Lockdown Blog

Lockdown Content 1

ITV Lockdown Episode Review

Director - Louise Hopper

Writer - Jeff Pope

Actors - Tom Glenister, Robert Glenister, Michael Jibson, Flora Jibson

This episode differed from a usual television show because it was shot in one location, being the home of the characters and had a few shots which captured the exterior road outside. This limitation of location was utilised well as most rooms in the house were used e.g kitchen, bedroom, hallway etc. making the pace of the episode feel natural and visually stimulating. The plot itself differs from a typical tv series as it set during a current crisis (COVID-19 pandemic) and has examples of our new adapted reality of communication (zoom calls etc). 

When discussing the technical filmmaking side of the episode, I believe this show featured one camera.Which I assume was probably a regular DSLR camera. In the episode, there were a total of five characters. The two main characters were Ron and Russel (Father and Son) and the minor characters were Adrian and Sophie (Brother and Niece). Overall the duration of the episode was 13 minutes and 59 seconds. 

Article and Video - ITV Lockdown Series Isolation

Article - https://www.theguardian.com/tv-and-radio/2020/apr/23/isolation-stories-itv-lockdown-drama-interview-makers 

Video - https://www.facebook.com/itv/videos/creating-isolation-stories/228758145090476/

The creative limitations that the ITV crew and cast of this series faced were due to the cut off of physical contact, this restriction in itself brought many limitations e.g having to shoot from home in one location, limited actors, no crew on set etc. which all heavily effected the pre/production process. The writing/narratives in these episodes were draw on from some of the actors experiences that the director discussed with them via call, and also his own struggles/experience with pandemic. 

To adapt this series to the legal requirements and safety of the crew/cast, the director (Jeff Pope) casted people over the phone and had to ensure they had someone in their household who was able to be the camera operator. For example, in episode two the mother/wife filmed her son and husband. 

In pre-production a crew member sent over a camera and lighting equipment that was all disinfected to the actors homes, and then they took part in a zoom call where the actors were shown how to set up the equipment by the crew. In rehearsals, the actors and crew would work on a zoom call and run through lines and the scenes. To get advice for filming, lighting technicians and makeup artists send 'long-distance' tips to the actors. 

First image shows the actors collection of the camera equipment, the send shows the actors rehearsing lines with the director via a zoom call. 

        

In production the crew would be on a zoom call as the actors and their 'camera operator' would begin filming, the shoots were around 11 hours long each day and all of them worked as a team virtually. Lastly, in editing the directors would be sent the footage to edit a rough cut and then they would send it off to the post-production technicians to finish the final cut and details. 

Image of production (filming with mic connected to mobile phones). Two cameras used to captured two different shot types. 

Comparing Ep one of Staged and Ep one of Letters in Lockdown

Below I have listed five ways in which the shows are similar to one another.

- I was not able to screenshot any footage from the 'Letters in Lockdown' show because Channel Four have blacked out the screenshots. 

Visuals - The visuals of both Stage and Letters in Lockdown are similar as they are raw footage that has only been cut up, rather than adding colour grades or special lighting arrangements etc. I believe this is because they both are dealing with subject matters of reality and having less effects helps enhances that realism. 

Both shows are also located at the people's homes, making the visuals similar in their environment and setting, this is due to the pandemic and lockdown state of not being allowed to legally leave their homes unless for essential shopping. 

Shot types - The shot types in both shows consist of mostly mid shots, all of which are filmed on phone/computer cameras are in the perspective of either the person doing day to day things or on a zoom/face-time call. 

Image below shows David Tennent on phone (mid/wide shot besides zoom call)

Editing - The editing similarities between the two shows are the cuts between the face-time/zoom calls and their normal lives, with also a little use of voiceovers. The shots are quite long and only cut to change the scenery or to add a new perspective to the story. The overall pace of both shows is quite slow in terms of editing, making these lengthy scenes almost mimic the feeling of being in isolation, much like the people themselves. 

Narrative - The narratives of both shows are in the perspective of the peoples real lives, they are not playing characters and they feature other family members in some scenes. Although the Staged series is scripted, the actors still play themselves. 

Image from 'Staged' includes the Michael Sheen (on the left) introduces his wife:

Style - The style of both shows are basic and stripped back, they have simple camera shots and the stories evolve around the peoples day to day lives and we as the audience learn more about their personal lives and personalities as the episode continues. 

Lockdown Content 2

• How are the main characters introduced? What character types are they supposed to represent? What are their individual personality traits and family and social backgrounds and how are these depicted? 

The main characters are introduced as if they were video logging themselves, and their experience through the beginning of the uk lockdown. This makes the audience feel as if they are a friend that the characters are talking to, almost like an invisible side character.

