > 0:00:41it's going to be about Zara Hohn, who is an Olympic 100m hurdler.
0:00:41 > 0:00:43So the first thing we need to think about is
0:00:43 > 0:00:47research, research, research until we've really got an idea of
0:00:47 > 0:00:49who this person is, what their background is
0:00:49 > 0:00:51and start looking at, what is her story.
0:00:51 > 0:00:54Research means looking on the internet, reading books
0:00:54 > 0:00:57and magazines, and of course meeting the subject of your film
0:00:57 > 0:00:59and asking lots of questions.
0:00:59 > 0:01:01What did you get up to as a teenager?
0:01:01 > 0:01:04First race was when I was 14 in hurdles,
0:01:04 > 0:01:07and actually I was quite good at it, I was a natural talent,
0:01:07 > 0:01:09so I decided yeah, I'm going to do it.
0:01:09 > 0:01:12But I didn't have so much as a teen... I had an operation,
0:01:12 > 0:01:15which went quite wrong.
0:01:15 > 0:01:19I actually died in the operation but they actually survived me back.
0:01:19 > 0:01:23My dad actually took me on and he decided to coach me
0:01:23 > 0:01:26and brought me from being, like, really weak at walking
0:01:26 > 0:01:30to being British number one in hurdles.
0:01:30 > 0:01:32I thought it was interesting
0:01:32 > 0:01:35how she talked about how her parents supported her.
0:01:35 > 0:01:38You would never know that she'd had such a serious illness.
0:01:38 > 0:01:42The group are learning the importance of background research
0:01:42 > 0:01:45and especially why you need to: Get to know your main character.
0:01:45 > 0:01:48Try to discover what makes them tick.
0:01:48 > 0:01:51Ask lots of questions.
0:01:51 > 0:01:54Ask yourself what the key story is.
0:01:54 > 0:01:57Does it have a beginning, middle and end?
0:01:57 > 0:02:00That naturally leads us on to the next stage
0:02:00 > 0:02:02which will be formulating the shooting script.
0:02:02 > 0:02:06On one side we're going to have audio, her voice, sounds.
0:02:06 > 0:02:10And then on this side, basic visual structure.
0:02:10 > 0:02:13What would be the first opening visual thing you'd see?
0:02:13 > 0:02:16Quick cut series of her getting ready.
0:02:16 > 0:02:19She could start to talk about the obstacles that she's faced.
0:02:19 > 0:02:22You could have a montage of her exercising like she's
0:02:22 > 0:02:25- bringing back her strength. - We've got a plan.
0:02:25 > 0:02:27I think we're ready to go.
0:02:27 > 0:02:31So before you start filming, make sure you have a plan.
0:02:31 > 0:02:34Write a shooting script and from that you can work out
0:02:34 > 0:02:37a list of the shots you'll need to film,
0:02:37 > 0:02:40and the interview questions to ask.
0:02:40 > 0:02:43It's the day of the shoot, and our filmmakers are raring to go.
0:02:43 > 0:02:45They're going to be using
0:02:45 > 0:02:47an affordable high street camcorder and tripod.
0:02:47 > 0:02:49They need to work out how to frame -
0:02:49 > 0:02:53or "compose" - the all-important interview shot.
0:02:53 > 0:02:56It's just about thinking about your composition,
0:02:56 > 0:02:58thinking about where the subject is in the frame.
0:02:58 > 0:03:01Normally we'd leave just a fraction above the head.
0:03:01 > 0:03:03The subject in the foreground
0:03:03 > 0:03:05and in the background, the stadium where she trains.
0:03:05 > 0:03:09Camera shake is distracting to look at, so choose a nice composition
0:03:09 > 0:03:12then hold the camera still, using a tripod if you have one.
0:03:12 > 0:03:14Introduce yourself, your name and what it is you do.
0:03:14 > 0:03:17My name's Zara Hohn and I'm a sprinter hurdler.
0:03:17 > 0:03:18Can you talk about becoming ill?
0:03:18 > 0:03:21I had an infection which actually got into my blood.
0:03:21 > 0:03:25They rushed me to the hospital and...
0:03:25 > 0:03:29Good composition makes your film look beautiful.
0:03:29 > 0:03:33Frame each shot like it's a work of art.
0:03:33 > 0:03:37Don't suffer from camera shake - keep your shot steady.
0:03:37 > 0:03:40Use a tripod if you need to.
0:03:40 > 0:03:42The students have decided to film
0:03:42 > 0:03:45different shots of Zara on an exercise bike.
0:03:45 > 0:03:49Try and use several shots, at least five shots to cover that sequence.
0:03:49 > 0:03:52A wide shot,
0:03:52 > 0:03:54close up on the face,
0:03:54 > 0:03:56close up on the hands,
0:03:56 > 0:03:59over the shoulder shot,
0:03:59 > 0:04:00and possibly another shot
0:04:00 > 0:04:03to make up five shots in that sequence.
