Evaluation

For our documentary we aimed to prioritise the arrangement of the dialogue to form a structure that constituted the understanding of the traders situation, this structural decision would continue to serve as an informative basis with pragmatics of empathy in which the audience later derive. Initially we created a transcript to aid our decision of which dialogue we would utilise rather than organising the footage in Final Cut Pro, we found that the ease of arrangement worked in our favour as the script could be modified quickly using basic copy and paste commands. Also the continuous reading of the written dialogue allowed us to remember quotes making the process more efficient, however watching the footage back in Final Cut Pro in the way it was originally organised we felt that certain quotes were unnecessary and that the structure lacked an emotional semantics. With this in mind we formulated a new arrangement, this new layout of dialogue allows the audience to perceive the traders overall opinion of the new market subsequently we added sufficient dialogue of when the traders were reminiscent of the market as they knew it in their youth and early days of trading. Prior to this development of structure we devised a brief listing of questions that we would ask the contributor, the questions were open ended to gain an emotional and detailed response, because we had asked very few questions we were able to easily categorise their responses which would later develop to be sections in our documentaries structure we could relate one contributors response to another, in particular the social aspect of the market.

The notion of vox pops or the 'talking head' aesthetic was to be avoided, though the issue followed the situation of the traders we would subject the viewer to various relational cutaways, notice that we have placed footage of the traders shop before seeing a shot of their face this was used to avoid an abrupt confrontation, the cutaways provide the viewer with understanding where the trader works, once these cutaways were allocated we used brief text to inform the audience of their profession/job. The text was created using Photoshop we felt the text tool in Final Cut Pro provided insufficient flexibility, our inspiration for the text came from a screen shot of a 1950's film, we used the same type face for the documentaries title seen after the opening sequence and the previously mentioned contributors titles/professions. The font colour for the titles (white) was chosen as it had a greater contrast in comparison to the other possible colour black, all titles would be coloured the same to retain a polished aspect. In respect to the “Castle Market Sheffield” title we intended to promote a quintessential introduction of antique 1950's tactility therefore we adjusted the freeze frame from the tracking shot accordingly, we introduced grain, varied contrast and most obviously making it black and white, we added an outer glow which surrounded the text embedding it into the background, drawing away from the crisp aesthetic of modern typography. The idea of the freeze frame fading into the vintage black and white version serves as both an intriguing use of typography and a basis indicative of semiotics available for the audience to decipher. The conventions inherent in the fading sequence suggest; the market over its period of existence hasn't become greatly altered in terms of structural integrity, the layout remains similar to that of its original status and the traders attitudes have preserved the foundations of its entity. Despite this intent of preservation the decrease in business has forced areas of the market to deteriorate which is evident in tracking shots later in the film, we feel these semiotics are implied through the fade to black and white.

Though at the early stage of our timeline dialogue arrangement we felt the order generated a interesting emotional and informative arc, we felt the cutaways layered over the dialogue as well as the opening sequence of vintage photographs/cutaways felt tedious, to overcome this we discovered an inspirational 1950's music track on the website “freemusicarchive.org” adding this to the timeline complimented the cutaways giving them an instant stimulation of 1950's nostalgia. Due to the opening sequence consuming a prolonged length of the documentary allowing the audience to hear a vast majority of the song by "Spade Cooley & the Western Swing Dance Gang Feat. Tex Williams" we decided that another song would be needed to establish a change in pace during a later section of the documentary, which depicted the traders readying their vacant stalls in the early hours of the morning the slower pace of the music track suggests a lonesome atmosphere presenting a period of time where the audience can reflect on what the contributors have previously discussed. Each of the two tracks that we downloaded from the website were in the format of mp3, to make these compatible with Final Cut Pro we converted them in iTunes to WAV format resulting in a highly compatible file type.

