With all the distractions around us – gadgets, phones, even music – we tend
to ignore the little things and take them for granted.

A video poetry production based on an excerpt from “When Love Arrives” by Phil Kaye and Sara Kay

Producer: Lily Grace Tabanera
Starring: Caroline Joy Valdez
Director and Writer: Lily Grace Tabanera
Videographer: Lily Grace Tabanera
Editor: Lily Grace Tabanera
Executive Producer: Raz de la Torre
Type of Production: Video Production – Poetry
TRT: 3m 43s

Videography (BC 144)
1st Semester, AY 2016-2017
University of the Philippines Diliman
Department of Broadcast Communication
College of Mass Communication

All Rights Reserved 2016

In a world full of cruelty and hate, do we really know our deepest fear?

A video poetry production based on Marianne Williamson’s “Our Deepest Fear”.

Producer: Gabriel Eduardo Gutierrez
Starring: Reven Bryan dela Peña
Director and Writer: Gabriel Eduardo Gutierrez
Videographer: Gabriel Eduardo Gutierrez
Assistant Videographer: Stelle Laguda
Production Managers: Gabriel Eduardo Gutierrez & Stelle Laguda
Editor: Gabriel Eduardo Gutierrez
Executive Producer: Raz de la Torre
TRT: 3m 16s

Videography (BC 144)
1st Semester, AY 2016-2017
University of the Philippines Diliman
Department of Broadcast Communication
College of Mass Communication

It was a Sunday, the last shooting day for this episode.

The episode was about a an artist who made use of her talent to help her family pay for the expenses for her mom’s illness. At first, she just draws out of passion, but then she realizes she can sell her artworks to help her family.

This was the shortest shooting day I have gone to, starting at 6am and finishing by around 3pm. The locations for that days were also the nearest, one in Wildlife Center and a school just around Metro Manila.

The first sequence for the day was an exterior. The sun was so high during that time, but the lights were also being set up. When I asked Sir Raz why, he told me it’s because not every part of the area is sufficiently lighted and there would always be dimmer parts. And it’s easier to light those parts up than to dim the bright parts to achieve an evenly lighted shot. This for me is the biggest takeaway for that day.

Then we proceeded to another location which is a school. Different areas of the school were used to shoot the elementary and high school sequences. A classroom was also used and transformed into a hospital ward. I was once again amazed by the production design.

My photo was used as props for this episode! The protagonist was asked to draw a portrait of me, copying my picture. The person (boyfriend LOL) who asked her to do this was willing to pay for it. This was when she realized that she can make money out of her talent. And for the daya, a legitimate artist draws the real thing, while Sue just brushes the pencil during a take. In ECU shots, it was the real artist who draws the artwork.

A 60-seconder Jollibee Yumburger TVC that tells a story how a Filipino introduces his Korean friend to the Filipino taste and culture through Jollibee Yumburger.

Jollibee TVC- MASHISEOYO
Link to video: https://youtu.be/Ta1ToLBzGnU

Director and Writer: Leiny Bernardino
Production Manager: Clars Lituania
Videographer: Andreah Recuya
Production Designer: Senina Mojica
Editor: Marie Uy
Executive Producer: Raz de la Torre
Type of Production: 1-minute TVC

Cast:
Rence Aviles
Aaron Alsol
Thomas Roca (Narrator)

Videography (BC 144)
1st Semester, AY 2016-2017
University of the Philippines Diliman
Department of Broadcast Communication
College of Mass Communication

Producer: Elaine Tolentino

Director, Writer: Lily Tabanera

Videographer: Clara Rosales

Production Designer: Jazz Jamelo

Editor: Ben Baquilod

Executive Producer: Raz de la Torre

Type of Production: Advertisement

TRT: 1m

Videography(BC144)

2nd Semester, AY 2016-2017

University of the Philippines-Diliman

Department of Broadcast Communication, College of Mass Communication

A Jollibee Yum! burger advertisment.

Starring:
Kiko Aurellano
Hannah Serote
Bryan dela Peña
Frankie Cuerdo

Director and Writer: Gabriel Eduardo Gutierrez
Production Manager: Idge Dizon
Videographer: Justine Mallari
Production Designer: Faye Tallow
Editor: Jumai Herrera
Executive Producer: Raz de la Torre
Type of Production: 1-minute TVC

Videography (BC 144)
1st Semester, AY 2016-2017
University of the Philippines Diliman
Department of Broadcast Communication
College of Mass Communication

That man talking to Sir Raz is Josef de Guzman. He suffers from psoriasis for how many years now. He experienced hardships and downfalls, but above all, he still has hope and determination, not just for himself, but for his fellow psoriasis warriors.

MMK featured his story.

Day 1 of the shoot came, and for me, this is so far the best shooting day in the set. It’s because my friends from 144 and 128 were also there. We learned new stuff and shared new insights about production together.

The first thing that amazed us was the production design. The story was set in the 60s or 70s. And the PD effectively depicted the oldie feels.

We were also able to observe how Sir Raz directs in the OB (Outside Broadcast) van. From what I understood, it is where the signals from the camera and microphone come into for processing and recording. Inside the OB van, there is a monitor divided into four screens, and a video switcher, just like what we have in the TV studio in the college. And like how it’s done in live productions in the college, the technical director or TD mans the switcher and is responsible for switching video sources, and performing transitions, which, in the case of MMK, are just usually cuts. And since MMK is a pre-recorded material, using the video switcher in the OB van seems like the material is already being edited while it is being shot. The cuts made in the OB van will be used by the editor as a guide. And usually, the cuts done are being utilized; they just needed to be cleaned and refined.