0:04:03 > 0:04:06Remember, you don't have to shoot everything from the same height.
0:04:06 > 0:04:09You can go high angle - this is a perfect example
0:04:09 > 0:04:11of a high-angle shot that really works.
0:04:11 > 0:04:13And again, a low-angle shot
0:04:13 > 0:04:16giving us that really expanse-wide shot.
0:04:16 > 0:04:20It just looks really good. Hold the shot for at least ten seconds.
0:04:20 > 0:04:22Holding every shot for at least ten seconds
0:04:22 > 0:04:24gives you enough material to play with in the edit.
0:04:26 > 0:04:30Creative camerawork will help you tell your story, so:
0:04:30 > 0:04:34film sequences using different shot sizes.
0:04:34 > 0:04:37Shoot from high and low angles.
0:04:37 > 0:04:41Count in your head and hold every shot for at least ten seconds.
0:04:41 > 0:04:45The shoot is finished. We'll be seeing these students again later
0:04:45 > 0:04:47when they learn how to edit what they've filmed,
0:04:47 > 0:04:51but for now they've got a lot to say about how it went.
0:04:51 > 0:04:55Meeting Zara before allowed us to know what questions to ask.
0:04:55 > 0:04:59I learnt more stuff about how to interview someone.
0:04:59 > 0:05:00What different angles to use.
0:05:00 > 0:05:04The hardest thing is trying to compose the shot right.
0:05:04 > 0:05:06I'm looking forward to seeing
0:05:06 > 0:05:09what it will look like when it's all been put together.
0:05:11 > 0:05:15It's a chilly autumn morning on an industrial site in East London
0:05:15 > 0:05:18and six aspiring filmmakers are about to learn how to shoot
0:05:18 > 0:05:20a music video.
0:05:21 > 0:05:24They meet Tom Swindell, a professional
0:05:24 > 0:05:28Director of Photography, and singer/songwriter Aruba Red
0:05:28 > 0:05:30to hear the music and plan what they're going to film.
0:05:30 > 0:05:33This is a great space for us to listen to the track
0:05:33 > 0:05:37and start getting some ideas about how we can use this location.
0:05:37 > 0:05:41SONG PLAYS
0:05:44 > 0:05:46It kind of gave me
0:05:46 > 0:05:48a feeling of sci-fi dystopia or something like that.
0:05:48 > 0:05:50It's kind of hypnotic.
0:05:50 > 0:05:52It's a really dreamy song.
0:05:52 > 0:05:54With music videos
0:05:54 > 0:05:57you have got permission to be a little bit abstract.
0:05:57 > 0:06:00Let's see whether we want to link any particular images to the vocal.
0:06:00 > 0:06:03It kind of starts off with you being in places where
0:06:03 > 0:06:06there's not really any sunlight, so you'd be looking
0:06:06 > 0:06:07quite pale, and quite cold.
0:06:07 > 0:06:11And by the time you get to the chorus it's like you've warmed up.
0:06:11 > 0:06:14I guess the word "light" kind of represents truth, in the song.
0:06:14 > 0:06:17I was thinking about interesting shots using light -
0:06:17 > 0:06:19kind of bleached-out shots.
0:06:19 > 0:06:20Most music videos are shot
0:06:20 > 0:06:23in just one day, so we better get cracking.
0:06:23 > 0:06:27so before you even shoot one frame, you need to:
0:06:27 > 0:06:29Listen to the tune - a lot!
0:06:29 > 0:06:34Ask yourself what the music conveys and come up with some visual ideas.
0:06:34 > 0:06:38OK, guys. So, yeah this is the location, the world's our oyster.
0:06:38 > 0:06:41We've got many different angles we can choose from here.
0:06:41 > 0:06:43A way I help decide on my framing
0:06:43 > 0:06:45before I even get my camera out is to actually
0:06:45 > 0:06:48put your finger and thumb out like that
0:06:48 > 0:06:51and bring it together and that creates a rectangle,
0:06:51 > 0:06:55which is pretty close to the kind of frame size we're going to be using.
0:06:55 > 0:06:58So I think we're going to go straight in on a close-up.
0:06:58 > 0:07:01To start with, Tom is filming with his own professional equipment,
0:07:01 > 0:07:04but using techniques you can do with any cheaper camera.
0:07:04 > 0:07:07He starts by filming the whole song in close-up,
0:07:07 > 0:07:09then the whole song again in a wide shot.
0:07:09 > 0:07:11# ..Something alive
0:07:11 > 0:07:13# Can we rise, rise, rise? #
0:07:13 > 0:07:16And that gives you a great opportunity because you can
0:07:16 > 0:07:19cut from the wider shot in to the tighter shot and back and forth.