From the outset we discussed the idea of using photographs from the market at its pinnacle, the photos that we obtained which are seen at the opening sequence of the documentary are from the Sheffield City Library, initially we sighted the images on www.picturesheffield.com. Due to the financial circumstances of being s student we were only able to obtain a total of four images as we would have liked to have had the option of choosing from a collection during the editing stages rather than making a quick decision that we might later regret. Also because a vast amount of the photographs archived by the Sheffield City Library were under copyright protection our primary choices weren't able to be obtained without paying a heavy fee thus narrowing our selection. To tackle the issue of having a scarce collection of images we zoomed in on the photographs to frame a new image generating a total of three new photos per image, the high resolution of pixels allowed us to avoid extensive pixelation, though the quality of the new images isn't perfect they are lucid enough without noticing an excessive quality difference. Overall the positive aspects outweigh the downside to our reframing, we had chosen to use three intervals of voice over during the sequence of vintage photographs which describe the fundamental elements of the market both from the contributors past experience and its current social status in modern day Sheffield, these images serve to resinate a strong feeling of nostalgia early so that the audience can become an active viewer subjecting their empathy for the traders facing financial difficulty. If we were to adapt the opening sequence we would either cut down the amount of dialogue from each of the traders or remove the less intriguing contributor voice over, currently as its stands the tonal montage does feel slightly overwhelming.

Even though our schedule of production for the documentary followed a committed work ethic problems are unforeseeable, in our case we hadn't left sufficient time for the sound editing and so had to compromise the colour correction stage resulting in neglected shots. We would have liked to have tried out various techniques, the idea of using a washed out pastel colour palate to promote a dated aesthetic, or possibly a yellow tint to encourage the same idea. Though we hadn't used colour correction to help convey the inherent themes of the market we had adjusted the blown out whites or non white balanced shots to an adequate appearance using the three way colour corrector, this was also done for the shots that evoked a reddish haze again adjusting the colours accordingly. Though a vast majority of the footage could be corrected the interview with Nick was unable to be improved as the strong luminous strip light in the right hand corner couldn't be altered, this could have been avoided by interviewing him in a different area of his shop with less light pollution, to partially overcome this concern we utilised cutaways of relative footage avoiding a lengthy vox pop.

In terms of sound design the sound track would always be faded down to a low level to avoid a conflict within the mix creating a smooth unnoticed transition. We relied on the dialogue to carry the pace of the documentary in the sections that didn't contain a soundtrack as we were confident the audience appreciate the information. However a problem concerning the layering of the atmos and dialogue was encountered during the sound editing phase, due to both recordings sharing the ambience of conversing customers the fade became a cluttered mix of incongruous commotion, to overcome this we kept the atmos track at a reserved level to avoid a abrupt change in background acoustics, the fade would happen quickly on the cut rather than prolonging the transition.

Our small group consisting of only myself and my partner Henry proved to benefit all aspects of the documentaries execution, aside from having to carry a large amount of gear. We shared a clear concept of the film in early stages of its production both strongly agreeing on the use of tracking shots to illustrate the charismatic elements in particular the markets isles. We both took control of the camera as our knowledge and understanding remained on a comparable level, however Henry tended to shoot the majority with me gathering all aspects of the audio. The editing was structured together, though we did have conflicting views concerning certain elements of the film our diligence resulted in quickly resolving the contrasting opinions. Taking inspiration from the short film concept “Sea Change” the attitude towards our production has been conceptualised thusly in respects to the long tracking motions encapsulating the ubiquitous features of the market mentioned previously, much like how “Sea Change” captures the transcending seasonal change.

“The voice of documentary speaks with all the means available to its maker. These means can be summarised as the selection and arrangement of sound and image, that is, the working out of an organising logic for the film. This entails, at least, the following decisions: (1) when to cut, or edit, and what to juxtapose or how to frame or compose a shot...” B, NICHOLS. (2001) Introducing Documentary. Indiana. Indiana University Press. This statement made by Bill Nichols advocates the idea of how documentary makers subject their raw footage to a process of conscious decision making in order the conceive a theme or present the footage in a more intriguing manor to represent an overall “voice”. With this theoretical understanding we were able to practise such ideas within our own film during the editing stages, we made thoughtful decisions regarding when to cut such as; when to change the pace and what genre of the music would aid our audiences understanding of the inherent theme we were identifying. We also considered this framework when devising a pragmatic title sequence which presents codes and conventions through the use of colours and transitions, this consideration resinates a strong semantic importance much like the use of archived photographs combined with voice over to foster the audiences empathy, again another rudimentary film making decision in terms of organising the logic: B.Nichols “(4) Whether to use archival or other peoples footage and photographs or only those images shot by the film maker on the spot”.

