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D.A.N.C.E.ProductionPackByLydiaDwek

Stage3:ReframingtheInterface

BA(Hons)DigitalFilm&ScreenArtsUniversityforCreativeArtsatFarnham

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ContentsPageSynopsis&Treatment3Research&Inspiration4Research&Choreography6MoodBoard7Crew&Dancer8ShotList9RiskAssessment10Equipment15Actorsagreement16Postproduction17LearningAgreement18

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Synopsis&TreatmentAnexperimentalconversationalfilmbasedonamaleBreak-dancedancer.Theaimistounderstandtheindividual’sownpersonalstoryandhisinspirationtowardsdance,whichbecomesbiographicallypersonaltowardsthedancer.Thiswillbethebasisofthefilm. The conversational part of the film will be short in order to get a visual of the dancer and the skills he has. Contemporary and Break- Dance will give the dance a great combination of the two genres. The conversation will start at the beginning of the film so the focus can then focus entirely on the dance. The research I have done was not only the exploration of street dance but to look at contemporary dance and see if there is a little bit of street dance as there are some techniques that show the skills of break-dance as the movements can be sharp and quick, However it is possible to combine the two together as sharp movement can portray this combination.TreatmentThisshortconversationaldancepiecewillroughlybea10-minuteshortfilm.Thisfilmwillbestartwiththedancertalkingaboutwhatinspireshimasadancerandwhatdefineshimasadancerwithinthesequestionstherepossiblywouldbesub-topicsthatthedancerwouldanswermeaningtopicshewouldgoontoanswerwithoutbeingquestioned.Afterquestioningthedanceraimprovisationalchoreographedpieceofhiphop/streetdancewillbeshownwhichwillfinishofthisshortdancefilm.Questionstoaskdancer.Whatdefinesyouasadancer?Inthisgenre?Howhasdanceimpactedyourlife?WhystreetDanceWhatisstreetDance?

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Research&InspirationWhencomingupwiththisideaIthoughtofthevisualsideofthingsbeforecomingupwiththeidea.Theideaofhavingaconversationwithapassionatedancersoundedlikeagreatideatocapturetheessenceofhowadancerportraysthemovementstheycreatethroughdanceandhowtheyfeelatthesametimeconveyingtheemotionaljourneytheygoonthroughacertainchoreographedpiece.

Dance is a performance art form that consists of purposefully selected sequences of human movement. This movement has aesthetic and symbolic value, and is acknowledged as dance by performers and observers within a particular culture Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin. Style Freestyle/streetdancestartedinthe70sandhassincegrowntobecomeoneofthemostpopulargenresforformallytraineddancersthroughouttheworld,withstrongpopularityintheUnitedStatesofAmerica.FreestyledanceisusedacrossseveralculturesofethnicbackgroundsthatcanalsoblendinwithmusiclikeR&bmusic.B-boying or breaking, also called breakdancing, is a style of street dance that originated primarily among African American and Puerto Rican youth, many former members of the Black Spades, the Young Spades, and the Baby Spades, during the mid 1970s.[1] The dance spread worldwide due to popularity in the media, especially in regions such as the United Kingdom, Canada, Japan, Germany, France, Russia, and South Korea. While

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diverse in the amount of variation available in the dance, b-boying consists of four kinds of movement: toprock, downrock, power moves, and freezes. B-boying is typically danced to hip-hop, funk music, and especially breakbeats, although modern trends allow for much wider varieties of music along certain ranges of tempo and beat patterns. Research&InspirationMyinspirationwasKyleHanagamiwiththewayhehaschoreographedamixtureofcontemporaryandhip-hopdancepieces.

