Final Major Project – My Contribution

Individual Log.

In the meetings leading up to the filming of our FMP we took minutes, we all took turns taking the minutes. In these meetings we decided who would be doing what and when it would all happen. It was established that I would direct, do cinematography, write the screenplay (from someone else’s story), be script supervisor and editor.

In each meeting we discussed possible plot points, filming locations and production names, we all eventually agreed on my idea for a production name of “Sting Productions”.

We decided that, although someone else in the group would write the story, I would adapt it for screen and write the screenplay for the film.

Once someone else in the group had scouted a location, I went over there with the location scout to see if the location was okay and how each scene we planned on filming there could actually be shot, while there I even found a good place for the final scene to be shot that the location scout actually missed.

Before w could start filming we had to put together mood board and get feedback to see what people thought about our idea in this process we all put in an equal amount of effort in making the board.

On the morning of June 10th, we started filming. It was our first day filming and we started with the last scene of the film. As the director, I did my part, but I was also acting in it and being script supervisor.

On day two we shot the first scene along with the penultimate episode, as I wasn’t in this scene I found it much easier to get involved as a director, I also acted as cinematographer, I was in charge of everything as director, this included stuff like the actors, lighting (which was included in my duties as a cinematographer)

Day three we filmed the remaining scenes, this made up the middle part of the film of the film along with the voice over, as director I oversaw it all and for a couple shots also acted as cameraman.

We edited our footage everyday but it received more focus when we finished filming, we all helped edit and I oversaw it all as director, but I was also one of the main two editors.

Main Methods and Techniques Used in Marketing and PR

1. Media Availabilities
This means making yourself available for speaking to the media, for example, if there’s an important issue relating to that may affect your business and you’ve got an opinion on it, you talk to the media. You can also ensure your press release has a strong news angle and targets the right publications and beat reporters.
 
2. Monthly Columns
Writing monthly columns for a local newsletter or mainstream publication will help increase your visibility and establish your reputation in your area of business and can often serve as the backbone if your marketing strategy.
 
3. Seminars/Lectures/Networking Events
Speaking at seminars and offering lectures or workshops will also help you expand your professional network, increase your visibility and build your personal brand. Attending networking events will help you connect with prospects. Despite the growth of social networking and virtual communication, building relationships through face-t-face networking is one traditional marketing technique that will never go out of style.
 
4. Traditional Advertising
Among traditional advertising tools, you could also consider advertising in daily newspapers and speciality publications. Through television advertising you can target niche markets or demographics with special programming. This offers you the advantage of reaching a larger audience at a lower production cost.
 
5. Online Advertising
With more people spending more time on the web, online advertising offers great opportunities for reaching your target audience. Google AdWords, a pay-per-click advertising programme, allows you to target your ad based on keywords people type in the Google search engine. You pay Google a certain cost per click whenever people click on your ad and visit your website. – And not how often your ad is shown. You can also buy pay-per-click ads on Facebook or LinkedIn, targeting your ad based on demographic criteria such as age, gender, education, profession, geography, etc.
 
 
 
6. Web Marketing
Your website is one of the first impressions people will get of your business, so it’s important to plan carefully what your site is going to look like and include, keeping in mind your target audience. Most organisations, regardless of size, have websites now but most ignore the importance of using search engine optimisation (SEO) to ensure that their site is easily found when people look for them online. Using on-page and off-page SEO techniques, you can improve the volume or quality of traffic to your site from search engines; the higher the site ranks in search results, the more traffic it usually receives from search engines.
 
7. Social Media Marketing
Before the growth of social media, most businesses needed to either buy expensive advertising or receive media coverage to attract the attention of their customers. Using social media tools like blogs, Facebook, Twitter and LinkedIn, you can easily network and connect directly with potential clients and deliver information about your services. Social media can also be used for driving people back to your website by posting your latest events, company news or even informative articles of issues that may serve as a useful resource for your target audience. 
 
