I feel that the presentation went really well and we got some really nice feedback.
The class and tutors told us that we had used our music well, such as recording it on the day as well as underlying the music under the interviews, which we agreed worked quite well for the piece.
They enjoyed our public vox pops, and we credit Joeley for having the courage or 'balls' to go up to people and ask them all day. Our audience believed that these were used very well and fit with the piece nicely. Obviously we knew about the composition of the shots weren't great at this moment in time because of rushing interviews, so we knew we would get criticism on that, but it just showed us what we've learnt in the process of making a documentary, so it's something to remember next time around!
Everyone seemed to enjoy the outro which was great, since the title was Music of the Street, it was nice for someone to notice that the last thing said in the documentary was 'music of the street', we feel it made the structure strong and creative.
We were also praised for our sound bridges, the audience liked the music and how they transitioned from each other and flowed through the piece. We're glad of this because we put a lot of time and effort into making the sound edit, and i liked that we used a range of music instead of one track throughout the piece, and I feel that this was received well!
Esther's Feedback
- Found it charming, engaging and also had a good structure. It kept hold of the audience anticipation throughout.
- More background story would benefit the piece - which we felt after the shoot, when we thought about how we could have asked each busker to introduce themselves a little.
- Dialogue levels were inconsistent - we knew this because of the different standards of recording, but I feel we used this to the best of our ability, but we learnt that we need to try get less noisy clips next time!
- Compositions could have been better - which we also agree with. Sometimes we liked them, such as the long shots, however yes we believe some of the set-ups were unfortunately rushed and therefore looked less professional than intended, but once again this is a learning curve for us and we know how to improve this - less space and different angles and shots!
- More close-ups shots of performers playing - we wanted this too, but some performers wouldn't let us too close because they were trying to get money, but it is always a good point to consider in the future.
- Liked the Intro and Outro, and fade on the Outro is nice - which I really liked to, I thought it was a really nice and 'sweet' ending to the piece.
- Some interview quotes were well chosen - Thank you Rhys and your hours of Transcriptions!! :P
Debbie's Feedback
- Seconded all of Esther's points.
- Found the piece enjoyable, light and funny.
- There was echoing in the sound recording - I didn't notice this until Debbie pointed it out, but obviously we had trouble with the recording and next time could use more ways to record the sound for different files to use.
- Since Debbie hadn't heard about the project before she said that the first part she tried to work out what performer did - we wanted to keep a little mystery but it didn't come across this way, maybe it was too much for the audience to wait for? She said to establish their talents early on and don't take advantage of your knowledge of the work - you have to think about how your audience don't know anything.
I really feel this feedback has helped us understand how we could improve in the future, as well as show what our strengths and weaknesses are. So overall the presentation was a success and the feedback was very helpful!
Thursday, 22 March 2012
Wednesday, 21 March 2012
The Evaluation
I really enjoyed working with the team on this project. I liked that we got to go somewhere else and explore a different city and different stories for the documentary. I believe that we worked well together and there was high input from most people most of the time, which was great because we had more people to give ideas and be creative with.
The shoot went great, we got so much footage to work with which helped us greatly in the editing section. I enjoyed the two days in Liverpool interviewing buskers and watching Joeley ask and ask and ask! I feel it was very successful and the team were great.
The edit also went well, we spent as much time as possible on the edit, and I feel we accomplished what we wanted (for the short version). Rhys worked really hard on the sound, James was editing very precisely and creatively with myself and Joeley helping when we could. It was a great experience and I really enjoyed having two roles to work with, it made me feel more confident with the work and my role within that work.
Overall I enjoyed the production, I enjoyed working with my team and I believe we were successful in creating a documentary that represents the 'Music of the Street' :)
The shoot went great, we got so much footage to work with which helped us greatly in the editing section. I enjoyed the two days in Liverpool interviewing buskers and watching Joeley ask and ask and ask! I feel it was very successful and the team were great.
The edit also went well, we spent as much time as possible on the edit, and I feel we accomplished what we wanted (for the short version). Rhys worked really hard on the sound, James was editing very precisely and creatively with myself and Joeley helping when we could. It was a great experience and I really enjoyed having two roles to work with, it made me feel more confident with the work and my role within that work.
Overall I enjoyed the production, I enjoyed working with my team and I believe we were successful in creating a documentary that represents the 'Music of the Street' :)
The Editing Process
On the Friday of the week we went to Liverpool, we captured the footage from Liverpool to get started straight away with our editing.