0:07:22 > 0:07:25Also a nice technique we can bring in here is panning.
0:07:25 > 0:07:29I've got my dancer here and I'm moving the camera nice and slowly.
0:07:29 > 0:07:33# Take me to the light... #
0:07:36 > 0:07:38Aspire to film great-looking pictures by:
0:07:38 > 0:07:40Finding a good location.
0:07:42 > 0:07:46Remember to shoot the whole song in wide shot and close-up
0:07:46 > 0:07:49before you start being more creative.
0:07:49 > 0:07:53Try some simple camera moves on a tripod.
0:07:53 > 0:07:55We're going to do a tracking shot with Logic
0:07:55 > 0:07:58walking towards the camera delivering his lines.
0:07:58 > 0:08:03A wheelchair is one way to do really professional-looking tracking shots.
0:08:03 > 0:08:06# ..Strength is when you really see I see you... #
0:08:06 > 0:08:08This is a flip camera.
0:08:08 > 0:08:11So what I like about this is you can really move round.
0:08:11 > 0:08:12Cos it's the rap part of the song
0:08:12 > 0:08:15I'm going to put more dynamism into it and move round him,
0:08:15 > 0:08:16spar with him a little bit.
0:08:16 > 0:08:20# See how can we be strong Strength is when you really see
0:08:20 > 0:08:22# I see you... #
0:08:22 > 0:08:23Even on a mobile phone you can get
0:08:23 > 0:08:26like HD video nowadays, which is brilliant.
0:08:26 > 0:08:31One technique with a pocket or phone camera is "arms length" filming
0:08:31 > 0:08:34when the artist actually films him or herself.
0:08:34 > 0:08:37# Take me to the light Doesn't mean I wanna die... #
0:08:37 > 0:08:40We're going to do a locked-off shot now
0:08:40 > 0:08:43with the camera on the tripod so that it stays still.
0:08:43 > 0:08:44We've got a dancer back there.
0:08:44 > 0:08:46We're going to move him through the frame
0:08:46 > 0:08:50in four different positions and cut out that middle bit
0:08:50 > 0:08:53so that we can make him appear and reappear
0:08:53 > 0:08:55throughout the frame like magic.
0:08:55 > 0:08:59So make sure you get creative with your camerawork, and try:
0:08:59 > 0:09:01Tracking shots using a wheelchair.
0:09:01 > 0:09:04Filming yourself at arm's length.
0:09:04 > 0:09:09Lock off a shot on a tripod then let the action happen inside the frame.
0:09:09 > 0:09:11That's a wrap, guys, it's home time.
0:09:11 > 0:09:14Tom and the crew have achieved an amazing amount
0:09:14 > 0:09:15in just one day of filming.
0:09:15 > 0:09:17We learned lots of techniques.
0:09:17 > 0:09:20It was interesting how they used the camera and the space.
0:09:20 > 0:09:23You do this thing with your finger so
0:09:23 > 0:09:26if you don't have the camera at hand then you can kind of picture.
0:09:26 > 0:09:31You don't need specific expensive equipment to make a film good.
0:09:31 > 0:09:32I think I learnt a lot of stuff
0:09:32 > 0:09:35that I could use in a film project that I would do.
0:09:35 > 0:09:38I'm not going to be able to stop singing it today now -
0:09:38 > 0:09:39we've been singing it all day.
0:09:39 > 0:09:42And this is what the final video looks like.
0:09:42 > 0:09:44# I see you and me And I see me and you
0:09:44 > 0:09:47# But I can't eat Unless everybody's eating food
0:09:47 > 0:09:51# Take me to the light Doesn't mean I wanna die
0:09:51 > 0:09:54# You see I'm asking God To give me wings so I can fly
0:09:56 > 0:09:59# Take me to the light
0:10:01 > 0:10:06# Take me to the light... #
0:10:08 > 0:10:10Our intrepid stooge reporter Susan Earl
0:10:10 > 0:10:14has been out on the streets of London recording interviews.
0:10:14 > 0:10:16We're inviting a panel of young people
0:10:16 > 0:10:18to try and spot her deliberate mistakes,
0:10:18 > 0:10:22and discuss how to conduct an interview.
0:10:22 > 0:10:25What makes a good interview, and what makes a bad interview?
0:10:25 > 0:10:28That's the question our panel has to answer.
0:10:28 > 0:10:31We sent our reporter to talk to
0:10:31 > 0:10:35people about fashion, and make some blatant errors along the way.
0:10:35 > 0:10:38In this clip we asked our panel to think about how she asks questions.
0:10:38 > 0:10:40Will they spot the deliberate mistakes?
0:10:40 > 0:10:42OK, so Mark, fashion.
0:10:43 > 0:10:46Sorry, I'm just trying to work out which, er...
0:10:48 > 0:10:50- Do you like skirts?- Yes.