8. Newsletters
Newsletters, whether printed or sent through email, can be useful for delivering relevant information to your target audience and keeping them updated on your organization’s services or recent events. E-newsletters are especially helpful for generating leads through email programmes; you can identify and track recipients who click on your e-newsletter. To convert these leads into prospects, you can then follow up with them by sending a brochure and making a follow-up phone call about your services.
 
9. Booklets
Creating a printed booklet or an e-book with informative articles or whitepapers on relevant issues that may be of interest and of use to your target audience is a great way to start engaging with your prospects and create an image of being a leader in your field. E-books can easily sent in a PDF through e-mail or social media. You can also make them available for download on your web site through a contact form that your prospects can fill. This will allow you to follow up with them and keep them informed about your services.
 
10. Direct Mail and D-Cards
Direct mail can be quite effective for localised businesses, especially if you purchase highly targeted mailing lists. If you are targeting a specific demographic profile in a particular geographic are, consider direct mail. Another recommended option for direct mail is to use detached address cards or D-cards with your advertisement printed at the back. D-Cards can be distributed through weekly publications in your local area at a very low cost. If you wan to saturate a zip code, and you are not concerned that all the residents will receive your mailer, you can use D-cards.

Creative Media Industries – Film

There are nine types of industries in media, they are: Film, Television, Music, Print, Computer Games, Advertising and Marketing, Interactive, Press and Radio. The film industry and companies like Columbia Pictures and Warner Bros. Pictures make products such as films and TV shows. Warner Bros. makes some of the best-known films and shows including Friends, Batman, Superman and Inception.

Back in 1983, around 50 corporations controlled the vast majority of all news media in the United States, however, nowadays that had been condensed to just six. In the media industry there is what’s known as “The Big Six”. This means that these six big corporations that collectively control the U.S. media. The “Six” are:

Time Warner, Walt Disney, Viacom, News Corp., BS Corporation and NBC Universal.

These six corporations all have daughter companies, for example, Disney is the parent company of ABC, ESPN, Pixar and Lucasfilm. These sister and daughter companies are how the big six own so much, they have many large companies under their name.

Legal and ethical restraints in media are there to protect people’s names and reputations. For example:

Libel (When an unjustified attack is written, published or broadcast) is there to protect people’s names and reputations, as is slander (a verbal defamation). Without these laws, people could print and broadcast what they like about a person, be it true or not, potentially ruining their reputation, career and life.  There are also other rules the media industry must abide by, such as Watershed, which stops inappropriate content being broadcast too early in the day and Copyright, which stops people from taking the idea of others or Discrimination which makes it illegal to discriminate against anyone on grounds of sex, age, disability or ethnic origin.

When it comes to media regulation, it is largely related to Legal and Ethical restrains, but also goes into privacy. For example, the main targets of media regulation are the press, radio, and television, but does also include film, music, cable, satellite, storage and distribution technology (tapes, discs, etc), the internet, mobile phones, etc.

It basically relates to privacy. For example, the phone hackings by the News of the World would come under this section. It also relates to censorship. In that you can’t publish certain things. An example of this would be when someone requests “facts” from the president of the United States and, a lot of the time, much of the information is blacked out.

The media career ladder is an interesting one to climb. For example, most career ladders care about qualifications, for example, if you went into business with no qualifications you would probably start at the bottom and have to work your way up, but if you have a University degree you could probably start with a higher up job. But in the media industry it varies. So, say you wanted to be in the news industry, they would take note of qualifications, and possibly start you off higher up if you had the qualifications. But you could still start as someone who delivers the post and work your way up. But film is more about who and what you know. A university degree might help, not the qualification itself (though it might get you noticed) but the knowledge you’d gain from the course. But if you happen to be good friends with a well-established director but have no qualifications, that could still be extremely helpful, more so than a University graduate who doesn’t know anyone. Even if you have a mass amount of qualifications and went into film you could still start as a runner. However, if you’ve never worked behind the camera but are a well established actor, then it could still be quite easy to find a job as a director, even if you have to write the script yourself, which is another point. Hard as it may be to get a job in the industry, it could, arguably, be easier for a director than an actor (ignoring luck and chance) as actors sometimes have to go on countless auditions before they get a job, whereas a director could write the film themselves and producing and make they’re own work, even if it’s just to get a name an they don’t actually make a profit from it. They could also start a YouTube channel and make a name as a decent filmmaker on their and use that as a CV when trying to get bigger and better jobs (though this could also apply to actors to an extent too)