Firstly, we merged our sound from the marantz to our visual clips from the camera. Some of this was really hard to do because of the style of sound or clip we had captured, so it took a lot of time to do this, but luckily we managed to get what we wanted. We wanted to ensure we used and edited both the visual and the sound as we went along, so we spent focused time on both of them rather than favouring one first and focusing on the other later. I feel this was the best step to take to ensure that both the image and sound were edited to a high standard, unlike I'd done with previous projects. Rhys did a lot of the sound editing, whilst James did the other, as I they showed me what to do so I know for future preferences, I helped with the sound by cutting and adding fades when needed. We used a lot of fades throughout our work because we wanted to ensure that what was being said flowed smoothly and the audience wouldn't see the jumps between people etc.
We created a rough assembly between us and decided that it was okay, and started editing it. However, as we edited, we decided that the structure we had wasn't strong enough (this was after Esther's tutorial) and decided to write up the restructure diagram before re-starting a new sequence.
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When we'd decided on the new structure, we started to assemble and create a finer cut. The screenshot shows one of the times we edited the sound of the busker playing, so that it dipped (but still played for continuity) but allowed the interview to be clear for the audience to be able to hear. We used key frames in final cut pro to edit this part of the music. Also shown in this screenshot, we had a few issues with gain, which was a shame because we couldn't fix it unfortunately, but we preserved and did the best we can with the footage. Also we noticed that the microphone came into quite a few of the shots without Lewis noticing on the camera (because it was out of the camera screen's area) so we unfortunately had to manipulate and scale some of the shots there, which sometimes added to the grain, but hopefully it looks okay.
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Firstly, we merged our sound from the marantz to our visual clips from the camera. Some of this was really hard to do because of the style of sound or clip we had captured, so it took a lot of time to do this, but luckily we managed to get what we wanted. We wanted to ensure we used and edited both the visual and the sound as we went along, so we spent focused time on both of them rather than favouring one first and focusing on the other later. I feel this was the best step to take to ensure that both the image and sound were edited to a high standard, unlike I'd done with previous projects. Rhys did a lot of the sound editing, whilst James did the other, as I they showed me what to do so I know for future preferences, I helped with the sound by cutting and adding fades when needed. We used a lot of fades throughout our work because we wanted to ensure that what was being said flowed smoothly and the audience wouldn't see the jumps between people etc.
We created a rough assembly between us and decided that it was okay, and started editing it. However, as we edited, we decided that the structure we had wasn't strong enough (this was after Esther's tutorial) and decided to write up the restructure diagram before re-starting a new sequence.
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We also chose a wide range of shots from the edit as Esther had suggested to add dynamic to the piece. As we had a close up of Chris Mitchell, we wanted a long shot of the bang performing as people walk past. We think this is a strong idea, and the range will add to the creativity of the finished documentary.
We did run into editing issues from time to time, such as disagreeing with ideas, which we all overcame well by working together to suggest an idea we all liked and think would work - as we worked really well as a team.
We had trouble syncing the sound from time to time, as said before, however James and Rhys worked hard to make it work for us!!
We also felt that we couldn't fit everything we wanted in to the piece, which isn't a problem to such an extent but we had a lot of decisions to make as to what we could use in order to make it work, make it interesting and make it creative, and working hard together day after day, I believe we pulled it off, as we are all happy with our end result.
When the edit was complete, we went through checking each clip, editing (adding colour correction, fades and other effects if needed) to make the piece a clean cut. We did then run into the trouble of export, in the fact that when it was exported the project had changed it's aspect ratio to 4:3, however we resolved this quickly.
It was a hard but fun process and I really enjoyed bringing the project together from start to finish!!
:D
Tuesday, 20 March 2012
The Edit Log
We struggled with the Edit Log because we didn't really understand, but here is the original edit log for our final work:
The Restructure Sheet
Restructuring the idea of busking to try and make it flow... although the plan is messy... !
Thursday, 8 March 2012
Wednesday, 7 March 2012
Locations Of Shooting
Joeley spoke to Jonny about places that buskers tend to perform. According to Joeley, Jonny suggested locations such Church Street and Bond Street which we already knew about, but he also told us about Lord Street and Matthew Street which would allow extra footage for us. Joeley researched the distance from the Hostel to this streets and said it was doable.
