Shot List for our main project

Main Camera person: Sky
Main Sound person: Adrian
Main Editor: Suki
Main Producer: Ada
Director: All
As the main producer in the group, I have to make contacts with all our interviewees and finding other potential interviewees, activities or places to film. Besides, I also have to set the interview topic and questions with Adrian. When we are going to film, I am responsible to communicate with our interviewees first, to tell them what can and cannot do during the filming process. After that, I and Adrian have to ask them the interview questions and also to lead the discussions.
After finished the filming process, we have done the rough cut together and thinking of which footage should be put in which should not. After that, our final editors Sky and Suki would have to follow what we have discuss just now and make the finalize version of our film.


About the project Process 2

After filming the International Women Day and emailed the BWC’s manager, Sundar. We were waiting her email a few days. But all know that we can’t just sit and continue to wait her reply. So I kept finding different feminist society that could let us to interview them, first I have found The Rise, but  they said they are not only focus on helping Women in Brighton. So I then find a meet up called Brighton Feminism Meetup, I had made contact with its organizer, Ruth Wainwright . But she seems quite, she did not reply me after I have asked her to come out and have a coffee meeting with us.

Luckily, I then found another organization which is called Women’s Equality Party, and have a coffee with Suzanne Triviere (secretary of WEP) and her colleague Bev Barstow successfully. They are really nice, and even gave us some direction for our documentary and invited us to go to their monthly meeting to film on 7th May in Jurys Inn Brighton. On that day, we have met members from different organizations or groups which are related to feminism. For example, like the PR officer, Karen Dobray, from the Lewes Women Football team, Susie Courtault who is currently working in a feminism project about Women sending post cards to the EU government  to share their own stories. During the monthly meeting, we have taken some footage and had interviews with Karen, Suzanne and Bev. At last, we did not interview Susie as we are running out of them after she had come back to UK. But I  am so grateful to join the meeting and have the chance to interview them. It is really a memorable experience to me.



Photo with Karen Dobray, PR officer of Lewes Women Football Team

email dialogues with Susie Courtault and Brighton Feminism Meetup’s organizer, Ruth Wainwright

Interview Questions that I have asked our interviewees:

Topic: Do women get enough support from the society in Brighton?
Do the women’s rights in current society still have a lot of room to improve?

 Could you use your own words to explain what feminism is?
 How do you describe the current women’s status in Brighton?
 Have you ever heard about Brighton Women’s Centre?
 Could you tell me your opinions about the services provided by Brighton Women’s Centre, whether there are enough or how could they be improved?
 Have ever heard that Brighton Women’s Centre is facing a funding problem? What extent do you think the Brighton Council should allocate more resources on women-supported services?
 Could you tell me about your opinion about international women day?
 Do you think Men should also contribute into the feminist events?
 Do you think the current society generally favours men and women equally?

Individual Research for the Project

The history of the Suffragettes in Brighton



One hundred years ago Brighton’s streets, parks and venues were buzzing with suffragettes using attention-seeking tactics to raise the issue of votes for women. The Brighton Women’s Social & Political Union was one of the most active regional branches of the Pankhurst-led organisation, whose motto was ‘Deeds not Words’. Paid organisers lodged in suffragette-friendly boarding houses – such as Sea View at 14 Victoria Road – and recruited local women to the cause. Between 1907-1913 Brighton’s newspapers contain almost daily reports of suffragette antics.

A key tactic was for women to disrupt political meetings held at the Dome or Pavilion by repeatedly calling out questions concerning the vote. The Brighton Herald of 1907 reports unsympathetically on 18 women removed from the Dome using “gentle ju-jitsu” during a lecture by the Education Minister. The article mocks each woman in turn – one is described as having “a voice with a shrill squeak as though she were fleeing frightened from a nightmare of mice”, another “must have been crossed in love, or she would never have wasted her charms on the desert air of a Suffragette riot”.

By 1908 the government had resorted to barring women from Ministerial meetings but this didn’t deter the suffragettes. In January 1910 police extricated two women from inside the organ at the Dome, after they drew attention to their hiding place with a sneeze. The pair – Brighton-local Eva Bourne and high-profile activist Mary Leigh – had planned to leap from the organ during a talk that evening by anti-suffrage Prime Minister Herbert Asquith. The discovered women displayed a sparky sense of humour, as The Argus reports: “’We are thinking of bringing a counter-charge about the horribly dusty condition of the organ’, remarked one to an Inspector with a twinkle in her eye.”


email dialogue with Suzanne Triviere, the secretary of Brighton Women’s Equality Party


Research about Susie Courtault (one of our potential interviewees)


‘This truth is simple; there are many paths that lead to the Source of All’.

She is the founder of One Spirit Interfaith Foundation which is aimed to embraces the universal truth at the heart of all spiritual traditions.

The seminary promotes the values of reconciliation and compassion, honouring and supporting peace-making wherever it is needed in the world.



Week 10 Reading & Production Schedule

Ch 34 Editing: The End Game

The reason why we would need to editing is because there are too many footage that we don’t want and they are just not necessary to be put in the film. As some mistakes are occurs in those footage. During the process of  editing, we can spot out these mistakes that we don’t realize while we are filming and we can simply cut it away. If we do not do the editing, our film will just going to be a mess and no one will understand what we are talking about.

