When organising my shoots, I prepared a rough shot list of what I wanted in addition to a question list and a map to the location. Here are the question lists and notes that I wrote out for each shoot and the equipment list for the shoots:
Equipment List by JoshuaSampson

Tony Moore Soho Radio Shoot 2016 by JoshuaSampson

Transcript for Tony Moore by JoshuaSampson

Shooting Schedule Buffalo Fish Live at The Monarch 2016 by JoshuaSampson

Question List and Notes for Buffalo Interview by JoshuaSampson

Sam Sampson Interview by JoshuaSampson

Erwin Lucas Questions and Notes by JoshuaSampson

I then decided to work on the interview that unfortunately turned out very underexposed. This process took me a long time to work on due to how dark the image was and how this therefore would cause a high amount of grain because of the increased brightness. Because the image would be very complex to fix, I got in contact with Shahid Abu, who specialises in colour correction, to work on the footage for me and try and expose the footage more. This process took a few days however I was very happy with the outcome of the footage he had edited for me:

 Raw footage

 Shahid's Corrected footage 

I worked on the footage by increasing the brightness and decreasing the contrast a little in Premiere also, but also by colour correcting the image as the original footage was quite green-y/yellow. 

After my colour correction

Because of the darkness of the image, I decided to incorporate a few parts from the original interview I did with Buffalo Fish, as this had no lighting issues and also included some great closing statements from Terry and the band. 

Original interview footage screenshot. 

After I fixed the footage I went onto working on the music for the film and then the introduction titles in further depth and also the credits. 

For the music of the film I gained permission to use some of Buffalo Fish' tracks in addition to new Airforce tracks and old tracks written by Doug and my father, Stephen. I organised the music by putting in into a bin named 'Sound (FX and Music)': 

Bin for Sound.

I then made sure the tracks I was using was lower during the dialogue parts as it was in comparison to the parts with the archive imagery and no dialogue, where I can rise the levels up and down again once the archive imagery has disappeared. 

Music levels during archive images

Music level during interview dialogue. 

To make this cut smooth and flow, I once again added a audio transition to do this, being the Constant and Exponential Fade. 

Fade transitioned applied in the timeline

After I did this I worked on the music level for the credits and I decided to choose a new Airforce track, which I felt worked well as an outro track: 

For the credits I added a new default title roll:

 Title roll effect added

When setting up the rolling credits I added a value to the ease out and postroll so that the credits could roll upwards and start off screen in addition to rolling off the screen towards the end. 

Roll settings 

I then applied all of the credits through two text boxes, one side being the roles and the other side being the names of the participants. 

 Title layout

I then scrolled down the image and made sure the last titles was off the screen so that the titles go off the screen at the end of the roll. 

End titles off screen

Overall I am pleased with the outcome of the titles and through following the professional BBC credit guidelines, I feel I have made a professional credit sequence at the end of my film.

Screengrab of the final credits. 

When looking at the introduction I decided to do a freeze-frame effect of each character after the title sequence so that you are familiar with who the film will be about even before you watch the film. Due to the fast cutting pace of the film, I felt this was necessary so that it is clear from the start and keeps the viewer focused and clear regarding who the film is about and who each character is. 

 Screengrab of freeze frame of Terry. 

I also decided to use Royalty Free music website called 'Looperman' and found a heavy guitar riff I could put over the footage of them performing, which then freezes.

 Website used.

'Corroded Guitars 2' WAV sound file used in my film. 

I then decided to cut away to the title of the film and have that glitch. This was inspired by the RAM documentary film I made in second year and I liked the effect and I feel that it represents the fragmented reality of ageing musicians, challenging the title of, do rockstars actually retire or not?

The effect was done by using royalty free footage of a glitch effect that I found on a royalty free video website. I applied the effect to the title and made sure it was an 'Overlay' so that it was behind the image but still applied a glitch effect to the text.

I feel the final glitch came out really well and i'm pleased with its final outcome. I then went onto watch the film in full with Anne and got some constructive criticism, which was mainly to cut down some of the interview parts further and include some different parts which exacerbate the ex-iron maidener's passion for the music. After doing so I showed Julia who felt that the film was clear and accurately represented what I am trying to say in my film. I will later evaluate my overall thoughts and feelings of the project in my evaluation, which I will put on my blog. 

Full timeline of the film in Premiere. 

When I had all of the interview and cutaways in place and in an order that makes sense, I could begin on properly organising the titles and putting them into the film at the right time. I firstly made a bin for all of the titles so it would be easier to find a certain sub-title. The subtitles makes the characters in the archive photos even clearer, I would add a date and title to the corner of the picture generally, or I would explain how old the character was at the time, for instance a young picture of Tony would have 'Tony aged 17':

Titles organised into a bin. 