Since we're filming on the streets mostly, there aren't any permissions we need to get because they public areas, however we need to get permission from those involved such as the buskers, performers as well as anyone we interview for the piece. (As the producer, Joeley created a supply of contributor forms to take with us on the day).
Since we're filming on the streets mostly, there aren't any permissions we need to get because they public areas, however we need to get permission from those involved such as the buskers, performers as well as anyone we interview for the piece. (As the producer, Joeley created a supply of contributor forms to take with us on the day).
Liverpool: Tuesday 6th March
When we created the shot list yesterday, we decided to start filming for 10am so we could use as much shooting time as possible, to ensure we could get a lot of material to work with. Joeley and I met at 9:45am to gather all the equipment, however the guys were late and we only set off at 10am to shoot.
When we arrived at Church street, we noticed that there wasn't any buskers out at this time, which was once again quite disappointing, however we used this time to get some more cutaways of Liverpool streets and features, as well as taking a trip down to the docks to get some scenic shots, as well as some shots of the Beatles Museum.
This took us up until about lunchtime, which is when we returned to the town centre expecting it to be a peak time for buskers, which luckily it was. We found a range of buskers to talk to with a range of talents which was amazing, because it means that we can show the different styles of busking throughout Liverpool instead of focusing on just one. We got a solo guitarist for a performance and interview (Christopher Mitchell), a Saxophonist for a performance (Enrique), a band for both an interview and performance (Alan, Frank and ??) which was amazing! We also got a bag pipe player (Angus Carpenter) as well as some street performers such as Kevin Welsh (which we got permission for all of the filming).
After gaining the busker part of our filming, we then chose a spot to start our vox pop interviews with the general public asking their opinion on the buskers. Joeley went up to every single person which was extremely brave of her! I assisted with the camera and held the sound boom throughout.
We then used the rest of the time to get a few more cutaways before deciding to call it a day and look around the town.
However, when we got to a shopping centre, we show the LIPA (Liverpool Institute for Performing Arts) busking on a stage, with a crowd, and we got permission to film them! Which was great for extra material, and up to this point we had about 1 and a half tape's worth of footage to work with. After numerous performances and an interview with a woman who organised the event, we headed back to the Hostel to re-group and rest.
So overall I was happy with the shoot in Liverpool. Me and Joeley took over the directing role from time to time to ensure we got what we wanted, and it also allowed me even further involvement with the piece which made me happier! Throughout the day I swapped roles, as I wasn't given a specific one, but mostly, I was a sound recorder for the Vox Pops, produced logs for the camera and sound throughout the day (when possible) and also helped Joeley produce and direct the piece. I was happy with my involvement, I really enjoyed being able to help as well as offer my support to different roles, it made me feel like a big part of the production :)
We headed back to Sheffield at 6:45ish on the train. Next, capture + edit!!
Liverpool: Monday 5th March
At 10am that morning, I met Dan in the stores to collect the equipment for our documentary shoot in Liverpool later that day and tomorrow, however out of our entire group:
Myself, Dan Walsh, Jordan Byrom, Chelsea Peace and Connor O'Sullivan, it was only me and Dan who showed up. So we decided to disband the group and join another, where I became apart of the team for the busking documentary.
After collecting and checking all of the equipment, we set off to the train station and were on our way to Liverpool.
By the time we arrived and got everything sorted, it was 3pm. We decided to go out and get some filming today just to have and use this extra time we had, however we first had to get some food because none of us had eaten since morning.
The night shoot was slightly disappointing because we were excited about filming some buskers, however there were hardly any there, and none who wanted to be filmed at this time. However we used this time to film the city for cutaways and time-lapse which would help make the end result a whole.
We recorded a 20 minute timelapse and got some cutaways and had to head back to the Hostel for 6pm for Tutorials.
TUTORIAL: the tutorial went well, we told Esther about what we had filmed and our plans for our shoot in Liverpool and she gave us advice and support on the work. We then created a rough shot list in what we wanted to capture the next day before calling it a day and having some free time.
I feel we used the day productively and it was nice to have some free time to look around Liverpool as well as have time to scout the city and choose shooting locations before the main shoot tomorrow.
