Break - Down

Production Pack
By Lydia Dwek

Stage 3: Reframing
the Interface
BA (Hons) Digital Film &
Screen Arts
University for
Creative Arts at Farnham

Contents Page

Synopsis & Treatment

Research & Inspiration
Research & Choreography
Mood Board
Crew & Dancer
Shot List
Learning Agreement
Risk Assessment
Production day

Synopsis & Treatment

An experimental conversational film based on a male Break-dance

and contemporary dancer . The aim is to understand the individuals
own personal story and his inspiration towards dance, which
becomes biographically personal towards the dancer.
This will be the basis of the film. The conversational part of the film will be
short in order to get a visual of the dancer and the skills he has.
Contemporary and Break- Dance will give the dance a great combination of
the two genres.
The conversation will start at the beginning of the film so the focus can then
focus entirely on the dance.
The research I have done was not only the exploration of street dance but to
look at contemporary dance and see if there is a little bit of street dance as
there are some techniques that show the skills of break-dance as the
movements can be sharp and quick, However it is possible to combine the
two together as sharp movement can portray this combination.
Treatment
This short conversational dance piece will roughly be a 10-minute short
film. This film will be start with the dancer talking about what inspires him
as a dancer and what defines him as a dancer within these questions there
possibly would be sub- topics that the dancer would answer meaning
topics he would go on to answer without being questioned. After
questioning the dancer a improvisational choreographed piece of hip
hop/street dance will be shown which will finish of this short dance film.
Questions to ask dancer
. What defines you as a dancer? In this genre?
How has dance impacted your life?
Why street Dance
What is street Dance?

Research &

Inspiration

When coming
up with this idea I
thought of the visual side of things before coming up with the idea.
The idea of having a conversation with a passionate dancer
sounded like a great idea to capture the essence of how a dancer
portrays the movements they create through dance and how they
feel at the same time conveying the emotional journey they go on
through a certain choreographed piece.

Dance is a performance art form that consists of purposefully selected sequences

of human movement. This movement has aesthetic and symbolicvalue, and is
acknowledged as dance by performers and observers within a particular culture Dance
can be categorized and described by its choreography, by its repertoire of movements, or
by its historical period or place of origin.

Style

Freestyle/street dance started in the 70s and has since grown to

become one of the most popular genres for formally trained
dancers throughout the world, with strong popularity in the United
States of America. Freestyle dance is used across several cultures of
ethnic backgrounds that can also blend in with music like R & b
music.
B-boying or breaking, also called breakdancing, is a style of street dance that originated
primarily among African American and Puerto Rican youth, many former members of
the Black Spades, the Young Spades, and the Baby Spades, during the mid 1970s.[1] The
dance spread worldwide due to popularity in the media, especially in regions such as the
United Kingdom, Canada, Japan, Germany, France, Russia, and South Korea. While
diverse in the amount of variation available in the dance, b-boying consists of four kinds
of movement: toprock, downrock, power moves, and freezes. B-boying is typically danced
to hip-hop, funk music, and especially breakbeats, although modern trends allow for
much wider varieties of music along certain ranges of tempo and beat patterns.

Research & Inspiration

My inspiration was Kyle Hanagami with the way he has
choreographed a mixture of contemporary and hip-hop dance
pieces.

Contemporary dance is a dance performance genre that

developed during the mid twentieth century and has since grown
to become one of the most dominant & popular genres for formally
trained dancers throughout the world, with strong popularity in
the United States of America and Europe. Although originally

informed by and borrowing from classical, modern, and jazz styles,

it has since come to incorporate elements from many styles of
dance. Due to its technical similarities, it is related to modern
dance, ballet and other classical concert dance styles.

Research & Choreography

Modern Dance

Modern dance could be considered as a synonym of contemporary dance as in some

cases they share aesthetical or ideological characteristics.
Though, this is a dance term commonly used to name a dance trend that was born in
the late XIX century and lasted till around the 1950s. Its homes were Germany (and
surrounding countries) and the United States. Some of its most renowned figures are
Isadora Duncan, Rudolph Laban, Mary Wigman and Martha Graham.

Contemporary Dance

Art whose working material is the movement of humans? It doesnt have fixed or
established movement patterns but its rather in a continuous search for new forms and
dynamics. Therefore its dancers make use of varied modern and classical dance
techniques to train. It produce performances or shows in conventional and non
conventional stages (such as theatres or public and private places), having a frequent
dialogue with other aesthetic languages such as audio-visual technologies, visual or fine
arts, lightning, architecture, music, circus and others.

Lyrical Dance

Style of contemporary, modern or jazz dance that has emerged from the fusion of one of
those three types o dance with ballet and pop music (mainly). It combines simple
choreographic vocabulary with technically difcult moves, in an expressive style that
follows the lyrics of songs and is often interpreted in the short solo format.

