BA Film Blog - Lydia Evans

FILM202 - Professional Practice and Development

Looking into the networking and contact opportunities for filmmaking. 

- People you are connected to. Friends and family that are available within the industry.

- As of now, my only contacts are people within PCA and past sixth form film studies students. 

- One bloke who did a few extra shots for the Undateables.

- A few sparse emails to random artists and animators.

Job roles that you are interested in and what that role will be entwined with.

- Animating, poster design, concept design, principal photography.

- Will be alongside storyboarding, writers and production design / producers.

Geographically, what is available to you.

- Pushed Ltd Animation - Plymouth

- Stormy Studio  - Plymouth

- Round One Films - Plymouth

Social Media Networks

- Reddit / Twitter / Discord / Instagram / Pinterest

- All useful for information and links to other artists within the industry and for getting into the relative circles of art and film.

- LinkedIn - Professional contacts and connections

What do you have available to you right now?

Professional Art Accounts on Twitter, Instagram and Reddit - @squibby0

A Website, Professional Head Shot and Graphic Design, Business Card, Business Email, Business receipts and past commissions as proof of work.

Where would you like to be going?

Game Design, Concept Design, Character and World Design, Game Studios

Antimatter Games - Falmouth

Rare Ltd. - UK

Rockstar - UK

Indie Development and Freelancing

Sometimes you got to go where the wind takes you, and if the wind takes you away from film and into game.

[FILM301]

Most literature and media texts have some form of theme implanted within them. Of these themes, a few are very prevalent within our films. The theme dictates 

Love

Some films choose to show how love, and different types of love, conquers all. Some films focus rather on the dismal side of love and relationships for the purpose of giving a wider perspective of the realistic aspects of love.

Your Name (2016) Makoto Shinkai

Eternal Sunshine of the Spotless Mind (2004) Michel Gondry

Leon: The Professional (2005) Luc Besson

Conflict between Good & Evil

Good vs Evil can also come in the form of conflict between the characters, or an individual characters conflict in their mind.

The Lord of the Rings (2001) Peter Jackson

Star Wars (1977) George Lucas

Dracula (1958) Terence Fisher

Coming of Age

Some stories are a little more about the innocence and learning of the younger generation. Sometimes that learning comes through showing education or relationships or family.

The Breakfast Club (1985) John Hughes

City of God (2002) Fernando Meirelles, Kátia Lund

Lady Bird (2017) Greta Gerwig

Death

Physical death or even the concept of death is a popular theme without being extremely prevalent as something miserable and inevitable.

A Ghost Story (2017) David Lowery

Stand By Me (1986) Rob Reiner

Ikiru (1952) Akira Kurosawa

Survival or Nature

Spirited Away (2001) Hayao Miyazaki

Moon (2009) Duncan Jones

Touching the Void (2003) Kevin Macdonald

Society

Children of Men (2006) Alfonso Cuarón

Blade Runner (1982) Ridley Scott

[FILM301]

Games have obviously been around for less time than cinema. But it’s scope and range of audience has grown exponentially in the past 20 years. As of recently, society has placed games on a higher pedestal of importance in comparison to Hollywood’s films. 

Due to the increase in people wishing for more individually stimulating experiences, services such as Netflix have become more popular. Cinema’s are absolutely not failing (not until COVID-19) but they are finding a decrease in the volume of moviegoers since such film and video streaming services have become more widely available and more attractive for the larger audience.

In more recent findings, games have out-earned films by plenty. With a gross global revenue of $159 Billion coming from the game industry, and $100 Billion in the film industry. Now, this money is usually from larger MMO’s and Triple A studio games. But the indie crowd of games is beginning to become more popular with time. Especially with audiences growing a newfound love for games such as Animal Crossing: New Horizons and the mobile game Among Us. Simple games with little to no actual plot or story have become important to people as there is an influx of people playing games for the sake of playing games for a sense of escapism. 