Treatment 3: Busking in Liverpool
BUSKING DOCUMENTARY
Brief Overview
To allow the audience to contemplate the social construct of how street performers are viewed using the legislation proposed on charging buskers as an issue that will affect all buskers. We are trying to capture a more human side to the busking community by recognising them as individuals. We will do this by focusing on a specific individual called Jonny Walker, a Liverpool busker who has had a certain amount of commercial success. We will further shoot an interview with a councillor called Steve Munby who will discuss the legislation and his opinions on what effect this will have on the busking community.
Narrative development
Opening Scene: FADE IN- Publics view on buskers without disclosing subject matter of buskers immediately then introducing subject matter with
cutaways to buskers performing and back to the public disclosing the word busker in an answer.
Buskers view on their own community.
Cutaways of Buskers within the Liverpool high street
Narrator says statistics about how many buskers there are in the UK and how much income is made in a year by the busking community over the top of the buskers on the high street.
CUT TO: high street time lapse shot with Jonny Walker walking into centre frame setting up and starting to busk. Cut to Jonny discussing 'What is in the Street Performing community?' and 'Why do people chose to busk?'
CUT TO: Jonny Walker being interviewed about himself as a busker. Asking why he became a busker, what his favourite location is and how the legislation will affect him as a busker.
CUT TO: Cutaways of Beatles museum- Narrator talks about how famous celebrities have busked and the opportunities that have raised for bands such as the Beatles.
CUT TO: Steve Munby's interview about the council's legislation plans. Ending with how he thinks it will affect buskers CUT TO: Jonny Walker's interview, how he thinks it will affect him personally.
CUT TO: Jonny Walker on the street performing a song of his own toward the end of his interview. (Juxtapose)
END
Style
The documentary will be a hybrid approach of educational/informative and investigative as we are looking at the busking community in detail but taking a journalistic approach by interviewing the local council for views and information on the legislation that poses a threat on the busking community.
We will give a sense of vibrant activity by using brightly lit shots and time lapse shots within the piece to further exaggerate the similar activity the buskers give in this area. We will also use this when focusing on Jonny Walker as he is the main individual in this piece so this technique will help to create a more interesting visual. Furthermore we will use Jonny Walkers own music to centre the documentary more around him than other issues that are raised.
Audience
We will have a broad demographic range in this piece however it will mostly be based on middle class people of any age who have an interest in their community or political interests. As a journalistic approach we aim to please the widest range of people we can within this genre.
MAIN ARTICLE FOR DOCUMENTARY http://www.liverpoolecho.co.uk/liverpool-news/local-news/2011/11/19/liverpool-city-council-planning-to-charge-buskers-100252-29801770/
JONNY WALKER
www.jonnywalker.co.uk/ http://www.myspace.com/jonnywalkermusic
BUSKING INFO:
http://musicblog.merseyblogs.co.uk/2007/02/i-was-walking-through-town.html http://www.myspace.com/campaignforrealbusking/blog/485053106
LOCATION INFO FOR BUSKING: http://www.catalystmedia.org.uk/issues/nerve7/licence_to_busk.html
To allow the audience to contemplate the social construct of how street performers are viewed using the legislation proposed on charging buskers as an issue that will affect all buskers. We are trying to capture a more human side to the busking community by recognising them as individuals. We will do this by focusing on a specific individual called Jonny Walker, a Liverpool busker who has had a certain amount of commercial success. We will further shoot an interview with a councillor called Steve Munby who will discuss the legislation and his opinions on what effect this will have on the busking community.
Narrative development
Opening Scene: FADE IN- Publics view on buskers without disclosing subject matter of buskers immediately then introducing subject matter with
cutaways to buskers performing and back to the public disclosing the word busker in an answer.
Buskers view on their own community.
Cutaways of Buskers within the Liverpool high street
Narrator says statistics about how many buskers there are in the UK and how much income is made in a year by the busking community over the top of the buskers on the high street.
CUT TO: high street time lapse shot with Jonny Walker walking into centre frame setting up and starting to busk. Cut to Jonny discussing 'What is in the Street Performing community?' and 'Why do people chose to busk?'
CUT TO: Jonny Walker being interviewed about himself as a busker. Asking why he became a busker, what his favourite location is and how the legislation will affect him as a busker.
CUT TO: Cutaways of Beatles museum- Narrator talks about how famous celebrities have busked and the opportunities that have raised for bands such as the Beatles.
