Year 1 Module BACM104

“Bloodbath” – Philip Tatton (Fine Art)


Last Friday morning (9/11/2018) a Fine Art student came up to me asking for my help in editing a project he was set to film the following Monday. I told him I’d talk to the Digital Media class to see if anyone was interested, and in the end me and Ceri decided to help him out.

Me and Ceri met up with Philip this morning so we could start the editing process. It was a very interesting video and was very fun to work on with Ceri. I can’t talk about the concept unfortunately, as Philip would like to keep it confidential, but I can talk about the set up and editing. Their shoot had a set up of three cameras, each with a different angle of course. Some were close-up shots, others were side views of the bath (like the above picture) and the remaining angle was a front view of each actor. Editing together three different cameras and syncing up the audio to them was definitely very cool, and I think sets us up well on our own future projects with DMP.

It was also awesome to get a taste of what being an editor would be like. Philip was sitting behind me and Ceri, directing us on what he wanted. It definitely felt as if we were working with a client, and practising being under that pressure of someone watching everything you’re doing was valubale experience, especially for me as it is something I’ve always been concerned about with editing as I’m not very confident.

It was also interesting to colloborate with someone from a different discipline. It was cool to hear his point of views and ideas concerning the video, and the way he very much had a rhythm for the video. He was counting the length of each clip like a metronome, and then told us he had a background in music. I think it was also equally interesting for him to hear points of views from filmaker’s points of views, and definitely loved our contributions to the video.

Overall, it was a very fun project to work on.



Year 1 Module BACM104

What makes good presentation for text/images?

After this past week, I would say Adobe InDesign is one of the best pieces of software for presenting text/images. Its main function is to “create works such as posters, flyers, brochures, magazines, newspapers, presentations, books and ebooks.” All these types of media are based around mixing text and images together to create something that is appealing and that catches the eye.

I would also go further to say that programs such as Photoshop can also create good presentation using text and images. Photoshop can manipulate images to make them very eye-catching, and can add quite good-looking text. But, I would say after this week that it definitely works hand-in-hand with InDesign due to the text being a lot crisper as InDesign is a vector-based program. Using these two together can really create excellent results.

What digital media design agencies exist in the South West?

What is digital media design?

“Digital media designers are generally trained in motion graphics, screenwriting, video editing, digital audio production and video production. While some graphic design lessons can be taught to digital media designers, most of these professionals are versed in animation or motion graphics of some kind.”

Year 1 Module BACM104

What are industry standards for photography?

Standards for photography can be quite broad and vary from source to source. For example, the minimum standards for stock image websites can be different to the expectations of a magazine. Therefore, for this task I will look at the standards from several different sources so we can get an idea of what a photographer has to think about depending on his/her particular project at the time of taking photos.

Stock image websites:

The following three selected stock image sites combined will cover most of what should be considered when working on images that are intended to be uploaded to a stock image site.

Alamy –

  • For file type, JPEG files are only accepted.
  • Alamy states that the file size should be between 24MB and 48MB.
  • The bit depth is 8 Bit.
  • Image mode is RGB.

Shutterstock –

  • In terms the dimensions, all images must be at least 4 MP (megapixels), but 5 MP and above (with the quality set at the highest) is preferred. Megapixels refer to the dimensions of an image, thus 2000 x 24000 pixels (which equals 4.8 megapixels) is acceptable.
  • The preferred file format is JPEG.
  • A sRGB colour profile is preferred as well.

Pixabay –

  • Pixabay states that images must have at least 3,000 pixels on their longer side for the dimensions. This mean 3928 x 3000 is acceptable, but higher resolution images are preferred. Pixabay also states that upscaling a small image to fit these requirements should be avoided too.
  • Pixabay does not go into detail on things such as colour profile or files formats like Shutterstock does, but does state some visual requirements. It states “any image on Pixabay must have a well-defined subject, clear focus, and compelling colours. Unintentional blurriness, extreme angles or crookedness, chromatic aberration, JPEG compression artefacts, and image noise must be avoided – just like any kind of embedded text, particularly time stamps, signatures and logos.”


  • Resolution – 300ppi (pixels per inch) is typical. This can depend on the magazine.
  • Dimensions – This will depend on the usage intent. For example, for a double page (A3) the dimensions would be 3508 x 4961. For half a page (A5), it would be 1748 x 2480.
  • Format –
  • Colour space – RGB or CMKY.