Video games are just as important to me, I have grown up playing all types of games and simulations for the fun of a new world to explore and a new set of characters or NPC’s to enjoy. These are a few of the games that have been most influential for me over my time.

BioShock / BioShock Infinite

Okami

The Legend of Zelda: Breath of the Wild

Death Stranding

In the idea phase of this project, I knew I wanted to make a game. What type of game or what story or the way it plays I did not know. I’ve always loved character and creature creation, so for me, this was going to be a good usage of my passion and skills, whilst also developing my level of knowledge of game design, game theory and bringing further insight into media-making for me and my art. 

Upon the initial idea stage, I knew that a game would require a lot of extra work compared to a film. Not saying that films aren’t a lot of effort to make, however games have proven time and time again to have a new level of world development and expectations. Games have to be enjoyed separately by a huge audience and have to be taken in at the players pace. Rather than the way a film is digested by the audience at the filmmakers pace.

I looked into the different types of game genres to begin with, listing which of them would be most ‘able’ for a small team on a shoestring budget. 

Then looking into the programming options available and their prices. It was brought forward that Blender would be needed for 3D modelling at any stage, it occurred to me that a mix of 3D and 2D art styles could be intriguing.

I knew from the beginning that the art style and concepts would be down to me. I thought about my personal preferences of art in game and what I thought I could try. 

At some point, the idea of a visual novel came into play. Now, visual novels have an awful name for themselves, as they are, usually awful. This depends on the creators of the game as visual novels are easy to be low-effort and easy to distribute even if they are horrible. A lot of modern visual novels take the form of a ‘dating simulator’ in which the player plays as a (usually male) main character who converses between multiple girls or women characters and they all fall to their knees at the thought of being able to ‘date’ the main character. They are gross representations of the way that people in general converse and an even worse attempt at showing how women think and act. 

The example below is probably the worst one I can think of. It has it all. Terrible, uncharacteristic writing that feels like a 13-year old’s wet dream. Atrocious character art that is borderline depressing...

I did warn you.

This will NOT be happening in the event I do make a visual novel.

A visual novel that pretty much parodies this trope of awful male-serving female characters is Doki Doki Literature Club, that is, on first glance, another gross example of women characters being simple objects for the male player’s fantasy. However, upon playinig further into the game. You realise that something is wrong, very wrong. One character ‘Sayori’ is absent from school, presumably ill, the player goes to visit her at home. Only to be visited with the sight of Sayori hung by her neck in her bedroom. It’s horrible and startling. But the game brings a great commentary to the way that mental health should be approached and that it is no joke. The game plays out as a horror after this point and the tables have been turned onto the player. As one of the girls in the plot decides that she ‘Monika’  wishes to have the main character ‘to herself’. She then refers to the player by their name (or at least the name that their PC is called). 

The main menu turns into this after Sayori’s death. Which shows a great usage of the game UI and a phobia of glitches called Verzephobia.

Other visual novels that have humble stories and characters can be very successful, such as Ghost Trick, which has visual novel elements with some gameplay attached.

Unfortunately, the beginning stages of this module have become overwhelmed by a constant barrage of news and information regarding the recent outbreak of COVID-19. Most of which is highly necessary news, however it’s hard to decipher what the world is going through and how it is going to handle it. So far, many things have had to be postponed due to the lockdown in order for an effort to handle the outbreak. However, should these measures not bear fruit, it will be a good idea for me to think about coming up with some initial ideas that would likely follow all the necessary health and safety precautions that we currently have outlined. Better still, if the production could be fully remote from campus and other people, that would be the safest environment and outcome possible.