Part A – Take Part In An Arts Activity

In my spare time I participate with a drama arts group.  I was given the opportunity to work independently to write a play. I needed to develop my scriptwriting skills so took a workshop where I learned the layout of a script and how to structure them. I was briefly told how to produce a play, but was more or less left to do it with my group and learn from experience.

A while back, I co-wrote, co-directed and co-starred in a production at a theatre club that I go to every week.

The theatre club has a few different groups based on children’s ages and puts on several shows; this particular show featured adaptions of some of Shakespeare’s plays. The younger groups were given a specific play but our group could choose a play to adapt and direct ourselves.

Although the writing of the play was a joint effort, the bulk of the script came from my co-writer and myself, with additional material from the rest of the group. The co-writers also co-directed the production. We collaborated on ideas, chose the best ones, directed the actors, took notes, thought about what we want the lights to do, and so on.

Each performance was only about five minutes, as a fair few performances had to be accommodated. The adaption I was involved in was of Romeo and Juliet, in which I played Romeo.

After the second performance of the day, there was a small award ceremony in which some people are given awards such as “Best Performance” of their age group. I won the “Most Improved Performer” award, meaning that over the course of the year, I’d improved most as an actor. I was also presented with the award for “Best Performance of the Night”, meaning that of all the actors of all the age groups, I gave the best performance; I was told that this was partially based on my ‘comedic timing’.

All in all it went well. I enjoyed the creative freedom I had as an actor, writer and director. We had to stick to the basic plot of Romeo & Juliet but could do the story and characters how we wanted. The skills I think I learned were: how to adapt a story, develop a character, manage a cast and lighting as a director.

I believe the experience helped me improve as an actor as it was the biggest show I’d been in so I tried hard to raise my game and develop my character. It also helped me to improve my organisation skills because, as the director, I had to communicate and tell people what to do and what was going on, and they all seemed to get the message. I also improved as a writer as I had to adapt a script. I’d written scripts before but this was the first time I’d adapted someone else’s work into something slightly different.

What I didn’t like about the experience was retrospect. Looking back, there are always things you wish you’d added, taken out or changed.

The main things I learnt are the three aforementioned aspects: script adaption, acting ability and organisation. But it did help me as a director, as it taught me organisational aspects as well as giving me directing experience.

I gave a good performance and according to many actors from other groups, teachers and audience members, my segment was very good and one of the best ones that day, implying that my directing, acting and/or writing was impressive.

Below are several photos of myself and cast performing the play.

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Part D – Passing on an Art Skill Part Two

As part of the Arts Award, I had to pass on a skill I had learnt while at college, we could choose almost anything, such as Directing, Camera work, Animation, Acting, etc.

I decided on stop-motion animation. I worked as part of a pair, teaching a group of three first year media students. We were teaching them the time-lapse technique with a birds-eye view shot which we had also done just over a year ago. We already had a lesson plan to follow that we’d come up with a few days prior to taking the class. We started with the introductions; we introduced both ourselves, and a small bit about animation (Such as how many frames in a second.) before showing them examples of what they’ll be doing, including our work from last year.

