Updated Learning Contract
April 23, 2009
TS Learning Contract
CONTENT
1. What is the community that you will make your documentary about?
The documentary will be about Melbourne cafes.
I’m looking at cafes in their social and cultural context, as sites of (transient) local communities.
2. What interesting issues about community and identity will you be able to explore in relation to this community? (with reference to the theory you have read)
I’m interested in exploring urban community/communities in terms that go beyond binary oppositions of good/bad, alienated/supportive. While I’m aware of the fact that modern post-industrialised and globalised societies produce many social inequalities and negative effects, and some of these may be mentioned in the documentary, I’m interested in viewing urban communities as places that are also capable of supporting sustaining communities.
While Melbourne cafes are not heterogeneous communities, and they don’t consist of one body of people, but are a changeable group of people, my idea is that the ’socially constructed’[1] and ‘lived space’[2] these sites produce has an impact on our experience, and that that experience is continuously shaped and changed by their physical presence and by how we use them. (It’s interesting to see a contrast in the street with cafes thriving with life, and then the same street when these places are closed.)
A documentary on Melbourne cafes is an opportunity to explore the ways in which urban sites create their own communities.
1–2 Delanty G., Community, Routledge, 2003, p. 67. (Citing Lefebvre)
3. What theorists will you incorporate into your documentary? (summarise the ideas you will engage with)
Delanty[1] mentions that modern social theory, which has tended to examine American cities, is dominated by studies about the negative aspects of urban environments. However, a group of theorists have started to look at the city in a way that is capable of sustaining local communities, which are still seen as important units of social cohesion.[2] One of these figures is Bourdieau, who has developed the concept of the ‘habitus’, a complex philosophical entity, used as an interpretative tool to explain various social phenomena. This concept, in simple terms, allows individuals and social groups to be active agents capable of defining themselves outside of any predetermined and fixed structures.[3]
Another concept linked to this, in relation to the topic of my documentary, is Lefebvre’s theory of the ‘socially constructed space’, which examines space not as a fixed physical entity, but as something that can be continuously built on, in terms of meaning and social constructions.[4]
1–2 Delanty G., Community, chapter 3, Routlegde, 2003.
3 Bourdieu P., ‘Habitus’, in Hillier J. and Rooksby E., Habitus: A Sense of Place, second edition, Ashgate, 2005.
4 Lefebvre H., The Production of Space, Wiley–Blackwell, 1991.
4. Why are they relevant / important? (a critical analysis of these ideas in relation to the community you are documenting)
The theoretical ideas outlined above are important because they offer a way of observing urban communities, in this case Melbourne cafes, in a way that sees them as active agents capable of shaping urban social structures.
5. How are you going to introduce their ideas? (in terms of the structure of your documentary or the argument you are proposing, how does the theory come in, and where/when?)
The theory will inform my approach and treatment of the subject matter, but it will be more of an infusion, rather than obvious demonstration of concepts or theories. I will draw on this theoretical framework in a way which will assist me with exploring various answers to the posed question. I will not use theory to heavily edit the content in order to prove a narrow point; it will be a conceptual tool on which I can rely to keep me in focus .
While the content will be editorially driven, I will not be asking any direct theoretical questions in the interviews, and will use plain conversational language in my interaction with the participants. I will frame some of my questions in line with my general theoretical approach, and in that sense I will inevitably be influencing the shape of the narrative, but I aim to adopt a conversational style of interviewing, where people will be able to talk, and hopefully for sustained periods of time. I’m keen to let the participants talk, and to allow their views to be fully expressed in the documentary.
Furthermore, the theoretical concepts of the ‘habitus’, ‘lived space’, ‘socially constructed space’ are complex constructs, and I will need to do more selected reading in order to refine my understanding of these ideas.
References:
Bourdieu P., ‘Habitus’, in Hillier J. and Rooksby E., Habitus: A Sense of Place, second edition, Ashgate, 2005.
Delanty G., Community, Routlegde, 2003.
Lefebvre H., The Production of Space, Wiley-Blackwell, 1991.
6. What is the structure of the documentary? (this could be a short treatment of the way you see your documentary unfolding)
I’m interested in tailoring the structure of the documentary to the way an average adult user with a general interest in social software might access it and interact with the material.
I want to avoid linear structure altogether, and will produce the material in segments. These segments will be connected to the subject matter, but they will also be able to be read independently.
