A Response to the Current Cinematic Landscape
BUILDING THE CINEMATIC
Protocols for Architecturally Active Cinema V. 0 8
Building the Cinematic
A Response to the Current Cinematic Landscape
BUILDING THE CINEMATIC
Protocols for Architecturally Active Cinema V. 0 8 3
Cinema should be architecturally dependent
Cinema is anthropomorphically obsessed
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Within cinematic narratives, architecture is usually demoted. Neglected. Existing as something that is looked at, the backdrop to a cinematic event.
Cinema is absorbed with human centred narrative.
This guide contains a series of protocols designed to address this issue; exploring ways to deconstruct a city and it’s architecture as a cinematic resource.
Through this process, architecture defines the visual, audio and narrative components of the films produced. Architecturally dependent cinematic practice is established and the ‘anthropomorphic tendencies’ of cinema are disregarded. Within the city of London, the guidelines and regulations surrounding filmmaking encourage this behaviour of ‘architecture as backdrop’. As a result, these protocols seek opportunities to navigate these rules but defy it’s intended outcome. Cinema is anthropomorphically obsessed. Cinema should be architecturally dependent. 5
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The Current Rules for Filming in London
Source: City of London Borough Film Services
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Certain circumstances of filming will require application for a ‘Notice of No Objection’, which basically confirms that the relevant local authority has no objection to your filming going ahead. These can cost up to £100 plus administration fees to acquire (depending on the local authority). You need to apply for one if you: • are filming on a tripod.* • have a crew of 5 people or more. * A ccording to London Borough Film Services, the technical definition of a tripod is a stand with three legs that supports a piece of equipment. You need not apply if: • you are filming handheld. • you have a crew of four people or less. • you are filming on a public highway (not privately owned land). • Your filming will not cause any obstruction, danger or offence to others. You should also have read the FilmLondon code of practice prior to filming. 7
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A lot of private land in the city has public access across it. Filming is not permitted in these areas without permission of the landowner.
Filming on Private Property
These include all of the garden/ park areas; Barbican Estate; Paternoster Square, Broadgate Estate (the large office and open space complex behind Liverpool Street Station), Leadenhall Market, Aviva Square (the square on the corner of Leadenhall Street and St Mary Axe); New Street Square and Guildhall Yard.
There is no copyright on private property, so you are welcome to film it with no equipment or cast on them. You cannot alter their images or place logos on them in post production, neither can you suggest they, their owners or inhabitants endorse a product or service. 8
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Tower Bridge, Millennium Bridge, London Bridge, Blackfriars Bridge and Southwark Bridge are all privately owned and funded structures. An application for a ‘Notice of No Objection’ needs to be submitted for any filming on these bridges regardless of crew size and the equipment that is needed. An admin fee will also apply. Location fees (starting at £250 plus VAT and payable in advance of filming) are charged for all filming on Tower Bridge and a filming contract (supplied by the City of London Corporation) needs to be completed.
Filming on London Bridges
For Millennium Bridge and Southwark Bridge, filming on these bridges incurs administration fees depending on time: • up to 30 minutes: £75 plus VAT • an additional fee of £250 plus VAT applies for up to 2 hours on the bridge • This increases to £450 plus vat for up to 4 hours on the bridge If the image of the bridge is being used for production promotion an additional fee may be charged. 9
PERMISSION Building the NOT REQUIRED
Cinematic
(ON PUBL IC HIGHWAYS)
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Application Not Required
W DO TH PR FI Where Does This Belong?
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ON LO N D ON STR E E TS P E RM ISS IO N REApplication Q UIRE D Required
WHER E D OES THE P R OJECT
In an effort to navigate as many of these rules as possible, architecturally driven filming asks that the environment is utilised as much as possible. Supports are never used. Architecture acts as the tripod, and the films occupy a space between handheld and tripod filming ripe for exploration. 11
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Protocols
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Protocols
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Acknowledge that filming architecture subjects it to the passage of time.
Architects normally work in drawings and models. These are static. To film a building liberates it from this.
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City filming rules must be adhered to when making films.
These protocols are designed to test what is possible within this framework; to explore architecture’s role in expanding the potential for filmmaking within the city. These rules may even be used to set a narrative structure. Any footage which does not comply with the filming rules must wither not be used or be redacted in the final edit.
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Films produced must not deal in anthropomorphic affairs, only architectural matters.
Cast [people] are not prohibited, but must only support the narrative. Exploration of ‘Cinematic Architectural Genres’ is encouraged.
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Films must address the properties and/ or architectural intent of a building.
The visceral shock of the brutalist building, the spatial distortion generated of reflective surfaces. These properties must be used to inspire the narrative; emphasising or contrasting with these features.
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Additional lighting is not permitted.
Only Natural Lighting may be used or lighting already installed in the space is available to use.
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Any audio must be produced in the location(s) used for filming.
Any voice overs must be captured in the same environment as filming. Mixing / layering sounds in post production is not prohibited.
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Architecture is the only permitted tripod.
Cameras must be placed, fitted or used in conjunction with the geometry of the architecture. Structures/objects can be used to facilitate this. Tracking motion must follow the path of the architecture it is attached to. The camera must be moved by hand when on public highways, to technically follow filming guidelines. The camera must never be on a tripod.
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Only existing architectural components are to be used.
Additional large structures or paths must not be brought or fitted; If a certain architectural movement or shot is required, a location should be selected where this can be created.
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Post production stabilisation is only permitted if it contributes in someway to the narrative.
Representing the texture of the architecture used for filming is encouraged.
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Architecture must contribute to the presentation of the film.
Do not hijack the space to present films, allow architectural features to interact with them. Screening in the same space as filming is encouraged, but not necessary. Let the architecture pervert, distort and/or enhance the presentation of the film.
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Any buildings / spaces used (visually or productively) must be credited.
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