We informed the class that they would be making an animation based around one of the four seasons and told them to think about what they want to do. One of us then took them to get some props and/or outfits while the other stayed behind and set up the tripod, camera and mac.IMG_0025 IMG_0021 IMG_0012

I gave them a brief explanation on how to use Pro Animate but answered any questions they had along the way. We gave them tips on how to improve it, for example, they’d shot a couple of frames and went back to check it and realised that it was moving much too quickly, so I told them that they’re making too big-a movements and to make smaller movements and take a picture, as oppose to what they were trying, which was to take rapid photos of actual movement. They took what I’d said on board, executed it and it worked.

Our little group chose summer and their animation features one of them on a body-board, swimming out to deeper waters, only to fall off and have to swim to the surface. We were a little unfortunate as we had trouble getting the camera to connect to the Mac, but once we did it, it was fairly smooth saving. The animation ended being about nine seconds long and worked well.

Once the animation had been shot, exported and saved, we gave out some questionnaires, asking how we did, and feedback was positive.

 

 

Part D – Passing on an Art Skill

As part of the Arts Award, I had to pass on a skill I had learnt while at college, we could choose almost anything, such as Directing, Camera work, Animation, Acting, etc.

I will be teaching Stop-Motion animation as part of a group. We, as a group will be helping some first year students with something called “Time-lapse”, which we all did in our first year at college, it involves one person lying on the floor as a camera on a tripod is held above them as they partake in the animation as the “star”.

Before we went ahead with this, we had to come up with a plan on what we were going to do:

First, we introduce animation and ourselves so that the first years can get a bit of knowledge on animation before we start while also knowing who we are so they can put a name to a face.

Next, we will show an example of what they will be doing, this ensures they know what they will be doing will possibly giving them some ideas, examples of what we could show them include our ones from last year and the Amazon Kindle advert.

We will then teach some of the basics, such as how many frames make a second (24) and some of the terminology. This gives them the basic knowledge they need to get started and do it correctly.

We will then tell them what they’ll be doing, by which I mean getting into groups and making an animation with one of their members on the floor as the subject. This gives them a clear objective to aim for. Before we start we will answer any questions they might have.

We will then get them to set everything up. This includes the camera, tripod, background, props and costume. We do this because it will show them where everything is kept and teach them how to set everything up, it will also see if they can work together in an orderly fashion.

We will teach Pro Animate along the way as it is one of those things that needs to be shown or self-taught, rather than explained. Some people also find it easier to remember things if they work it out for themselves.

We will also answer any questions they might have along the way.

Arts Award – Arts Hero

Christopher Nolan was born in London, to a British father and an American mother. As a dual citizen of the United Kingdom and United States, he spent his childhood in London and Chicago. He began making films with his older brother Matthew, at the age of seven using his father’s Super 8 camera and his toy action figures. While living in Chicago, he made short films with future film director and producer Roko Belic. They collaborated on a surreal 8mm short, Tarantella, which was shown on Image Union, an independent film and video showcase on the Public Broadcasting Service. He was also briefly affiliated with Dan Eldon’s African charity projects, working as a cameraman, in the early 1990s.

Nolan attended Haileybury and Imperial Service College, Hertfordshire, and English literature at University College London (UCL), studying English Literature. He chose UCL specifically for its filmmaking facilities, which consisted of a Steenbeck editing suite and 16mm film cameras. During his stay at the university, Nolan served as the president of the Union’s Film Society; one of the oldest and most well established film societies in England. Nolan and his long-time film producer, Emma Thomas, would screen 35mm feature films during the school year and use the money earned from ticket sales to produce 16mm films during the summers. He was later named an Honorary Fellow of UCL, a title given out to individuals “who have attained distinction in the arts, literature, science, business, public life or have rendered exceptional service, which may include philanthropic support, to UCL.” During this period he earned a living by directing corporate videos and industrial films, before moving to Los Angeles and becoming as a freelance script reader.

