A bit about them...
Frankie Shaftain-Fenner is a filmmaker based in Essex, UK. They specialise in producing short documentary films and promotional videos. Frankie is used to collaborating with a range of creative businesses, charities and artists. Whether it's street interviews, studio shoots or out on location, Frankie has operated in almost every area of video production.Their huge skill set allows them to take projects from the initial ideas, storyboarding and scripting stage in pre-production, all the way through to filming, sound recording, colour correction and subtitling the final finished work in post-production.Frankie graduated with a 2:1 in Digital Film Production (BA Hons) from the University of Suffolk and were featured as a student profile in the University prospectus.Specialising in film during their UAL Art Foundation Diploma, they achieved a Distinction for their coursework and final project, a 20 minute documentary about unused buildings in their home town of Colchester, featuring interviews with local historians and an MP.Frankie has worked with clients including Cancer Research, Firstsite art gallery, St Botolph's Church and St Elizabeth's Hospice on a range of promotional films and documentaries.Frankie has been featured in a film for LGBTQIA+ charity Mermaids, celebrating Pride Month. The video featured Frankie among other members of the LGBTQIA+ community and is available to watch here.Equipment they use includes: Canon 800D, Sony FS5 II, Blackmagic Design URSA Mini Pro, Sennheiser G4 Radio Mics, Zoom F8n sound mixer, Zoom H4n, Zoom H1n, ATEM Mini Pro ISO, DJI Ronin-S Gimbal, Dedolight 150W Kit.Software they use includes: DaVinci Resolve, Adobe Premiere Pro, Adobe Lightroom, Adobe Photoshop.To discuss your project, please send an email to email@example.com
Awards, Events and Press
Official Selection, FilmPride - Brighton & Hove Pride LGBTQ+ Film Festival for Pronouns In Bio (Director's Cut)Official Selection, UK Film Review Festival for Pronouns In Bio (Director's Cut)Press: 'Pronouns in Bio' Film Review, UK Film ReviewPress: Editor's Pick: The TRANSlations Film Festival Is A Virtual Treasure TrovePress: Why everybody should be part of the 2022 TRANSlations: Seattle Trans Film Festival - Capitol Hill SeattleEvent: Director's Introduction and Screening of 'It Costs Nothing to Be Nice' at Mediorite's 'Get Seen' Short Film festivalEvents: Filmmaker Networking Hour, 'Speed Friending', Game Night at TRANSlations: Seattle Trans Film FestivalEvent: Live Q&A at MHSA (Mental Health and Suicide Awareness) Film FestivalOfficial Selection, Believe Psychology Film Festival 2022 for Pronouns In Bio (Director's Cut)Video: 2022 TRANSlations Trailer, Three Dollar Bill CinemaOfficial Selection, TRANSlations: Seattle Trans Film Festival for Pronouns In Bio (Director's Cut)Official Selection, MHSA (Mental Health and Suicide Awareness) Film Festival for Pronouns In Bio (Short Film)Official Selection, Hastings Rocks for Pronouns In Bio (Short Film)Official Selection, London Rocks for Pronouns In Bio (Short Film)Official Selection, Brighton Rocks for Pronouns In Bio (Short Film)Honourable Mention, Brighton Rocks for Pronouns In Bio (Director's Cut)Honourable Mention, London Rocks for Pronouns In Bio (Director's Cut)Award of Recognition: Best Shorts Competition 2021 for Pronouns in Bio (Short Film)Film: #MyPrideFamily, Mermaids GenderArticle: This Trans Awareness Week, let’s celebrate gender euphoria, written for Mermaids GenderOfficial Selection 20 Years of CRASSH Film Festival 2021 for It Costs Nothing to Be NiceGold Award, Creative Conscience for Homeless in ColchesterHighly Commended Certificate, Design Museum Student Awards, for Homeless in ColchesterBronze Award, Creative Conscience for Autumn at The Oak Tree Farm
Skills: Editor, Photographer, Camera Operator
Format: Three livestreams in a 'talk show' style with pre-recorded video segments
Client: Siren Festival
Premise:Siren Festival was curated by 16-25 year-olds from all backgrounds and abilities, who ran three livestreams broadcast from Suffolk to YouTube and Facebook. These streams featured live music performances, pre-recorded video content and talk-show style discussions of environmental issues effecting the youth of today.
