The limit of the function one over x raise to r where r is a positive integer as x approaches zero from the right is equal to positive infinity.

Producer: Charmaine Guillermo

Director, Writer: Charmaine Guillermo

Cinematographer, Editor: Charmaine Guillermo

Executive Producer: Raz de la Torre

Type of Production: Video Production – Poetry

TRT: 4m 20s

Videography (BC 144)

2nd Semester, AY 2015-2016

University of the Philippines – Diliman

Department of Broadcast Communication, College of Mass Communication

Background of the Story

The story is about Mommy Yolly and her Family. The story revolves around her motherhood to their children.

She was blessed with five children; three of them have Cerebral Palsy, one has Down’s Syndrome, and one has none. The story tells how much mothers love her children, no matter what their states are.

Mommy Yolly visited the set on the second day of the shoot. Here’s a photo of us!

Upon understanding the concept of this episode, I closed the script, and waited for the story to unfold. Everyone behind this team never disappoints.

Experience

Since there was an order from the Department of Labor and Employment (DOLE) that shoots must last at least for a maximum of 12 hours, this episode took 4 shooting days. But it was an experience I will never forget.

This episode was really the cherry on top of my internship. There’s Angeli Bayani, Junjun Quintana, Chun Sa Jung, Gloria Sevilla, Joel Torre, Nora Aunor, and Eunice.

I have made friends with more people behind the cam during this set. Akeem, the researcher and writer of the episode (this was his debut episode as a writer), JM, the medic during the first day, Kuya Jordan, one of the cam persons, and some of the young artistas.  There’s also Kuya Gamay, one of the utility persons, and of course, you’ve met Ate Poca, the make-up artist. I’ve made friends with the Assistant Director, too, and helped him in one way or another because during the course of this shoot, I learned that I got in ABS CBN’s Assistant Director Training Program which will start on July, right after college.

I can say that I was most productive on this episode because of the “validation” of my presence on the set. Haha! During the previous episodes, I felt like I really had to make myself useful in every way possible. But during this episode, I really felt welcome when they learned that I will be “one of them” in a matter of months. I felt that I was part of the team for that short period of time. I really am grateful to MMK, and to Sir Raz, for that.

Some of the things I did was to help in preparing the Eunice’s bouquet of flowers for her debut. I also helped in directing by being one of the floor directors in one or two sequences. Most of the time, I observe Direk Froy, as he is also very willing to make me his shadow AD. This makes me feel all fuzzy inside. Hahaha! Anyway, I’ve learned that it was actually the AD’s job to break down the script into sequences to make the shooting easier. The AD is like the Industrial Engineer of the shoot: making it ergonomic and efficient. The AD also served as the floor director and the voice of the director to the actors. It may be a very tiring work, but I can feel that it is something I will definitely enjoy.

This episode was also easier in terms of logistics because most of the scenes’ location are shot at a single house. Near too! A few streets away from SM North EDSA. Because of this, it takes time to shift from one sequence to another because it was just a single house. The house, however, was scraped off of the owner’s personal belongings. Since there was not much production design, the people, in my observation, who worked really hard for this episode are the lightsmen and the art department.

Nora Aunor’s presence made everything about this set different. Here’s one of the most popular persons in the Philippines, speaking with me. Wow, I have never imagined getting this close to this person, kausapin pa kaya ako? Haha! But yeah, one of the perks of the job. Hehe! Joel Torre, one of the “father figures” of my experience as an audience, was also there, along with Gloria Sevilla. But their presence made me appreciate all the more the people behind the camera. To be fair, I can say that these artistas did the easiest jobs; they were just the faces of the story, but if the production lacked a person or two behind the cam, there will be no production for these crew and staff. The media always fail to let us appreciate the “small” people behind them cam, when in fact, it’s their presence which made everything work.

Insights

The night before the first day of this shoot, I told myself, here we go again. I felt tired by just thinking about the coming days of this internship, and again told myself, let’s just get this over with. But on the morning of the shoot, 3:45 AM along Katipunan Ave., I felt really excited to, again, take part in this production. That excitement, for me, is a very strong sign that I am, indeed, on the path to my happiness, to my passion. I guess this is what other people are talking about. Make your passion your profession, and you won’t feel like working at all. I am so looking forward to July! Haha!

I felt sad while writing this blog. It cracks me up a bit thinking that my internship has ended. I know it’s not like any other normal internship where people spend months together from five days a week, it is so much more than that. We spend 24 hours every other day in a week to finish stories for MMK. We see each other fresh in the morning, and we’re all stinking and sticky by the next morning. But we did it together. It was really a decision I will never regret. I would love to do more with these people.