While reading scripts, and working as a struggling independent filmmaker after graduating from UCL Nolan “was getting $40 per script and I couldn’t do more than a couple each day because I really felt responsibility to try and do it well. Before that I had spent a couple of years doing freelance video production in London, making absolutely no money. I had no personal entertainment budget for anything at all, and when I finally did get a salaried job in London, doing basically the same thing, my immediate response was: ‘Well actually, now I can take half of what I’m making every week and buy film with it.’ So as soon as I had regular money coming in- or what I felt like steady income – I decided to use it to make Following. In L.A. I didn’t give up my day job for a long time, even after Following started getting into festivals. You have to keep your day job a lot longer than you think, basically to pay the rent.”

Nolan began his filmmaking career with a series of short films. Larceny, a short he made in black-and-white with a restricted cast, crew and equipment in the space of a weekend, contained many traits later to be seen in his first feature. It was funded by Nolan himself, but shot using the society’s equipment. It played at the Cambridge Film Festival in and is considered to be one of the best shorts produced by UCL in recent generations. Doodlebug is a kafkaesque short about a man chasing an insect with a shoe around a flat, only to discover on killing it that it is a miniature of himself. Nolan wrote, directed, co-produced, photographed, and edited the film. Jeremy Theobald, who played the lead in both Larceny and Doodlebug, would later play the protagonist in Nolan’s first feature. The short has since been released on home video by Cinema16.

In 1998, Nolan directed his first feature film, Following. The film depicts an unemployed young writer who trails strangers through London, hoping that they will provide inspiration for his first novel, but ends up being drawn into a criminal underworld when he fails to keep his distance. The inspiration for the film came directly from his experience of living in London and having his flat broken into: “There is an interesting connection between a stranger going through your possessions and the concept of following people at random through a crowd – both take you beyond the boundaries of ordinary social relations”. He made the film on a budget of only £3,000, and shot it on weekends, over the course of a year. He was primarily working with friends he had met through the film society, such as musician and film composer David Julyan. To conserve expensive film stock, every scene in the film was rehearsed extensively to ensure that the first or second take could be used in the final edit. Nolan directed the film from his own script, and also photographed and edited it himself. It began to receive notice after a screening at the 1998 San Francisco International Film Festival, where the film caught the attention of Adrian Curry, who picked up the US distribution rights for his company Zeitgeist Films. While working the festival circuit, Nolan met cinematographer and future collaborator Wally Pfister, who had shot The Hi-Line, which was in competition at Sundance, while Nolan was at the neighbouring Slamdance Film Festival. The film won several awards during its festival run, including the prestigious Tiger Award at the Rotterdam International Film Festival. On December 11, 2012, the film was released on DVD and Blu-ray as part of the Criterion Collection.

Some of Nolan’s personal inspirations include:
Steven Spielberg,
Stanley Kubrick,
Terrence Malick,
Nagisa Ôshima
Fritz Lang,
David Lean,
Sidney Lumet,
Ridley Scott,
And Nicolas Roeg

So far, Nolan has directed 8 feature films:
The Dark Knight Rises,
Inception,
The Dark Knight,
The Prestige,
Batman Begins,
Insomnia,
Memento,
Following.

He’s also attached to direct the upcoming Interstellar as well as being a co-writer and Co-producer of the upcoming Superman film, Man of Steel.

Analysis of Six Idents

Channel 4 – Aeroplane graveyard.

The colour of the ident had an orange feel to it, this is because the ident is set at sunset, it may have been set at sunset because the makers wanted it to look the way it does. The only text or typography is a very subtle Channel 4 logo made from strategically placed planes to make them look the logo. The tempo of this live action ident starts off quite quickly as we’re flying over a desert landscape before slowing down as we reach some stationary aeroplanes, the only real theme I can see in the ident is the colour. When it comes to sound, it starts of with a barren sounding wind sound to go with the shot of the desert before a bit of music kicks in, the music gets stronger as we reach the group of planes, the music gets more intense as there is the sound of a plane taking off as a plane is seen taking off in the background. There’s no real story or action, the ident is just one big shot of an “aeroplane graveyard”. The target audience is Channel 4 watchers, it was shown on Channel 4, so the only people to see it are already on the channel, but all channels advertise themselves in this way. The ident would be shown before any Channel 4 show, so things such as The Simpsons or Hollyoaks, but it is only shown on Channel 4, but none of their sister channels, such as E4, so it wouldn’t be shown before shows such as How I Met Your Mother or The Big Bang Theory.