Alignment:

The ability to efciently organize the body in relationship to dancing.

Choreography is the art or practice of designing sequences of movements of

physical bodies (or their depictions) in which motion, form, or both are
specified. Choreography may also refer to the design itself. A choreographer is
one who creates choreographies by practicing the art of choreography, a
process known as choreographing. Choreography is used in a variety of fields,
including cheerleading, cinematography, gymnastics, fashion shows, ice
skating, marching band, show choir, theatre, synchronized swimming, video
game production and animated art. In the performing arts, choreography
applies to human movement and form. In dance, choreography is also known
as dance choreography or dance composition.

Cast & Crew

Role

Name

Producer

Lydia Dwek

Choreographer

Lydia Dwek

Dancer & 2nd

Choreographer

Vladimir Gruev

Lighting 7 Sound

Niamh Quinlan

Runner #1
Runner #2

Lydia Dwek

Editor

Lydia Dwek

Director

Lydia Dwek

Cinematographer

Lydia Dwek

Ngqabutho Nkomo

SHOT LIST

SHOOTING SCHEDULE
University For The Creative Arts
Break- Down
SHOOTING SCHEDULE
Filming dates: 14th April 2016
10am - 4:30
PRODUCER: Lydia Dwek
DIRECTOR: Lydia Dwek
Runners: Lydia Dwek & Ngqabutho Nkomo
Cinematographer: Lydia Dwek Lighting: Niamh Quinlan

Director of Photography: Lydia Dwek

Sound: Niamh Quinlan

Shots/scenes
Shot 1

Shot 2
Shot 2 #scene 1

Shot 2 #scene 2

Shot 3

Scene Description
5 minute questions from dancer about how
Dancing defines him as a person and what
Inspires him as a break /contemporary dancer,
Side shot of dancer; begins dancing
Improvised choreography
Camera pans round to dancer in the centre
Dancer starts to break-dance

Dancer starts to combine both genres of dance

(break-dance & contemporary)
Each scene continues with the dancers
Combining both genres of dance and most
Camera shots will be the same this is continuous
N

Notes:
Type of Shots to be used:

shots

Side shots, Mid shots, long shots, close up

Rotational shots.

DIGITAL FILM SCREEN ARTS.

NAME Lydia

LEARNING AGREEMENT PROFORMA.

DATE: 01/04/2016
Deadline for submission:

GROUP PRODUCTION
SOLO PRODUCTION x

Break- Down

UNIT CREDIT

Information: - This form is a basic list of requirements. You should write as much as you need
to describe what you intend to undertake and methods employed to achieve this work.

DESCRIPTION:
(You should describe in detail here the work you intend to undertake in fulfilment of the
modules Aims and Learning Outcomes. In doing this you will need to make reference to
the module descriptor in the Programme Handbook)

10 mins I intend to make an experimental conversational film based on Street

Dance/Breakdance. The aim is to understand the individuals inspiration towards
dance, which becomes biographically personal towards the dancer.
I intend to use these as the basis of my film. The conversational part of the film will be
short in order to get a visual of the dancer and the skills they have. The Dancer will be a male
street Break-dancer/contemporary dancer, this will give the dance a great combination of the tw
genres.
The conversation will start at the beginning of the film so the focus can then be entirely on the
dance.
The research I have done was not only the exploration of street dance but to look at
contemporary dance and see if there is a little bit of street dance as there are some techniques
that show the skills of break-dance as the movements can be sharp and quick. Through
Research there are several types of dance that intertwine together which will be used in this film
RESEARCH:
Academic reference material, sources and contextual materials
Dance choreography/genre research media
GIVE ME LOVE || ED SHEERAN - Choreography by Pedro Moscoso:

https://www.youtube.com/watch?v=1P25Scv1Kh0
Rather Be|| Clean Bandit (Jess Glynn) Choreography by Liza Riabinina:
https://www.youtube.com/watch?v=T1dHYNATeSo
History of hip hop culture :
https://www.youtube.com/watch?v=yVTTph1nZPw
Planet B-Boy - American Documentary about Breakdance:
https://www.youtube.com/watch?v=AmXWmGT1I-M
Shake The Dust- Uganda dance documentary:
https://www.youtube.com/watch?v=dXaLLP6GJx4
Breakdance Battle - Recap Chelles Battle Pro :
https://www.youtube.com/watch?v=pc26SX94YIU
With A Piece Of Chalk:
https://www.youtube.com/watch?v=mBZAFJ-Q6Mw
King Of The Kidz:
https://www.youtube.com/watch?v=pe-Lm0ZMMZc
Into Circle:
https://www.youtube.com/watch?v=zXYOKkXD120&nohtml5=False
Sweater Weather | Kyle Hanagami:
https://www.youtube.com/watch?v=5Hqp0tai_qs&nohtml5=False\
7 YEARS - Lukas Graham | Kyle Hanagami:
https://www.youtube.com/watch?v=AoLPH1121YM&ebc=ANyPxKqAa47V-hfGxF1dCpvkbX9YXQ33qum2AzXJyxPSmtkxwxNpqp3tVFp6UWutPfs7ysy861p6C0vNN50dbVwqYIvTqLRvQ
JAMES BAY - Move Together | Kyle Hanagami:
https://www.youtube.com/watch?v=QJJZ9Ym6ekc&nohtml5=False