I will also be exploiting the fact that the material can be expanded and also reduced, both in format and content, depending on what social media is being used. I may have full albums on Flickr, but may upload only a few selected images on DeviantArt, and another selection of images on Photobucket. With content, if I decide to use Tag Galaxy as well, I may include only images of public spaces and areas on footpaths, but not photographs of individual people. This changes the angle from which the documentary is viewed.
I’m interested in exploring the fact that making a documentary using social media can be seen as an open and transparent process, and that post-production stage can almost be avoided because the material can be published as soon as one segment is finished. Also, the blog becomes an accessory to the documentary, and I may be able to include some non-edited ‘rough’ files and transcripts there as well.
The documentary won’t be presented in a fully finished format, in a sense that the story will have a definite conclusion and strictly defined boundaries, and it will be possible to add new material beyond the final submission date.
7. What is the style of the documentary? (you can refer to documentary theory if you know it; if you don’t, discuss how you see the relationship between you the documentary maker and your subject, and how that will influence the work you produce. Examples of other documentaries will be relevant)
I don’t have sufficient knowledge of the documentary genre to be able to develop a product that is properly grounded in the documentary theory, but while doing some quick background reading, I found these helpful in assisting me with my approach:
John Grierson’s: ‘creative interpretation of reality’. Fred Wiseman: ‘another form of fiction’.
I would like to stress the storytelling aspect of the documentary, both textual and visual.
As the documentary subject matter is not centred around a particular issue or event, and the cafe community is not necessarily recognised as a homogeneous community, this gives me the opportunity to structure a creative ‘study’ focused primarily on narrative segments. This narrative is grounded in reality, but it will also have a literary edge, mainly imposed by its relatively limited media format, and the fact that I’m seeking to explore some general answers to the questions of our ‘modern’ urban existence.
With examples of other documentaries, because my project is not presented in moving images, I’m not sure how I would link it to other film examples, but the style could be broadly described as ‘literary reportage’ or ‘creative nonfiction’.
My relationship with the interviewees will be a question/answer type of approach, but as my aim is to encourage people to talk, I will aim to adopt a conversational approach, and to guide them to offer generous answers, and perhaps even allow them to wonder off in other directions for brief moments, if they choose to talk about something else. It will not be an investigatory style of interaction, but more of a reportage. I’ll have a number of questions that I would want to cover in each interview, but I’ll aim for some elaboration. Some people will be strictly to the point, and others will want to talk, and that will be interesting. Because I’ll be editing the interviews, I’ll have more of an interventionist approach during the editing stage. At the moment I’m planning to edit myself out but keep the narrative flow of the answers, which will mean trimming some of the narrative content, but I’ll have to experiment with this once I gather more materials. My intention is always to present the participants authentically (and not edit their responses to the level where they wouldn’t be able to recognise the flow or content of the original interview). I will also be guided by what can be described as an ‘ethical approach’, so I will not be discussing personal, controversial or potentially upsetting topics.
Also, most of the interviews will be conducted and recorded in noisy cafes, so a lot of audio material will contain this (sometimes quite loud) background noise; this may impact on the quality of the sound, but, it can also be seen to add a bit of authentic cafe character to the material.
TECHNICAL
8. What type of media will your documentary consist of (eg audio files, text, stills, video, animation etc)
I’ll have text, photographic images and audio files.
9. Given that your documentary will be published online, how will you tailor production and post-production to be appropriate (eg image size, frame rate, design issues, copyright)?
I’ll test all files extensively before publication, and produce them to required specifications determined by the media in which they will be published. I will decide on exact layout and format during the production and post-production stages, and will finalise all design and technical aspects of this exercise during that time.
Copyright issues are covered under sections ‘Permissions’ and ‘Legal’ of this Learning Contract.
10. What are your skills in making this style of media?
I’m confident with photography and producing textual material. I don’t have experience using audio editing software, but am currently working on this (editing audio files using GarageBand). I know how to record audio files and convert them to an appropriate (mp3) format.
I have never produced a podcast or uploaded audio files on social software, so I’ll be developing a new set of skills with this sort of material.
11. Are you enlisting the help of any crew during the production phase of your documentary?
No. It’ll be self-produced.
