Nisserin Bessioua - UCA Television Production

In order to make sure that our idea of using a green screen in Annie & Dean's television would work, I completed a test to make sure that this was possible and the different ways we could possibly achieve what we wanted.  Some of the benefits of using the actual television as a green screen rather than using material or paper include: There are no issues with the material being wrinkled or overlapping and creating shadows. The television has it's own back lighting therefore there is no need to light the television separately which allows us more time to spend lighting our actor and the room.  This reduces set up time Makes more room in the location and there is less need for extra lights I used my laptop to test this to see how this would work through a camera and if it would be possible to put a video within therein section.  This worked well despite the poor lighting. For our actual shoot, the room will be well lit and we won't be as close to the screen

Steven V. Silver is the main cinematographer on The Big Bang Theory, working on a total of 247 episodes as of right now. Due to him having worked on so many episodes, this allows me to identify his style of camera work and lighting that he creates on the show. Steven is well known for working on multi-camera sitcoms including ‘Two and a Half Men’ and ‘The Big Bang Theory’, ‘Mom’, and ‘How I Met Your Mother’ to name a few. He has also been nominated and won multiple Primetime EMMY Awards for ‘outstanding cinematography’ from 2004 to 2016. Lighting Style in The Big Bang Theory (TBBT) Shadow from the window In the set design, there is a window located on the right-hand side of where the characters sit on their sofas. To add to the effect of the window they have added in a light outside of the window which creates a shadow on the inner wall of a tree or plant that is supposed to be outside. This makes the window feel like it is real and gives these scenes a slightl

We booked a script read through with all of our cast in order for them to meet for the first time get used to acting together as they are meant to play characters that are very close to each other but also for us to see how the script reads and work with our cast to make any changes to maybe words that they don't find natal to say or any other ideas and input they have. During this, my task to to record the read throughs which would give us a chance to watch them back and listen again to how the script reads and what we think of it. This is mostly for Becca as the director to know which bits are working and where our actors might need some more director from her in order to portray the parts as we intended them to be.  This was also useful for me because it allowed me to hear the actors all together and helped me to judge their sound levels. One of our actors was much quieter than the rest and another was very loud compared - this will be one of the challenges when it com

When I began researching the role of an editor there were many industry websites that had lots of information about what an editors role entails and the kinds of responsibilities they have. I have read a few times that the editor works closely with the director to keep their vision for the film and put together the footage in a sequence which will eventually create the finished project. Due to me being the DOP during production, I aim to organise the footage on my hard drive in a way that will make the beginning of the editing process much easier for me. On some productions, daily rushes are created from the footage, however, this is not something that I will be able to do, due to the fact that after one shoot day I will be spending my time preparing my DOP responsibilities for the next day.   " Because scenes are shot and edited out of sequence, Editors may work on scenes from the end of the film before those at the beginning, and must, therefore, be able to maintain a good

Roger Goss was the cinematographer for Series 4, Episode 6 which was the main episode I looked at from my research into this show. He was also the cinematographer for the British sitcom The River (1988). I chose this episode as the main one because there were a few different aspects in the episode that helped me in my research and gave me some ideas about how to film certain aspects of my own production.  Shot Sizes:  There are a range of different shot sizes used throughout the show, examples of ones seen most often being mid shots, mid long shots and long shots. These different shot sizes are all used for different parts of the show, for example, the wide shots of the exterior of the house show a change in location between scenes which establishes where we are and that we have moved into a different scene/setting. The mid shots are used for the characters and when they are speaking, this is so we are close to them and so that an audience can feel as though they are in the

The DOP works closely with the director to creative the overall look and identity of a production. They are the second most powerful creative person on set and the roles can incorporate technical and creative skills which I aim to develop along the process of this production in order to make it the best that it can be. “As a director of photography, it is important to know your equipment”. This is especially important as there are times when quick decisions and changes are made to a production and it’s essential be able to adapt to this and move along with the production. In order to prepare myself for these kinds of situations I want to make sure that I am fully comfortable with using the Panasonics which are our chosen camera and explore the settings in more depth so that if I am asked by the director to try something different or change a setting, this is an easy and quick process which will save us time during shoot days. It is also important for the fact that we are filmi