CUT TO: Steve Munby's interview about the council's legislation plans. Ending with how he thinks it will affect buskers CUT TO: Jonny Walker's interview, how he thinks it will affect him personally.
CUT TO: Jonny Walker on the street performing a song of his own toward the end of his interview. (Juxtapose)
END
Style
The documentary will be a hybrid approach of educational/informative and investigative as we are looking at the busking community in detail but taking a journalistic approach by interviewing the local council for views and information on the legislation that poses a threat on the busking community.
We will give a sense of vibrant activity by using brightly lit shots and time lapse shots within the piece to further exaggerate the similar activity the buskers give in this area. We will also use this when focusing on Jonny Walker as he is the main individual in this piece so this technique will help to create a more interesting visual. Furthermore we will use Jonny Walkers own music to centre the documentary more around him than other issues that are raised.
Audience
We will have a broad demographic range in this piece however it will mostly be based on middle class people of any age who have an interest in their community or political interests. As a journalistic approach we aim to please the widest range of people we can within this genre.
MAIN ARTICLE FOR DOCUMENTARY http://www.liverpoolecho.co.uk/liverpool-news/local-news/2011/11/19/liverpool-city-council-planning-to-charge-buskers-100252-29801770/
JONNY WALKER
www.jonnywalker.co.uk/ http://www.myspace.com/jonnywalkermusic
BUSKING INFO:
http://musicblog.merseyblogs.co.uk/2007/02/i-was-walking-through-town.html http://www.myspace.com/campaignforrealbusking/blog/485053106
LOCATION INFO FOR BUSKING: http://www.catalystmedia.org.uk/issues/nerve7/licence_to_busk.html
The Questions
Joeley created some questions that we wanted to ask the people of Liverpool whilst shooting.
Some examples of these are:
Some examples of these are:
(for the public)
How do you feel about street performers?
How do you think street performers contribute to your area?
There is new legislation that could put some restrictions in place for street performers, how do you think having restrictions in place will affect your community?
(buskers)
What made you become a busker?
As a street performer, do you feel like there's a sense of community?
How do you feel the new legislation will change your livelihood?
What are the public's reactions to your performing?
(Jonny Walker)
What made you become a busker?
Do you have a sense of community with other buskers or is it more competitive?
What are your favourite locations to busk in?
Do you get hecklers and if so, how do you deal with them?
How has the busking scene helped to promote your music?
How will the council's legislation affect you in the long term?
How do you think it will change the Liverpool busking scene?
We also had some questions lined up for the local councillor but I haven't recieved a reply from him, so we are trying to get a statement instead of an interview.
Some examples of these are:
Some examples of these are:
(for the public)
How do you feel about street performers?
How do you think street performers contribute to your area?
There is new legislation that could put some restrictions in place for street performers, how do you think having restrictions in place will affect your community?
(buskers)
What made you become a busker?
As a street performer, do you feel like there's a sense of community?
How do you feel the new legislation will change your livelihood?
What are the public's reactions to your performing?
(Jonny Walker)
What made you become a busker?
Do you have a sense of community with other buskers or is it more competitive?
What are your favourite locations to busk in?
Do you get hecklers and if so, how do you deal with them?
How has the busking scene helped to promote your music?
How will the council's legislation affect you in the long term?
How do you think it will change the Liverpool busking scene?
We also had some questions lined up for the local councillor but I haven't recieved a reply from him, so we are trying to get a statement instead of an interview.
Tuesday, 6 March 2012
New Idea + New Team: 'Busking In Liverpool'
Because the team didn't work out, on the day we were travelling to Liverpool, we were disbanded and I was put into a new team:
Joeley Beckett
Rhys Holland
Lewis Hague
James Reid
Tom Hesford
which meant new team, new idea!
Busking In Liverpool :)
Joeley Beckett
Rhys Holland
Lewis Hague
James Reid
Tom Hesford
which meant new team, new idea!
Busking In Liverpool :)
Monday, 5 March 2012
Friday, 2 March 2012
Project Nim
Length: 93 Minutes
By: James Marsh (2011)
Project Nim was a documentary I watched recently by myself. The project tells the story of a chimp who is taken from his mother at birth and raised like a human child by also learning sign language.
I really liked this documentary, I feel that it really played with my emotions and because it was a feature length documentary, it had many emotions to share.