Although this distancing will mean a tough punch to the general idea of filmmaking and will definitely harbour some struggles later down the line regarding equipment and the like. I wish to take this as an opportunity to stretch myself further in subjects of art that I love and want to see myself grow in. For this reason amongst the current social climate, I hope to find a focus on my art, specifically drawing and digital art. Through film, I have found many ways to be able to communicate my ideas in different media, and also how to develop bridges between different crew roles. Though pen-to-paper creation hasn’t always been at the forefront of my mind, it does wriggle into my thoughts every so often as a path that I should be taking. I’ve always been passionate over creating weird creatures and art of the surreal variety, and though I definitely won’t say I’m a professional in the craft, I do feel comfortable in my skill and I know that with the right development and experimentation, I will come to learn the skill to a higher standard.

So far, the only ideas I have been able to muster that keep as close to the COVID-19 safety guidelines as humanly possible are as follows:

2-4 minute hand-drawn animation regarding real-life experiences that feel surreal or psychologically tormenting. (would require a change in the submission requirements).

A short documentary covering the effects of lockdown on certain members of society (disabled, children, mentally ill, elderly) - this however feels that it may be overdone by the end of lockdown.

A very short game? visual novel? RPG maker style game? focusing on escapism and fantasy. (might be too high-maintenance)

‘Telling Lies’ 2001 Short film - style short film. No camera visuals. Just audio and simple animation or subtitles that work with the plot.

As for inspirations. The only media I’ve been able to consume for the past month and a half is TV shows such as Futurama and video games such as The Legend of Zelda: The Wind Waker, (and BoTW). I’ve a newfound love for the escapism that such media brings during this time. Being able to binge-watch all eight seasons at once is also great. Games have a profound effect of also being at the player’s own pace and the player usually digests story, characters and information dependent of the way that they interact with the game.

Film 301 - Straight 8 Challenge Ideas and Inspiration

Initially, we were brought upon a table of images and still shots from well-loved horror films and games. We were asked to pick out a few images that we wished to use as an inspiration for our final films. We chose the up-the-stair silhouette shot in F.W. Murnah’s ‘Nosferatu’ (1922) and ‘Dracula’ (1931). The images of which were as shown below:

Nosferatu 1922 - F.W. Murnah

Dracula 1931 

Now, from these images, we gathered a sense of the dramatic. Obviously due to the stem from German Expressionism. We felt that by using harsh, super bright lights we could create contrasts similar to that of the lighting utilised in these two films.

We decided from the get-go that our film should be set within the confines of one room. One long take. In this way we could be pushing ourselves and keeping ourselves under a great deal of pressure to get the take correct.

UPDATE: The filming went smoothly. A quick story of a young child playing in their room, when they hear strange sounds from outside of their room, they leave and see the shadows of murder occuring in the bathroom, the child runs, scared, behind the stairs, the strange figure steps out of the bathroom. The child scarpers to their room and hides under their bed, seeing their beloved teddy left at the door. They hear sounds and look around under the bed, only to turn and find the teddy has now gone. A hand slowly curls under the bedframe.

FILM 202 - Critical Self-Evaluation

Overview of Project

This project is a photobook that consists of my own photography, guided by chapters that note a theme running through that chapter accompanied by artists that inspired my work for that theme. Each chapter has 5 images that I’ve cherry picked from my collection of images (all of which are digital). I decided to investigate the human form and surrealism side by side in this project as both topics are extremely compelling to me. I enjoy looking into the ways the human body can be used to instigate a variety of emotions in a viewer. That and surrealism as an art movement has always been interesting to me. 

Credits

Lydia Evans - Photography, Curation of Book and Graphic Design

Technical Specifications

Equipment used: 

Nikon D5200 with 18-55mm lens.

Panasonic Lumix G7 with 14-42mm and 45-150mm lenses.

Canon EOS 1100d with 18-55mm lens.

Neewer small flash diffuser / softbox.

Velbon EF-14 tripod and tripod mount.

Unbranded 52mm thread close-up filters.

Handmade pinhole lens - for attachment to digital camera.

Editing Software:

Adobe Photoshop (for image editing and book pdf. automation).