Documentary Editing

We attempted to construct a rough cut for our documentary on multiple occasions however each time we ended up hitting brick wall and so we decided to seek out some vintage photographs to reimburse our inspiration, we knew we wanted to attain some sort of nostalgia in our piece the photos felt like the right direction. We managed to find photos of the market online which were under the copyright of the 'Sheffield City Library', after obtaining the photos we placed them in our 'Final Cut Pro' timeline to give the piece a historic background where the audience would then build their empathy for the traders which are later seen in the film. We used the wide black and white photo as an establishing shot choosing to zoom in with the motion tool to add some movement.  

  Establishing shot.

 Rather than just pausing on the photos as part of a metric montage we zoomed in on each one to capture moments and customers faces to give a sense of character.

In this photo we zoomed in on the couple to the right and the man behind the group in the left, we would later add atmos from our current visits to the market to bring the photos to life.

Due to the portrait framing of this photo we used a pan down from the ceiling to avoid a sudden change in aspect.

After setting up the correct timeline we renamed all the footage and created various bins in which would contain the pro res footage we had already categorised  the bins also correspond with the folders on the scratch disc so that everything is precisely arranged for the sake of organisation and prevention of lost footage. The interview structure we went for allowed for an emotional connection with the traders sympathising with their postion that the new building will jeopardise, with the history setting the scene the dialogue from the contributors gives informative detail on the problem and also relates back to the early days of the market justifying the use of the vintage photographs. 

We made sure one contributor isn't on screen for too long however long enough for the audience to reach out to them on a personal level in order to understand their position, because we only asked brief questions the subject matter is easily seen in the responses and so we could group dialogue from opposing contributors together so it gave the impression they were debating over the same idea, such as the social aspect of the market.

Following on from this rough construction we could then start to add cutaways on top of the vox pops to reduce the talking head aesthetic, we would use a cutaway of the traders produce or stall before the contributor appears on screen so that their appearance is less abrupt this approach also allows us to cut between different time frames to create an overall more interesting pace.

Another factor for our inspiration was the 1950's track that we found from "freemusicarchive.org" we felt the track gave the film the vintage atmosphere we were aiming for, the quintessential vocals bring the audience back to the time when the market was flourishing as it plays to compliment the photographs. The genre of the music was 'Swing' by artist "Spade Cooley & the Western Swing Dance Gang Feat. Tex Williams" after playing the track over cutaways it instantly gave them context and presence as originally they appeared lifeless. 

We used 'iTunes' to convert the mp3 to a wav file which is more compatible with 'Final Cut Pro' due to its uncompressed nature.

We then located the track in our finder subsequently adding it to its own bin in 'Final Cut Pro'.

As we had used the original track for our opening sequence which allowed the audience to hear a vast majority of it, we felt that another track of the same genre and tone would sufficient to be used in a montage later in the film, this track was also from the 'freemusicarchive.org' website, using the same conversion process it was then added to the bin we had previously created for the first track. 

This song was used for the tonal montage later in the film which depicted the lonely sight of the traders un boxing produce and readying their stalls, its slower place and less up beat tempo fitted well with the vacant food market without suggesting something too discouraging. 

We used 'Adobe Photoshop' to create the text which would later introduce the contributors in the film, these consisted of the persons name at the top and their profession/job title underneath separated by a thin line, to maintain an overall polished feel which also fitted with the 1950's aesthetic we kept the type face of these similar to the 'Castle Market Sheffield' film title which is seen earlier in the film. Once content with the layout of the title we changed the colour from black to white then saving the file as a 'png' so that the background wasn't visible, allowing ultimate freedom when positioning in 'Final Cut Pro'. 

Pictured above is a view of the finished contributor titles

Subsequently we imported the titles into 'Final Cut Pro' allocating them to a designated bin under the name 'Titles', we later dragged the png over the cutaway previous to the vox pop.  

To introduce the title for our film we felt designing a quintessential type face would be the best approach to complement our reminiscent opening sequence. We had the idea that our final tracking shot would freeze frame when cued by a crescendo in the music simultaneously the title 'Castle Market Sheffield' would appear initiating the end of the opening sequence and the beginning of the interviews which would take place shortly after a pause with a completely black screen. We exported the frame we wanted to freeze on as a png which we could take into 'Adobe Photoshop', we would use this as a way of deciding which font would suit the footage. 

Pictured above is the type face we went with notice its very similar to the contributor titles, this 'Photoshop' process was in fact done before the contributor titles. We took the shade of red from the "...nicks" meat stall sign seen in the small freeze frame above.  

We tried out variations of the colour scheme e.g red outline white text, white outline red text etc. 

