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In Future List ‘Introducing’

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Livity mini doc series ‘Introducing’ , following Livity’s IFL members in a slice of their life as creatives by capturing their process and giving an insight into what they do.

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Showing a glimpse at their lives so far on their way to success.

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THE IDEA

INTRODUCING

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  • A selection of 60 - 90 seconds mini documentaries highlighting IFL members.
  • 1-2 15 second promotional cut downs of each mini doc.
  • Suite of clips and quotes to be used internally.
  • 1 longform documentary combining the mini docs into a video explaining and promoting the In Future List for future cohorts.

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DELIVERABLES

INTRODUCING

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Beneficial in multiple ways - the cohort get a spotlight, whilst also allowing us to earn cultural capital.

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Championing our cohort to allow further exposure and deeper insight as individuals by sharing on Livity’s platforms.

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Use for Linkedin/Vimeo/Website

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Thoughtful and artist approach to self promotion that will be seen by both clients and young people.

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THE PURPOSE

INTRODUCING

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These short documentaries cover the members work, past, present and future.

A unique look into their inspiration, work and hobbies.

Aims to celebrate the diverse creativity within our IFL members.

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THE IDEA

INTRODUCING

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Content treatment

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SHOOTING WITH INTENT

CONTENT TREATMENT

No formal sit down interviews. Ensuring we capture purposeful footage.

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Using VO over B roll, adding energy and authenticity to the footage.

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Getting to know on a personal through intricate, unique storytelling.

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DIRECTING DOCUMENTARY

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CONTENT TREATMENT

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Following the creative as they work, showing us around whilst engaging in natural conversation.

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‘Follow me around’/’Day in the life’ style video.

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Not scripted but prepare genuine questions to ask that remain relevant to what is happening.

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Relaxed, intimate and natural to form a trusting relationship.

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SUBTITLES

CONTENT TREATMENT

Use of subtitles for both accessibility and style to fit the style of film.

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Creative treatment

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LOOK AND FEEL

CREATIVE TREATMENT

Expanding on the new IFL branding, combine an old and new feel.

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Grains and warmth brought in by analogue methods/effects mixed with interesting visuals of digital effects.

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Past and future to show what these people have done and where they are going creatively.

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Present

Meets Future

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MIXED MEDIA

CREATIVE TREATMENT

Using both ‘clean’ and ‘grain’ styles to incorporate into one.

Switching between the styles to create dimension and character.

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ENERGY AND PACE

CREATIVE TREATMENT

Using different paces in editing and filming to drive emotional beats. Keeping it upbeat and optimistic, maintaining the interest of the audience.

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TRANSITIONS

CREATIVE TREATMENT

Shots: Fast pace, switching between scenes, zooming. Voice overs happening throughout.

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Remote/Self shooting

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Every member of the IFL will be offered the opportunity to have an ‘Introducing’ doc.

To cater to this we will encourage remote/self shooting to members who live overseas.

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REMOTE/SELF SHOOTING

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How to do:

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  • Members will be given detailed instructions and questions to help them film a half days worth of footage.
  • Will then zoom call to review the footage and give feedback for another half day of filming.
  • Finally send us all the footage and we will edit it in house.

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Instructions/brief before filming takes place:

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  • Horizontal filming
  • Use of a tripod if available
  • Style of the shoot
  • General shot list (working space, details of close ups)
  • Questions to prompt conversations

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REMOTE/SELF SHOOTING

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REMOTE/SELF SHOOTING

Instructions/brief before filming takes place:

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  • Horizontal filming
  • Use of a tripod if available
  • Style of the shoot
  • Mixed media - phone shots/archive footage
  • General shot list (working space, details of close ups)
  • Questions to prompt conversations
  • Informal interview/conversation via Zoom

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Design treatment

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LOOK AND FEEL

CREATIVE TREATMENT

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Framing

FRAMING

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FRAMING

Shot in traditional 16:9 and edited to 4:3, giving us more real estate in social feeds than 16:9 but with slightly more room for interesting framing than 1:1.

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4:3 allows for a more intimate portraiture in a documentary centred on people. Extreme close ups shot in 96fps.

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Production

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PRODUCTION

  • Sam directing, Emily ADing, Emma on set photography. May need a DoP to assist.
  • One day filming
  • One - Two locations
  • One member per shoot
  • Schedules allow for set ups and equipment moves to give us time to alter a space.

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Example call sheet with timings available HERE

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PRODUCTION

GENERIC QUESTIONS

  • Introduce yourself: name, age and what do you do?
  • Tell us about your journey as a creative, how you started and how you go to where you are now?
  • One thing you’re proud of?
  • What is the process of your work?
  • Something you’re looking forward to?
  • What is your end goal?
  • Your biggest inspiration?
  • Best advice for someone starting out in the creative industry?

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  • What do you look for in when collaborating with brands and communities?
  • What do you think will be the biggest challenge in the future as a creative?
  • What influences your creative voice and how do you see that changing?
  • What would you change about your industry? (cater to individuals)

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Louisa Rechenbach

PRODUCTION

  • What attracted you to documentary/photography?
  • How do you find your subjects?
  • What do you like most about making documentaries?
  • What is the biggest challenge of being a documentary filmmaker and how do you overcome?
  • What’s your favourite piece you’ve done so far?
  • What’s something you would like to do with your documentaries that you haven’t done before?
  • How long does one short usually take to make and finish?
  • Talk about the process of filming something over a long period of time (over the first seven years of Anoush's life.)

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EXAMPLES OF SPECIFIC QUESTIONS

Documentary Filmmaker

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PRODUCTION

Using a fairly light kit to keep things quick and mobile.

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Camera:

Black Magic Pocket Cinema 6k

Sigma 18-35mm

Canon 50mm

Tripod

Gimbal

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Sound:

Zoom H4N

Lav Mic (Livity)

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Lights:

1 LED panel (if needed)

Bounce

KIT

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PRODUCTION

Budget:

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Although this could feasibly be made with little no budget here are some breakdowns for on set extras.

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£20 per day - on set snacks and drinks

£30 per day - travel allowance

£25 per shoot - (if we choose film photography) 35mm film and development for additional film photography.

£40-80 project hard drive

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BUDGET

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Post Production

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PRODUCTION

  • Social cuts: One week to edit, review and refine
  • Day 1 rough cut, day 2 review and re-cut, day 3-4 review and picture lock, day 4-5 grade/ sound design and render.
  • Long form cuts - dependant on number of docs created, using pre-existing timelines will reduce time needed.
  • Alternate cuts and cut downs to be made as and when we need them, best footage saved to g-drive to be used for re-cuts and as assets in different company projects.

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Generic questions:

-who are you?

-How old are you?

-What do you do?

-How did you get started in your field?

-What is your favourite memory or achievement?

-What’s your process?

-What’s the next step for you?

-Where do you want to be in the future/ what is your end goal?

(for the long cut)

-What has it been like on the IFL/ working with Livity?

What advice do you have for the next IFL?

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Colour Grading

CLEAN

GLITCH