My roles:

” Director, Camera Operator (Amsterdam), Location Manager (Amsterdam), Social Media Guru and Script-editor”

From the beginning of the project, I have ensured to keep our team as communicative as possible by arranging regular meetings and engagement on social media to ensure we all know where we are at with the project. This is where I was asked to be the Social Media Guru! It was not long before I created the Facebook page, the Twitter page, the TV Facebook page and then was later joined by Daniyel who created the Youtube and the Website. We managed these sites between the two of us and regularly updated content for the crew, the viewers and the guests.

However, my main role through with the television show was to be the director in the gallery. This meant I was in control of multi-directing four cameras, during the multi-camera studio recordings, I worked closest with the production assistant (PA), the floor manager and the Vision Mixer. I had to prepare the cameras carefully in order to provide the crew members with accurate instructions and directions to create the magazine television programme we wanted to produce. I also had the responsibility to cue all the movements for the programme alongside PAs stopwatch counting, the vision mixers and graphics effects. Being a director definitely taught me how to multitask on the spot as I had to absorb information from each crew member and follower their suggests at the same time as monitoring the programme content, performances of the presenters and the technical quality of the show to make it overall successful. 


I had to focus on all the monitors at all times and decide what shots to use, cameras to que and which VT’s we wanted the viewers to see and when. Being a director meant I also had to work very closely with the script-writer to ensure they conveyed what we wanted to see on the screens through the scenes and dialogue. This later lead to me being the script-editor and working alongside Ralitsa off-screen. I understand that in a professional television show, the director reads through the scripts before meeting with the producers, script editors and 1st assistant director however, due to us having a smaller crew this role was presented to me. While reading through the first few scripts written by Ralitsa, I drew attention to any creative problems with the script and suggested alternative ways of conveying her ideas. Once Ralitsa had worked on the main script, I then touched up the script and marked-up camera script and running order for the crew and cast members in preparation for the run-through of each of our rehearsals and the live event.

The final studio script was then marked by notes I needed to have for my own needs as well as the rest of the crew answering their requirements. Once we corrected all the changes and ensured the full crew and cast were happy with the final programmes, we printed 10-15 copies for everyone on the set. I throughly enjoyed blocking all aspects of the script and deciding what shots I wanted and what we needed. While updating the final copies of the scripts, I worked very closely with the floor manager and the two presenters, Vlad and Mia, to ensure they were comfortable with the dialogue and actions we needed from them to bring our show to life. We had a few read-throughts in Fargo Village where we all discussed aspects of the script and decided how we wanted each scene to be conveyed to our target audience.


It was my job, as director, to be able to translate Ralitsas creative written ideas, the producers ideas and visions into a coherent entertaining magazine television show. As a director you also need to be able to understand all aspects of television production and the post-production process which was slightly more challenging than I thought. Working in a in film production before this module meant I have had experience in directing however, directing television is a completely different ball game. However, I accepted the challenge and followed it through until the end and by doing so, I learnt a lot about the role and am now considering television as a potential career prospect.

While in Amsterdam, my role was still to direct but as we were only five people, I had to camera operate too. As assistant director, Azza worked with me before we travelled over there decided on the locations and destinations we would shoot and put together a running order. It was pretty difficult to get people to stop and talk to us but after a while we became more confident and had 8 minutes worth of footage.   

I personally feel I have learnt a lot from this module and grown towards my future career goal of directing and television is now definitely a route I would consider exploring more. 


Team roles:




Vlad Feraru
Mia Drewniak

Director: Carina Gonzalez-Brown
Vision Mixer: Din Beckford
Producer: Adriana Chiru
PA: Dinesh Thapa

Lighting Engineer: Rares Barbu
Sound Producer: Azza Essakhi
Autocue: Nikola Avramov
VT Producer: Dinesh Thapa

Floor Manager: Ralitsa Hristova

Camera Operators:
Stephanie Hoi-Yee Mo
Zynab Hassan
Shiran Wang
Rares Barbu

VT Editors:
Adriana Chiru
Dinesh Thapa

Ralitsa Hristova
Carina Gonzalez-Brown

Samantha Young


Credits: Project Amsterdam

Director: Carina Gonzalez-Brown
Assistant Director: Azza Essakhi

Camera Operators:
Carina Gonzalez-Brown
Azza Essakhi
Stephanie Hoi-Yee Mo

Zynab Hassan
Carina Gonzalez-Brown
Mia Drewniak

Sound Engineer:
Azza Essakhi

Website builder:
Din Beckford

Website Assistant:
Nikola Avramov

Shiran Wang

Nikola Avramov
Daniyel Beckford

Social Media Guru:
Carina Gonzalez-Brown
Daniyel Beckford

Weekly update:

In preparation for Amsterdam: In preparation for Amsterdam, I wrote the the outline for our television show, the running order for UK and Amsterdam. I also arranged with Adriana to interview a lady who worked with ladies who were stuck and abused in trafficking. Azza and I booked out all the necessary equipment and split it between us for the recording abroad. 

By this point, I had also created a Facebook page and Facebook chat where we could all communicate in Amsterdam and in Coventry. This worked very well and we are still using the group chat now to finalise all the details of our website, the television show and performances.

The rest of the group were learning how to use the equipment in The Tank, writing the script for the show and coming up with ideas for the set-design.