Ultimately we decided that the title should be completely red however slightly paler to give it an aged feel as this would later fade to black and white grain.

This is the final version of the font/type face we went with.

We stretched the freeze frame to a rough duration leaving an estimated gap in which we would use as the pause before interviews.

We used the same exported freeze frame in which to adjust to reflect an antique 1950's aesthetic, we started by changing the image to black and white, followed by altering the 'RGB' 'Curves' by doing this we could achieve the right amount of contrast bearing in mind that white text would be placed in the foreground. 

 We subjected the image to the 'Grain' tool this was a crucial modification in the editing process, this texture of grain gave an instant vintage impression, as you can see the two images in comparison to one another, the un altered freeze frame would slowly fade into the latter of the two along with the red text fading to white (seen in the following screen shots).

 Once satisfied with the image we concentrated on the type face, using the exact text from before we began modifying. Firstly we used the 'Colour Overlay' under the 'Blending Options' menu to change the text to white, we felt that a slight outer glow would suggest antiquity. The background image was later adjusted to a less contrasted state as the text felt overwhelmingly sharp this now more washed out curve of contrast embedded the text.

 The outer glow was also added to "Castle Market".

After a second look at the image we still felt it looked too clean and sharp and so we further adjusted the brightness and contrast into the minus points. 

This is the finished version of the text and image, notice we also gave the "Castle Market" a reduced glow, we saved the image a png ready for the 'Final Cut Pro' timeline.

After importing the vintage png into 'Final Cut Pro' we arranged it adjacent to the freeze frame, we used a 'Cross Dissolve' between the two images to initiate the fade. The black and white image itself suggests the market over the years in terms of its physical structure hasn't changed drastically, the formation of the layout remains greatly unmodified the traders efforts to preserve the essence still stands solid however the decrease in trade has provoked a great depletion in efforts to preserve the markets appearance which is evident in later pieces of footage, we feel that this idea justifies the implementation of the slow fade from colour to black and white.

Poetic Editing

Before opening 'Final Cut Pro' we set upon organising the 'pro res' versions of the footage into categorised folders so that a specific clips could be found without long searches, we gave ourselves as much editing time as possible by obtaining the vast majority of what we needed in the early stages. For the poetic piece we only needed the 'TRACKS' folder pictured above this made it fairly simple in terms of file location when reconnecting media in the timeline if we were using serval computers. 

Once a timeline had been established we created two bins which then separated the tracking shots in our tab into opposing sub categories of shot contents. After this we constructed a rough cut of the footage we felt worked best for the poetic narrative, subsequently adjusting the speed of the tracks so that they played out in similar speeds making the cut less noticeable (as mentioned in the "Sea Change" analysis).   

Following on from the rough cut we then cut down the clips until they were frame perfect to our satisfaction, we chose to have the opening shot of the empty market in darkness slowly awakening by suggestive flickering on of the lights. To create the transcending of time we organised the clips in terms of their customer visibility starting with the early morning barron shots to the infrequent sightings of people through to the very busiest point of the day gradually making a decent into the deprived quieter areas of the market, ending with a cross fade into the final two shots of the market that bring the progression of time to finale, ultimately suggesting the end of a day. We used a similar shot to the first this time the lights turn off as the security guard walks away from the camera allowing the track to come to an end fading to black.  

After we completed the visual process in 'Final Cut Pro' we exported a soundtrack version so that we could construct a soundscape in 'Soundtrack Pro'. We started by creating a sync sound for the lighting in the first track, we did this by using multiple recordings of lights turning on, we matched each bulb flicker recording in correspondence to the visual. To develop a detailed and realistic sound we panned some of the bulbs depending on their location in the shot, we also made the further away lights quieter. 

Once the lighting had been arranged we felt the sound of the recordings still needed to be tweaked, we did this using the 'EQ'.

 The footsteps went through the same mixing process again for the sake of a convincing soundscape.

To justify the size of the market we used the 'Reverb' tool to add an echoing ambience to the footsteps, the echo also made a more impressionable sound suggesting an abandoned environment.