Lighting Research
http://www.onstagelighting.co.uk/lighting-design/dance-lighting-introduction/ Lighting design & angles
http://www3.northern.edu/wild/litedes/dance.htm- Lighting a dance piece

Conversational techniques
http://www.tc.umn.edu/~ryahnke/filmteach/My-Archive-of-Film-Notes/x-documentary-techniques.htm
http://www.desktop-documentaries.com/storytelling-techniques.htmlThe aim of film/no narration
https://collab.itc.virginia.edu/wiki/toolbox/Interviewing%20Techniques.html Interview techniques
http://www.kingsfund.org.uk/sites/files/kf/EBCD-Guide-to-filming.pdf guide to interviewing
https://en.wikipedia.org/wiki/Documentary_film_techniques Direct & indirect questions
Camera Techniques
https://www.youtube.com/watch?v=gEWx6zbUDrc&nohtml5=False Filming dialogue scenes
https://www.youtube.com/watch?v=-CdkgVfsVYM&nohtml5=False Psychology of cinematography
https://www.youtube.com/watch?v=BSAmn0-tIvw&nohtml5=False
Post Production
https://www.youtube.com/watch?v=FinhQb3jiAs&nohtml5=False
Adobe Premiere pro CC
Adobe After Effects CC
www.linda.com
www.vimeo.com
www.youtube.com

SKILLS AND RESOURCES:

Identify the technical and networking skills you will need to develop and the resources
you intend to use
SKILLS:
Editing:
Premiere Pro
WEB BASED RESOURCES:
LYNDA.COM
YOUTUBE.COM
VIMEO.COM

WORK PLAN/TIMETABLE:
01/04/16- Research Break Dance & Contemporary Dance
02/04/16-Come up with a list of questions to ask dancer
05/04/16-Develop research and idea further: Pre- production pack
08/04/16- Cast Dancer & Crew
11/04/16- Tutorial with Kathleen- Talk about idea
12/04/16- Tutorial with Rosie- Talk about idea
-Finish Production Pack
13/04/16- Get approval for project
-Book Studio & Equipment
14/04/16- Shoot Film
15/04/16-Edit Film

STUDENT SIGN:

DATE:

TUTOR APPROVAL:
TUTOR SIGNED:

DATE:

BA (Hons) Digital Film & Screen Arts

RISK ASSESMENT
Production: Solo Production

Title: Break- Dance

, Contractors, actors and persons involved. In the case of a studio production a copy
of this assessment must be displayed on set.

Campus: Farnham
Course: Digital Film & Screen Unit Beyond the Year 3
Group/Solo Solo
Arts
Boundaries
Student Producer name & phone number (NB - all students are responsible for safety in production):
Lydia Dwek- 07548358680

Unit leader(s): Rosie Gunn

Proposed date(s) and times(s)
Travel/Set up date(s) / time(s):

1. Exact location of
filming, including
address & postcode.
1a. Location
Permission

Shooting date(s) / time(s):

14/04/16-10:00am

Pack down/travel date(s) / time(s):

N/a-Studio location

University for the creative arts, GU9 7DS: room g12/Photography studio

Mark where you are at with an X

Yes

Do you have signed location permission?

Does your location require you to complete
their own risk assessment? If so, attach it
to this risk assessment.
Have you notified the local Council and
Police? You must do so if you are doing
any of the following:
Filming in a public place
Using weapons
Have cast in uniform

In the process of getting it (incl details

of where you have got to ie email
confirmation)

X
In studio does not apply, except
for student signature consent.

1b. Address & phone Hale Rd, Farnham, Surrey GU9 9QL- 01483 782000
number of nearest
Walk-in Centre or
Minor Injuries Unit
1c. Nearest bus and Train station 20 minute walk up hill- Station Hill Farnham GU9 8AD
Bus station 5 minute walk from the university-GU9 7DS
train stops to
Taxi-Station hill, Farnham, GU9 8AD-01252715600
location / local taxi
phone number
1d. Fire / emergency Find the nearest emergency exit-Car park @ UCA.
plan
1e. Work facilities
food & drink, toilets,
secure storage etc
Set in studio.
2. Brief summary of
set & nature of
filming / activity
3. Names and
Name:Lydia Dwek
Role: Director,
Contact number:
07548358680
contact details of the
producer,
production crew /
Cinematographer.
cast / documentary
Producer
Lydia Dwek
participants. Add
Sound
Niamh Quinlan
extra lines as you
Lighting
Niamh Quinlan
Director & cinematographer

Lydia Dwek

No

In process of booking room

N/A

need to.