Social media:

Facebook –

  • Profile picture dimensions should be 180 x 180.
  • Cover photo dimensions should be 820 x 312, with a minimum of 400 x 150.
  • Shared image dimensions should be 1,200 x 630.

Twitter –

  • Profile picture dimensions should be 400 x 400.
  • Cover photo dimensions should be 1,500 x 500.
  • In-Stream photo dimensions should be 440 x 220.

Instagram –

  • Profile picture dimensions should be 110 x 110.
  • Photo sizes should be 1080 x 1080.
  • Instagram stories should be 1080 x 1920.

What companies specialise in cinemagraph production?

Here’s a list of companies/people that produce cinemagraphs:

Moreover, stock image websites such as Shutterstock and Pond5 also have stock cinemagraphs. specialises in cinemagraphs exclusively as well (

Year 1 Module BACM104

What are industry standards for audio?

The minimum industry standards for audio are:

  • 48kHz – Sample Rate
    • The sample rate is the amount of sample points per second; in other words, the number of times per second information about a sound is being captured. The more samples taken per second will mean a more accurate digital representation of the sound. Nyquist theorem states that the sampling rate must be at least twice as large as the highest frequency you want to capture, but the standard for film and TV is 48kHz.
  • 24 bit – Bit Depth
    • After audio signals gets sampled during recording, they then get quantized. This is the process of ‘rounding off’ between samples; the higher the bit depth means less rounding off and a more accurate digital recording of the sound is recorded, the lower the bit depth will mean a less accurate digital recording of the sound is recorded and thus more digital noise will be present. A 24-Bit depth allows us to manipulate the sound without losing quality.
  • .WAV format
    • .WAV is an uncompressed format, meaning the recording is reproduced without any loss of audio quality. .WAV is also easy to process and edit, and also allows us to listen to audio with samples rates of up to 192 kHz and bit depths of 24.

What Audio production companies exist in the UK?

Year 1 Module BACM104

Foley Artist and Sound Designer

What is involved in their job?

“The sound designer is an artist who paints pictures for the ears of the audience.”

Sound designers are responsible for creating the atmosphere for a scene, and capturing the mood of a scene as well. This means they work with Foley artists to enhance sound, create and select sound effects, and can also work with composers to create an original soundtrack, or choose and manipulate music.

As stated already, Foley artists enhance the sound of scenes by reproducing those sounds using objects in an audio studio. These objects could be as simple as a bucket of water to enhance the sound of water in a scene, to creating a whole new sound effect by blending multiple sounds together.

What interested me about these roles?

What initially interest me about sound designers is how they have total control over everything the audience hears and how they hear it. This is something I found quite amazing just because of how big of a role that is, and how big of a role sound plays in TV/films. But, they also have control over what you don’t hear as well, something I would argue can be just as important. This is evidenced in this scene from “Road to Perdition” where the only gunshot you heard was the only one that mattered, in terms of the symbolism of that particular scene in the context of the film.

My initial interest with Foley artists was definitely the creativity involved in coming up with ways to portray the sounds for, as an example, the ‘swoosh’ of a lightsabre in Star Wars.

In other words, giving sound to things that are newly created for the film. I find that incredible because they are having to start from scratch, and combine noises that you would never think work together, such as the hum of an idle film projector and the buzz from an old TV set to make that lightsabre noise; but when they do blend they can create something that can have a whole generation of kids imitating it in 1977 after watching Star Wars for the first time, something still happening in 2018. Without the imagination of Foley artists, we wouldn’t have had that.

How would you work with them and make use of their skills?

I’m interested in creating videos in the future where sound and atmosphere plays a huge part. After watching “The Secret World of Foley” in class, it re-enforced something I knew already: how mesmerising and evoking sound can be. I would work with a Foley artist and sound designer to create a video where the sound is empathised more than anything; I would want the Foley artist to re-produce most of the sounds in the video and the sound designer to integrate them to the point where they go unnoticed and the audience can be mesmerised. I would also love to experiment with creating new sounds, creating surreal sounds and atmosphere.

Would you like to do that job?

The creativity involved, and the fact that I love how mesmerising sound can be, definitely draws me to it. However, I also love the technical side of things, something that does not seem to be involved much.

Sound design does seem to involve a more technical side, but I can’t I’d enjoy it as much as I’d enjoy other areas of production, such as editing.

Regardless, both are areas I want to explore further.

Where would you find them?

Film schools may have students who are looking to gain work experience. Moreover, there are sites online (such as or where Foley artists and sound designers can be found.