Example of titling the photo. 

For the sound of the film, I went through all of the interviews and made sure that the levels were similar. Some interviews for instance were louder than others, naturally because of the differientating volume of different individuals voices, for instance Doug spoke a lot softer and quieter, so I had to increase the levels on his interview. Once I had done this I listened back to all of the interview footage and found that all of the levels were very similar, peaking at the same number. 

Dialogue peaking

Audio Gain tool 

I then decided to work on the titles for the film, and I felt that the typewriting effect in After Effects gave for a more interesting experience than just having a still text image introduce the film. 

Still from After Effects. 

Test for titles

Overall I am quite satisfied with the titles I have produced and I feel the sound of typing works well. 

After I had assembled all of the footage onto the timeline and began importing the archive imagery, I had a tutorial with Anne and showed her to see what she thought. The feedback I got was to cut down the footage even more and cherry pick the most interesting, punchy phrases by each of them, as some of the sentences were quite long winded. This technique really helped in the long run as it not only made the film more punchy and interesting, but it also cut the run time down dramatically to around 15-20 minutes.

When cutting the clips, I found that the audio became quite jumpy when it came to cutting in between the characters. I decided to add a constant power transition to allow for a more smooth, gradual cut to the next clips audio.

Timeline with the audio transition added

Constant Power transition applied

When applying the archive I decided to add a gradual zoom to most of the pictures so that your attention can be put on the individuals in the photo, as most of the pictures are group photos from decades ago, so it can sometimes be difficult to tell who is who. To do this I added a shadow effect to highlight who the main character is in the photo by adding a circle onto the image and lowering the opacity and feather. 

Example of the shadow effect

After I had the structure of my film together and some of the archive images and titles on the timeline, I showed Anne who was positive about the film, however she advised me to nit-pick the interviews even further and also work on the structure and think about what works best in what place. When further inspecting the film I decided to put Terry first as we are introduced to Terry originally through Tony's story, so we are never introduced at the start to Terry, we are just shown him firstly in Tony's story. I felt this would make the film a little clearer and also allow the viewer to understand who he is first before he cuts in between Tony's story. After I sorted out my structure I would then begin adding music and titles and so on. 

To begin with I organised my footage by naming the files what they were, for instance the cutaways are called 'Skull Ornament.mov' and so on. This made it easier when knowing what footage to import to what bin.

Example of naming the footage in Finder. 

I then began by making Bin's for each character and making sub-bins inside that folder for each part, for instance I have bins for each interview, archive imagery and so on so that I could easily find each clip.

Main Bin folders

 Sub-bin folders

I then imported all of the footage into the sub-folders, for instance I made part folders for the Buffalo Fish interview because of how long-winded the interview was. 

I then imported all of the interviews and began cutting the parts I had highlighted previously on my transcript. This process took quite a lot of time however I was happy with the outcome and I managed to cut the project time down by more than half. 

Timeline with all of the interviews.

I then began importing the archive footage to the timeline to support the facual information they were giving, in addition to characters that the audience will not know, for instance when Terry mentioned Dennis Wilcock I incorporate a picture of Dennis in Iron Maiden.

Archive folders for Doug

Example of Archive image of Dennis on the timeline

I then began to create a structure for the film through the clips, so I began with Tony introducing the film with a statement about how his career began and then progressing into the Iron Maiden stories. This then progresses onto Terry who jumps into the story to support what Terry is saying. Terry is then introduced as one of the main characters and discusses his time in Iron Maiden, the oprogressing onto Doug, who shares stories and final thoughts then follows from all three of them. This is the basic structure of the Iron Maiden part of the film, which then progresses onto Doug discussing what he dud outside of Iron Maiden with Airforce, progressing onto Tony who talks about the work he has done and then Terry. The film will then cut to the 'Maiden charity event, showing their ongoing passion for music through each of their performances, giving their final thoughts of being in Iron Maiden and what they see themselves doing in the future. This was the initial structure of the film, so the timeline was layed out this way through the footage imported onto the timeline. 

After all of my shoots I looked over the footage and noticed there were a few gaps regarding cutaway clips I could use, so I went to Doug's once again at the beginning of April and to Terry's at the beginning of April to get some additional pick up shots and re-film the introduction using a stabiliser I bought which would help the smooth flow of the shot. After watching tutorials and testing the product I found it helped a lot when it came to flow of the movement of the shot.