12. Will you need to borrow technical equipment from the Applied Communication techs? If yes, what do you want to borrow? When do you want to borrow it? (You must get the borrowing form signed by your tutor in order to borrow gear, and your tutor must be convinced that you already have sufficient technical skills to use it.)
I’m using my own dictaphone and recorder to record interviews.
PERMISSIONS
13. What talent do you need to get release forms signed for?
I’ll need to obtain signed release forms from the talent who will be photographed and interviewed. I’ll also need to obtain approvals to photograph and film indoors.
14. Are you going to interview any minors? (if yes, you must get their release form signed by their parent / guardian)
No.
15. Do you need permission to shoot on location?
I won’t need permission to photograph or film areas on footpaths, but will need permission to photograph and film indoors.
POST-PRODUCTION
16. What software do you need to edit your documentary?
Image files (photographs) in Photoshop (or I may use iPhoto for basic editing). GarageBand for audio.
17. Do you have sufficient skills with that software?
Yes, with manipulating images and text. With audio editing software, it’ll be a new learning experience.
18. Do you have sufficient access to that software?
Yes (I have a Mac, so it’s included on it).
PUBLICATION
19. What social software environment will you publish your documentary to?
I’ll have photo albums/galleries on Photobucket and Flickr (to encourage wider access), maybe I will consider posting selected photographs on DeviantArt (to encourage feedback). With text: I may publish some interview transcripts on the blog. With audio interviews, I may store these on the blog, if I purchase an upgrade, otherwise it will be YouTube most likely.
With regard to the audience, I see this as a ‘niche product’ that will interest a small number of people. The photographs stand a higher chance of being seen and possibly used by others, and some of those users may come to the blog and might listen to the interviews as well. I find it interesting how parts of the documentary material can be used in different ways, and can be read completely outside of the original context, so I will be interested in placing the photographic material to several other environments outside of the blog.
20. Is the media you are creating appropriate for that environment?
The media outlined in q. 19 is appropriate for this type of material, both from the point of view of dissemination to other potential users, as well as the preservation of the integrity of the materials.
21. Have you become a member of that environment?
Yes for Flickr, Photobucket and DeviantArt, although not for audio storing/sharing sites.
22. Have you done a ‘test’ publication?
Yes, on WordPress (for pdf downloadability), as well as photographs on Photobucket and Flickr. I haven’t yet tested any audio-storing sites.
23. Does the environment stipulate any limits (eg file size, dimensions, file types, copyright, legal issues) that you will need to meet?
All of these environments have specifications for document types (these are standard document formats, and I’ll be producing my materials in line with these specifications). Uploading image files on photo-sharing sites is not a problem; hosting a pdf document on WordPress is also not a problem. I will need to produce an edited mp3 file to upload audio interviews to WordPress (if I purchase an upgrade, and if I choose to store audio interviews on the blog).
With copyright and legal issues on these sites, as well as on this blog, standard regulations apply (and these are outlined in more detail in the ‘Permissions’ and ‘Legal’ sections of this Learning Contract document).
24. Are there any competitions or other deadlines that the environment imposes?
As long as the material is produced to adhere to document format specifications for photo and audio-storage sites, and WordPress, uploading it on the sites outlined in q. 19 should not be a problem.
There are no other deadlines or competitions obstructing the production of the material.
LEGAL
25. Have you got copyright permission for all the content you use?
I don’t expect I’ll be dealing with any copyrighted material, but if anything comes up during production, I’ll seek clearance from copyright holders before publishing it in the documentary.
26. Do you have an appropriate credit list that attributes every work and everyone involved?
I will compile a complete credit list attributing everyone involved in the project at the end of production.
27. There is no defamation or slander?
No.
28. Any other legal issues?
No.
RISK ASSESSMENT
29. What are the most likely things that could go wrong with your project?
General technical production issues, but with photographs and text this can be minimised ahead of the final submission. With audio interviews, I will need to learn how to use audio editing software.
Also, I’m dependent on finding suitable talent who will agree to participate.
30. What is your back-up plan if these things occur?
Testing well ahead of time before producing and publishing the material, and then producing all material to exact specifications.
With talent, I aim to have a long(ish) list of options, so if anyone changes their mind, there are other alternatives. (The project is not contained to one particular group or site, which makes it convenient.)