Special thanks to Ma’am Lindsay, Ma’am Nina, and Ma’am Roda. Thank you, too, Ate Ann and the others, for welcoming me to your team.

Thank you, Sir Raz for this opportunity. I will forever be grateful.

More photos! 🙂

Story Background

Sally was raped twice by her uncles, the first instance was when she was just a kid, and the other was when she was already in college. On the second instance, she got pregnant.

Sally was also unloved by her mother because the mother did not really love their father. They got three children, but none of those children was taken care of properly by the mother. It was actually Sally’s sister that was eyed by her uncle, so she did everything to push her younger sister away, until she came with her mother to Manila as a kasambahay. As of now, Sally is around my age, 23 years old, and she already had three kids. She chose to give away her eldest son, which she tried to kill a lot of times, because, as she said, “May mga taong nagtanggal sa akin ng kakayahan na mahalin ka, anak.”

This story is really breaking. I admire Sally for being so strong, and sacrificed so much, even herself and her future, just so she could spare the life of her sister. I can’t help but be emotional when a story hits the “siblings” nerve, because, like Sally, I will do everything for my siblings.

Experience – A Deeper Connection with the People Behind the Cameras

For the first day of this episode, what I did most was help Yannah, one of the PA Trainees of the show. Her tasks include preparing the artistas for the scene, checking their wardrobe for continuity of shots, throwing lines with the artistas, especially the kids, and fetching them from their tents when it is their turn. I also helped the Senior PA, Ate Emily. On the graduation scene, I have helped organizing the talents who were acting as the batchmates of Sally to their seats. I also did a cameo role (LOL) as the person who took the photos of the graduates, but was unfortunately cut out of the final material. Sayang! Lol just kidding.

On the second day, aside from observing how the shoot operationalizes, I also asked people around about their jobs and their tasks on the set. Let’s talk about them one by one.

First is the Technical Director (TD). Like in my live production classes at school the TD mans the console – meaning he or she is concerned with the shifting of the cameras, cut-to-cut. Sir Jun, the TD during that day was also manning the lights. I am still amazed at how these huge lights, deflector, filters, etc. could mimic any time of the day at least on cam. Here’s a sample:

The picture above shows how light is filtered from outside the house. As what Sir Jun told me, “Para hindi sunog yung shot.” Then I asked, “Hindi po ba yan makikita sa cam?” He said no, as long as the scrim is properly placed, without any folds, then it’s good to go. True enough, here’s the shot from the cam:

The first photo from the outside of the house. The scrim filters the light that passes through the window so that it won’t be overexposed when the camera hits the window, as seen on the second photo (source of second photo: ABS CBN).

The second one I had a long conversation with is the Production Designer, Sir Glen. He explained to me that, aside from him, the art director and the art department helps him in designing the set. In essence, he imagines the scene, then the art department helps him realize his vision. He also differentiated the job of the production designer on films versus on TV. Since films are aired on a larger screen, it has to have more elements. While on TV, it is fine if there are more spaces since the screen is smaller. Here’s a photo of us:

Aside from the technical side of his job, he shared to me how his job affects his team; being hired as a production designer means job for his team. So in every project offered to him, his decision doesn’t solely revolve on himself but also on the people who will execute his vision. Though it is tiring (after every taping day of this episode, his call time for the next project is 6 AM; our shoot usually ends at 5 AM), he never surrendered because surrendering means a team of jobless individuals. For him, nothing feels better than being thanked for and remembered by his team members when they achieve something (like their children’s graduation) because of the job that he has offered them. He told me that these people, more than himself, keeps him going.

I have had chitchats with Ate Poca, too. She’s the resident make-up artist of the Malou Santos unit. Ma’am Malou is one of the Production Managers. In our conversations, Ate Poca told me that she’s creating her portfolio so she could cover wardrobe too. Then she told me that, someday, she wants to be a lawyer. She’s even interested in going to UP Law, so I told her that maybe I could help her when the time comes.

Kuya Ernie, too, has been one of the people on the set who orients me about how the taping goes. Mostly, I ask him about the tasks of the previous interns.

I have mostly observed during this episode, and fortunately, I have seen some of the production methods which amazed me not just as an intern, but also as an audience.

First is the rain maker. The production rented a fire truck to fill in two drums of water which will be sucked out into the rain maker.

Second is a shoot over the river…literally! They set up a scaffold over the river so they could get a shot of the young Sally and her father.

On this episode, I met different artistas too. My favorites were Sunshine Cruz, Alex Medina, and of course, the ever so sweet Mariel.

Overall, this episode exposed me more into the industry, especially the production methods that they did. I salute the art department, the Art Director, and the Production Designer for turning every location into the reality of the story.

