Tuesday, 12 August 2014

Amy's Eton Mess

Amy's Eton Mess - a quick video guide to making the perfect Eton Mess.

In the height of summer the best dessert is considered to be strawberries and cream, however this alternative is without a doubt a popular favourite. 

Eton Mess is a classic British dessert made up of a mixture of strawberries, meringue and cream. The dessert has been known since the beginning of the 19th century, and is traditionally served at Eton College's annual cricket game.
"I always thought that the Eton Mess was 'invented' around the 1920's when, during the annual cricket match at Eton College, a rather giddy labrador sat upon the picnic blanket containing the strawberry pavlova, squashing it. The plum-mouthed boys didn't care a single jot that their dessert had been essentially ruined (and probably covered in dog hair) and ate the thing anyway, preferring it to the pavlova. And so the Eton Mess was born and served up as a summertime pudding ever after." 
 - http://britishfoodhistory.wordpress.com/2011/08/11/eton-mess/

This quick guide was created as part of my sister's Queen's Guide Award, (which is the highest Award one can achieve in Girl Guiding). It was filmed at Essington Farm in Wolverhampton using two small Canon Ixus cameras. 

The entire film relied on improvisation as nothing was planned fully. The majority of the film was shot in the farm, whereas the guide to preparing and making the dessert was filmed in the car park from the boot of my mother's car. Whilst my mother filmed the wide shot (by sitting in the boot), I filmed the close ups by sitting in the grass next to the table just out of shot.

Inspired by many cooking programs, especially Jamie Oliver's 15-minute meals, it was interesting to see how two shots - one wide and one close - could make all the difference to giving information to the viewer.

In the video, the close up camera is at times quite visibly blurred. There is no particular reason for this, except perhaps the inability of the fixed lens to cope in bright sunlight. However, from a viewer's point of view, I and several others have found it gives the film an almost warm and soft vintage look in appearance. Of course from a filmmakers point of view, it would essentially be a disaster. On the other hand, as it has not deterred from the message or hindered the film, it can be counted as an unexpected attribute.

The film was edited on Adobe Premier Elements, but (DISCLAIMER) the music does not belong to me in any way, shape or form. No Copyright Infringement intended.

You can watch the finished video here:

Monday, 4 August 2014

Blink - The Importance of Accompanying Music

"The Angels are coming and they are fast! Faster than you could ever believe! Don't turn away, don't turn your back and don't blink!"

Doctor Who is perhaps one of the best TV shows of all time - 50 years in the running is by no means an easy feat. But one of the best episodes as rated by the fans is 'Blink' - known to most as the Weeping Angels episode.

The Weeping Angels have been considered one of the most scariest enemies of all the Doctor Who villains and monsters,(http://onepopz.com/doctor-whos-top-20-scariest-monsters-get-behind-sofa/4/) never moving when you look at them, but as soon as you blink or turn away they are at liberty to move. And they are fast.

As part of an editing experiment, I was given an idea by Lifeline which was to make a short video edit of the Weeping Angels to the music of 'The Blue Danube' in an attempt to see if the creatures were still just as scary when accompanied by ridiculously contrasting music. Once complete, the video was analysed to see if the viewer still thought the Weeping Angels as scary as they had been when accompanied by the tune of the Blue Danube. The main prognosis was no.



The music fades in along with a black screen showing Sally Sparrow - the main character in the 'Blink' episode - walking though a graveyard past a Weeping Angel. The music then slowly builds up in speed, and the video shows several Weeping Angels following and watching Sally. An over-voice is then inserted of the Doctor saying 'The Angels are coming for you' - thus introducing what the creatures are. 
The video then shows several angels covering their faces with their hands, followed by: 'Creatures from another world'. 

Sally walks away from the house and clips are taken from the episodes 'The Time of the Angels' and 'Flesh and Stone'. At this point the music is gradually getting faster and the volume is building into a crescendo. Amy Pond is then introduced. Don't Bink. Don't Even Blink'. Amy thinks she is being turned into a Weeping Angel, and with a little help from the Doctor and River Song, she has to walk through a forest of Angels with her eyes closed. Despite the fact that this scene is quite terrifying in the episode, when put to the tune of The Blue Danube is it rather understated and sedated. 'Blink and you're Dead'.

The voice of the Eleventh Doctor is then heard saying: 'The Angels will come and I think they're coming for you'. A transition is then made to 'The Angels take Manhattan' episode where Rory and Amy struggle to get away from the Angels. 'They are fast, faster than you can believe. Don't turn your back! Don't look away and don't Blink!' 

