I VIDEO PRODUCTION in GHANA: a STUDY of POSTPRODUCTION by Ralitsa Diana Debrah (BFA Graphic Design) a Thesis Submitted to the S
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VIDEO PRODUCTION IN GHANA: A STUDY OF POSTPRODUCTION By Ralitsa Diana Debrah (BFA Graphic Design) A Thesis submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology in partial fulfillment of the requirements for the degree of MASTER OF COMMUNICATION DESIGN Faculty of Art College of Art and Social Sciences © March, 2010, Department of Communication Design i DECLARATION I hereby declare that this submission is my own work towards the award of Master of Communication Design and that, to the best of my knowledge it contains no materials previously published by another person nor material which has been accepted for the award of any other degree of the University, except where due acknowledgment has been made in the text. Ralitsa Diana Debrah PG1150007 ….……...…..….. ……………….. Student’s name ID Signature Date Certified by: Mr. Kwabena Kusi-Appouh ..………………………. ……………….. (Supervisor) Signature Date Certified by: Mr. J. W. A. Appiah ..……………………… ……………….. (Head of Department) Signature Date ii ACKNOWLEDGEMENTS I sincerely appreciate the help received from the lecturers of - NAFTI to complete this project. I am glad to suggest interesting ideas that can be used to better video production in Ghana. Special thanks to Mr. Allassani and all his staff members for all their support, knowledge and feedback received throughout the thesis. Maame Esi Adjei Boateng’s willingness to provide guidance was invaluable. I express my profound gratitude to many who helped me in one way or the other but whose names have not been mentioned. I express my sincere appreciation, to Mr. J. W. A. Appiah for your encouragement throughout the years of my study and taking up the challenge together with your administration to support the development of this new course M. comm. Design. I also thank Mr. Kwabena Kusi-Appouh who provided insightful knowledge and guidance in the field of filmmaking and the opportunity to undertake this research. I am particularly indebted to all Lecturers of KNUST, in particular Mrs. Nana Afia Amponsaa Opoku-Asare and Mr. Degraft Johnson and all other Lecturers of the Department of Communication Design, who always challenged our learnings on and views of mass media. Their eagerness to investigate new technologies and ideas was an enormous motivation. To the Simpson Debrah and Fredrick Torto Family; and Mr. Umoh, I say thank you. Most importantly I thank the Almighty God for his Grace, Mercies and Favour for making this project a success! Thank you. iii ABSTRACT The thesis seeks to discover ways of improving video production in Ghana by assessing the standard of locally made television and film genres. The study adopted the qualitative research approach with questionnaire administration, interview, focus group discussion and participant observation to analyse the content and quality of three locally produced movies as a means of identifying the factors that make it difficult for local films to meet international standards. Based on a population of 42 filmmakers (editors and directors) and 142 literate, semi-literate and illiterate members of the viewing public, in Accra and Kumasi, and three selected movies – “Fire for Fire” , “Kyeiwaa” and “Love Brewed in the African Pot” , the study revealed that most nonlinear editors in Ghana lack the requisite expertise for post-production. It also showed that most directors do not plan adequately ahead of production and also do not show much creativity in the productions. Because of high production costs, some local filmmakers cut down on the cost of postproduction and end up with substandard films. Content analysis of the three films showed that “Fire for Fire” and “Love Brewed in the African Pot” were well edited than “Kyeiwaa” which has more than 10 series. Furthermore, it was evident that “Love Brewed in the African Pot” was shot with a well- constructed script which was also apparent in “Fire for Fire” . Most of the editing principles were also predominant in the two movies which make them good productions. Kyeiwaa lacks most of these qualities making it an unprofessional production. What the industry needs to grow are talents, equipment or logistics, money and legislation. iv The study recommends among other things that, the industry should be strengthened through in-service training, the acquisition of better equipment and the appropriate software. This will foster creativity and skills on the part of editors to output high-quality productions. What’s more, a lot of groundwork must be done during the script stage including story boarding. This will guide the selection of shots during the actual production and help during postproduction. Finally, the implementation of the Cinematography Act to regulate the video editing and filmmaking industry on the whole will be beneficial to industry. Alternatively, financial assistance from the government to assist these regulatory bodies will go a long way to make it more effective. The researcher is glad to suggest interesting ideas that can be used to better video production in Ghana. v TABLE OF CONTENTS Page Acknowledgements………………………………………………… iii Abstract ……………………………………………………………. iv Table of Contents…………………………………………………… v List of Figures………………………………………………………. ix List of Tables………………………………………………………… x CHAPTER ONE INTRODUCTION 1.01 Background to the Study ………………………………………. 