PROJECT MANAGEMENT
31. What is the date of your rough-cut showing?
20 May.
32. What is the final due date?
27 May.
33. When do you intend to start post-production?
Week 10
34. When do you intend to start production?
I am currently in production.
35. Given your production start date, have you already booked any technical equipment you need?
Yes. I own basic equipment and software.
36. How do these dates work in with assessment deadlines from other courses?
It’s a very busy time at the end of the semester (and also with work around week 11 and 12), but I’m planning to get the main bulk of production and post-production done ahead of 20 and 27 May so that I can have enough time to test the final version. Also, I’m planning to structure the production stage in small concentrated bursts on the weekends, and in limited time slots during the week.
37. If you are using talent, does their availability suit your production schedule?
I’m depending on people who will agree to participate, and I’m aiming to finalise all interviews with them during the production stage.
Some cafe resources
April 18, 2009
Some possibly useful resources on cafes I’ve collected to dip into later.
http://museumvictoria.com.au/marvellous/postwar/cafe.asp
Brown-May, Andrew & Swain, Shurlee (eds), The Encyclopedia of Melbourne, Cambridge University Press, Melbourne, 2005.
Fitzroy: Melbourne’s First Suburb, Melbourne University Press, Melbourne, 1991.
“There was a thriving, albeit notorious, social culture in the local hotels, cafes and clubs, some of which also illicitly operated as sly-grog shops and gambling dens. These were located on Gertrude, Condell, Brunswick and Napier Streets. Some cafes and clubs became important community hubs for recently arrived European migrants.” [http://museumvictoria.com.au/DiscoveryCentre/Infosheets/The-Melbourne-Story/High-Rise-Housing-in-Melbourne-Atherton-Gardens-Estate-Fitzroy-/]
http://www.rmit.edu.au/browse;ID=tgnb5s5p8wlxz;STATUS=A
http://www.newstatesman.com/australasia/2007/05/melbourne-cafes-city-australia
http://theshot.coffeeratings.com/2007/06/melbourne-australia-coffee/
http://www.melbournecoffeereview.com/
http://www.theage.com.au/articles/2007/06/04/1180809412713.html
Maria Paoli’s Coffee Trek [http://www.evolvingsuccess.com.au/coffee_trek.htm]
http://dev.null.org/gallery/Melbourne/cafes
http://www.theage.com.au/articles/2005/02/19/1108709446409.html
Coffee culture grinds Starbucks’ Australian operation http://www.blnz.com/news/2008/08/03/Coffee_culture_grinds_Starbucks_Australian_4580.html
Audio files (interviews)
March 26, 2009
At the moment it looks as if I’ll be using a dictaphone (Olympus 4000) to record my interviews. It produces an aiff file, which I’ll be able to convert to an mp3 file (in iTunes). WordPress supports mp3 audio files only without upgrades, so I’ll be able to import those into the blog.
I’m still looking into the editing side of things. I was told to look at Audacity.
testing download of pdf
March 25, 2009
This is a test of a pdf document, inserted for possible downloads. (Just thinking doco possbilities.)
TS Learning Contract
March 25, 2009
TS Learning Contract
CONTENT
1. What is the community that you will make your documentary about?
The documentary will be about Melbourne cafes, people who run them and those who go to them.
2. What interesting issues about community and identity will you be able to explore in relation to this community? (with reference to the theory you have read)
I’m interested in exploring urban community/communities in terms that go beyond binary oppositions of good/bad, alienated/supportive. While I’m aware of the fact that modern industrialised and globalised societies produce many social inequalities and negative effects, and some of these may be mentioned in the documentary, I’m interested in viewing urban communities as places that are also capable of supporting sustaining communities.
While Melbourne cafes are not heterogeneous communities, and they don’t consist of one body of people, but are a changeable group of people, my idea is that the ’socially constructed’1 and ‘lived space’2 these sites produce has an impact on our experience, and that that experience is continuously shaped and changed by their physical presence and by how we use them. (It’s interesting to see a contrast in the street with cafes thriving with life, and then the same street when these places are closed.)
A documentary on Melbourne cafes is an opportunity to explore the ways in which urban sites create a sense of community.