0:10:50 > 0:10:51- Do you like trousers?- Yes.
0:10:51 > 0:10:53- Do you like shoes?- Yeah.
0:10:53 > 0:10:55OK. And, um...
0:10:55 > 0:10:58Do you think it's because the entire kind of fashion industry
0:10:58 > 0:11:00kind of rests on this whole idea of,
0:11:00 > 0:11:01that women need to be more beautiful
0:11:01 > 0:11:04and that women only like have any self-worth
0:11:04 > 0:11:07if they've got some kind of attractiveness going on?
0:11:07 > 0:11:10Or do you think that it's just nice to wear nice clothes
0:11:10 > 0:11:13or do you think it's just part of like kind of like
0:11:13 > 0:11:18weakening females, you know, us as women?
0:11:18 > 0:11:22Or do you kind of think it's just good fun or is it serious?
0:11:22 > 0:11:23I don't know, um...
0:11:23 > 0:11:25She asked yes or no questions,
0:11:25 > 0:11:28so they weren't really getting the right answers.
0:11:28 > 0:11:30She was unprepared.
0:11:30 > 0:11:33She didn't set out with something she actually wanted to find out.
0:11:33 > 0:11:37So when you head out to do an interview, it's essential to:
0:11:37 > 0:11:40Prepare questions in advance.
0:11:40 > 0:11:42Don't ask closed questions,
0:11:42 > 0:11:44where the only possible answer is yes or no.
0:11:44 > 0:11:49Do ask open questions that will get the person talking.
0:11:50 > 0:11:53Clip two is all about body language. We asked the panel to think about
0:11:53 > 0:11:57our reporter's body language and how well she listens to people.
0:11:57 > 0:12:00Um, do you feel like, you know,
0:12:00 > 0:12:03you've got to follow any particular sense of style?
0:12:03 > 0:12:05What's that, sorry?
0:12:05 > 0:12:09Do you feel you've got to present any particular sense of style?
0:12:09 > 0:12:12No, I just kind of do my own thing, you know?
0:12:12 > 0:12:15I mean, I know a lot of people like labels and everything like that
0:12:15 > 0:12:18but I'm not so much about that, as long as I don't...
0:12:18 > 0:12:22I think it's about how I look and weight, more than anything.
0:12:22 > 0:12:25I find it really difficult to buy clothes for myself.
0:12:25 > 0:12:29Oh, gosh, sorry...hello?
0:12:29 > 0:12:30Hello!
0:12:30 > 0:12:33How much do you spend a week on clothing, or a month?
0:12:33 > 0:12:35Or a month?
0:12:35 > 0:12:37- It really depends...- Would you say?
0:12:37 > 0:12:40I plan if I've got something coming up.
0:12:40 > 0:12:43- So...- If you had like...
0:12:43 > 0:12:44Probably about £200.
0:12:44 > 0:12:46What, a week, a month?
0:12:46 > 0:12:49She never gave the person eye contact.
0:12:49 > 0:12:51Look at her phone, check the time,
0:12:51 > 0:12:53roll her eyes, look at something else.
0:12:53 > 0:12:55She was fiddling a lot.
0:12:55 > 0:12:58I could tell that some of them were a bit offended by it.
0:12:58 > 0:13:00She wasn't sensitive to what they were saying.
0:13:00 > 0:13:02It's not easy being interviewed,
0:13:02 > 0:13:04so help your interviewee to feel comfortable.
0:13:04 > 0:13:08Keep eye contact and really listen.
0:13:08 > 0:13:12Try not to fidget - it can appear rude or that you're uninterested.
0:13:12 > 0:13:15Avoid speaking over them - it's not only going to build bad rapport,
0:13:15 > 0:13:19but when it comes to the edit, you won't be able to cut yourself out.
0:13:19 > 0:13:24Our final clip is about recording good sound - or bad.
0:13:24 > 0:13:27What sound principles do you need to follow when you interview someone?
0:13:27 > 0:13:30What about shopping, kind of like...?
0:13:30 > 0:13:33SIREN WAILS
0:13:33 > 0:13:34INAUDIBLE
0:13:34 > 0:13:35- I wear a lot of black...- Mmm...
0:13:35 > 0:13:38- because I'm in a band with my sisters...- Oh!
0:13:38 > 0:13:40- ..so we tend to wear a lot of black and white.- Mmm.
0:13:40 > 0:13:43So like we're together as a group so we get noticed.
0:13:43 > 0:13:44There are certain labels...
0:13:44 > 0:13:47- COUGHS - Tends to look better, so...- Yeah.
0:13:47 > 0:13:49Good trainers...
0:13:49 > 0:13:51INAUDIBLE
0:13:51 > 0:13:53You notice that.. Sorry...you notice all of that sort of stuff
0:13:53 > 0:13:55Yeah, er, OK.