As the music continues to crescendo, the video turns into a quick-cutting edit of fast moving images which is intended to cause slight disorientation and confusion before pausing an image on a long note accompanied by a smiling weeping angel. The video then comes to an end as River and the Doctor find themselves trapped by the Weeping Angels. River asks the Doctor: 'Any Ideas? and he replies: 'Run!' Images are then shown of Amy and Rory disappearing after being touched by a Weeping Angel and the Doctor firing a gun. An image of a Weeping Angels' shadow is then shown which fades out as if on a TV screen.


In the episode 'Blink' Sally Sparrow first communicates with the Doctor through a TV screen, and in the episode 'Flesh and Stone' Amy Pond sees an Angel through CCTV footage. The main idea of the edit was to create a similar old-fashioned CCTV/TV type experience. It was not intended to be clean cut or viewed in high definition, but rather to portray an off-beat, distorted and unpredictable series of images.

In conclusion, if a scene is supposed to be scary then the music should be suspenseful or disturbing; if a happy scene then light and uplifting. The accompanying music for a film or series is extremely important in creating a definite mood or atmosphere, and when an image is combined with a contrasting piece of music then the mood or feeling will inevitably be changed.

You can watch the finished video here:

Saturday, 26 July 2014

RED - Film Review

"When his peaceful life is threatened by a high-tech assassin, former black-ops agent Frank Moses reassembles his old team in a last ditch effort to survive and uncover his assailants".

Directed by Robert Schwentke and written by Erich Hoeber, RED is an action-packed adventure, full of mystery, suspense and comedy. 

Although this movie may not be the action-packed film one might expect, it still manages to shine with its undeniable wit, classic style and a star cast including Bruce Willis, Helen Mirren, John Malkovich and Morgan Freeman. RED is not a fast-paced film, but neither is it slow; in comparison with the characters, the film is set at a steady speed with insane action sequences that intertwine throughout and leave the audience wondering where the story line will take them next. As for the characters themselves, they are all brilliantly written with a good dose of humour, wit, romance, regret and sobriety.

For some, the comedy may make up for the lack of action, but with action sequences like this (see below) it is not lacking drastically.

In hindsight, RED is almost placid compared to most action-movies today. Whereas one might expect an action-film to be literally jam-packed with action from the beginning to the end, this film allows the audience to step aside from that and see that a good action movie is not just made up of action, but of the relationships between the characters that are so often understated.

It is for this reason that RED has managed to divide the crowd entirely. Some have labelled it mediocre and bland, whereas others have described it as playful with a refreshingly unconventional concept.

What many critics fail to see is that beneath all the drama of exploding bullets and crashing cars there is a strong and solid story that is brought to life by a few well-cast actors and actresses. In RED, the fluidity of the characters interactions are not over-shadowed by the stereotypical concept that the elderly are not fit for anything but sitting in care homes - in fact quite the opposite. Although at times the film may seem a little over the top and ridiculously unfathomable, the message follows through. 'Old people' are not 'old'; they are simply young people who have grown up.

Critic Reviews:

  • It's very silly and runs out of steam well before the end, though there are one or two gags Peter Bradshaw, Guardian
  • RED may look tantalizing on paper, but the end product is nothing to smile about - Adam Woodward, Little White Lies
  • What RED lacks in incomprehensible muscle-bound meatheads it makes up for in humour, story and action - Joe Utichi, Film4
  • A visually explosive film that leaves you little time to catch your breath - Roger Tennis, Cinemaclips.com
The simple truth is that the majority of viewers across the world are not able to sit down and watch a movie without their senses being over-whelmed by action, horror and the like. A film that endeavors to try something new will always be in the line of fire, but what remains to be seen is whether a steady-paced film can be watched by audiences who are used to watching fast-paced movies.

You can watch the official trailer here:

Thursday, 12 June 2014

Gravity - Film review

Gravity (2013) Poster

Released in 2013, Gravity promised to be a film like no other; a film that would keep viewers sitting on the edge of their seats from beginning to end, and prove to be a nail-biting experience. 

Packed with a nerve-shredding soundtrack, bone-chilling special effects and an emotionally demanding script, Gravity is a film that will take you to space and beyond.

The whole focus of the film is directed towards two astronauts: Ryan Stone (Sandra Bullock) and Matt Kowalski (George Clooney) who face a terrifying catastrophe with devastating consequences. The vulnerability of these two people, and the peaceful and yet eerie silence of space is captured perfectly through the script and sound effects in particular.
You can listen to the main theme (Don't Let Go by Steven Price) here: http://www.youtube.com/watch?v=gxst2_Bi5aY
For 1 hour and 21 minutes, the world outside this film is forgotten about and the only emotions one can feel are tension, fear and hope. Although surrounded by a bleak situation with very little chance of survival, the audience can only pray and hope that, despite everything that has happened, these two people will make it to the end of the film.