Locations

The first day was in Norzagaray, Bulacan. It’s amazing how the generator reached that place because the road was so narrow. But I loved the place the first time I saw it because it looked exactly like Papa’s hometown. Literally in the middle of rice and vegetable fields. The house where most of the scenes was shot was at the end of two lines of around 20 Mango trees, which, again, looked exactly like the place where my father grew up.

The second location was in Antipolo. Two neighboring houses were used there, a smaller river, a school’s covered court and classroom, another house near the school, and a batchroom inside an amusement park. The amusement park was at the edge of the hills, and it overlooks twinkling lights of the city.

Analysis

There were some issues that I have pondered on while the shoot was ongoing. First is how the scenes affect the kids. Growing up acting, I have enjoyed doing different roles. I’ve been Taong Bayan 1, Bata 3, Jose Rizal, a young Pio Valenzuela, and Beato Francisco of Fatima, among others, but I have never been the kid who was abused, maltreated, and hurt. So it really bothered me how the kids handle the situation. I understand that they know that they are just acting, but still, I know it has some effect on them. To be fair though, I think there is enough effort on the side of the creative team and their co-actors, as I saw that the elder artistas comfort them after the scenes, saying sorry to them, and hugging them. But I hope it doesn’t have a long term effect on them. They are really as kids to be acting on TV. They are living everybody’s dream at such a young age.

Since MMK is a program with a concept of airing life stories of normal people, so another issue that I have thought about was where does the line lie between mimicking reality, and constructing reality? I am somehow bothered by the fact that the audiences revisit the moments of this person who shares her life stories but how real could the scenes be? Maybe the answer is it can never mimic the real scene because only the person and those involved could remember those moments. And the creative team could only know so much, and input their knowledge as to how such scenes must be to proceed. So maybe, when the time comes, I would like to be as accurate as possible by involving myself with the owner of the story, if that is even possible.

Here are the two directors of the episode, Direk Ritchie and Direk Raz. I’m proud to say that I am part of this episode. Hehe. (Photo below courtesy of MMK’s official Facebook Page)

Synopsis: Half-siblings John and Angel reconnect and disconnect as they write a song for Angel’s upcoming debut.

Producer: Ben Baquilod
Written and Directed by: Marc Mozo
Director of Photography and Lighting Director: Myrtle Sarrosa
Production Designers: Paul Bicol and Marc Mozo
Editor: Paul Bicol
Assistant Camera: Jesan Plocios
Executive Producer: Raz Dela Torre

Cast:
Rence Aviles as John Villanueva
Rose Camacho as Angel Villanueva
Ruby Mozo as Mrs. Villanueva
Gian Librojo as Carl
Clarus Cortes as Joey

Type of Production: Television Drama (Fiction Narrative)
TRT: 26m 39s

Producing Pre-recorded Materials for Television (BC 128)
2nd Semester, AY 2015-2016
University of the Philippines Diliman
Department of Broadcast Communication, College of Mass Communication

For those who are afraid to be alone, but brave enough to let go.

Producer: Denisse Mascuñana
Director/Writer: Denisse Mascuñana
Videographer: Denisse Mascuñana
Production Designer: Denisse Mascuñana
Editor: Denisse Mascuñana
Executive Producer: Raz de la Torre
Type of Production: Video Poetry
TRT: 3m 23s

Videography (BC 144)
2nd Semester 2015-2016
University of the Philippines Diliman
Department of Broadcast Communication, College of Mass Communication

We are all hearts looking for an arrow who will carry us through. But also, we are all arrows searching for that destined heart that will one day change our pointy lives. Continue searching, continue looking. Even though there is no reply, continue. Some day, there will be no need for replies.

Producer: Robby Reyes
Director: Robby Reyes
Videographer: Robby Reyes
Editor: Robby Reyes
Executive Producer: Robby Reyes
Type of Production: Video Production – Poetry

Videography (BC 144)
2nd Semester, AY 2015-2016
University of the Philippines – Diliman
Department of Broadcast Communication, College of Mass Communication

There are places we go to find ourselves. There are places we go to lose ourselves.
Producer/Director/Writer: Hans Angelo Tinio

Videographer/Editor: Hans Angelo Tinio

Production Designer: Hans Tinio

Executive Producer: Raz de la Torre

Type of Production: Video Poetry

TRT: 3m 01s

Videography (BC 144)

2nd Semester 2015-2016

University of the Philippines Diliman

Department of Broadcast Communication, College of Mass Communication

A college student who’s very vocal online about death penalty gets strange calls from a hacker that forces her to put her money where her mouth is.