As the tracks progress into an environment containing customers we had to build a gradual increase of sound, we used atmos recordings of the market that we had obtained at various times of the day fading from on to another, we also added in mono recordings of dialogue which is indicative of a market such as traders shouting out there bargains. We panned the audio to advocate more depth giving the impression people are passing by, this panning and fading caused the dialogue from the atmos to become unclear however this was an intentional outcome as we felt it made the piece more poetic forcing the audience to focus on the visuals rather than what they can hear. As mentioned previously in the 'Final Cut Pro' stages of editing we placed the more occupied shots in the centre of timeline to suggest the busy point in the day to clarify this coherence of sound and visuals we fabricated a audible crescendo meeting perfectly with these busy shots, quickly fading these sounds out to match the then empty deserted footage.   

Some of the colours in the footage looked blown out and so we used the three way colour corrector to render a more polished look, a lot of the clips had a reddish haze, we avoided this by moving the points towards the greens and blues.

Transcript (Full documentary)

Transcript (Full documentary)

Michelle

I just don't think it'll be the same going down there, there'll be a lot of sad faces in here when it actually goes, no just from staff, from customers as well.

Butcher:

I mean its a good idea really but I will say again, it's the cost of the rent, god knows whats going to happen to me at the end of the day but I just hope and pray I can afford it. Our committee are fighting for us, they're doing a good job for us, we're all sticking together, we're all in it together at the end of the day we've all got young families, it's all our livelihood and we've got to look after each other at the end of the day and lets hope city council look after us.

NICK:

ts going to cost a lot of money to move so I'm not sort of looking forward to finding the finances for that. We'll see how its goes rem yeah going to be the last christmas here.

So hopefully with the new building its a new start and we have to adapt as well to modern shopping trends people like to sort of shop all the time now so we just have to adapt to that 

I mean the regeneration of the whole area stands to be good thing, but lets see how its goes, change is good. I mean its fifty years old how long can it last, you have to change at some point and you know you will get people sort of not happy with it but i suppose the younger generation they want the move 

Jeff:

Theres uncertainty over the future of the market weather its going to stay here or move and no investment done its well run down.

At the moment i am uncertain wether I'm going to go in or not, with me i have a reduced rent on the bottom floor because its so run down.

Are you orate there love?

STRUCTURE:

(Michelle)Hi my names michelle, I've worked for Pickles for 19 years. I first started off in the sheaf market and got promoted to manageress. I've got a little 9 year old girl which i just packed in work for a year to have her then came back to work. Unfortunately when this market does open down at the moor, if we've not been managed to sold to another person we will loose our jobs and be made redundant. So when it does happen we'll either have a job if someone does buy us or we'll be made redundant and have to go and sign on basically.

(Michelle)Since me being a child, there was the sheaf market, this market and the setts market and i can remember all them, and now its just down to this one market here. And I think personally they should have just had the money and re-vamped this market and made it a lot, lot better, rather than move it, so…. From me being a little child, I can remember coming in here with my mum, and going to cockles stall, and having a plate of cockles every saturday morning with my mum. I 'suppose it's just what you get used to really, i suppose if it'd been down there originally you'd think nothing of it.

(Robert)Yes, I'm Robert Wain and i've been here, trading in the market for 13 years on my own, I've been in the market all together 36 years and about this new market I'm hoping to go down in the next 18 months. As it is we've got to move the market to a modern place, its been here forever really, I can't understand why they can't do this up. By all accounts there going to make that the new town centre down there so everything's going to be diverted down t'new market. We're hoping we can afford to go down 'cause the prices what we're paying now are going to quadruple, we we hope we can afford it y'know.

(Jeff)I enjoy working where i do i enjoy meeting people. I don't make a lot of money now, but what would i be doing if i weren't doing this, i would probably be sat at home watching daytime television. Yeah i get a little bit extra that allows me to have a holiday and run a car, i don't know what i would be doing to be quite honest, i would pack it in or look for another place to trade. I just don't know. What all the traders and the customers wanted, they wanted to stay here where they all no with the trammies, where the busses are. They wanted to stay here and have this place revamped, they could spend seven million on this place and provide us with a car park, and put a life on it for the next twenty to thirty years people would come into the market and people would take the shops outside but for whatever reason the council do not want to do that. They want to take it down the moor they think that people are deserting them so wether its going to be a good thing or a bad thing only time will tell.

(Jeff)For the last sixteen year the council has been promising us a new market and its just not happened we've been hanging on and hanging on . Its happening now but wether its too late i don't know, whether we've lost these customers and we cannot get them back.

(Nick)The buildings very very old, castle market, to stay here its going to cost apparently ten million pounds just to do all the invisible repairs that wouldn't actually start attracting people in.