1–2 Delanty G., Community, Routledge, 2003, p. 67. (Citing Lefebvre)
3. What theorists will you incorporate into your documentary? (summarise the ideas you will engage with)
Delanty1 mentions that modern social theory, which has tended to examine American cities, is dominated by studies about the negative aspects of urban environments. However, a group of theorists have started to look at the city in a way that is capable of sustaining local communities, which are still seen as important units of social cohesion.2 One of these figures is Bourdieau, who has developed the concept of the ‘habitus’, a complex philosophical entity, used as an interpretative tool to explain various social phenomena. This concept, in simple terms, allows individuals and social groups to be active agents capable of defining themselves outside of any predetermined and fixed structures.3
Another concept linked to this, in relation to the topic of my documentary, is Lefebvre’s theory of the ‘socially constructed space’, which examines space not as a fixed physical entity, but as something that can be continuously built on, in terms of meaning and social constructions.4
1–2 Delanty G., Community, chapter 3, Routlegde, 2003.
3 Bourdieu P., ‘Habitus’, in Hillier J. and Rooksby E., Habitus: A Sense of Place, second edition, Ashgate, 2005.
4 Lefebvre H., The Production of Space, Wiley-Blackwell, 1991.
4. Why are they relevant / important? (a critical analysis of these ideas in relation to the community you are documenting)
The theoretical ideas outlined above are important because they offer a way of observing urban communities, in this case Melbourne cafes, in a way that sees them as active agents capable of shaping urban social structures.
5. How are you going to introduce their ideas? (in terms of the structure of your documentary or the argument you are proposing, how does the theory come in, and where/when?)
The theory will inform my approach and treatment of the subject matter, but it will be more of an infusion, rather than obvious demonstration of concepts or theories. I will draw on this theoretical framework in a way which will assist me with exploring various answers to the posed question. I will not use theory to heavily edit the content in order to prove a narrow point; it will be a conceptual tool on which I can rely to keep me in focus .
While the content will be editorially driven, I will not be asking any direct theoretical questions in the interviews, and will use plain conversational language in my interaction with the participants. I will frame some of my questions in line with my general theoretical approach, and in that sense I will inevitably be influencing the shape of the narrative, but I aim to adopt a conversational style of interviewing, where people will be able to talk, and hopefully for sustained periods of time. I’m keen to let the participants talk, and to allow their views to be fully expressed in the documentary.
Furthermore, the theoretical concepts of the ‘habitus’, ‘lived space’, ‘socially constructed space’ are complex constructs, and I will need to do more selected reading in order to refine my understanding of these ideas, and I may blog about this.
References:
Bourdieu P., ‘Habitus’, in Hillier J. and Rooksby E., Habitus: A Sense of Place, second edition, Ashgate, 2005.
Delanty G., Community, Routlegde, 2003.
Lefebvre H., The Production of Space, Wiley-Blackwell, 1991.
6. What is the structure of the documentary? (this could be a short treatment of the way you see your documentary unfolding)
I’m interested in tailoring the structure of the documentary to the way an average adult user with a general interest in social software might access it and interact with the material.
I want to avoid linear structure altogether, and will produce the material in segments. These segments will be connected to the subject matter, but they will also be able to be read independently.
I will also be exploiting the fact that the material can be expanded and also reduced, both in format and content, depending on what social media is being used. I may have full albums on Flickr, but may upload only a few selected images on DeviantArt, and another selection of images on Photobucket. With content, if I decide to use Tag Galaxy as well, I may include only images of public spaces and areas on footpaths, but not photographs of individual people. This changes the angle from which the documentary is viewed.
I’m interested in exploring the fact that making a documentary using social media can be seen as an open and transparent process, and that the post-production stage can almost be avoided because the material can be published as soon as one segment is finished. Also, the blog becomes an accessory to the documentary, and I may be able to include some non-edited ‘rough’ files and transcripts there as well.
The documentary won’t be presented in a fully finished format, in a sense that there will be a definite conclusion to the story, and the content can be added to with new parts of material beyond the final submission date.
7. What is the style of the documentary? (you can refer to documentary theory if you know it; if you don’t, discuss how you see the relationship between you the documentary maker and your subject, and how that will influence the work you produce. Examples of other documentaries will be relevant)
I don’t have sufficient knowledge of the documentary genre to be able to develop a product that is properly grounded in the documentary theory, but while doing some quick background reading, I found these helpful in assisting me with my approach:
John Grierson’s: ‘creative interpretation of reality’. Fred Wiseman: ‘another form of fiction’.
