All footage in this showreel can be found on my vimeo page which is linked below:
In my previous post about camera assistant research I concentrated on the roles available in this day and age, the requirements and how to gain experience and access to those opportunities.
Whilst doing that I came across a couple of freelance Videographers and their online portfolios showcasing their business and skills and decided it was worth documenting as this is something that would help me when creating my own portfolio. Below I’ve included some screenshots of the few that I came across and found appealing:
One of the first videographers I came across was Charlotte Armitage at charlottearmitage.com
I loved Charlotte’s website it was clean cut, and modern. The moving image behind each page (Portfolio, Contact etc) was very relevant and the shots were beautiful. She has a vast portfolio of experience without over loading the client with information – everything is laid out clearly. The contact page is also thorough with information or her details and how to contact her for bookings which is, obviously, essential when you’re a freelancer.
The next freelancer I came across was Jon Collins at ukjoncollins.com. I wasn’t as much of a fan of his website as I was of Charlotte’s – I found it a little over whelming and the colour scheme was quite intense. However, it reminded me a lot of one of my favourite films ‘Trainspotting’ with the muted black and orange theme. Minus the colours, the wait it is laid out is simple enough with all relevent information at the top.
Lastly I came across freelancer Tom Farmery at tomfarmery.co.uk – I was really drawn to this theme. It felt modern and clean yet was detailed enough that it didn’t look too clinical and provided all the information a client would need. One of the things I noticed everytime I clicked onto a different persons website, they all had a distinct logo or branding for their company. Much like my own I feel like the logo has to be distinguishable to a certain extent without being confused by another logo.
During the months of January to March I was fortunate enough to get some work experience on a real film set for Birmingham Filmmakers as Sound Assistant. My main role was to operate the Boom Pole and Zoom Mic.
It was a very insightful experience, I’ve never really been sound op before as I tended to stick to camera work throughout university projects but the more I was in control of sound the more I fell in love with that role. It has opened my mind to the possibility of not just limiting myself to camera work or becoming a DoP.
A Sound Engineer makes a salary of £16,000 to £35,000 per year and works variable hours per week. There are no initial requirements to becoming a sound engineer, but some knowledge and passion for sound is essential.
The types of courses that help with experience would be music technology, sound engineering and media production. I have learnt a lot about sound throughout my three years at Coventry University and even more from being on the set of ‘Sustain’ as Sound Assistant.
The skills required for this type of career are as follows:
- excellent hearing
- excellent practical skills
- a high level of attention to detail
- the ability to cope with long hours and tight deadlines
After working on ‘Sustain’ I feel as if these skills have enhanced for myself, I have very close attention to detail when it comes to sound and working 12 hour days has given me the ability to cope with working through being tired and deadlines.
Through more research there are many avenues a person interested in a sound career could take:
- production sound – recording sound on set or location
- post-production – putting the final soundtrack together in an editing studio
On a production sound team, your day-to-day duties may include:
- setting up equipment to suit the acoustics and the sound designer’s instructions
- selecting and placing fixed microphones
- operating the boom (a microphone on a pole, used to get close to the sound source)
- checking sound quality
- recording sound onto digital devices
- servicing and repairing equipment
- playing music or sound effects into a live programme
On a post-production team, your duties may include:
- following a sound designer or sound supervisor’s instructions
- mixing and balancing speech, effects and background music
- editing speech to fit the action on screen
- creating extra sound effects and adding them into the soundtrack
The progression with this chosen career could start from freelance work to working for a large company or a station locally or nationally. The first steps into this role would be taking a trainee position/shadowing someone already in the industry through Creative Skillset I found a ‘Trainee Finder’ program that helps allocate people looking for experience in certain roles in the media industry by helping them with course in all locations and roles. This is something that I’m signing up to and hoping to gain after university a long side any job roles I land.
I looked into Sound Engineer roles as I felt this was crucial to understanding sound itself and how to excel in this career. Mark Linett started his sound career whilst at college by starting his own PA Company. While running the company, he began working with artists such as Seals & Crofts, Sha Na Na, and Livingston Taylor. He later than worked for Warner Bro’s Studio, although he specialises in music sound engineering and has produced many well known tracks. He was also nominated for best engineered album which he recorded and mixed for Brian Wilson who won his first solo Grammy in 2005 for “Best Rock Instrumental Performance” for “Mrs. O’Leary’s Cow” from his best-selling SMiLE album.
Whilst looking for job roles in Sound there is an abundance of opportunities, most of them located in London which is perfect for me as this is where I aim to end up. A lot of the jobs are positions for candidates with transferable skills such as this role at London Live https://www.indeed.co.uk/viewjob?jk=896888109b0d70ae&q=Sound+Operator&tk=1bci88mf491dhalb&from=web the role includes sound, camera and lighting experience.
“Looking For Film Trainees? – Trainee Finder”. Hiive. N.p., 2017. Web. 31 Mar. 2017.
“Sound Assistant”. Creativeskillset.org. N.p., 2017. Web. 31 Mar. 2017.
“Studioexpresso – Producer Mark Linett”. Studioexpresso.com. N.p., 2017. Web. 31 Mar. 2017.
“TV Or Film Sound Technician”. Nationalcareersservice.direct.gov.uk. N.p., 2017. Web. 31 Mar. 2017.
(Sustain (2017) promotional poster)
A fellow student on my course posted a couple of weeks a go about needing help for a new feature film coming out titled ‘Sustain’ the new film from Midlands Director David Hastings & Producers Troy Dennison and Keiran Bowers (Checking In, Brink, The House of Screaming Death). A Birmingham crew with amazing talent and even more amazing personalities.
On January 14th I was fortunate enough to be picked as Sound Assistant and start my first full day on a real film set. I have been to 3 shoots already lasting 12 hours each. I’ve learnt so much already from these first few days, about sound, about cinematography and editing. Director David is truly an inspirational man with a lot of experience under his belt and his crew have been so welcoming and informative with any questions I have.
(A slightly awkward shot of me with the boom pole…)
The filming goes on until March with a week long shoot in February, being Sound Assistant is a lot more taxing than it sounds but it’s hugely rewarding. Considering I’ve never been the one to choose sound as my role in previous productions with uni it’s become one of my favourite things to do and has opened up my skills in the film environment. I’m loving learning different positions and get to experience a piece of everything on set.
One of the difficulties with filming that I found during these past few days was that trying to record sound outside is almost impossible. To make it even more challenging we had wind and rain and was on a busy street with cars and planes constantly flying/driving past. We managed to make it work and Sam, the editor, is incredible with sound editing and can work with the material we got.
On Sunday 22nd January, Karen the first for sound, had to leave to film something else at 6pm so as sound assistant I had to fill in the role and take charge. At first I was intimidated and nervous to speak up but after the first couple of takes I found my voice and was able to really take charge in my area – giving the director the nod when the sound was perfect or the shake of the head when it wasn’t and discussing what works best and what doesn’t. It was really satisfying knowing that I had some sort of power during this production, if the sound quality is awful then it has to be re-done. In a sense I felt like a mini director of sound saying when to cut and when to go, cause if sound isn’t ready no one is.
(The first official production still from Sustain featuring Brett Drewsbury as Keiran Flank and Laura Evenson as Kara Marshdale.)
I’m really excited for the next couple of months to see where it takes us and meeting more cast and crew. I’ll continue to blog about each shoot with what I’ve learnt from each session. Watch this space…