Sometimes, people just walk away.

Based on a prose poem written by Conchitina Cruz.

Producer: Eva M. Trinidad

Director, Writer: Eva M. Trinidad

Cinematographer, Editor: Eva M. Trinidad

Executive Producer: Raz de la Torre

Type of Production: Video Production – Poetry

TRT: 3m 45s

Videography (BC 144)

1st Semester, AY 2014-2015

University of the Philippines – Diliman

Department of Broadcast Communication, College of Mass Communication

(Synopsis) How does one cope with the loss of a loved one? “Halik” is a tribute to all those who are bereaved because their loved ones chose to offer their lives for a greater cause.

Based on “Hayaan Mong Ang Tula Ko’y Maging Halik” by Jess Santiago

Producer & Director: Kaye Enriquez
Director of Photography: Kaye Enriquez
Editor: Kaye Enriquez
Production Designer: Kaye Enriquez
Executive Producer: Raz de la Torre
Video Production – Poetry

TRT: 5m 58s
Videography (BC144)
1st Semester, AY 2014-2015
University of the Philippines Diliman
College of Mass Communication
Department of Broadcast Communication

https://www.youtube.com/watch?v=O8mBUrAz_i4&feature=youtu.be

(SYNOPSIS) The Holstee Manifesto is an empowering, radical, and daring reminder of choosing a life that makes us the happiest and most fulfilled.

Producer & Director: Rebecca Lee

Based on “THE HOLSTEE MANIFESTO” by Dave, Mike, and Fabian of HOLSTEE

Director of Photography: Rebecca Lee

Editor: Rebecca Lee

Production Designer: Rebecca Lee

Executive Producer: Raz de la Torre

Video Production – Video Production – Poetry

TRT: 4m 7s

Videography (BC144)

1st Semester, AY 2014-2015

University of the Philippines-Diliman

Department of Broadcast Communication, College of Mass Communication

Project: Crazy for Good – “Loverboy”

Duration: TVC 60s Master

Production House: Working Title Productions

Advertiser: Coca-Cola

Director and Writer: Christine Argante

Producer: Carmela Bañuelos

Director of Photography: Karryl Katigbak

Editor: Ana Rica Bello

Production Designer: Carmela Bañuelos

Date: February 24, 2014

Project: Crazy for Good – “Pass It On”

Duration: TVC 60s Master

Production House: Prod Thing

Advertiser: Coca-Cola

Director and Writer: Andi Cabiling

Producer: Michelle Lim

Director of Photography: Anjeline Angeles

Editor: Layla Miram

Production Designer: Michelle Lim

Date: February 24, 2014

Project: Crazy for Good – “Share Happiness”

Duration: TVC 60s Master

Production House: Paper Roses Productions

Advertiser: Coca-Cola

Director and Writer: Myrtle Sarrosa

Producer: Berna Alegre

Director of Photography: Nicole Alcalde

Editor: Benedict Opinion

Production Designer: Berna Alegre

Date: February 24, 2014

Project: Crazy for Good – “#CrazyForGood”

Duration: TVC 60s Master

Production House: Little Giants

Advertiser: Coca-Cola

Director and Writer: CC Luteria
Producer: Sherlyn Mallonga
Director of Photography: Giuliano Ibarreta
Editor: Charlene Sardoma
Production Designer: Sherlyn Mallonga

Date: February 24, 2014

(SYNOPSIS) There’s always something missing when you only see one side of the story. Witness people finally see the missing piece and see the world whole and reinvented.

Producers: Rebecca Lee, Pauline Requesto, Ria Tagle, Eva M. Trinidad
Director, Writer: Rebecca Lee
Director of Photography: Ria Tagle
Production Designer: Eva M. Trinidad
Executive Producer: Raz de la Torre
Video Production – TVC 60s Production
TRT: 1m 33s

Videography (BC144)
1st Semester, AY 2014-2015
University of the Philippines-Diliman
Department of Broadcast Communication, College of Mass Communication

“It’s a bird!” “It’s a plane!” “Hindi, pare… Iba ‘to.”

Paparating na ang hinahanap-hanap mo.

Isang MMFF New Wave Ad

Producers:

– Katherine Gutlay
– Alyssa Kangleon
– Rebecca Gloria Tan
– Jainee Micaela Turla

Director, Writer | Katherine Gutlay
Director of Photography | Alyssa Kangleon
Editor | Jainee Micaela Turla
Production Designer | Rebecca Gloria Tan
Type of Production | TVC 60s Production
TRT | 1:26 minutes

Videography (BC 144)
1st Semester, AY 2014-2015
University of the Philippines – Diliman
Department of Broadcast Communication, College of Mass Communication

They were right: the academe setting is totally different from the real world. After taking about 7 production classes throughout the course of my Broadcast Communication student life, I never expected that what we do in school is far easier than what is done in real TV tapings. It was my first time to be part of an actual taping of a television program and the experience was VERY VERY humbling.

Third Day of Taping. 11:15AM

  Usually in class, we do pre-productions and execute our plans in a relatively lax setting since we have a week or two to complete a short production. Our equipment would basically compose of DSLR cameras and audio recorders since we lack the financial capacity to rent lights and other equipment. We also constantly suffer from logistical concerns since we are not allowed to publicly shoot in all of UP and sometimes we overlook the task of doing oculars. Another thing is that we consume too much time during shoots since our actors haven’t memorized their lines completely and most of the time, we just pull our orgmates and friends to be part of the crew and be talents. But in the real world of broadcasting, especially in the entertainment based on my experience, every important detail must be ensured prior to the taping dates, which last for only two to three days with over 24 hours each day. This includes the loc manager finalizing all the locations for the shoot, production assistants arranging the catering and following up the production team and ensuring the actors and talents (extras), the art department preparing all the props and set designs, the executive producers ensuring that the budget is being followed, and the list goes on and on. Our first day of taping last October 17 at Bulacan lasted for more than 24 hours. It was quite a nerve-wracking experience to see the setmen–tech, lights, art department, camera, audiomen, utility–quickly set up the location and adjust for each sequence. Every minute counted as we needed to do around 22 sequences for the whole day. I had to act quick and take note of the Assistant Director’s instruction since Direk Raz had the AD supervise me for the day. I was tasked to help direct talents in the taping. I also tried to help the PAs in the taping and indeed, our practice in class productions is far behind the practice of the industry.

Second Day of Taping. 5:30PM

I also had the chance to work with the artists of ABS-CBN and frankly, they were really professional in their craft. They talked to the setmen, had their lines already memorized, and never even complained about the long hours of taping. I also saw how Direk Raz directed the production smoothly. I observed how he created rapport with the artists and instructed them what they had to do and what emotions they needed to channel for each scene. This made me assess my knowledge in directing since it was really the track that I wanted to pursue and what my previous professors told me that I’m good at. Details and specifics are important to efficiently finish the production, and that’s what we usually miss in class projects.

Direk Raz instructs Jane and Marlo for the sequence

With ABS-CBN Artists Jane Oineza and Marlo Mortel #MMKLittleInfinity

The whole MMK first taping experience basically made me rethink of our class practices and start correcting them. All in all, it was challenging, I learned a lot, and surely one for the books.

On set with these students 🙂