Contemporarydanceisadanceperformancegenrethatdevelopedduringthemidtwentiethcenturyandhassincegrowntobecomeoneofthemostdominant&populargenresforformallytraineddancersthroughouttheworld,withstrongpopularityintheUnitedStatesofAmericaandEurope.Althoughoriginallyinformedbyandborrowingfromclassical,modern,andjazzstyles,ithassincecometoincorporateelementsfrommanystylesofdance.Duetoits

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technicalsimilarities,itisrelatedtomoderndance,balletandotherclassicalconcertdancestyles.Research&ChoreographyModernDanceModerndancecouldbeconsideredasasynonymofcontemporarydanceasinsomecasestheyshareaestheticalorideologicalcharacteristics.Though,thisisadancetermcommonlyusedtonameadancetrendthatwasborninthelateXIXcenturyandlastedtillaround the1950s.ItshomeswereGermany(andsurrounding countries)andtheUnitedStates.SomeofitsmostrenownedfiguresareIsadoraDuncan,RudolphLaban,MaryWigmanandMarthaGraham.ContemporaryDanceArtwhoseworkingmaterialisthemovementofhumans?Itdoesn’thavefixedorestablishedmovementpatternsbutit’sratherinacontinuoussearchfornewformsanddynamics.Thereforeitsdancersmakeuseofvariedmodernandclassicaldancetechniquestotrain.Itproduceperformancesorshowsinconventionalandnonconventionalstages(suchastheatresorpublicandprivateplaces),havingafrequentdialoguewithotheraestheticlanguagessuchasaudio-visualtechnologies,visualorfinearts,lightning,architecture,music,circusandothers.LyricalDanceStyleofcontemporary,modernorjazzdancethathasemergedfromthefusionofoneofthosethreetypesodancewithballetandpopmusic(mainly).Itcombinessimplechoreographicvocabularywithtechnicallydifficultmoves,inanexpressivestylethatfollowsthelyricsofsongsandisofteninterpreted intheshortsoloformat.Alignment:Theabilitytoefficientlyorganizethebodyinrelationshiptodancing.

Choreographyistheartorpracticeofdesigningsequencesofmovementsofphysicalbodies(ortheirdepictions)inwhichmotion,form,orbotharespecified.Choreographymayalsorefertothedesignitself.Achoreographerisonewhocreateschoreographiesbypracticingtheartofchoreography,aprocessknownaschoreographing.Choreographyisusedinavarietyoffields,includingcheerleading,cinematography,gymnastics,fashionshows,iceskating,marchingband,showchoir,theatre,synchronizedswimming,videogameproduction andanimatedart.Intheperformingarts,choreographyappliestohumanmovementandform.Indance,choreographyisalsoknownasdancechoreographyordancecomposition.

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Cast&CrewRole NameProducer LydiaDwek

Choreographer LydiaDwek

Dancer&2ndChoreographer VladimirGruev

Lighting7Sound NiamhQuinlan

Runner#1Runner#2

LydiaDwek

Editor LydiaDwek

Director LydiaDwek

Cinematographer LydiaDwek

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SHOTLIST SHOOTINGSCHEDULE

UniversityForTheCreativeArtsBreak- Down

SHOOTINGSCHEDULE

Filming dates: 14th April 2016 10am - 4:30

PRODUCER:LydiaDwekDIRECTOR:LydiaDwekRunners:LydiaDwek&NgqabuthoNkomoCinematographer:LydiaDwekLighting:NiamhQuinlanDirectorofPhotography:LydiaDwekSound:NiamhQuinlan Shots/scenes SceneDescriptionShot15minutequestionsfromdancerabouthowDancingdefineshimasapersonandwhatInspireshimasabreak/contemporarydancer,Shot2Sideshotofdancer;beginsdancingImprovisedchoreography Shot2#scene1 CamerapansroundtodancerinthecentreDancerstartstobreak-danceShot2#scene2Dancerstartstocombinebothgenresofdance(break-dance&contemporary)Shot3EachscenecontinueswiththedancersCombiningbothgenresofdanceandmostCamerashotswillbethesamethisiscontinuousN

Notes:TypeofShotstobeused:Sideshots,Midshots,longshots,closeupshotsRotationalshots.