1 1.02 Statement of the Problem ………………………………………. 3 1.03 Objectives of the Study ………………………………………… 5 1.04 Research Questions……………………………………………... 5 1.05 Delimitation…………………………………………………….. 6 1.06 Limitation……………………………………………………….. 6 1.07 Definition of terms……………………………………………… 7 1.08 Abbreviations……… …………………………………………... 8 1.09 Assumption ……… ……………………………………………. 9 1.10 Importance of Study……………………………………………. 9 1.11 Facilities Available for the study……………………………….. 10 1.12 Sources of Information…………………………………………. 10 1.13 Arrangement of text…………………………………………….. 10 CHAPTER TWO REVIEW OF RELATED LITERATURE 2.01 Television……………………………………………..……. 12 2.02 Television genres……………………………..……. ……… 12 2.03 History of Television……………………………………….. 14 2.04 History of Cinema in Africa -The Gold Coast Situation….. 18 vi 2.05 Video Production Processes and Equipment………………. 23 2.06 Editing………………………….…………………………… 26 2.07 Forms of Video Editing …………………………………… 36 2.08 Video Transitions ……….………………………… ……… 39 2.09 Types of Transitions……….……………………………….. 40 2. 10 Editing Software……….………………………………….... 43 2.11 Principles of Video Editing…….…………………………… 47 2.12 Graphics….…………………………………………………. 52 CHAPTER THREE METHODOLOGY 3.02 The Research Design / Research Methodology…………… 71 3.03 Library Research…………………….……………………. 77 3.04 Population for the Study………………………….………. 78 3.05 Sampling Design………………………………………….. 80 3.06 Sample ……………………………………………………. 82 3.07 Primary and Secondary Data……………………………… 86 3.08 Data Collection Instruments………………………..…….. 88 3.09 Validation of Instruments……….……………….……….. 131 3.10 Administration of Instruments……………………………. 132 3.11 Data Collection Procedures……………………………….. 135 3.12 Data Analysis Plan………………………………………… 145 CHAPTER FOUR CONTENT ANALYSIS OF SELECTED FILMS 4.00 Assembling the Data……………………………………… 147 4.0 1. “Kyeiwaa” .………………………………………… 147 4.0 2. “Fire for Fire” ……………………………………... 159 4.0 3. “Love Brewed in the African Pot” ………..……….. 169 vii CHAPTER FIVE PRESENTATION OF DATA ANALYSIS / DISCUSSIONS AND FINDINGS 5.01 Analysis Obtained From Filmmakers (Category A)……. 179 5.02 Analysis Obtained From Viewers (Category B)………… 208 5.03 Audience Analysis ……………………………………… 224 5.04 “Kyeiwaa” (Category C) ………………………. 225 5.05 “Fire for Fire” (Category D)…………………… 237 5.06 “Love Brewed in the African Pot” (Category E)… 248 5.07 Findings………………………………………………….. 259 Confirmation of Assumptions…………………………… 263 Conclusions ……………………………………………... 264 Recommendations……………………………………….. 264 CHAPTER SIX SUMMARY, CONCLUSIONS AND RECOMMENDATIONS 6.00 Summary of the Study…………………………………….. 269 Summary of Findings……………………………………… 270 Summary of Conclusions………………………………….. 271 Summary of Recommendations…………………………… 273 REFERENCES…………………………………………………….. 274 APPENDICES……………………………………………………… 278 viii LIST OF FIGURES Page Fig. 1 Examples of the early TVs…………………………. 15 Fig. 2 A High Definition Sony Bravia Flat Screen TV…… 16 Fig. 3 A Film Splicing Machine…………………………… 28 Fig. 4 Linear Editing Process …………………………….. 37 Fig. 5 A Shot of NLE Software…………………………….. 38 Fig. 6 A Cut Transition……………………………………. 40 Fig. 7 A Dissolve Transition………………………………. 42 Figs. 8 & 9 Motion Design……………………………………… 54 Fig. 10 Character Generator ………………………………… 56 Fig. 11 Set Design…………………………………………… 59 Fig. 12 TV slide …………………………………………….. 60 Fig. 13 Balance and Mass…………………………………… 62 Fig. 14 Lines and Angles…………………………………….. 64 Fig. 15 Early Graduates of NAFTI with their Lecturers……... 102 Fig. 16 Mr. Yeboah Operating an Editing Machine…………. 103 Fig. 17 Mr. Yeboah, a NAFTI Lecturer Operating a NLE Machine 104 Fig. 18 Early Graduates of NAFTI…………………………... 105 Fig. 19 Shots of Activities on Location……………………… 118 Figs. 20-24 Shots Equipment & Activities Observed at Different Locations……………………………………. 120 Figs. 25-26 Synopsis of the Movie (Practical Component of the Study) 128 Fig. 27 Sample of Designs for Outdoor Advertising for the Movie 130 Fig. 28 Researcher Delivering a Seminar……………………… 143 Figs. 29-37 Content Analysis of “Kyeiwaa” Parts 1, 2 & 8………… 151 Figs. 38-43 Content Analysis of “Fire for Fire”……………………. 161 Figs. 44-49 Content Analysis of Love Brewed In the African Pot…. 170 ix LIST OF TABLES / GRAPHS / CHARTS Page Table 1 Graphical Representation