And also, like how it’s done in the CMC TV studio for the live productions, Sir Raz gives cues to the AD via the headphones/feed in the comp on what the actors should do, and other relevant actions to be done in the set. This is while Sir Raz cues the TD on when to cut which video source in the OB van. I seldom see him actually operate the production equipment, probably to allow him to coordinate the production and make rapid decisions without worrying about how to mechanically execute the effect or camera move being called for by the script.

The best part of the day was when my friends were told that they were going to a part of the production. They became talents for the episode. They were really excited and extremely happy.

Apart from that, I was also observing how the AD trainees Russel, Abi and Mj block the talents. I was listening to Sir Froy when he gave them the basic principles of blocking. What I distinctly remember is that, the frame should never be empty. When a talent, whose role is a passerby, already is out of the frame, another one or two talents should walk now into the frame, replacing the first talent. This is while the main actors are having their dialogues and actions.

Also, though I already mentioned this part in my previous blog, I cannot help it but be amazed by the day effect. I will forever find it awesome how lights can make it appear that a scene happened during the day, even though in reality, it was shot during night.

I wasn’t able to make it to Day 2 of the shoot because of PCRC duties, but made sure I would make it to Day 3. That day for me has the most number of locations, which I think made the shoot much longer. From what I have observed, in comparison to the “Pantalan” episode, the actors in “Salamin” were much easier to direct and much better in acting. Most of the scenes are just one take, which would make one think that the shoot would not take too long. But this episode required a lot of locations, and a lot of “baklas”, (not to mention the application of prosthetics also took a lot of time). Those factors took the shoot as long as that of the “Pantalan” episode.

I remember asking Abi, “Bakit kailangang tanggal-tanggalin yung prosthetics kung pwede namang i-shoot yung scenes na nagre-require nun nang magkakasunod?” when the crew had to do a “backpack”, thus calling for the prosthetics to be removed. After that the crew had to go back to its former location/house, and have the prosthetics applied again. During that time, I thought it was hassle to apply, remove and re-apply the prosthetics.

But Abi answered that in shooting, there is a hierarchy of considerations that you should take into account. The top in the hierarchy is the location. Next to it is if is exterior or interior. Third is if it a day effect. Fourth is the availability of the actors. Last is the special requirements, which in this case, is the prosthetics. It can be easily remembered through the acronym LEDAS. Location, Exterior/Interior, Day Effect, Actors, Special Requirements.

Anyway, the first location is in a school. The Central Colleges of the Philippines was used as the loc for his high school and college life. And again, the production design effectively depicted the setting. The costumes by the actors and the talents, plus the car made it seem like it was really shot in the 60s or 70s.

Another location was the Camelot Hotel. I just used to pass by this hotel, and it was my first time to actually see its interiors. The hotel is consistent, remaining true to its theme which is about King Arthur’s Camelot. Despite the consistency of the interiors, the location was still utilized for different sequences and their respective setting.

How and why? Again, it’s through the production design. The art department provided materials that could be possibly used to decorate the location for it to fit to the setting asked for by the script.

The wallpaper was used to divide an area, which was the bar, into two areas for the team to be able to utilize it for two different sequences.

The stage was used for the last sequence, when Josef was talking to his fellow psoriasis patients as the president of the Psoriasis Philippines. The logo of PsorPhil was just attached there; beneath it was the logo of the Camelot Hotel.

They were also able to make the last location appear like a travel agency by attaching these to the walls:

I was also able to meet new people. I learned that “units” are rotational, and in every unit, there is a different set of PAs, make up artist, wardrobe, etc.

Overall, my immersion in the production process for this specific episode gave me a whole lot new insights that I have never encountered before.

(SYNOPSIS) Will Tiny finally pick Bab to be her boyfriend?

Producers: Lei Lenny Bernardino and Gabriel Eduardo Gutierrez

Director and Writer: Gabriel Eduardo Gutierrez
Videographer: Lei Lenny Bernardino
Executive Producer: Raz de la Torre
Type of Production: Visual Storytelling (Comic Strip)
TRT: 2m 54s

Videography (BC 144)
1st Semester, AY 2016-2017
University of the Philippines Diliman
Department of Broadcast Communication
College of Mass Communication

Two friends are locked in a staring contest of epic proportions. When one friend accuses the other of blinking, things only go downhill from there.

Blinking Contest

(A BC 144 production (Comic Strip) – 2016-2017 1st semester)

Produced by Idge Dizon & Marie Uy

Directed and written by Idge Dizon

Videography and editing by Marie Uy

Talents: Mikee Sosmena and Migs Agcaoili

A Busy Stories Production

All rights reserved 2016

Link to Youtube version: https://www.youtube.com/watch?v=wMIn1kNZeHs&feature=youtu.be

“A Busy stories Production”

Turon by Jessie Castro

Producer: Jumai Herrera and Faye Tallow

Director and Writer: Faye Tallow

Videographer: Jumai Herrera

Talents: Josiah Hiponia and Kristine Lerios

“All Rights Reserved 2016”

Pass or fail

Producers: Clars Lituania, Senina Mojica, and Andreah Recuya
Director and Writer: Andreah Recuya
Videographer: Senina Mojica
Editor: Clars Lituania
Executive Producer: Raz Dela Torre
Type of Production: Visual Storytelling (Comic Strip)
TRT: 02m 40s

Videography (BC 144)

1st Semester, AY 2016-2017
University of the Philippines Diliman
Department of Broadcast Communication
College of Mass Communication