Directed and written by Alfonso Cuaron, the film starts with a beautiful wide shot of Planet Earth from outer space; a simple and yet powerful shot that does not break for an entire 17 minutes. The simplistic beauty of this angle resonates throughout the entire beginning sequence. A deep breath before the plunge, some might say.

What is more, the single shot is then used again when the debris hits, the camera interweaving and meandering through the wreckage of the satellite storm creating a sense of reality and presence.
Like Stanley Kubrick and Andrei Tarkovsky, whose 2001: A Space Odyssey and Solaris are obvious touchstones, Cuaron understands the power of the shot. He doesn't just show us the impact and its aftermath, his camera explains it to us; tracking objects as they crash into and ricochet off one other with terrifying solidity, then holding on Stone and Kowalski as they plummet away from the wreckage and into nothingness.

And yet amidst all the chaos and spectacular effects is the story of two people fighting together for survival. Once the initial shock of the impact is over, the audience's focus is immediately directed towards the lonely astronauts who are clinging to one another for dear life. And it is that relationship between Stone and Kowalski that builds the bond between the audience and the characters. Bullock's performance as Ryan Stone is truly remarkable; harrowing and incredibly human, whilst Clooney's performance as Matt Kowlaski gives the reassurance and calm that the audience needs - as he comforts Stone, he also gives comfort to the viewers.

All in all, Gravity is a brilliant film that exceeds the standards of film today. Captivating and at times emotionally draining, it may not be for the faint-hearted, but it is nevertheless a clever and wonderful picture of humanity. That despite all that life throws at us, we never go down without a fight.


  • Is Gravity very deep or very shallow? Neither. It is a brilliant and inspired movie-cyclorama, requiring neither gravity nor gravitas. - The Guardian
  • The film of the year - Empire Magazine
  • A sleek, smooth, immersive, and rather overwhelming spectacle of economy, efficiency, and all-around proficiency. - TheMovieReport.com
  • We've seen films set in outer space before, but nothing has ever felt this real. - The Verge

You can watch the official trailer here:

Tuesday, 13 May 2014

Rock of Liberation.

'A short film about how, when the world seems a dark place, and the weight of your sorrows are on your shoulders, there is always hope'.

This idea came from looking into what people do when life gets rough. Some take it on the shoulder, others to heart, but when all else fails there seem to be only two options: You chose to live, or you die. But there are too many deaths in the world today, and far too many suicides.

 “Did you really want to die?"
"No one commits suicide because they want to die."
"Then why do they do it?"
"Because they want to stop the pain.”
― Tiffanie DeBartolo,
How to Kill a Rock Star

If one is willing to look for it, 'hope' is not far away from any of us. This film looks into this, but there is no narration or speech.

The film starts with a black screen and a cupboard door is opened. This is the introduction to the main character, (who happens to be the only character in the film). As the girl reaches into the cupboard the audience can see the word 'Sinner' written on a piece of paper. Throughout the beginning of the film, this word is a constant - reminding the character of who they are and what they have done. As the film goes on, the character becomes more and more stressed and depressed by this reminder and suddenly decides to take action.

There was no lighting used for the film, and any sounds were only the sounds picked up by the camera (a compact Canon IXUS). As the day for filming was generally bright, lighting was not a problem and the exposure was just right.

On this particular day, a vital scene was left out - partially because it had been forgotten about! In theory, this was a disaster because without it the film would not have made any sense. When the girl runs into the porch to get her coat, she stares at the paper on the door. When this was first filmed, the actress didn't pick up the note - she simply grabbed her coat and went out of the door. So, when I decided to re-edit the film two years later, I found this hole in the storyline. Two shots were needed to correct this. The first was a close up of the paper being snatched from the door; the second a mid shot of the girl looking at the paper and screwing it up in her hands.

The running sequence, however, was more difficult to film. Having no mount, or steady cam available, it was a simple task of simply running whilst trying to keep the camera as steady as possible. In total, the entire film process took approximately 10 hours, 3 of which were spent outside.

The music for the film, (which does not belong to me) was particularly hard to find and mix. In the end, the pieces 'Cold Summer Landscape' by Blear Moon, and 'July' and 'December' by Marcel Pequel were used. 

You can watch the finished film here: http://vimeo.com/91173313

Psalm 62 v 1 and 2
My soul finds rest in God alone; my Salvation
comes from Him. He alone is my Rock and
my Salvation; He is my fortress, I will never be shaken.