Critical Evaluation

Due to the pandemic having caused the majority of facilities and equipment to be inaccessible, I felt that I could create a photobook with the DSLR camera available to me to take a deep dive into the world of photography from a perspective of surrealism. I felt it would be more understandable to also use the human form as part of this project as I’m very interested in exploring how the human body can be used to make a viewer feel uncomfortable. Upon looking at the work that I have completed, I believe it to be a strong piece and overall functions pretty well as a photobook. Although I am quite proud of how this project turned out, and how the images themselves turned out, I do have some issues with the way that the entire book is presented. I feel that there is a compromise between the way that the body is viewed as beautiful and also disgusting. I wanted there to be a palpable sense of unease at most if not all of the photos at hand, however this simply isn’t the case. Of course, this isn’t really a horribly bad thing, I just feel a little underachieved in the fact that the book doesn’t spark a discussion around how the body is in of itself gross and vile yet we all assume its form. The note in each chapter header for each of the artist’s / photographer’s that I took influence from feels like a good choice however I think it makes the book more personal to me, it may open a viewer’s eyes to many new photographers and a range of styles of photography, but again, the focus is to be on the images themselves. Through the photography process itself I found myself using varying styles and experimenting to a whole different degree, there are images that have been taken from my work in the past but I’ve attempted to change and modify them in order for the book to have a more concise tone in terms of reaching a context with surrealist photography and artists. If I were to work on this project again or for a bit of extra content I’d have liked to add in more experiments to do with solarization and digital manipulation, it would’ve been nice to have a take from the more traditional forms of photography and to look into how modern photographers like to create a surreal quality to their images. To have worked with colour in a bit more depth would’ve been quite beneficial to the project too, as I originally worked my photography in the bounds of black and white photography. Therefore to see a movement into a bright spectrum of colour in a more dreamlike sense would’ve shown a greater improvisation into the world of surrealism and generally honing my skills as a photographer. Even before the true effects of the COVID-19 pandemic, my project ideas were quite similar to what I currently have, save for the film medium in place of photography, I am happy to say that although it would’ve been more fun to work on a film that used these themes, photography is definitely challenging and proves to force you to be experimental in order to have photographs that feel different from the everyday image. 

Blog Links

Entire blog: https://lydiaevansbafilmblog.tumblr.com/

Film 301 - Straight 8 Challenge and Elements of Horror

Straight 8 Challenge

Following official guidelines and rules, create a max 3 minute film shot on a super 8 camera. You cannot edit the film roll and can only use one roll of colour super 8 film. 

You must make an original soundtrack to play alongside your film reel. In order to plan and prepare, it is best to do digital takes of your film prior to using your film stock. 

Use a stopwatch as a means of delegating time to certain events in your film. Keep a steady eye on planning so that your sound may match up on final viewing. 

Elements of Horror

The 5 Elements of Horror according to C.M. Humphries - http://www.cmhumphries.com/blog/5-elements-of-a-good-horror-story

1. Fear - an obvious assumption is that horror films must use the fear of something against its viewer. Even if you don’t typically fear the certain something portrayed in the film, a good horror will make you feel endangered by the something. Especially if it utilises the fear of death.

2. Surprise - the notion of surprise can quite quickly tire for a film, especially in the form of jumpscares. It is always best to have a good understanding of tension and pacing with your film.

3. Suspense - leading on from tension, suspense takes the form of a suspended sense of dread or anxiety. In order for your viewer to feel these emotions, it’s likely that a period or two of building tension will be necessary, via imaginative means. 

4. Mystery -  considering the many horror films that have been produced, there must always be new ways of creating mystery and unknowing of the next thing to come. A lot of the time this may take shape in a creature or monster that is originally unknown to it’s audience. Keeping that mystery alive is important to keep the viewers at the edge of their seat, in fear of their own imaginative events.