To start editing, we would first need to have a quick look of all our materials first and make a logging list. And then we would need to write down the length of all the footage, and identify which shots are the audiences will be interested in most. After that, we need to make a paper edit and make some notes of which shot would be put inside our documentary.


Here is our group paper edit.


Voice-over Note

What is a voice-over?
To start a documentary.
Participatory Documentary/News/Trailer/Advertisements/Radio/Animations

Why do we use a voice-over?
To introduce some background and history.

Natural voice-affected and unaffected delivery (doesn’t sound natural, speak politely)
Should match the style and theme of your film
Avoid colloquialisms (specific kind of informal language, local language, phrase) and slang
Don’t be over-dramatic and theatrical
Emotion, character, tone and pace

Avoid describing anything that is already evidence on screen (names of people that might have already been displayed via a title)
Voice-over content must only act as driving mechanism for your narrative
Choose a style appropriate to your film (fast, slow, and authoritative)
Timing- be concise and use no more than 140 words per minute
Do a trial run by having your film play whilst recording voice

Week 8 Notes

Documentary film editor is an artist who helps endow the film with a richness and resonance that did not exist in the raw materials
By using rhythm and pacing, holding back information, allow pauses, utilizing music, dialogue and other sounds, emphasizing the emotional character of an actor or subject, using a variety of shots, cross-cutting between scenes and actions, the editor prods the documentary toward the psychological and intellectual domain that we have come to expect from great art and effective communication.

Spot all the material and make a logging list, on which you not only identify the takes that are not usable, but also identify the best takes.

Write down the length of the shots. Try to identify the natural life span of the shot: the moment it becomes interesting until the moment you lose interest.

Identify continuity problems and possible solutions.

Make a paper edit and make notes as preparation for the commentary.

Write down the duration of the film.


Editing –The transcript
Editing Interviews
Transcribing your footage
The paper Edit
Divide into the topics/themes/questions
Select the best quotes/statements
(the same way you would plan an essay)


White/Type up your interview (includes timecodes)
This makes it much easier when sifting through your footage for inclusions/omissions for your film

Rough Cut
Does it tell the story you want to tell?
Does it have every shot the right length?
Is the sound right?
Are the interview right, not too long or not too short?
Are all shots really acceptable?
Do throw away good shots that do not help the story further.
Is the rhythm of the film right?

Building up your timeline
Start with rough interview edits
Work to a rough timing
Cut it down via eliminating pauses/repeats etc.
This then gives you an idea
Selecting cutaways/photographs/archives to cover over your cut
Your cutaway footage instead into the timeline must not act as wallpaper to cover the cracks
Each section pieces of imagery/sound must be integral to your narrative
Work on an opening that has impact

Editor must have a scene of the story.
Editing is about the rhythm.
Well-balance is the dismount point and the big picture.

Week 8 Reading

Ch 30 The Paper Edit

This is a chapter talking about the process before editing the documentary. First, you would need to think of what the audiences would like to see and design how long you documentary would like to be.

In our documentary this time, we think our audiences would like to know more about the women status in Brighton from some professions as they could not talk to those professors so easily, they normally have many works this makes people do not have opportunities to ask them unless we are helping them.

The reading has also talked about how to start the documentary. We chose to start our documentary by a quotation by Emma Watson, people can be more familiar with and would be more interested in watching our documentary afterwards. We would like to the audiences to feel that our documentary is related to their daily life.

The chapter has also mentioned that it is important to include the cause and impart of the issue that we are relating to our topic. Therefore, we had asked our interviewees how they think about women status at the very beginning while we are filming. The reading had also asked us to divide our documentary into different parts, in order o make it more clear to watch. We had made our documentary in two parts by using two interviewees from different organizations to classify. In side the reading, the writer also said that we can use theme or emotion to separate our film into different parts, but we think it will be more easy for us to use the characters to classify.

How to find an action-determined structure?

  1. First, we had put all our materials together and watch it once again during our rough cut. This helps us to classify whether which materials are useful and which one are not, and save our time.
  2. Then we have cut away some unuseful materials and it became about 10 minutes long. By, listening to it again and again, we have made it ever shorter.
  3. Find some memorable interchanges for the film. And we have put some International Women Day footage inside to become our interchange.
  4.  we decided not make our documentary become silent as we have many information would like to tell our audiences from our interviewees.
  5. We did not use much clear phases into our film, as we think using those footage we took is already enough.


Ch. 31 The First Assembly

In order to see our first assembly of our film, we first need to remover our bias and forget what have we filmed before. So that we can watch our film as an audiences, but not the filmmakers for our film.

Then we would need to criticize our film by questions like: Does the film feel dramatically balanced? , Which parts of the film seem to work, which drag, and why? ,  Which participants held your attention the most, and which the least? and so on.

After considering these questions, we have bases on the short video we now, and started to do the final editing. We had also deleted those materials that are not necessary to be put in the film.

After making the dust settles, we have put it down for a couples of hours and think about it again what can be improve.