0:13:55 > 0:13:57She wasn't getting the microphone
0:13:57 > 0:14:00close enough to the person that she was talking to.
0:14:00 > 0:14:02It was often near a busy road
0:14:02 > 0:14:05or in the middle of a junction or something like that,
0:14:05 > 0:14:08maybe she should have taken them somewhere quieter.
0:14:08 > 0:14:12To summarise, your audience will never forgive bad sound. So:
0:14:12 > 0:14:15Find a quiet place to do the interview.
0:14:15 > 0:14:17Use a separate microphone
0:14:17 > 0:14:20and hold it close to the person you're interviewing.
0:14:20 > 0:14:23Don't be afraid to stop the interview for a moment
0:14:23 > 0:14:26if there's too much noise.
0:14:27 > 0:14:29Well, I think that went really well.
0:14:29 > 0:14:31I've interviewed a lot of people today
0:14:31 > 0:14:34and I'm sure you're going to learn from my expertise.
0:14:34 > 0:14:38So keep practicing, guys, and maybe one day you'll be as good as me.
0:14:39 > 0:14:42These three young filmmakers, Jummy, Lauren and Naomi,
0:14:42 > 0:14:44have been busy making a film trailer
0:14:44 > 0:14:47for their sci-fi thriller The Mind Reader.
0:14:47 > 0:14:49They drew a storyboard, picked their costumes,
0:14:49 > 0:14:53then went out and shot it around their neighbourhood.
0:14:53 > 0:14:57Now all they need to do is to learn how to edit a film trailer.
0:14:57 > 0:15:00Professional editor Pete Booth will be at the controls
0:15:00 > 0:15:03and guiding them through the process.
0:15:03 > 0:15:06What type of movie is it? Thriller, comedy, horror?
0:15:06 > 0:15:08I think it's like a sci-fi thriller.
0:15:08 > 0:15:10Most film trailers conform to conventions.
0:15:10 > 0:15:12One of the big conventions is the cliff-hanger -
0:15:12 > 0:15:16leaving the audience wanting to see more. So they'll show you
0:15:16 > 0:15:18the most exciting bits, the most interesting bits.
0:15:20 > 0:15:24So the first thing we need to do is go through your footage
0:15:24 > 0:15:27and see which takes you want to use in your finished trailer.
0:15:27 > 0:15:29Once they've picked out their best shots,
0:15:29 > 0:15:30they put them in the right order.
0:15:30 > 0:15:33So we need to decide what your first shot was,
0:15:33 > 0:15:35what your second shot was, to tell that story.
0:15:35 > 0:15:38In our filmmakers' story, Lauren finds
0:15:38 > 0:15:41a mysterious stone that gives her the power to read minds.
0:15:41 > 0:15:43You go from shot 1...
0:15:43 > 0:15:45to shot 2.
0:15:45 > 0:15:49Do you see how it's starting to come together?
0:15:49 > 0:15:51By just putting shot after shot?
0:15:54 > 0:15:57We need to maybe think of three or four captions that allows us
0:15:57 > 0:16:01to tell that story in as few words as possible.
0:16:01 > 0:16:04- What would the first caption be? - "They were the best of friends."
0:16:04 > 0:16:07"They were the best of friends" - great, that sets up,
0:16:07 > 0:16:09at the beginning of the trailer, who our characters are.
0:16:15 > 0:16:18So, ask yourself what genre your film is,
0:16:18 > 0:16:21and what conventions you might need to follow.
0:16:21 > 0:16:24Edit your best shots together.
0:16:24 > 0:16:27You can also use captions or voiceover
0:16:27 > 0:16:30to tell your story to great effect.
0:16:30 > 0:16:32We've got our structure, our script.
0:16:32 > 0:16:34We need to pick a piece of music
0:16:34 > 0:16:37that represents the genre you've chosen.
0:16:37 > 0:16:41Just to show you how much music can affect,
0:16:41 > 0:16:44I thought we might just try and throw a couple of tracks on there
0:16:44 > 0:16:46just to show you how the feel of it would be different.
0:16:46 > 0:16:50JAUNTY MUSIC
0:16:52 > 0:16:57We were wondering if we could do something like quite child-like
0:16:57 > 0:16:58but scary at the same time.
0:16:58 > 0:16:59- Yeah.- That's a good idea.
0:16:59 > 0:17:03MUSIC-BOX STYLE MUSIC
0:17:04 > 0:17:08OK, so we'll definitely use that bit, yeah? Cool.
0:17:08 > 0:17:11As well as music, film trailers often use sound effects
0:17:11 > 0:17:14like whooshes and bangs to add drama.
0:17:14 > 0:17:16WHOOSH
0:17:18 > 0:17:21Try out different music to see what feels right.
0:17:21 > 0:17:25Remember you can use more than one track within the same trailer.