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BA (Hons) Digital Film & Screen Arts RISK ASSESMENT

Production: Solo Production

Title: Break- Dance

, Contractors, actors and persons involved. In the case of a studio production a copy of this assessment must be displayed on set.

Campus: Farnham Course: Digital Film & Screen Arts

Unit Beyond the Boundaries

Year 3 Group/Solo Solo

Student Producer name & phone number (NB - all students are responsible for safety in production): Lydia Dwek- 07548358680

Unit leader(s): Rosie Gunn Proposed date(s) and times(s)

Travel/Set up date(s) / time(s):

Shooting date(s) / time(s): 14/04/16-10:00am

Pack down/travel date(s) / time(s): N/a-Studio location

1. Exact location of filming, including address & postcode.

University for the creative arts, GU9 7DS: room g12/Photography studio

1a. Location Permission

Mark where you are at with an X

Yes

In the process of getting it (incl details of where you have got to – ie email

confirmation)

No

N/A Do you have signed location permission? In process of booking room

Does your location require you to complete their own risk assessment? If so, attach it to this risk assessment.

X

Have you notified the local Council and Police? You must do so if you are doing any of the following: • Filming in a public place • Using weapons • Have cast in uniform

In studio does not apply, except for student signature consent.

1b. Address & phone number of nearest Walk-in Centre or Minor Injuries Unit

Hale Rd, Farnham, Surrey GU9 9QL- 01483 782000

1c. Nearest bus and train stops to location / local taxi phone number

Train station 20 minute walk up hill- Station Hill Farnham GU9 8AD Bus station 5 minute walk from the university-GU9 7DS Taxi-Station hill, Farnham, GU9 8AD- 01252 715600

1d. Fire / emergency plan

Find the nearest emergency exit-Car park @ UCA.

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1e. Work facilities – food & drink, toilets, secure storage etc

2. Brief summary of set & nature of filming / activity

Set in studio.

3. Names and contact details of the production crew / cast / documentary participants. Add extra lines as you need to.

Name:Lydia Dwek

Role: Director, producer, Cinematographer.

Contact number: 07548358680

Producer Lydia Dwek Sound Niamh Quinlan Lighting Niamh Quinlan Director & cinematographer Lydia Dwek Runner Ngqabutho Nkomo

Choreographers Vladimir Gruev & Lydia Dwek

4. Identify potential hazards; who could be affected; how they could be affected; and list the control measures that will reduce the risk. University H&S policies can be found here.

Hazards or hazardous activity

Who may be affected? Crew, actors, participants (documentary), crew, helpers, public.

How may they be harmed? Type of injury or health problem that might result i.e. cuts, bruises, fractures, electric shock, burns etc.

List the control measures you will put in place to reduce risks from the hazards to an acceptable standard Control measures should ultimately reduce the overall risk. Do not purely rely upon providing Personal Protective Equipment or rely on just ‘being careful’

Evaluate the probability and consequence

Indicative values for P column (P = Probability) L = might happen, but unlikely

M = could happen H = will probably happen

Indicative values for C column (C = Consequence) L = can return to filming work after minor attention

M = person unable to work for 3 days or longer H = permanent injury or death

P C

Access/ Egress N/A N/A

Aircraft / flying N/A N/A

Allergens N/A N/A

Animal N/A N/A

Audience / public N/A N/A

Boats N/A N/A

Compressed gas / gas

N/A N/A

Confined spaces N/A N/A

Cranes, hoists, lifts & access platforms

N/A N/A

Derelict buildings, dangerous structures

N/A N/A

Diving operations N/A N/A

Electricity Electrocution-crew and cast may be harmed. Stay away from hazardous electrics Person unable to work for 3 days

Falling objects Lights that are faulty may fall-injury to the head/body

Make sure any likely objects to fall are stable Can return filming after minor attention

Fire Crew, dancer Burns

Make sure anything prone to fire are electrical checked beforehand

Generators N/A N/A

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Glass N/A N/A

Hand tools N/A N/A

Hazardous chemicals N/A

Heat / cold Weather might be cold in studio. Switch on/off radiator Can return to filming