FILM202 - Online Sketchbook

I’ve always been interested in making photos more physical and how to use physical manipulation in place of digitally transforming an image. My first glance at this type of technique was in Ashkan Honarvar’s work, which can be quite unsettling as it uses images of the body in more presumptuous ways and images of wounded soldiers. 

Here is one of his pieces that I always feel quite strongly about (this is quite a visceral image, be aware)

FILM202 - Online Sketchbook

In order to create the pinhole-esque images without the need for expensive light-sensitive paper, a pinhole camera and lots of bright weather. I chose to make a lens that reintegrates the structure of a pinhole lens but can be attached to a digital camera. This process is super simple and works very effectively if all aspects are thought about properly and with an idea of how to correctly create a pinhole lens. The steps that I use are as follows, however some other pinhole lenses can be made that are more technological. 

1. Find a tube that fits around the cameras lens mount.

2. Make sure the tube is as dark as possible on the inside to prevent light from reflecting inside the tube.

3. Create a plate to put on one end of the tube and place hole in the direct centre of it with a needle. 

4. Attach the plate to the tube and amend the camera settings to work without a digital lens attached.

Here is the lens that I made and used for this project, it’s very rough but it does the job:

Some technological issues with a pinhole lens is that light needs to be very accessible otherwise the camera sensor cannot pick up any light. Therefore you usually have have the shutter speed at around 1 second or more (more than you are comfortable with), which leads to blurrier images, this is all part of the aesthetic of pinhole cameras. It’s also worth noting that only DSLR camera’s can use this type of lens as the digital lenses are dismountable and leaves the sensor open for the pinhole to do it’s work. It’s also not possible for a DSLR to function is a digital lens is not attatched, but my Nikon D5200 can do so. 

Although the fun of having a whole pinhole camera is leeched when using a digital camera, the final images can be astounding in their textures, tones and the ability to have colour, alongside such a strangely dreamlike nature.

Here is just one of the examples of my photos that show how the style of pinhole photography can be very effective, portraying a sense of the ethereal.

FILM203 - Online Sketchbook

For RAD004 my role was sound deisgn, which ascertained the production of many sound elements, ranging from foley, soundtracks to sound effects. This turned out to be much more challenging and inspiring than I had previously thought and by the end of the project I found myself quite enveloped in the world of film sound.

Meanwhile, on the side of this project, I chose to take role of cinematography for the NAHEMI Kodak Competition project, as this was my future role aim for myself. Through this, there were many struggles relating to the usage of film stock and an extremely heavy ARRI SR2 camera. But after both projects coming to completion I've found myself wondering about my practice and how I develop my skills and professional understanding within film for a future career.

With this, I believe that the struggles I had in both projects we mostly related to how I managed my own planning and micromanaging my time effectively. A lot of the time, issues were caused by poor communication on behalf of some members of the team, therefore leaving me with a harder job and then the editor and director with even more work when it came to editing. Therefore I feel it would be necessary to take it up on myself to become a more approachable member of the team in the event that something like this should happen again.

My three goals for professional practice development:

1. Become more approachable, gives the ability for other members of a crew to feel they can be assisted with tasks that I'm able to help with.

2. Study more theory within film and the technical theory of film in order to have a better idea of what an audience may interpret from my projects.

3. Find time to make more short films so that I can teach myself more practical aspects of filmmaking that are usually understood through the actual development and process of film.

FILM202 - Online Sketchbook

Quick warning, these images may not be all too enticing for some. There is some blood, some skin and images that are made to look either NSFW or gross in general. So be warned.

This is the first ‘draft’ or at least version of the photobook that I ave attempted, it took me a long time to design the front cover  yet ended up choosing a simple cover with washed out tones. I used this to contrast the darker images that are shown in the book. The font type is Sylfaen which is installed on almost every PC from my memory, it is a simplistic, strong yet kind of mesmerising to look at, this paired with the intentional non-capital casing really hits it home that this is an unconventional photobook, with the intention to be shocking. 