Inspired by Siege Malvar’s Charged

Director: MC Sacay

Producer: Clars Lituania

Cinematographer/Lighting Director: Gillian del Rosario

Production Designer/Editor: Justine Mallare

Writer: Gillian del Rosario

Executive Producer: Raz de la Torre

Type of Production: Narrative Fiction

TRT: 16:24

Producing Pre-Recorded Materials for Television (BC 128)

2nd Semester, AY 2015-2016

University of the Philippines Diliman

Department of Broadcast Communication, College of Mass Communication

Type of Production: Television Drama (Fiction Narrative)

BC 128 (Producing Pre-recorded Television Drama Format), 2nd Semester, AY 2015-2016

Lecturer: Raz de la Torre

Production Crew:

Producer: Seniña Joy Mojica

Director/Writer: Apple Cruel

Lighting Director/Cinematographer: Alfred Jerome Orejana

Editor / Production Designer: Samantha Denise Ulita

Other Crew:

Assistant Production Designer: Apple Cruel and Seniña Joy Mojica

Assistant Editor: Apple Cruel and Jerome Orejana

Production Assistant: Seniña Joy Mojica

Title of Production: A Fable on Second Street

TRT: 23 min 0 sec

SYNOPSIS: Gary, a young urban professional living away from his family, does not like to follow instructions. He enjoys his freedom and does not conform to rules. One morning, as Gary takes one of his mornings walks, he discovers a podcast that makes him reexamine his freedom, his choices, and his life.

Cast:

Alija Pandapatan as Gary

Neil Caronan as Gary’s Voice

Ronick Dizon as Narrator

Kristine Lerios as Girl being Mugged

Nickolo Domingo as Mugger

Ritchie Alfonso as Father

Grace Ann Abaloyan as Little Girl

Shain Epanag as Jogger

Special thanks to:

Orejana Family

Mojica Family

Cruel Family

Ulita Family

Tope Family

Ronick Dizon

Christel Lagdameo

Rosema Revilla

Prof. Evangeline Ortiz Sitio Seville, Fairview, Quezon City

Mr. Louie Olid

Mr. James Zingapan

For those who never really make it, but tries anyway.

Producer: Jian Carlo Robedillo
Director/Writer: Jian Carlo Robedillo
Videographer: Jian Carlo Robedillo
Production Designer: Jian Carlo Robedillo
Editor: Jian Carlo Robedillo
Executive Producer: Raz de la Torre
Type of Production: Video Poetry
TRT: 3m 45s

Videography (BC 144)
2nd Semester 2015-2016
University of the Philippines Diliman
Department of Broadcast Communication, College of Mass Communication

(SYNOPSIS)  Princess is turning thirteen tomorrow! She’s excited to finally be a teenager, but she’s also very confused. What is it like to live in the world of millennials? To find out, she turns to her Ate Bechang and her barkada: Richard, Charmaine, and Chev. Join Princess as she meets the coolest squad of millennials.

Executive Producers: Raz dela Torre and Ronick Dizon

Director: Rebecca Lee

Writer: Rebecca Lee

Production Designer: Yanna Heramia

Lighting Director: Jag San Mateo

Editor:  Yanna Heramia

DOP: Jag San Mateo

Audio Engineer: Yanna Heramia

Cast

Luisa Pineda as Princess

Simone Dimalibot as Bechang

Michelle Mariposa as Charmaine

Bradley Ong as Richard

Louis Hipos as Cheverloo

Type of Production: Narrative Fiction – #squadgoals

TRT: 25 minutes

Producing Pre-recorded Materials for Television (BC128)

2nd Semester, AY 2015-2016

University of the Philippines-Diliman

Department of Broadcast Communication, College of Mass Communication

(CLICK THIS LINK TO WATCH THE #SQUADGOALS PLAYLIST ON YOUTUBE)

Part 1: https://www.youtube.com/watch?v=__pdT4gsiII

Part 2: https://www.youtube.com/embed/oqi9EM6QM2Y

Part 3: https://www.youtube.com/watch?v=g0kdyfCzRTE

Para sa mga pagkakataong naudlot, at sa mga salitang hindi masabi-sabi.

Based on “MAHAL KO NA YATA ‘YUNG LIKOD MO’ by ROD MARMOL (submitted to Utot Catalog)

Director/Producer: Steph Hidalgo
Cinematographer/Editor: Steph Hidalgo
Executive Producer: Raz de la Torre
Type of Production: Video Poetry
TRT: 3:43

Videography (BC 144)
2nd Semester, AY 2015-2016
University of the Philippines Diliman
Department of Broadcast Communication, College of Mass Communication