Return from Amsterdam: Once we got back from Amsterdam, we gave the footage for the abroad VT’s we shot and recorded to Adriana and Dinesh to edit. We made arrangements for the other English VT’s to be recorded in Coventry and hired out more equipment for that. While Azza was working on the Coventry V.T, Din and I were working on the website and creating all the social media networking sites for the television show. Shiran was photographing the crew. 

That week we had 3-4 meetings were we updated the script, met with our guest Samantha Young with the presenters to talk over the show and what sort of questions we were going to ask her and checking rehearsal times with her.  

Running through the show: The running rehearsal week of the show, we were still updating the script during run-throughs to see what would work better, trying out different ways to interact with the audience and I was adjusting to working with four cameras and a vision mixer which took some time getting used. After the run throughs we all met up again to see how the website was coming along, organising the paperwork and competitions. We also invited Sam into the studio to run through her section and also so she could see what the television studio was like and how she would react being in front of live cameras, which she handled very well! (Thank you, Samantha!) 

We also had a new live performance to try out which was self-defence against an attacker or potential raspiest taught by Azza Assahki a girl on our crew who has studied self-defence for many years. 

The live show: Today was the big day! We had the final copy of the script to try out, we had our guest appearance, we had our accessories for the show, an live audience and full crew (hurray) and we had to find the most perfect take in just under two hours! After seven attempts, we took the most perfect take on the eighth exactly ten minutes long. 


Project plan:

Carina Gonzalez-Brown – Project Plan


1st script completed by Ralitsa Hristova: Lets-Talk-Taboo

2nd script completed by Ralitsa Hristova: Lets-Talk-Taboo22

3rd script completed by Ralitsa Hristova, Carina Gonzalez-Brown: Lets-Talk-Taboo33

4th script edited by Carina Gonzalez-Brown: Lets Talk Taboo – 2nd May

Final script edited by Carina Gonzalez-Brown: Lets Talk Taboo – Final script

Original script changes:

Final script:

Running Order: completed by Carina Gonzalez-Brown


Website: created by Daniyel Beckford

Colour Scheme: Hot pinks, dark purples and electric turquoise to represent risky business and taboo subjects. The theme we used also reflects the fact our show is an night time show.

Main Pages: Home, About Us, Watch, The Show, Join In, The Team (Presenters subheader), Gallery, Contact.

Engagement: Social Networking (Facebook/Twitter/Instagram/Youtube), competition

Before Becks website designing session:

Screen Shot 2016-05-16 at 14.43.09.png

After Becks website designing session:

With the suggestion of our tutors, we decided to change the font of our tagline to make it fit it more with the theme of the show. Before it was too static and armature in order to make it bolder, we changed the font to cursive and white which resulted in the font standing out more amongst the dark background than before. We also changed the subheading to a dark pint to match the logo and also the advert for the channel our television show would be airing on. With these adjustments our website became a lot bolder.

Screen Shot 2016-05-18 at 22.13.40.png

Twitter: @LetsTalkTabooCU

Facebook: created by Carina Gonzalez-Brown

Admin: Carina, Daniyel Beckford, Azza Essakhi, Ralitsa Hristova, 

Editors: Shiran Wang, Stephanie Hoi-Yee Mo, Dinesh Thapa, Nikola Avramov

Moderators: Mia Drewniak, Vlad Feraru, Adriana Chiru

Instagram: @letstalktaboocu created by Carina Gonzalez-Brown

(Added to our Facebook + Website)

Screen Shot 2016-05-18 at 20.17.42


Graphics: created by Nikola Avramov

The header:



Opening title sequence with music, closing graphics and credits:

All graphics closing graphics and opening graphics, credits etc are located below on dropbox, there are 11 items. In this dropbox, you will also find the names of guests, the presenters, social media details are above and also above you will find the link to our website with details of a competition.

Screen Shot 2016-05-17 at 15.16.41Screen Shot 2016-05-17 at 15.16.33Screen Shot 2016-05-17 at 15.16.21


All programme VTs (pre-recorded inserts)

  1. Amsterdam: 
  2. Prostitution:
  3. Female Mutation:

Paperwork (PDF’s):

  1. Risks Assessments: MP-Risk-Assessment for AmsterdamMP-Risk-Assessment for TV Studio
  2. Location Permission:Location Permission2Location Permission
  3. Crew contact details: My Crew Contact
  4. Check list for Amsterdam: Amsterdam – Equipment check listChecklist – Part two
  5. Budget: down below

Contributor consent forms:

  1. Contributor Consent form – Samantha Young
  2. Contributor Consent form – Mary Clark
  3. Contributor Consent form – Stan Holbroke
  4. Contributor Consent form – Brodey Taylor
  5. Contributor Consent form – Ellie Brown

Contribution Consent - Ellie Brown



The competition we created for the show was to win a pin-up poster of Taylor Schilling and Laura Prepon, a pair of handcuffs and a fake dildo. These items were chosen to reflect our theme “risky business” and also “taboo subjects”. The two ladies in the posters are two ladies very popular in television who act in a show called “Orange is the New black”. A television show which is based on lesbian prisoners. 

Screen Shot 2016-05-17 at 14.55.53.png

You can find my final reflection on Lets Talk Taboo here…

Words: 1853


  • Basic Studio Directing – R. Fairweather – ISBN 0-240-51525-0
  • Directing Actors – J. Weston ISBN – 0-941188-24-8
  • Directing and Producing for Television – I. Cury – ISBN 0-240-80827-4
  • Directing Single Camera Drama – M. Crisp – ISBN 0-240-51478-5
  • Directing the Documentary – M. Rabiger – ISBN 0-240-80608-5