(Note: this is a very dodgy mockup, but it shows the general layout and shows the cover and chapter pages in full detail.) See further:

FILM202 - Online Sketchbook

Following my last few posts, I have decided upon creating a pdf. document in the same format of a regular photobook, I will create chapters for each theme that coincides in some of the images. I hope to write small introductions for each chapter and perhaps note of the artists that gave me the ideas for those images. I’d also like to stress the importance of how photos can be viewed within a book, as I would’ve liked to have 2-page prints and suchlike, however that isn’t technically possible when looking at a standard pdf document.

I want to be able to create certain moods with each chapter, to be able to distinctly change and misrepresent how the body can be presumed or thought to act. Upon first thought, I believe it would be a better idea to not involve drawing or digital art into this piece, as the photography needs to stand quite strongly and potently by itself.

There’s many photobooks and general books about photography that I brought myself to look into and to exercise some of the things they bring up. Especially in Jackie Higgins’ ‘ Why It Does Not Have to be In Focus: Modern Photography Explained’ which outlines many artists and their careers to a concise and consistent point. I love every artist that is mentioned and this book allowed for me to look at photography in a different light even from my early career in photography.

This is what I have so far in terms of planning for the book:

FILM202 - Online Sketchbook

Due to the nature of the current environment I must of course consider the lack of access to printing facilities and suchlike, so I was noted that perhaps a pdf. format would be able to aptly exhibit my work whilst also being universal enough for anyone who is sent the file can view it. I would prefer to have all the images laid out on paper, as the feeling and textile quality of paper is what sometimes makes the image and image. I looked at the style of exhibition that one of my favourite photographers uses, Masao Yamamoto, he choose to print his images quite tiny in comparison to others work, he then creates space with his images in such a way that you can consider their positions art in themselves. 

FILM202 - Online Sketchbook

After having my session with my lecturer, I am much more stable in my ideas that I will pursue for this project. I have decided that I will create a book of sorts to contain photography that I have and will take. All of which will be wrapped in the ideology and ideas surrounding surrealism’s representation of the human form. Similarly to my GCOP200 essay, the themes will focus quite solely on how the human form and body is shown and made example of in surrealist work. However I wish to explore this theme in a photographical context, I’ve always loved photography and wished to continue my work in this sense. Therefore I will start by planning what kind of photo book I will produce, how to exhibit it and how I will present the book itself.

I’d ultimately like to have a piece that I am proud of having completed and to have successfully explored the areas of surrealism that I so dearly wish to delve into. 

I’d also like to spell negotiated properly for once.

Upon first thoughts into what kind of tone I’d like to have for the photobook, I created this document that outlines some of my initial thoughts and inspirations. From this it is quite evident that I enjoy the creepy or more grotesque types of art. I especially enjoy it in terms of surrealism though, the dreamlike essence and imagination behind such images really grab my attention and I like to imagine the artist’s thought process at the time of creating such images. Most of my life has been engrained in art as it is anyways so I love looking into those who bend and break the rules of what can or can’t be ‘art’.

FILM202 - Online Sketchbook 

As the pandemic has caused most forms of filming and outdoors recreation to cease, so have the plans for our neogciated projects. However changes have been made to both my mindset and my ideas for this project. For one, I plan on focusing on a medium that strays from filmmaking as I’d like to go back to my roots in where I first found the still image and art to be captivating and by itself, more interesting. I am awaiting a one-to-one with my lecturer to go over some of the many ideas that I currently have and wish to disclose my issues with how to go about those ideas. 

Since the module guide has also been updated here is a follow-up of what it to be expected from us in the latter time:

Online Sketchbook - A2 B4 B5 C4 D4 

Your online sketchbook will evidence all the research, workshops, practical tests, and screenings feedback for this module. It could take the form of a blog, a sketchbook film or a written document. The online sketchbook might take the shape of a micro-documentary. You online sketchbook offers a chance to reflect on the guided tasks and how they may have influenced your final project. It is an ideal place to contemplate the challenges you’ve faced and the shape of your creative decision making. 