Wednesday, 16 April 2014

Rain - short video

'Here today. Gone tomorrow. Rain doesn't last forever'.

This is a short video I made by experimenting with a Canon EOS 7D. It was shot within the space of 2 hours, and mainly concentrated on focusing techniques.

Due to lack of experience, many of the shots that were taken were not smooth. Difficulties arose in focusing from one object to another. However, over a short period of time, the focusing became easier and relatively smooth transitions could be made.


The footage was not colour graded or changed in any way because - even though some of the shots are a little on the dark side - the video was then able to retain a natural look. I also like the soft edges that the camera was able to achieve, and found that turning the contrast up would  sharpen that effect.

Rain and raindrops are perhaps difficult to capture because they are so small and fragile, but what was most interesting was the abilities of not only the camera, but the lens too. 

I found that it was good to test the various ranges and focal length of the camera to find the maximum opportunities available.

DISCLAIMER: The music does not belong to me.

You can watch the finished video here:

Saturday, 5 April 2014

Nordicana 2014

Nordicana - a live celebration of Scandinavian crime thriller fiction and film.

Whether you are a fan of crime fiction, danish pastries, Scandi dramas or even Swedish meatballs, there is something for everyone at this extraordinary event.

Nordicana is held in the UK up to two or three times a year, and is hosted by NordicNoir (which is a sub-label of Arrow Films). It was held at the Truman Brewery, which was a spacious warehouse and not at all cramped - even though the event received around 3000 visitors over the two days. Nordicana 2014 lived up to all of it's expectations.
As much as we love British and American crime drama, there’s just something special about a Scandinavian series. An extra something. Perhaps it’s the culture, perhaps it’s the moody landscapes, perhaps it’s the unrelenting darkness. Perhaps it’s even the language.
- http://thekillingtimestv.wordpress.com/

Nordicana had much to offer: premieres for new TV series and films, discussion panels with writers, actors and composers, and The Great British Bake-off style 'A Great Cinnamon Bun-Off'.

Swedish Meatballs!
The itinery was spilt evenly over the two days, however when only being there for the one day, it was ashame to miss out on the other's events. Being there only on the Saturday, (which saw a lot of late visitors due to travelling down to London on the morning) there was a great atmosphere of excitement, ease and friendliness.

The first event was The Bridge 2 - Episode 9, which was introduced by the Ambassador of Denmark. Having discovered Scandinavian Drama through the political drama 'Borgen', it was interesting to see other dramas that had been made by the same companies. 'The Bridge' is a crime drama focusing around the crimes that happen around the bridge that connects Denmark and Sweden. 
There was also an interview with lead actress Sofia Helin and Kim Bodnia by broadcaster Suzi Perry. After seeing this preview of the episode, I was immediatly taken with the series.

Next was a premiere of the film Pioneer by Erik Skjoldbjaerg. It's a thriller, and is based around the oil harvesting occurences that happened in the North Sea in Norway during the 1970's. The cinematography and grading of this film was quite beautiful, and the sound was truly remarkable. Parts of the film took place under water in compression tanks, and the sound effects at these times were nerve-shreddingly real. The script was also extremely believable when it came to the relationships between the characters, and the film is definetly an-edge-of-the-chair experience.

After the film was an interview with Aksel Hennie (the lead actor) by Mark Sanger (BAFTA nominated editor of Gravity). It was interesting to hear how the lead actor in the film felt about his part, and his experience of the filming process.

The last event was 'The Legacy - Episode 1' which was a new series from DR, and the producers of The Killing and Borgen.

Overall, this event was a brilliant day out, and I would highly recommend it to all Scandi lovers, and those who have yet to discover it.


* http://mysteryreadersinc.blogspot.co.uk/2014/01/nordicana-february-1-2-london.html

* http://www.culturecompass.co.uk/2014/02/04/nordicana-review-london-celebrates-scandi-tv-film-fashion-and-fiction/

* http://www.culttvtimes.com/content/event-nordicana-2014/

* http://nordicnoirblog.wordpress.com/2014/02/09/nordicana-2014-part-one/

* http://eurodrama.wordpress.com/2014/02/06/nordicana-2014-3/

* http://blog.swedenabroad.se/uk/2014/02/03/the-bridge-at-nordicana/

* http://www.heraldscotland.com/comment/columnists/a-look-beyond-the-fantasy-politics-of-nordic-fetishism.23316948


* http://nordicnoirblog.wordpress.com/2014/02/14/continuing-the-nordicana-2014-theme/