 

http://www.theidentgallery.com/player.php?id=DAVE-2012-BB-REDDWARF-1

Dave – Red Dwarf

The colour of the ident changes slightly as we visit different parts of the ship, however the general theme to the colours is that which you would generally find on a ship, a submarine or sci-fi space ship, bronze, silver, golds and reds. The only typography in the ident is that of the Dave logo, which the characters interact with in their own different ways. The ident was shot live action with real actors from the Red Dwarf TV series and the tempo of the ident is at a fair pace, as each character interacts with the logo in a different ways, the tempo of what they do will obviously be different from each other, but not much is happening and the camera never moves, so there is no noticeable tempo to the ident. The theme of the ident is obviously that of the show Red Dwarf and the only sound effects are those that the actors make, for example, Cat uses a spray and says “Mine”, Lister is playing video games and is accompanied by the sound effects of the game and the noises his controller is making, Kryton is painting the logo and has a very faint noise of the brush and Rimmer, who is polishing the thing is accompanied by the noise of him breathing on the logo and him polishing it. The only story to the ident is what each person is doing to the logo, polishing, etc. The target audience would be people who watch Dave to either inform or remind them that they’re showing the new series of Red Dwarf, the ident would be shown before an array of different shows that Dave broadcast, such as Have I Got News For You, Mock the Week or, in fact, Red Dwarf.

 

ITV – Pugwash

The colour of the ident is that of a normal kitchen and dog, however, the colour that stood out to me most was red, there was some red in the background but the hands in the ident were also wearing red rubber gloves, I don’t know if this was done to attract your attention or not but red is a colour that does tend to attract attention. The only font or writing in this ident is that of the fairly new ITV logo. The ident is live action and done in one shot as the camera very slightly moves up, down, left, right and zooms in and out. Other than a potential theme of red, I can’t see any particular theme, however, it does have music over the top of the ident, but no other sound effects. There’s no story to the ident and very little action, the only thing happening is a pair of hands washing a pug in a sink. The target audience would be ITV viewers and, arguably, dog lovers. As an ITV ident, it’s shown before some of ITV’s shows, such as Saturday Night Takeaway.

 

Channel 5 – Equalizer

The most prominent colour of the ident is red, however there is a fair amount of white and black. The only writing in the ident is that of the logo, and even then, all it is, is the number 5. The ident was shot using a computer-generated image for the entire thing and the tempo was quite quick to fit in with the music that was played. The theme of the ident could be music, as the images were that of bars which fitted with the volume and tempo of the music. Music wasn’t the only sound present in the ident; there was also a voice over from a woman who told you what the upcoming programme was. There was no story and little action as the ident was that of bars fitting in with music. The target audience would be people who are already watching Channel 5, but may not know what’s coming up or what channel they’re on, as the ident informs them of both. The ident was, as the voice over stated, shown just before an episode of CSI.

 

Channel 5 – Drums

As with the other Channel 5 ident, the main colours are Red, white and black, and are features in the background and on the red drum kit. The only typography in the ident is that of the Channel 5 logo, which is white. The ident is a live action video of a girl playing the drums, the screen behind her may not actually be there, but the girl and drums are both real and live action. The tempo is quite fast, presumably to fit in with the quick drumming but also because it’s an ident and shouldn’t be too long. There’s no real theme to the ident, but you could argue the theme of music and the colour red. As stated above, the ident Is that of a girl playing the drums, so there is obviously the sound of her playing, however there’s also a woman doing a voiceover. As with many idents, there’s no story or action, just the girl playing the drums. The target audience of the ident might be people who are watching Channel 5, but may not know what’s coming up or what channel they’re on, as the ident informs them of both. As stated in the ident, the ident was shown before Monday’s Right Stuff.