Stabiliser used with my DSLR

During Doug's re-shoot, I decided to also get a few more cutaways, for instance I found a few interesting ornaments, for instance glass skull's:

 Skull cutaway

Cutaway of 'Soundhouse Tapes'

During the re-shoot at Terry's I got some behind the scenes shots of them recording a track and songwriting, which would be beneficial when it comes to cutaways of the band. Additionally I did a short interview with their producer of their new album, however i'm not sure if I will be using the footage as it was quite long-winded. 

 Cutaway of the band recording

Closeup cutaway of the guitars 

I'm glad I organised re-shoots for both Doug and Terry because I felt I needed more footage to cutaway to, whereas with Tony I had quite a lot of archive video as well as the cutaways to his work with Soho Radio. This would help me in the long run when it comes to parts of the film that may have gaps that need to be filled or to support what each character is saying.

I decided to do an additional shoot at the beginning of April to get a few shots of Tony at his radio station that he hosts on a Saturday morning, promoting new music being his priority which links quite nicely with what he has done in his career additionally, for instance touring and helping promote Ilona, who is a new upcoming artist. I also briefly interviewed Tony to potentially use towards the end of the film where we see each of the individuals now and how their careers have changed.

Exterior of Soho Radio

Still from the interview with Tony

Still from a cutaway shot.

I felt the additional shots I got were very useful when it comes to editing the films and adding a variety of shots to the film to make it visually interesting. The issues I had during the shoot however was the setting up of the equipment due to the fact that I was shooting on my own this time rather than with assistance. This meant the setup process took a lot longer than usual which meant the interview had to be quick due to Tony beginning his shift at 10am. Overall however I was pleased with the shoot and I got a lot of shots that i'm very happy with. 

Unfortunately during my first shoot with Terry and his band Buffalo Fish I was unable to film an interview due to the lighting in the venue and the acoustics of the room and the background noises levels being very high. This however allowed be to give more time to preparing my group interview. I decided to get in touch with Terry after the filming of the gig and arrange the interview to be at Terry's house, as this would allow me to control both the sound levels and the lighting levels on the cameras better. I shot this interview last due to the difficulty of rounding up all of the band members together because of their clashing schedules. I finally shot the interview however on the 23nd of March, a few days after Doug's interview.

Conversation with Terry

I arrived at Terry's with Shahid, who would be assisting me on the sound operating and lighting, at around 3:30pm, which allowed me an hour or two to set up and get some additional shots for instance interesting ornaments, images of the band, instruments and so on. 

Cutaway/additional shots filmed. 

We began shooting the interview at 6:00pm. The lighting was set up by myself and Shahid and I operated the main camera and Sony A6000 whilst Shahid operated the boom microphone. The interview itself lasted over two hours and I noticed that it got a bit darker during the filming, however I was not too concerned as I knew the EX3 and Sony A6000 handled low light very well from previous experience with the cameras. I felt the questions I asked were sufficient and I got some very interesting responses from Terry and the members of Buffalo Fish. 

On further inspection on the footage I found that it got very dark during the second half of the interview, however I was not too concerned as I knew I could fix this in post-production and would discuss the possibility of Shahid correcting the image when it comes to the editing process. This was worrying at the time however due to the bands busy schedule however I was optimistic that the footage can be tweaked when it came to post-production. 

Screengrabs from my film. 

I felt the shoot was successful however as I got some very interesting responses from Terry and Buffalo and I got some nice cutaway shots to support what they are discussing and to place into the film at different points. 

Due to Doug's busy schedule because of the recording of the new Airforce album and his job I could only shoot on weekends meaning I ended up filming Doug's interview on the 19th of March, A few days before Buffalo Fish' Interview. Even though this was a lot later than the early interviews I did and later than I expected, it gave me more time to research into Doug's career even further and plan the shoot more efficiently.

I arrived at Doug's at around 1pm with Julia, who was assisting me on the shoot and operating the boom microphone and helping set up equipment. We got around to shooting the interview around 2:30pm. From following previous setup's I had done in the past, I set up the interview a lot quicker than before, and perfected the framing to the best of my ability to make for an aesthetically pleasing shot.

Still from the interview.

Question List and Notes for Doug Interview by JoshuaSampson

  Document used during the interview. 

I felt the shoot went well and of all the shoots I had done this shoot had come out the best visually and audio-wise as the levels were a lot more accurate than previously due to Julia being able to operate the boom at a closer position. I also shot the introduction to my film, which in my head would begin with exterior shots of a suburban street, pleasant and calming which would soon cut to Doug playing drums loudly and obnoxiously. I filmed additional shots of Doug drumming for a few minutes to add as a cutaway to the film. In addition to this I filmed little aspects around the home, for instance plaque's, posters, ornaments and so on to add a variety to the shots I could choose from. 

Additional shot examples.