0:17:25 > 0:17:27Add in sound effects -
0:17:27 > 0:17:30there are loads available for free on the internet.
0:17:30 > 0:17:33The other thing we use a lot in trailers and promos
0:17:33 > 0:17:35is quite simple special effects on the pictures.
0:17:35 > 0:17:40The first one which every trailer maker probably in the world
0:17:40 > 0:17:41has used is the fade to black.
0:17:41 > 0:17:44It's a shorthand tool to create emotion.
0:17:50 > 0:17:52It might be worth trying another trick on this.
0:17:52 > 0:17:54You know where Lauren falls?
0:17:54 > 0:17:57It might be worth having fun with slow motion,
0:17:57 > 0:18:01cos you make more of the fall and you can put a nice big sound effect.
0:18:04 > 0:18:07You might also want to try making your captions more dynamic
0:18:07 > 0:18:09by adding simple moves.
0:18:09 > 0:18:13We can make them fly on to screen...
0:18:16 > 0:18:19..fly down into screen.
0:18:19 > 0:18:22Visual effects are a fun way to make your trailer dramatic,
0:18:22 > 0:18:25so - fade shots to black.
0:18:25 > 0:18:28Slow your footage down.
0:18:28 > 0:18:31and fly your titles on to the screen.
0:18:31 > 0:18:33- Shall we have a look at the trailer? - Yeah.
0:18:33 > 0:18:37MUSIC-BOX STYLE MUSIC
0:18:40 > 0:18:42WHOOSH
0:18:46 > 0:18:47THUMP
0:18:50 > 0:18:52Sorry, what did you say?
0:18:52 > 0:18:53Nothing.
0:18:53 > 0:18:55'Leave me alone!'
0:18:55 > 0:18:57WHOOSH
0:18:57 > 0:19:00CLASSICAL MUSIC
0:19:02 > 0:19:04She's crazy!
0:19:04 > 0:19:06I can read minds, and I read her mind! She's evil!
0:19:06 > 0:19:08THUMP
0:19:08 > 0:19:10FAST DRUMBEAT
0:19:13 > 0:19:16WHOOSH
0:19:16 > 0:19:18WHISPER: I'm inside your head.
0:19:20 > 0:19:23These five young moviemakers have been shooting
0:19:23 > 0:19:25their very first film, about a British hurdler
0:19:25 > 0:19:28who aspires to compete in the Olympics.
0:19:28 > 0:19:30Now they've come to a professional edit suite
0:19:30 > 0:19:32to discover how to edit a film.
0:19:33 > 0:19:39They're going to be working with documentary maker Barry Gibb.
0:19:39 > 0:19:42So the first thing you've got to do is log what you actually have,
0:19:42 > 0:19:45you've got to go through the rushes and see what's there.
0:19:45 > 0:19:48For each of these clips, we're going to assess
0:19:48 > 0:19:50whether it's any good or not.
0:19:50 > 0:19:53In focus, out of focus, write down a little description.
0:19:53 > 0:19:56Note each shot's unique number, or timecode.
0:19:57 > 0:20:01Then try editing your best shots together into a sequence.
0:20:01 > 0:20:03And this is it.
0:20:03 > 0:20:04Everything we've got here
0:20:04 > 0:20:09is everything we can use to build a film.
0:20:12 > 0:20:14I want to be the best.
0:20:14 > 0:20:16Logging also includes
0:20:16 > 0:20:18going carefully through any interviews you have.
0:20:18 > 0:20:21The interview is where the story is built.
0:20:21 > 0:20:24All that matters now is what she says.
0:20:24 > 0:20:28And, um, basically died in the operation, which
0:20:28 > 0:20:31- they had to go and tell... - 'That's got to go in.'
0:20:31 > 0:20:34You cannot get more dramatic than somebody saying "I died".
0:20:34 > 0:20:38It shows how, despite some things like her illness,
0:20:38 > 0:20:41- she still managed to become an athlete.- Exactly.
0:20:41 > 0:20:43So, before you start editing,
0:20:43 > 0:20:46watch what you've filmed and write a log.
0:20:46 > 0:20:51Cut your best shots together so you can find them easily.
0:20:51 > 0:20:56Mark out the strongest bits of any interviews you have.
0:20:56 > 0:20:59The journey that Zara's going to be taking, within the context
0:20:59 > 0:21:04of this film, is arriving at the gym, warming up,
0:21:04 > 0:21:06doing her training. Beneath that,
0:21:06 > 0:21:09we're going to have the journey of what she's saying.
0:21:09 > 0:21:12Work out how to re-order what your interviewee says
0:21:12 > 0:21:14so they tell the most powerful story possible.
0:21:14 > 0:21:16If we started with the fact that she died,
0:21:16 > 0:21:18how would that change the film?
0:21:18 > 0:21:22It would be quite dramatic from the start.
0:21:22 > 0:21:23Pull in people quite well.
0:21:29 > 0:21:31You see, we've now got our first clip.
0:21:31 > 0:21:35Edit together the interview first, according to what you planned.
0:21:38 > 0:21:42This first cut will always be too long, so it'll need cutting down.
0:21:42 > 0:21:45Listen out for things that you don't think are adding to the story, OK?
0:21:45 > 0:21:49Cos that's the stuff we're going to cut out.
0:21:49 > 0:21:53But the first thing was on my mind was I still want to do athletics,
0:21:53 > 0:21:58so I was a bit weak at the time, and I was in hospital for a few months.
0:21:58 > 0:22:02- Maybe the very last thing she says, we could probably cut out.- Mm-hmm.
0:22:02 > 0:22:06But the first thing was on my mind was I still wanted to do athletics.
0:22:06 > 0:22:10I think we have the foundation of a film.
0:22:11 > 0:22:15So, to summarise - first structure your film on paper,
0:22:15 > 0:22:18thinking in terms of beginning, middle and end.
0:22:18 > 0:22:21Then set about editing together your interview.
0:22:21 > 0:22:24Less is more. Cut the interview down as much as you can
0:22:24 > 0:22:27and re-order it to tell the best story.
0:22:27 > 0:22:30With the structure of the film laid down,
0:22:30 > 0:22:33start looking for the pictures that will complement the words.
0:22:33 > 0:22:37We have these additional shots of her running, running towards us.
0:22:37 > 0:22:41This is an unstoppable force of nature, and I think the combination
0:22:41 > 0:22:45of her talking about her desire to be a world champion combined with
0:22:45 > 0:22:50you seeing how much energy and life she's got now, will do it.
0:22:50 > 0:22:54My ambition is to be the world's number one.
0:22:54 > 0:22:56I want to be a world champion, an Olympic champion.
0:22:56 > 0:22:58I want to inspire other people.
0:23:01 > 0:23:04The film is finished and our young directors
0:23:04 > 0:23:07have learned loads from the experience of making it.
0:23:07 > 0:23:09It's interesting that we started with the audio first
0:23:09 > 0:23:13and then matched it up with the visuals.
0:23:13 > 0:23:15It's really quite difficult to
0:23:15 > 0:23:19choose which clips are most important and which ones
0:23:19 > 0:23:20you don't really need.
0:23:20 > 0:23:24I think the film looks really good - I'm really proud.
0:23:25 > 0:23:28And here is some of the completed film.
0:23:28 > 0:23:31When I was roughly about 14 years old
0:23:31 > 0:23:34I had an infection which actually got into my blood.
0:23:34 > 0:23:38They rushed me to the hospital
0:23:38 > 0:23:41and, er, basically I died in the operation.
0:23:42 > 0:23:46Somehow they got an emergency blood transfusion
0:23:46 > 0:23:48and they managed to get me back.
0:23:50 > 0:23:55When I'm running down the track, I don't think of nothing at all,
0:23:55 > 0:23:58specially if it's a good race. Cos I'm so deep into a zone
0:23:58 > 0:24:01that my mind actually goes blank.
0:24:02 > 0:24:05My ambition is to be the world's number one.
0:24:05 > 0:24:08I want to be a world champion, an Olympic champion.
0:24:08 > 0:24:10I want to be able to inspire other people.
0:24:12 > 0:24:16These five aspiring web entrepreneurs from East London
0:24:16 > 0:24:19want to start a music fansite to promote British music.
0:24:19 > 0:24:23They're on their way to find out how to build a website.
0:24:25 > 0:24:28Katherine Green runs her own web design agency
0:24:28 > 0:24:30and is going to help them out.
0:24:30 > 0:24:33So do you want to start by telling me what your website idea is?
0:24:33 > 0:24:36We're going to be creating a music website.
0:24:36 > 0:24:38By UK artists and also unsigned acts.
0:24:38 > 0:24:41Their idea is to make a website that showcases
0:24:41 > 0:24:43all of their favourite UK artists.
0:24:43 > 0:24:47One thing that's really important when you're designing a website
0:24:47 > 0:24:50is making sure that you're designing with your audience in mind.
0:24:51 > 0:24:56Each of you is going to write down and describe who they might be.
0:24:56 > 0:24:57Mine's a 13-year-old girl
0:24:57 > 0:25:01who's starting to get fed up of her normal, average music.
0:25:01 > 0:25:03She wants to find out about other bands and genres.
0:25:03 > 0:25:05Scarlett Johnson, 19 years old.
0:25:05 > 0:25:08She uses Facebook and finds her music through YouTube.
0:25:08 > 0:25:11Knowing who your target audience is will help you appeal
0:25:11 > 0:25:13to their tastes and needs.
0:25:13 > 0:25:17So maybe we should talk about competitors' websites.