Equivalent of a 3 - 5 minute film.

Practical Film project - B5 C1 C4 D4

In negotiation with your tutor, you will develop a project that you can complete with the resources available to you - the ultimate obstruction. The nature of these projects will be highly individual and diverse. The work should be equivalent of 3 - 8 minutes in length.

Critical self-evaluation (500 words) - A2 B4 C1

You will produce a document that details the following information: 

● Overview/Synopsis of the project (50-100 words) 

● Credits (Cast/Crew as appropriate) 

● Technical Specifications 

● Critical Evaluation (500 words) - You may wish to reflect on your proposed project before Covid-19 and after the outbreak. It will offer an evaluation of the final piece, and offer different potential readings of your work.

● Working Blog Link 

By the end of this module, we will have created a 3-8 minute film piece. Alongside a blog and 3-5 minute sketchbook film that detail the workings and process of production of the film.

This is expected by the 11th of May.

There will also be a document outlining these aspects of the filmmaking:

Overview / Synopsis of the film (50-100w)

Credits (Cast & Crew)

Technical Specifications

Critical Evaluation (500w)

Blog Link

These will be expected to be complete by the 19th May 2020.

We are expected to create a film of our choosing, however, we should take input from the sessions taught on certain elements of film that are more theoretical and based on art and experimental film. This and the entire project will be backwheeled by our tutor, so that they understand our journey through the module.

The outcome of this project is ideally to be used within an art exhibit. Titled 'Film Art'.

Through this, we can take the understanding that 'film' and 'art' must be or in some way are mutually exclusive. We can find, that narrative films, if based on something true and distinctive, will feel less like 'art' and more like a classic example of film for escapism and voyeurism.

Each session must have a related blog post, add theoretical and research based knowledge via the theme of the session. Detail the important nuances of the project and session in these blogs.

What do you want at the heart of this project:

- To portray the body as something both gross and beautiful, without the need for sexualising or objectifying the model.

Initial Ideas

Theoretical and Technical Focus:

A film that focuses almost entirely on the sound and voice acting. The image is just a script or a version of the story of the film in a text medium. It would be visible on screen and following the events of the reading of the story. Similar to a radioplay, however the script would also be affected by parts of the story that would understandably be affected.

Experimentalism and 'Art' Focus:

FILM203 - Suite of professional & promotional materials

In the creative industries, jobs are just as difficult to come by as in the more academic industries and such. Therefore it’s just as important to keep a certain professionalism in your work and to have a good hold on the way you present yourself. Websites are just one way of providing information on yourself and your past work, they are easy to reach and with the proper tools, you can make it look professional and clean. Social medias are a little more informal but employers are likely to search through any that correlate to your name so that they have a better understanding of you as a person and how that may affect your work as an employee. Therefore social medias should always (even without the effect of an employer) be clean, free from undesirable content and should still show a passion for your work. It’s a tough hope, but the better you seem outwardly to an employer also comes across to the people around you, co-operative partners will likely take time to find out who you are and what you’ve previously done so that there’s an even ground when it comes to the job. So for that you need to make sure you are actually reachable through your social media so that people who wish to talk to you about a project are able to.

Business cards are yet another way to gather new contacts, however it’s difficult to create a business card that people will actually keep or think of first when the time comes. Specialist graphic designers can create cards for you at a price, which will likely provide a good outcome as your image is held intact in a professionally made card that suits you and your work. However if it is applicable, making your own card can be suitable especially if you have a certain personal brand about yourself and there is a theme with your linked pages that you’d like to keep going through to your business cards. I personally am familiar with graphic design and so I felt comfortable creating my own card that I felt was indicative of past work as a cinematographer.

Here is my professional film and photography card (email censored):