The streams covered subjects including vegan recipes, reusable bottles, foraging, reusable soap, plastic-free packaging, upcycling clothes and reducing water consumption.Work:I took on a range of roles, including editing many of the pre-recorded segments that were played throughout the livestream, operating cameras during the livestream and photographing the event and speakers.Challenges:We were on location in a remote village, so the internet connection was not ideal for the streams. However, we streamed in lover resolution and a lower bitrate to counteract this, so the stream was still watchable and not buffering. It was also incredibly hot and hard to see the monitors in the bright sun light, though we managed to move the camera gear into the shade so that nothing would overheat.Equipment/software used:Sony FS5 II
ATEM Mini Pro ISO
A one-minute showreel which showcases Frankie's skills in filmmaking.With many of these projects, Frankie was the sole producer of the film, taking the project from the initial idea all the way through production from the inital ideas or script, to the final finished product.Artwork credits:'Deaf for 4'33''' (2022) Chisato Minamimura. Installation view, WAIWAV (We Are Invisible We Are Visible) performance, Firstsite. Videography by Frankie Shaftain-Fenner.Installation view, The Singh Twins: Slaves of Fashion, Firstsite, Colchester. Artworks © The Singh Twins. Videography by Frankie Shaftain-Fenner.Keep Being Amazing, Words by a Firstsite Holiday Fun Family, Design by Morag Myerscough, Firstsite, Colchester. Videography by Frankie Shaftain-Fenner.Michael Landy, Essex Man (after Collet), 2021. Based on an original drawing by Edward Collet. Installation view, Michael Landy’s 'Welcome to Essex', Firstsite, 2021. Videography by Frankie Shaftain-Fenner.The Essex Way (2021) Michael Landy. Installation view, Michael Landy’s 'Welcome to Essex', Firstsite, 2021. Videography by Frankie Shaftain-Fenner.'Our Family Album' (2021) Harold Offeh. Installation view, 'Keep Being Amazing', Firstsite, 2021. Videography by Frankie Shaftain-Fenner.'Untitled' charcoal on paper, (2021) Simon Carter and Jevan Watkins Jones. Installation view, 'Shore Lines' Firstsite, 2021. Videography by Frankie Shaftain-Fenner.
Keep Being Amazing exhibition
Skills: Director, Director of Photography, Editor, Colourist
Format: Documentary, 5 mins, 2022
Client: Firstsite art gallery, Colchester
Premise:Film for Firstsite art gallery about the Keep Being Amazing exhibition, inspired by their Holiday Fun programme. The film features interviews with artists Morag Myerscough, Celia Pym and Harold Offeh, along with Firstsite staff Sue Hogan (Programme Manager, Learning and Education) and Emma Howe (Programme Manager, Communities). The exhibition also includes artworks from artists Tracey Emin, Paula Rego and Oliver Beer.Work:As the sole person working on this film, I took on every role, including filming interviews with a minimal video and audio setup, to editing, adding music, colour correction, artwork and music credits, subtitling and posting the final product to YouTube with chapters, description, title and a thumbnail.Challenges:The main challenge was video editing and pacing, as the film needed to include staff discussing Holiday Fun, why artworks were chosen and artists talking about their work in the exhibition. There was a lot of content that needed to be covered in just over five minutes, so there was a lot of feedback involved and different drafts produced during post-production.Equipment/software used:DaVinci Resolve
Sennheiser EW 112P G4
Pronouns in Bio
Skills: Directing Editing, Cinematography, Editing, Colourist
Format: Documentary, Director's Cut 61 mins, Short Film cut 20 mins, 2021
PremiseThrough a collection of video diary entries shot over two years, Frankie, a recently "out" transgender, autistic person reflects on their past mental health struggles as a teenager with gender dysphoria.
Frankie utilizes direct-to-camera monologues, mixed with an original soundtrack written and performed by themself to create an intimate portrait of what it is like to discover your authentic identity and fight for the right for legal recognition.WorkShooting and editing a near feature length documentary by myself was certainly a good challenge. I also wrote and performed the original soundtrack along with accompanying music videos, which was a lot of fun!
The poster artwork was designed by my friend Leo Mateus (he/they), a fellow queer/trans artist. You can see his work and online store here.ChallengesThe whole hour long film was edited and most of it was shot whilst I was in my final year of university, so I did not have much time to work on it. Pronouns in Bio is easily the largest project I have ever undertaken and is a result of years of footage; YouTube content and personal video diaries, along with hundreds of hours of editing. I also cut two versions of the film, so that I could submit to both feature and short film festivals.Equipment/software usedPremiere Pro
Sony FS5 II
OnePlus Nord 5G
Autumn at The Oak Tree Farm
Skills: Directing Editing, Cinematography, Editing, Colourist
Format: Documentary, 20 mins, 2021
Client: The Oak Tree Low Carbon Farm, Ipswich
PremiseThe Oak Tree Low Carbon Farm is a Community Supported Agriculture Scheme run in Ipswich. The aim of the farm is to reconnect farmers and the local community to the land where their food is grown, without using any chemicals in the process. In exchange for volunteering at the farm, the produce grown is shared out equally in the weekly ‘veg boxes’.
Inspired by documentary films such as Agnes Varda's The Gleaners and I (2000) and Nikolaus Geyrhalter's Our Daily Bread (2005), this film documents The Oak Tree Farm in a slow-paced and naturalistic way.WorkThe film documents the people who run the farm, as well as those who volunteer there, during the Autumn of 2020. Many areas of the farm are shown, including the range of vegetables produced, the farm’s chickens and the eggs they provide.ChallengesSince the whole film was shot throughout the UK COVID lockdowns, actually being able to physically travel to the farm was complicated. Of course, safety had to be the main priority and so social distancing was adhered to. I did have a sound recorder as another member of the crew, however they moved house during COVID, leaving me to film much of the documentary as a one person crew.
I would have preferred to film at The Oak Tree Farm during summer, however that would have been too late for me to hand the film in as my final piece for university.Equipment/Software usedSony FS5 II
Sennheiser EW 112P G4