Image of Nira

The character types are quite stereotypical, we have the protagonist (Nira) who is represented as confident but kind through her demeanour, she is depicted to come from a wealthy middle class background, as seen with the luxury items and expensive decor of her home. 

Images of Emi (Right) and Sam (left, see trophies in the right corner of still)

The two female confidant characters (Emi and Sam) are represented to come from middle class backgrounds as they too have nicely decorated and large interior deigned homes. Both characters demeanours are quite humorous, naive and a bit silly. However, Emi is depicted as more 'sporty' character, this is shown through the small detail of sporting medals featured in the background of her room. 

Image of Aiden (left) Chris (right)

Then we have the two male confidant characters, Chris is represented as a gamer kid who can be quit anti-social, he is represented to be from a middle class background this is evidenced through his large bedroom and expensive gaming equipment. Aiden is seen to be from a lower working background as his bedroom is average sized and the decor is quite simple/plain, he is represented as a nice guy, but a bit of a 'push over'. Lastly, there is the antagonist who is a hooded character that is represented as a mysterious and scary figure. 

• What elements of new technology/online culture/social media are incorporated in the way the characters interact and how the programme is constructed? What, if any elements of what we see, is non-diegetic,i.e. do we ever see events not mediated through webcams/phone cameras/ zoom calls, etc? What effect does this have for the viewer and how we relate to the characters or action?

The episode deals with current media culture, this is shown through the 'tik tok' dance trend the characters imitate, the characters use of social media and interaction via messaging apps, the calls on zoom/face-time between the characters and it features also a small incorporation of video games. The episode is only shown through the lens of a mobile camera of the protagonist video logging and her interactions with her friends via social media/apps. 

Image above relates to 'tik tok' dance seen in recent media culture (draws in from new technology of present day)

Having the series shot in this unique way allows the audiences to be placed in an intimate perspective. It also draws in from reality with the current situation of lockdown and the limited communication of only using technology. This creates reliability for audience members as they can find comfort in seeing fictional characters living the same environment they are in and be in the same crisis (COVID-19).

How does the episode use Thriller, Crime or Horror conventions to set up it's central mystery? Give examples and say in what ways you think Lockdown plays with our narrative expectations?

The episode uses the horror and crime convection of having the typical scary 'scream' from a neighbouring household and a disguised (hooded) antagonist who appears to be committing suspicious actions, late at night. These genre convections notify the audience that the series action will focus on a particular character and reveal the central mystery of the show. The audience are also told in the aftermath of these actions that the main characters will come together in attempt to reveal the antagonist's identity and crime. 

The image above depicts the antagonist in a disguised costume, this relates to the horror and thriller genre convections of having an antagonist be introduced at night in a mysterious disclosed outfit. 

I believe the lockdown plays with our narrative expectations as we question what actions and plot elements are feasible in terms of storytelling, due to the strict restrictions e.g not being able to leave your home unless for essential purposes and only communicating with those in your home. This is somewhat beneficial because there is quite low expectations as we (the audience) are aware of the limitations, which therefore gives the creators the benefit of the doubt because any entertaining or engaging narrative exceeds our initial narrative expectations as the audience.

 Lastly, as most films or shows that are created in lockdown are through the perspective of a zoom call/video log, it may make us as the audience despondent and disengaged with this new adaptation of media content as the narrative is expected to be just a sad reminder of our restricted reality.

Lockdown Content 3

Primary and Secondary research slides

Lockdown Content 4

Lockdown Content 5

Lockdown Content 6

Title card - Cover/Title

Title card - Principle Star

Feedback

- Add horror element/convey the horror genre

Title card - Cover/Title

To convey more of the horror genre I added a blood splatter overlay to give the title card a dark ominous look. I also changed the position of my subject in order for them to look more disguised e.g the smaller version of the subject gives the illusion that they are hiding a part of themselves which subtly hints to the boggart pretending to be Brooklyn in the narrative of my series. 

Title card - Principle Star

To convey more of the horror genre I added a second feature to the paper cut face in order for it to look as though someone was wearing a mask e.g hiding themselves. I also added text saying 'who are you truly?' which subtly hints towards the concept of disguise and mystery within my series narrative. I also added and changed the position of the faces to make the visual disorientating, which mirrors the characters mindsets in my series. Lastly, I made the filter on my title card desaturated and cold, I thought this helped emphasis the horror genre of my series and gave it a more sinister, empty feeling.

Feedback

- Add more nature elements 

- Possibly change font for the character card

Title card - Cover/Title

For the nature element I photographed a tree and made it into an overlay shown in the character's figure.  

Title card - Principle Star

For the nature element I photographed a close up of a tree branch into the 'who are you truly' area. I also changed the font too. 

Overall, I prefer the look of my original designs as I feel my other revised versions look more amateur and poor in quality, however they do convey more of the narrative.