Inexperienced / children / vulnerable persons

N/A N/A

Location Lighting Crew/dancer Eye strain, dizzyness

Make sure lights are safe without any faults

Machinery N/A N/A

Manual Handling N/A N/A

Mines, excavations / tunnels / quarries

N/A N/A

Noise N/A

Physical exertion Dancer Dancing/Exertion

Make sure dancer has breaks

Poor visibility / night shooting

N/A N/A

Roadside working, traffic, vehicles

N/A N/A

Scaffolding N/A N/A

Speed (running or other sport - not vehicles)

N/A N/A

Stress Crew/Dancer Panic

Make sure shoot is not stressful within time management-be organised before hand

Stunts N/A N/A

Trailing cables Crew Tripping over

Make sure to tape cables to floor so crew & cast won’t trip over cables.

Messy environment (equip / props)

Crew Equipment,

Organize equipment neatly in one section and props in another

Violence, aggression, public disorder, war

N/A N/A

Visual effects: smoke, snow, fireworks

N/A N/A

Water N/A N/A

Weapons N/A N/A

Weather N/A N/A

Lone working N/A N/A

Working at height N/A N/A

Other (list and add rows if necessary)

N/A N/A

Mark an X next to your choices 5. With control measures in place what is the likelihood of an injury or health effect? Minor

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Moderate 2

Major/Fatal 3

6. How likely is the most significant hazard to cause harm?

Unlikely 1

X

Likely 2

Very Likely 3

7. Calculate the risk score (use the figure which represents the highest risk of all present hazards)

Low 1−2

Medium 3−4

High 6−9

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13. Signatures The names below are confirming the date that they have read and discussed this risk assessment with the production team. Based on the information supplied on this form it is noted that the control measures are considered appropriate and proportionate to the hazards identified. At all times, students retain responsibility for their own safety and for those around them. Student Producer: Lydia Dwek Date: 09/04/16

Production Coordinator: Date: 09/04/16

Unit Tutor: Rosie Gunn Date: 09/04/16

Technician/Tech Tutor (supervising if studio based): Date: 09/04/16

Estates Services Manager (where UCA routes, building features etc are impacted):N/A Date: 09/04/16

Resources Co-ordinator/Manager (Medium/High Risk): Date: 09/04/16

Course Leader: (High Risk/International Shoot):

Rosie Gunn Date: 09/04/16

Health, Safety & Wellbeing Advisor (High Risk/International Shoot): Date: 09/04/16

Executive Dean (International Shoot): Date: 09/04/16

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Actorsagreement

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Postproduction

AssomeclipsweretooshortIhadtotransitionthemintoeachotherinwhichwasnot

toobadtooeditasyoucanseebelow.

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DIGITAL FILM SCREEN ARTS. YEAR: 3

NAME Lydia Dwek DATE:

LEARNING AGREEMENT PROFORMA. Deadline for submission: 03/05/16

GROUP PRODUCTION SOLO PRODUCTION

D A N C E UNIT CREDIT

Information: - This form is a basic list of requirements. You should write as much as you need to describe what you intend to undertake and methods employed to achieve this work.