(Nick)I've got mixed feelings about it really I'm glad of the opportunity to invest in a new premises, I'm quite sad because you get quite attached to a building not so much the building but the people inside it, its like its own mini community really sort of like a microcosm of the world outside, you see all different types of people mixing together, but very soon its all going to end we're going to say goodbye to this building and we're going to be moving into a new one. 

(Robert)Sorry 'bout that, and like I say, i hope and pray it takes off cause it's my livelihood at the end of the day. Councillors are here like everyday, day in day out, they've got a job, it's our livelihood, we've got to go down there and make a living, y'know what I mean? An with these prices what they're going to charge us for rent I feel that I'm going to be struggling a little bit, you know what I mean? But at the end of the day, as i say, its my livelihood, I've got to go there, I've got to give it a go. I've got a young family and that's it at the end of the day, I've got you y'know, go for it.

(Jeff) I've enjoyed my time here, we've had good times when its been really really busy. Its like anything shopping habits change and with over the years introducing of these pound shops and online shopping and more and more supermarkets coming into the area, Its er peoples shopping changed.

(Nick)Im happy to be moving because over a period of years we've just seen trade drop and drop and drop and we're not exciting to young people anymore, we've got our old customers and hopefully we can take them in to the new place with us but we've got to make ourselves ore modern, to attract the way people shop nowadays. 

(Michelle)We do get a lot of the same customers and we've made friends with them and they tell us all their little problems and we're there to listen to them and to chat to them and they keep asking us, "are you moving down to the other market" and we have to keep saying no and they're quite sad really cause they keep saying "where will we get our same meats from?" Because they do get used to going to one stall and you get used to seeming them as well and you do make quite good friends, working behind a counter actually.

(Nick) I mean if we move to the new place we've got to be able to keep our prices low because thats what attracts people here, we can do things very very cheaply and hopefully soon enough we're going to find out what the rents will be

(Jeff)People they come here and meet they come and have a coffee and meet their friends, the idea of the market is they come here for a bargain! They're looking for that personal service and suddenly if your rent double or triple in some cases can you still offer that bargain that very very good price because at the end of the day you've got to pay all your rent and bills and your taxes. We're going to be paying three times as much rent for a lot less stall size so wether that can work or i don't know. 

(Nick) Hopefully we can take the people with us that shop here over to the moor and attract more people as well, so you know I'm hoping that its going to improve rather than decrease the numbers that we've got. I mean Sheffield's town centre is like a centre of two halves really at the moment we're at the wrong end you know we've got to move to the other end and hopefully improve…I certainly hope so. I mean the regeneration of the whole area stands to be good thing, but lets see how its goes, change is good. I mean its fifty years old how long can it last, you have to change at some point and you know you will get people sort of not happy with it but i suppose the younger generation they want the move 

(Robert) I mean its a good idea really but I will say again, it's the cost of the rent, god knows whats going to happen to me at the end of the day but I just hope and pray I can afford it. Our committee are fighting for us, they're doing a good job for us, we're all sticking together, we're all in it together at the end of the day we've all got young families, it's all our livelihood and we've got to look after each other at the end of the day and lets hope city council look after us.

(Jeff)Been here twenty five year, bought this business and what they're offering me is a, is , is a joke, but what can i do, what can i do about it they're pulling the business down. I cant sell it and they're not even offering me a fraction of what i paid for it.

(Michelle)I just don't think it'll be the same going down there, there'll be a lot of sad faces in here when it actually goes, no just from staff, from customers as well.

Today we typed up a transcript from all the interview footage we felt was relevant, we believe this would aid us in planning the documentaries overall structure as we were able to see the points the contributors mentioned. Using a text editing program we were able to rearrange the structure quickly, utilising this process with a word processing program we could clearly see what each point raised contained rather than having to listen to each clip on final cut. This also allowed us to cut certain sentences together and arrange dialogue without having to render etc, the frequent reading/ typing of each sentence caused us to inadvertently remember what the contributors had said speeding up the process further. 

Once we had established an order we felt worked we saved the document to refer to once we begin to cut the footage together in 'Final Cut Pro'. Each of the contributors express emotion at some point in their interviews, we felt these statements would be work towards the end of the piece to leave an impact on the viewer. Once each of the contributors had introduced themselves we fell that their voice would be remembered so that we wouldn't have to cut back to a vox pop each time they reappear, subsequently we didn't see the need for each speaker to state their full name we understand that text would be better to indicate their profession helping the overall flow become much more lucid. 