 

BBC One – Doctor Who Christmas Ident

The main colour of the ident is probably white, as the whole thing has snow. The only typography in the ident is at the end, when the BBC One logo can be seen on the screen. The ident was shot in live action using CGI for the obviously impossibly other wise parts, such as the flying reindeer. The tempo of the ident starts off quite peaceful as The Doctor is walking through the snow to reach his TARDIS. The theme of the ident is obviously that of both Doctor Who and Christmas. There is very little sound in the ident, but the sound there is includes: Snow crunching, reindeer and the BBC theme. The story of the ident is that The Doctor is visiting somewhere snowy, but when he returns to his TARDIS he finds that it is covered in snow, to both get his TARDIS out of the snow and reach where we wants to get to, he attaches the TARDIS to some nearby reindeer and rides it as If it were Santa’s sleigh. The only real action in the ident is when The Doctor, reindeer and TARDIS fly off. The target audience is BBC views, to advertise BBC One, Doctor Who and Christmas; it was shown before several different films and shows but only around the festive period.

Arts Award – Part B: Be the Audience

Recently I visited the WarnerBros Hollywood studio in California. The tour took us through the WarnerBros Hollywood studio and through an array of different sets and sound stages which, over the years, have been used to film many different films and TV shows such as The Hangover, Inception, Friends, Two and a Half Men and The Big Bang Theory.

The tour starts with a shot film showing snippets of things WB has down the years before you’re through in groups to a cart to start the tour. Once in the cart, you’re taken across the road to the sets, each tour varies slightly in what is on the tour and in what order. Our tour, however, started with a short drive to a large New York-Style building that we were shown the inside of, inside it was all scaffolding and wooden support beams, showing that, as realistic as the outside may look, they don’t do the same for the inside, because they don’t need to, because we, as the audience, don’t see it. We were then taken through that building to an ally at the back, which we were told, had been used in a number of different projects, such as Friends and Spiderman.

We were then driven through several more sets, such as the town centre for the big musical number in The Muppets and the set for the town of Bluebell, Alabama from the show Hart of Dixie. Nearly anything in the lot can be used to film something, for example, a small patch of grass that wasn’t built for films was used in an episode or Friends. Or a specific building that was built as merely an office building has been used multiple times as a hospital, and another building that houses the writers is frequently used as a school.

We were then taken past Stage 16, one of the tallest sound stages in the world with a 2,000,000-gallon water tank that was used to film things such as Inception.

In the car park, which has a view of the famous WarnerBros water tower, we were told that several things were filmed in the car park, such as a mudslide in Two and a Half Men as well as being used as the helipad on the roof of the hospital in E.R. We were then shown the set of the show The Mentalist. We were taken into the Lobby of the HQ where Patrick Jane works. Being a set, the Lift obviously isn’t real, the doors merely close, the set rearranged, plants and decorations are moved and presto, you have a lobby on another floor. Then, we were show the office sets, which was a full set as appose to a half set, because the show has no live audience they need to house. What was also interesting is that the floors, though made to look like wood, were not made of wood because wood makes too much noise and would be difficult to shoot with.

Then, we were taken through the woodwork section of the studio, where sets are taken down, stripped down and, using old materials, made into something completely different, this was quickly followed by us being taken to the old set of Central Perk from the show Friends.

We had to be quiet ass we passed a few studios and miss out a couple of them as, while we were on the tour, movies and TV shows were still filming as tours continued, which is why the tour took part in a cart, because they make no noise.

Overall, the experience was fun, interesting and very helpful and educational for me as well.

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Warner Brothers Studio tour in Hollywood.