DESCRIPTION: (You should describe in detail here the work you intend to undertake in fulfilment of the module’s Aims and Learning Outcomes. In doing this you will need to make reference to the module descriptor in the Programme Handbook) A10-minuteexperimentalconversationaldancepiecebasedontheBreakdancegenreofdance.Theaimistounderstandthemaledancerandhisindividualinspirationandconnectiontowardsdance,whichbecomesbiographicallypersonaltowardsthedancer.Themainfocusisthequestionsthatwillbeaskedwithinthisfilm,Iintendtousetheseasthebasisofmyfilm.Therewillbevisualsofthedancerandtheskillstheyhave.TheconversationwillvoiceoverwhilstthedancerIsdancing.ThroughResearchthereareseveraltypesofwaystoapproachthisfilminthesenseofaconversationalpiece. RESEARCH: Academic reference material, sources and contextual materials Dance choreography/genre research media GIVE ME LOVE || ED SHEERAN - Choreography by Pedro Moscoso: https://www.youtube.com/watch?v=1P25Scv1Kh0 Rather Be|| Clean Bandit (Jess Glynn) – Choreography by Liza Riabinina: https://www.youtube.com/watch?v=T1dHYNATeSo History of hip hop culture : https://www.youtube.com/watch?v=yVTTph1nZPw Planet B-Boy - American Documentary about Breakdance: https://www.youtube.com/watch?v=AmXWmGT1I-M Shake The Dust- Uganda dance documentary: https://www.youtube.com/watch?v=dXaLLP6GJx4 Breakdance Battle - Recap Chelles Battle Pro : https://www.youtube.com/watch?v=pc26SX94YIU With A Piece Of Chalk: https://www.youtube.com/watch?v=mBZAFJ-Q6Mw King Of The Kidz: https://www.youtube.com/watch?v=pe-Lm0ZMMZc Into Circle: https://www.youtube.com/watch?v=zXYOKkXD120&nohtml5=False Sweater Weather | Kyle Hanagami: https://www.youtube.com/watch?v=5Hqp0tai_qs&nohtml5=False\ 7 YEARS - Lukas Graham | Kyle Hanagami: https://www.youtube.com/watch?v=AoLPH1121YM&ebc=ANyPxKqAa47V-hfGxF1dCpvkbX9YXQ3-3qum2AzXJyxPSmtkxwxNpqp3tVFp6UWutPfs7ysy861p6C0vNN50dbVwqYIvTqLRvQ JAMES BAY - Move Together | Kyle Hanagami: https://www.youtube.com/watch?v=QJJZ9Ym6ekc&nohtml5=False Lighting Research http://www.onstagelighting.co.uk/lighting-design/dance-lighting-introduction/ Lighting design & angles http://www3.northern.edu/wild/litedes/dance.htm- Lighting a dance piece Conversational techniques

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http://www.tc.umn.edu/~ryahnke/filmteach/My-Archive-of-Film-Notes/x-documentary-techniques.htm http://www.desktop-documentaries.com/storytelling-techniques.htmlThe aim of film/no narration https://collab.itc.virginia.edu/wiki/toolbox/Interviewing%20Techniques.html Interview techniques http://www.kingsfund.org.uk/sites/files/kf/EBCD-Guide-to-filming.pdf guide to interviewing https://en.wikipedia.org/wiki/Documentary_film_techniques Direct & indirect questions Camera Techniques https://www.youtube.com/watch?v=gEWx6zbUDrc&nohtml5=False Filming dialogue scenes https://www.youtube.com/watch?v=-CdkgVfsVYM&nohtml5=False Psychology of cinematography https://www.youtube.com/watch?v=BSAmn0-tIvw&nohtml5=False Post Production https://www.youtube.com/watch?v=FinhQb3jiAs&nohtml5=False Adobe Premiere pro CC Adobe After Effects CC www.linda.com www.vimeo.com www.youtube.com SKILLS AND RESOURCES: Identify the technical and networking skills you will need to develop and the resources you intend to use SKILLS: Editing: Premiere Pro WEB BASED RESOURCES: • LYNDA.COM • YOUTUBE.COM • VIMEO.COM

WORK PLAN/TIMETABLE: 01/04/16- Research Break Dance & Contemporary Dance 02/04/16-Come up with a list of questions to ask dancer 05/04/16-Develop research and idea further: Pre- production pack 08/04/16- Cast Dancer & Crew 11/04/16- Tutorial with Kathleen- Talk about idea 12/04/16- Tutorial with Rosie- Talk about idea -Finish Production Pack 13/04/16- Get approval for project -Book Studio & Equipment 14/04/16- Shoot Film 15/04/16-28/04/16-Edit Film STUDENT SIGN: DATE:

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DigitalFilm&ScreenArts

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UniversityfortheCreativeArtsMay2016