Permissions Letter

Legally and perhaps out of politeness, we needed to try to obtain formal permission from the copyright owner to use the song in our pop video and to publish it on the internet. This is our letter to the copyright owner.

HURTWOOD HOUSE

Dim Mak Records
Po Box 348
Hollywood
CA 90078
Date 08.10.10

Dear Sir or Madam

We are a group of A Level students working on an A Level project for a qualification in Media Studies.

We are writing to request permission to use the following track as part of this project:

We Are From Venice - The Bloody Beetroots

With your permission the track would be used as the accompaniment to a short form video that is made purely for assessment purposes and will have no commercial usage. The video will be viewed only by members of the school community and the assessor of the examination board. The artist and the copyright holder will of course be fully recognised in the pre-production and evaluation material that accompanies the project. We can also include a full copyright notice if required both in the planning material and on the video itself.

Yours sincerely

JJ Benzimra, Mille Freeman, Leo Faulks. Tamara Middleton

Hurtwood House School

Call Sheet

The Call Sheet is a document that contains any and every detail that you may need on the shoot day. It is like the detailed plan or 'bible'. The call sheet contains niformation about the production team, the cast, equipment, shooting schedule, story boards, shot lists, maps, lighting design, studio design and any other contact details or points that might be relevant.

WE ARE FROM VENICE

THURSDAY, NOVEMBER 11TH 2010
TAMARA MIDDLETON
MILLIE FREEMAN
JJ BENZIMRA
LEO FAULKS

CONTENTS

1. PRODUCTION TEAM
2. CAST LIST
3. STUDIO SET PLAN
4. LIGHTING PLAN
5. EQUIPMENT LIST
6. PROPS AND WARDROBE
7. SCHEDULE
8. STORYBOARD
9. SHOOTING ORDER

PRODUCTION TEAM
JJ BENZIMRA (DIRECTOR)
TAMARA MIDDLETON (PRODUCER)
MILLIE FREEMAN (EDITOR)
LEO FAULKS (CAMERA/LIGHTING)

CAST LIST
GLEN PEGADO (DJ)
(GANG MEMBERS)
NIALL GREEN
JAKE CECIEL
MAX CANOVAS
OMONELUMO IKANADE-AGBA

PROPS AND WARDROBE
DJ SET
LIT BATONS
CIGARETTES
FAKE DRUGS
EMPTY BOTTLES
BLACK/WHITE MAKE-UP
BLACK/WHITE HAIR ACCESSORIES
BLACK/WHITE JEANS
BLACK/WHITE HOODIES/SLEEVELESS T-SHIRTS
BANDANAS
HATS
BOOTS
JACKETS
DJ OUTFIT

SCHEDULE
9-12.30

STUDIO
12.30-1.15

LUNCH
1.15-3.30

BEATRICE WEBB
3.30-4

SHOT LIST STUDIO
Camera position: 1, 15, 19, 25, 27
Wide shot, mid shot, close-up from front Wide shot, mid shot, close-up from side Wide shot, mid shot, close-up over shoulder

Tracking Shots: Left to right, in and out
Cherry Picker

LOCATIONS Incidents:
Bonfire
Graffiti
Breaking stuff
Drinking
Smoking
Drugs
Stolen Handbag/Wallet

Location and Set Design

Our set location posed as a large problem for us, largely due to the health and saftey aspects of where we wanted to shoot. We wanted to use and old derelict factory (We found two sites), but we needed to have an ambulance and a fire engine stationed just to shoot there. The factory was for an extended gang scene, where they would be doing some pretty loud and unpeaceful, and in some cases unlawful, stuff. When Dan, our lighting designer came to talk to us about our lighting, we only needed lighting for our studio shoot. Because the lighting we are going to use on location will be provided by flares and a bonfire. The lighting we require on the day is for our studio, and we need specific rave lighting. (i.e. Strobes and Moving Lights)

Storyboard

Storyboards work and build on the initial time lines. The aim of storyboarding is to visualize the shot and work out what shot to use and why, and also what type of editing we use, and where the cuts on our piece will be.

Through the timeline we could see what worked and what did not. Here we saw that canted angles with short sharp shots, with much focus on handheld aspects of filming. We also aim to use monotone to great effect in our finished product, to represent how the world is black and white, clear right and clear wrong.

Storyboard

Timeline

Timeline

Our time line is slightly different, as the song we are using, “We are from Venice” by The Bloody Beetroots, features no lyrics. So naturally this makes the timings of the video all the more important. Time line is all about the time and it is all about the time the shot spends on the music, and whether or not we aim to conform and cut on the beat.

We have linked various aspects of our time line to various aspects of the song, there is a part of our song that involves what sounds a little like a car starting up, and we have mirrored this and stuck with our theme of urban decay by depicting a car on fire. This will start out being a close up on the car and as we cut to a DJ handclap it will move closer as we cut back in to the car at perhaps a different angle.

We aim to use balletic editing in our sequence, because it reflects the disorientated angle that we are going for. Another example would be the final shot of our piece which will depict the two gangs of our video facing each other and ultimately realizing they are one in the same. This shot will be a long fade out, because it reflects the music, as the song ends on a long fade out. This is a building brick for will be our storyboards.