I would like to stress the storytelling aspect of the documentary, both textual and visual.
As the documentary subject matter is not centred around a particular issue or event, and the cafe community is not necessarily recognised as a homogeneous community, or even a community at all, this gives me the opportunity to structure a creative ‘study’ focused primarily on narrative segments. This narrative is grounded in reality, but it will also have a literary edge, mainly imposed by its limited media format, and the fact that I’m seeking to explore some general answers to the questions of our ‘modern’ urban existence.
With examples of other documentaries, because my project is not presented in moving images, I’m not sure how I would link it to other film examples, but the style could be broadly described as ‘literary reportage’ or ‘creative nonfiction’.
My relationship with the interviewees will be a question/answer type of approach, but as my aim is to encourage people to talk, I will aim to adopt a conversational approach, and to guide them to offer generous answers, and perhaps even allow them to wonder off in other directions for brief moments, if they choose to talk about something else. It will not be an investigatory style of interaction, but more of a reportage. I’ll have a number of questions that I would want to cover in each interview, but I’ll aim for some elaboration. Some people will be strictly to the point, and others will want to talk, and that will be interesting. Because I’ll be editing the interviews, I’ll have more of an interventionist approach during the editing stage. At the moment I’m planning to edit myself out but keep the narrative flow of the answers, which will mean trimming some of the narrative content, but I’ll have to experiment with this once I gather more materials. My intention is always to present the participants authentically (and not edit their responses to the level where they wouldn’t be able to recognise the flow or content of the original interview). I will also be guided by what can be described as an ‘ethical approach’, so I will not be discussing personal, controversial or potentially upsetting topics.
Also, most of the interviews will be conducted and recorded in noisy cafes, so a lot of the audio material will contain this (sometimes quite loud) background noise.
TECHNICAL
8. What type of media will your documentary consist of (eg audio files, text, stills, video, animation etc)
I’ll have text, photographic images and audio files.
9. Given that your documentary will be published online, how will you tailor production and post-production to be appropriate (eg image size, frame rate, design issues, copyright)?
I’ll test all files extensively before publication, and produce them to required specifications determined by the media in which they will be published. I will decide on exact layout and format during the production and post-production stages, and will finalise all design and technical aspects of this exercise during that time.
Copyright issues are covered under sections ‘Permissions’ and ‘Legal’ of this Learning Contract.
10. What are your skills in making this style of media?
I’m confident with photography and producing textual material. I don’t have experience using audio editing software, but am currently working on this. I know how to record audio files and convert them to an appropriate (mp3) format.
11. Are you enlisting the help of any crew during the production phase of your documentary?
No. It’ll be self-produced.
12. Will you need to borrow technical equipment from the Applied Communication techs? If yes, what do you want to borrow? When do you want to borrow it? (You must get the borrowing form signed by your tutor in order to borrow gear, and your tutor must be convinced that you already have sufficient technical skills to use it.)
I’m using my own dictaphone to record interviews, but if the sound proves not to be of good enough quality, I may need to borrow a recorder.
PERMISSIONS
13. What talent do you need to get release forms signed for?
I’ll need to obtain signed release forms from the talent who will be photographed and interviewed. I’ll also need to obtain approvals to photograph and film indoors.
14. Are you going to interview any minors? (if yes, you must get their release form signed by their parent / guardian)
No.
15. Do you need permission to shoot on location?
I won’t need permission to photograph or film areas on footpaths, but will need permission to photograph and film indoors.
POST-PRODUCTION
16. What software do you need to edit your documentary?
Image files (photographs) are not a problem. I will need to look into audio editing software (GarageBand or Audacity). (I have GarageBand on my computer.)
17. Do you have sufficient skills with that software?
Yes, with manipulating images and text. With audio editing software, it’ll be a new learning experience.
18. Do you have sufficient access to that software?
Yes.
PUBLICATION
19. What social software environment will you publish your documentary to?
I’ll have photo albums/galleries on Photobucket and Flickr (to encourage wider access), maybe I will consider posting selected photographs on DeviantArt (to encourage feedback). With the text: I’ll publish some interview transcripts on the blog, possibly with links to other document-sharing sites. With audio interviews, I will store these on the blog.
I don’t think that marketing the material to cafe groups on Facebook and Yahoo will be appropriate for this content, and linking it to cafe or food review sites will also not be the correct fit. Perhaps the only appropriate groups might be some ‘Melbourne culture’ groups, and I would have to look into this further.