Most of the footage of Nim was archive from the family and other resources, which shows that Marsh has researched and used a lot of relevant data to present this documentary's purpose to it's audience. It shows the chimp from being a baby, growing up, good points and bad points up until Nim dies.
Interviews from people were set up in a standard way:
The subject is to the side, talking to the side of the camera. I like that the background is plain because it allows you to focus on what he is saying rather than where he is. The set up of these shots are continuously set up perfectly in regards to lighting and space. I also like the fact that once again the interview style changes with each person, for example, one of the ladies being interviewed is sat straight, looking straight behind the camera. It gives each person their own character in a way...
The sound is used very cleverly to play with your emotions and set the scene of a certain situation. For example when you first are introduced to Nim (as an audience member, of course) it's soft music, lighthearted to create empathy for the chimp and make you feel happy or feel that it's cute. The music tends to play on the emotion of whether the project was the right thing to do or not. When the good parts of the project are shown, the music is quite upbeat and positive, whereas the bad points are accompanied by quite droning, almost unsettling music to make your mood as a viewer change. It's showing you the project in full, the for and against almost to allow the audience to decide whether they think it was right to do this or not.
I really loved this documentary, think it actually made me cry at one point! So in regards to using the piece to play with your emotion, it definitely worked!
I think the work was presented in a conventional yet creative way to make the piece look and sound professional. :)
Thursday, 1 March 2012
Pockets
Pockets
Length: 3 Minutes
By: James Lees (2008)
Pockets is a documentary which is based around the stories of objects people carry around in their pockets. It can be sometime completely random or a keepsake.
I enjoyed this documentary. It was shot really well and I loved the use of shots when people were explaining their object. For example when the woman showed her (mirror?) for her make up, you are shown her face, and when a man shows some mints or food, you are shown a shot of his mouth while he chews or talks about it.
The music is once again lighthearted but noticeable. It creates a atmosphere for the audience, as to where these people are, just generally out on the street. The background atmos track is simple to ensure it doesn't distract the viewer from the main piece of information, which is what each person in the shot is doing.
When it comes to shots, I have the different styles, such as showing a full face, having a standard documentary set up and then showing only a side of a face or the bottom. I think it makes listening to them more interesting and makes each person different from the other - to give the audience almost a surprise as the shot changes. It keeps the film interesting and shows the individuality of the people and their objects.
Overall I liked this documentary. I liked the simple topic of an item in your pocket and allowing the people to explain the story of them. I love the range of shots used as it makes the piece different and creative. And the music is light and easy to listen to without being in the way of the dialogue, which is very clear and understandable :)
The Apology Line
The Apology Line
Length: 10 Minutes
By: James Lees
This popular is a phone line where members of the public can anonymously confess anything and everything. It was based on the original apology line project in New York. The apologies are all really different in regards uncomfortableness, rudeness or comedy.
I found this really interesting. I thought it was a nice idea for people to do this. The apologies are so different and fascinating that it keeps the viewer watching to find out what these people have done, it may give you the fear of your apologises or give you confidence in your own experiences to feel that you are sorry for something. It's a strong message which is presented really well.
I like the juxtaposing shots used. For example when the girl rings up the line and says she cheated on her boyfriend and 'didn't give a fuck', it shows this shot (an unfocused shot for the lack of apology?):
It actually makes you feel mad or weird about that apology, because it isn't really an apology, she's saying she doesn't care. The sound quality is kept clear with the 'phone feel/atmosphere' with it so the audience can clearly understand that these people are ringing up a 'help line' to confess.
I also love that you don't see any faces in the piece. Usually any form of line, whether it be a helpline or the apology line, it's anonymous, so you don't know who the information is coming from. The film has reflected this in showing it's anonymity and reflecting the idea of sound to it's visual. I love this fact, it's cleverly created to stay unknown, even the actions aren't shown it's that secret.
The lack of sound works well in this piece. It's good because it's set in a night scene (shots of the city at night) [shown above] throughout the piece. It's usually when you'd expect people to ring this type of line, which I think has cleverly been thought about to create the realism of the piece. The sound is silent under the phone calls because realistically, that's what would happen. No music makes you tenser, makes the calls centre of attention, therefore the apologies the centre of attention. It's cleverly made eerie/disturbing sometimes, but the change in apologies makes the mood change throughout the piece, so no music is used to distract you from the moods the calls are creating.
Overall I liked the piece. I feel it was cleverly put together and I love some of the shots used! :)
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