Connor Winfield TV production

When handing my risk assessments, I was told that I would not be able to carry out my idea to film a sunrise from the top of Milton Church tower, due to the possible dangers that could occur, even with safety precautions being in place. Because of this, I have had to go to my back up plan, which is to contact an old friend from primary school, as I have often seen him post drone films on his facebook, so I have asked him if he either already has some footage of a sunrise over the town, or would be able to film a sunrise for me. I messaged him earlier today, but have not heard back from him yet. Just in case I am not able to obtain footage from my friend, I have another back up plan, which is to film a sunrise from the green opposite my house, as I'll hopefully be able to get a shot of the sun rising up over the line of houses. It may not have the same desired effect as a sunrise from the top of the church tower, but it should still be able to create feeling in the audience

I only need two locations and two actors for my shoot. My first location is going to be the war memorial at Milton Regis Holy Trinity Church in Sittingbourne. I chose to use this location because I felt that this location would fit the poem quite well, as the sonnet that I have chosen is about a person talking from beyond the dead to the people mourning them. I felt like this would also be a good location because some of the lines in the poem link very well to the casualties of war, such as the line "I am a thousand winds that blow", which could be a parallel to all the people who lost their lives in the war. My second location is at the same church, but it is on top of the tower. I want to use this to film a sunrise, and i thought that it would look good to have the sunrise lighting up the town underneath. I want to use this to accompany the line "I am the sunlight on ripened grain", as I feel like there would be powerful imagery there. I managed to get access to

We were tasked to create a montage using some stock footage, as this would be good practice for if we wanted to include some montage in our final films. We had a lecture about the different types of montage, and the different effects that they create in the audience, most of the time without words. An example of this is what Soviet filmmaker Lev Kuleshov did. He had a shot of a man's face, and then changed the shots that followed it. This caused the audience to put different meanings to the man's face, despite the shots of his face being the same one used in all three films. This is called the Kuleshov effect, and is a very effective form of montage.

In order to make filming easier, I made a shot list outlining what needs to happen, and the shots that I want to have in my final piece. Filming Person walking up to the grave/ memorial, then stopping a bit in front of it. Shot reverse shot between the person and the grave/ memorial Close up of lower face (chin), with a tear trickling down face Tear drop falling on floor Wide shot of person and grave, each at opposite ends of the screen Shot of the trees blowing Shot of the bushes blowing Shot of leaves on ground blowing (above three shots have whispers heard over them. Maybe have person in some of the shots) Shot of person still at grave/ memorial, takes step(s) closer. Shot of frost on grass - Possibly have person walking along on frost Shot of dawn breaking – possibly from top of church tower? Time lapse of stars Shot of birds in flight Person takes final steps closer to grave/ memorial and reaches out for it, but