With regard to the audience, I see this as a ‘niche product’ that will interest a small number of people. The photographs stand a higher chance of being seen and possibly used by others, and some of those users may come to the blog and might listen to the interviews as well. I find it interesting how parts of the documentary material can be used in different ways, and can be read completely outside of the original context, so I will be interested in placing the photographic material to other environments outside of the blog, rather than audio materials.
20. Is the media you are creating appropriate for that environment?
The media outlined in q. 19 is appropriate for this type of material, both from the point of view of dissemination to other potential users, as well as the preservation of the integrity of the materials.
21. Have you become a member of that environment?
Yes for Flickr, Photobucket and DeviantArt, although not for document storing/sharing sites.
22. Have you done a ‘test’ publication?
Yes, on WordPress (for pdf downloadability), as well as photographs on Photobucket and Flickr. I haven’t yet tested any document-sharing sites.
23. Does the environment stipulate any limits (eg file size, dimensions, file types, copyright, legal issues) that you will need to meet?
All of these environments have specifications for document types (these are standard document formats, and I’ll be producing my materials in line with these specifications). Uploading image files on photo-sharing sites is not a problem; hosting a pdf document on WordPress is also not a problem. I will need to produce an edited mp3 file to upload audio interviews to WordPress (the dictaphone I’m using produces an aiff file, which is easily converted to mp3 in iTunes). I’m yet to use GarageBand or Audacity for the editing of audio files, and will test this soon.
With copyright and legal issues on these sites, as well as on this blog, standard regulations apply (and these are outlined in more detail in the ‘Permissions’ and ‘Legal’ sections of this Learning Contract document).
24. Are there any competitions or other deadlines that the environment imposes?
As long as the material is produced to adhere to document format specifications for photo and text-sharing sites, and WordPress, uploading it on the sites outlined in q. 19 should not be a problem.
There are no other deadlines or competitions obstructing the production of the material.
LEGAL
25. Have you got copyright permission for all the content you use?
I don’t expect I’ll be dealing with any copyrighted material, but if anything comes up during production, I’ll seek clearance from copyright holders before publishing it in the documentary.
26. Do you have an appropriate credit list that attributes every work and everyone involved?
I will compile a complete credit list attributing everyone involved in the project at the end of production.
27. There is no defamation or slander?
No.
28. Any other legal issues?
No.
RISK ASSESSMENT
29. What are the most likely things that could go wrong with your project?
General technical production issues, but with photographs and text this can be minimised ahead of the final submission. With audio interviews, I will need to learn how to use audio editing software.
Also, I’m dependent on finding suitable talent who will agree to participate.
30. What is your back-up plan if these things occur?
Testing well ahead of time before producing and publishing the material, and then producing all material to exact specifications.
With talent, I aim to have a long(ish) list of options, so if anyone changes their mind, there are other alternatives. (The project is not contained to one particular group or site, which makes it convenient.)
PROJECT MANAGEMENT
31. What is the date of your rough-cut showing?
Week 12.
32. What is the final due date?
12 June.
33. When do you intend to start post-production?
Week 10
34. When do you intend to start production?
I am currently in production, Week 5/6.
35. Given your production start date, have you already booked any technical equipment you need?
Yes. I own basic equipment and software.
36. How do these dates work in with assessment deadlines from other courses?
It’s a very busy time at the end of the semester (and also with work during the semester), but I’m planning to get the main bulk of production and post-production done ahead of 12 June so that I can have enough time to test the final version. Also, I’m planning to structure the production stage in small concentrated bursts on the weekends, and in limited time slots during the week, so that the project doesn’t end up requiring major involvement in a short space of time at the very end of the semester.
37. If you are using talent, does their availability suit your production schedule?
I’m depending on people who will agree to participate, and I’m aiming to finalise all interviews with them during the production stage.
Sample image files test
March 25, 2009
Image files from mobile uploading here OK, as expected.
redbackweb
redbackweb
Testing sound
March 25, 2009
Can’t upload amr file (from my mobile phone) at the moment. Quick search indicates might have to convert it to mp3 file or other more standard file formats. Will look at this tonight, and perhaps download appropriate software. Was thinking of using my mobile phone to record ambient sound. Already have some samples.