0:25:17 > 0:25:20So what do you think of this website?
0:25:20 > 0:25:23- Too crowded type.- Jam-packed, yeah.
0:25:23 > 0:25:25And the interface of it is quite complicated.
0:25:25 > 0:25:27So what do you think of this site?
0:25:27 > 0:25:29It's hard to pick, where would you go first,
0:25:29 > 0:25:31and would you read everything?
0:25:31 > 0:25:33What do you like about that?
0:25:33 > 0:25:36- It's easy, it's not complicated. - It's nice big fonts as well.
0:25:36 > 0:25:38Have you thought of a name yet?
0:25:38 > 0:25:42We came up with one website which is called Dropz Daily.
0:25:43 > 0:25:46It's almost time to start designing.
0:25:46 > 0:25:49So get together everything you want to put on your website -
0:25:49 > 0:25:52any writing, photos videos or drawings.
0:25:52 > 0:25:55Once you have the concept for your site, you'll need to:
0:25:55 > 0:25:57Define your target audience -
0:25:57 > 0:26:00get a sense of who will be visiting your site.
0:26:01 > 0:26:05Decide what you do and don't like about the competition.
0:26:05 > 0:26:08Think of a catchy name for your website
0:26:08 > 0:26:10and see if the domain is available.
0:26:10 > 0:26:13Gather together your text, images and videos.
0:26:14 > 0:26:17So maybe we could draw out a small site map
0:26:17 > 0:26:21of the different pages. So we'd start with a Home Page.
0:26:21 > 0:26:22And then you have About,
0:26:22 > 0:26:25Artist, Contact.
0:26:28 > 0:26:32Our designers want to give their site a unique identity,
0:26:32 > 0:26:34so there are some creative decisions to be made.
0:26:34 > 0:26:36Colour can really influence
0:26:36 > 0:26:39the way people feel or think about your site.
0:26:40 > 0:26:44You could have cooler colours, a bit more stand-offish,
0:26:44 > 0:26:49or you could have much brighter, playful primary colours.
0:26:49 > 0:26:51So how about something like that?
0:26:51 > 0:26:53That's the one, innit?
0:26:55 > 0:26:59Different fonts can give a different feel to your site.
0:26:59 > 0:27:05Some might be more edgy, some might be clearer, plainer.
0:27:05 > 0:27:09Some might have a hand-drawn feel. Any favourite ones on there?
0:27:09 > 0:27:11- That's all right. - That's quite nice.
0:27:11 > 0:27:15To sum up, key design decisions include:
0:27:15 > 0:27:17Decide what your pages are.
0:27:17 > 0:27:20Choose the right colour palette for your site.
0:27:20 > 0:27:24Pick your fonts - there are loads of interesting ones online.
0:27:25 > 0:27:29There's lots of different free blogging sites.
0:27:29 > 0:27:31Like Tumblr, Blogger... it just enables you
0:27:31 > 0:27:34to set up a website really quickly and easily.
0:27:34 > 0:27:37For the project you're doing today, we're going to use WordPress.
0:27:37 > 0:27:41Whatever sites you use will have simple editing tools
0:27:41 > 0:27:46to name your pages, add your text and images and just upload.
0:27:46 > 0:27:50Then you can see how your pictures and words are laid out
0:27:50 > 0:27:54in different ready-made templates. Our group try out a couple.
0:27:54 > 0:27:58That one is a bit too formal. What do you think of the design of this?
0:27:58 > 0:28:00It's too plain, even the background.
0:28:00 > 0:28:03- What do you think of this one? - I like that one.
0:28:03 > 0:28:05MURMURS OF AGREEMENT
0:28:05 > 0:28:08Really? What are the reasons why you think this works?
0:28:08 > 0:28:10It's not cluttered, easy to navigate around.
0:28:10 > 0:28:13It's unique from other music websites.
0:28:13 > 0:28:16Once you've chosen your template, it's quite easy to customise it
0:28:16 > 0:28:19with the colour and fonts you've chosen.
0:28:19 > 0:28:22Everything just ties up together, the colours, images.
0:28:22 > 0:28:24And it's all the way we planned it.
0:28:24 > 0:28:28Make sure you let people know about your brand new site
0:28:28 > 0:28:31by linking it to social networks like Facebook or Twitter.
0:28:31 > 0:28:35So when it comes to finally building your site:
0:28:35 > 0:28:38Use a simple blog-based website like WordPress, Tumblr or Blogger.
0:28:38 > 0:28:41Choose a template and customise it by, for example,
0:28:41 > 0:28:43changing the font and colour scheme.
0:28:43 > 0:28:48And spread the word by linking to social networks.
0:28:55 > 0:28:58Subtitles by Red Bee Media Ltd
0:28:58 > 0:29:01Email subtitling@bbc.co.uk