Runner

Ngqabutho Nkomo

Choreographers

Vladimir Gruev & Lydia Dwek

4. Identify potential hazards; who could be affected; how they could be affected; and list the
control measures that will reduce the risk. University H&S policies can be found here.
Hazards or
hazardous
activity

Who may be affected?

Crew, actors, participants (documentary), crew, helpers,
public.

How may they be harmed?

Type of injury or health problem that might result i.e. cuts,
bruises, fractures, electric shock, burns etc.

Indicative values for P column (P = Probability)

L = might happen, but unlikely
M = could happen
H = will probably happen

Access/ Egress
Aircraft / flying
Allergens
Animal
Audience / public
Boats
Compressed gas /
gas
Confined spaces
Cranes, hoists, lifts &
access platforms
Derelict buildings,
dangerous structures
Diving operations
Electricity
Falling objects
Fire
Generators
Glass
Hand tools
Hazardous chemicals
Heat / cold
Inexperienced /
children / vulnerable
persons
Location Lighting
Machinery
Manual Handling
Mines, excavations /
tunnels / quarries
Noise

List the control measures you will

put in place to reduce risks from
the hazards to an acceptable
standard
Control measures should ultimately reduce the overall risk. Do not
purely rely upon providing Personal Protective Equipment or rely on
just being careful
Indicative values for C column (C = Consequence)
L = can return to filming work after minor attention
M = person unable to work for 3 days or longer
H = permanent injury or death

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

Electrocution-crew and cast may be harmed.

Stay away from hazardous electrics

Person unable to work for 3 days
Make sure any likely objects to fall are stable
Can return filming after minor attention
Make sure anything prone to fire are electrical
checked beforehand
N/A

Lights that are faulty may fall-injury to the

head/body
Crew, dancer
Burns
N/A
N/A

N/A

N/A
N/A
N/A
Weather might be cold in studio.
N/A
Crew/dancer
Eye strain, dizzyness
N/A

Switch on/off radiator

Can return to filming
N/A
Make sure lights are safe without any faults
N/A

N/A
N/A
N/A
N/A
N/A

Evaluate the
probability and
consequence

Physical exertion
Poor visibility / night
shooting
Roadside working,
traffic, vehicles
Scaffolding
Speed (running or

Dancer
Dancing/Exertion
N/A

Make sure dancer has breaks

N/A

N/A

N/A

N/A

N/A

N/A

N/A

other sport - not

vehicles)

Stress
Stunts
Trailing cables
Messy environment
(equip / props)
Violence, aggression,
public disorder, war
Visual effects:
smoke, snow,
fireworks
Water
Weapons
Weather
Lone working
Working at height
Other (list and add

Crew/Dancer
Panic
N/A

Make sure shoot is not stressful within time

management-be organised before hand
N/A

Crew
Tripping over
Crew
Equipment,

Make sure to tape cables to floor so crew & cast

wont trip over cables.
Organize equipment neatly in one section and
props in another

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

N/A

rows if necessary)

5. With control measures in place what is the

likelihood of an injury or health effect?

6. How likely is the most significant hazard

to cause harm?
7. Calculate the risk score (use the figure
which represents the highest risk of all
present hazards)

Mark an X next to your choices

Major/Fata
Minor
Moderate
l
1
2
3
Unlikely
Likely
Very Likely
X
1
2
3
Low
Medium
High
12
34
69

13. Signatures
The names below are confirming the date that they have read and discussed this risk
assessment with the production team. Based on the information supplied on this form it is
noted that the control measures are considered appropriate and proportionate to the
hazards identified. At all times, students retain responsibility for their own safety and for
those around them.
Student Producer: Lydia Dwek
Date: 09/04/16
Production Coordinator:

Date: 09/04/16

Unit Tutor: Rosie Gunn

Date: 09/04/16

Technician/Tech Tutor (supervising if studio based):

Date: 09/04/16

Estates Services Manager (where UCA routes, building features etc are impacted):N/A

Date: 09/04/16

Resources Co-ordinator/Manager (Medium/High Risk):

Date: 09/04/16

Course Leader: (High Risk/International Shoot):

Date: 09/04/16

Rosie Gunn

Health, Safety & Wellbeing Advisor

Executive Dean (International Shoot):

(High Risk/International Shoot):

Date: 09/04/16
Date: 09/04/16