Pro Res

Once we had captured all the footage from castle market we ran all the clips through 'Pro Res' in 'Final Cut Pro', we did this as the format the Canon 600d records in (H.264) is not a sufficient editing codec, we converted/transcoded the H.264 footage to Apple ProRes 422 and then re imported the footage back into 'Final Cut Pro'. Pro Resing the footage also meant that we wouldn't have to render the timeline each time we cut a new sequence this would help speed up the editing process making the project completion much more efficient. 

After 'Compressor' had finished pro resing all the footage we organised the files into relevant folders on backed up hard drive, this reduced the need to search for certain clips. These folders also resemble the bins in which we would establish later in 'Final Cut Pro'. If there were ever a need to reconnect the files in 'Final Cut Pro' if a new project or file was moved the location of each clip would be easy to find. This strict organisation process is something we've failed to administer in previous projects causing us to loose footage or slow down the editing considerably.

Second shoot of interviews

We managed to capture our remaining three interviews with the other traders in the following day, 'Robert' the fresh meat stall owner pictured above answered the questions with a more paced delivery which nicely contrasted with 'Michelle' he kept his ideas short and sweet, however this lack in information from 'Robert' worked with and against us in terms of how we would place him in the documentary. His enigmatic persona worked well on screen as well as audibly which would lift the mood of the piece introducing a varied pace, though we did feel we would have to cut out a lot of the unwanted less informative dialogue as he did tend to repeat himself. 

We managed to get a shot of 'Robert' holding up a vintage photograph of the man who learnt him his trade, we felt this motif would fit amongst the context of his dialogue, the framing of the shot functioned well however the focus pull from 'Robert' to the photo never reaches a crisp focus on the photo and so let down the idea, this would be later decided in the editing as to whether its complementary of the previous footage. 

'Jeff' the hardware store owner gave the longest of all the interviews, I feel at this point we had decided to push the contributor for the detailed answers we wanted. Though from time to time 'Jeff'' did tend to go on about issues we felt were less concerning he did further evoke more emotional dialogue, the position he was in financially struck an interesting chord, we felt that he would help to develop the audiences connection to the traders subjecting there sympathy.   

In terms of the footage visually we sat 'Jeff' in the foreground of his store front, his lack of movement meant that we could achieve a crisp focus allowing us to use the vox pops without apprehension. Due to the quietness at the beginning of the interview we could also get a clear recording of the dialogue.  

We did get a varying shots of 'Jeff' after the seated interview had finished, however they didn't work as well as the previous the lighting in his shop was a distracting element of the standing shots and his dialogue was mainly ranting and off topic. 

This shot much like the one above didn't work well and wouldn't be used in the documentary, though it was worth getting a range incase of problems with the latter. In terms of cutaways we managed to capture 'Jeff's' interaction with customers which would be very useful in the editing stages as they supplemented the question of the markets livelihood and it being a place to socialise. After watching the footage back its clear as to what 'Jeff' wanted and how her feels about the move to a new market.

'Neil' the cobbler pictured above gave an optimistic interview, his views directly contrasted the previous traders developing an interesting turn. His language almost felt out of place as he went on to talk about how the social aspect of the market was like a "microcosm" he also spoke about the shopping habits of customers had changed, its a shame that we didn't urge him to continue talking about these aspects, though his ending statement did work well as a conclusive denouement.  

Unfortunately we rushed the framing of the shot, the light in the background is very distracting and forces the balance of exposure to become awkward as you can see he is dark in compassion to the background, subsequently he moved out of focus once the filming began and we failed to notice this as the interview progressed. These issues could have been avoided, our acceptance of the footage meant that again relying on the editing is again revisited. 

Early hours shooting tracks and cutaways

For both the poetic and documentary we set out to film tracking shots of the market, we chose to shoot in the early hours of the morning (3am) onwards. For the poetic this allowed us to show a full working day of the market seeing people set up, serve customers and then shut up shop, we would then later condense these shots into the poetic piece. The shots would also be used in the documentary in particular the security guard walking off as the lights fade out.

These shots below show the isles that we used the track. For the poetic we would use only tracks to suggest a progression of time as well as displaying the vibrant colours of the traders shops.  

This shot pictured above would be used in the poetic and documentary, the iconic covered up shops and flickering off of the lights works both theatrically and contextually.