TASK DEFINITION: Write a question from the passage such that it identifies a character (a person or a thing) in the passage.
PROBLEM: The filming was kind of a long process, but maybe it didn't need to be? Or maybe it did?
The first night of filming at the Thornbury Bowls Club was for a test shoot with mine and Rosie's camera, to work out which one we wanted to use for her film. The second night of filming involved us getting establishing shots of the location. The third night of filming involved us mainly shooting Rosie's script. And the fourth night of shooting involved us mainly shooting Bell's script and getting any other shots we needed to get.
Perhaps we didn't need an entire night of filming just to get establishing shots and filler shots, but it certainly made it a lot easier having multiple shots to choose from. For the two nights of shooting we certainly didn't get that much coverage, which meant in the edit we were somewhat stuck using certain shots because we didn't have other options. This was mainly because of time limitations with actors and batteries on cameras dying and such. I'm so neurotic I would have happily spent two nights shooting establishing shots and filler shots and two nights on each shoot, but not everyone wants to rearrange the rest of their life to fit around such projects. I get a tad obsessive if I'm allowed, which can often benefit me, although I do become a giant pain in everyone else's ass.
The main thing I learnt from the filming process was that you can plan out exactly what you want to do, and how your going to do it, but once you get into the location with the actors this plan often changes – however, you are still much better of having the plan than none at all! As the neurotic freak I am, I had all the shots I wanted to use storyboarded. I had originally planned to shoot all the establishing shots, stick them in a timeline and then also shoot the other shots (with fill in actors) and add them to the timeline to see how it looked. Of course no one else was interested in spending an entire night shooting the film – but with them as stands in – just so I could complete my psychotic endeavour of creating the faux film, then reflecting on it, then shooting the real thing.

SOLUTION: Who had all the shots?

PROBLEM: There is no hiding from the impact agenda. The impact weighting of the Research Excellence Framework has been increased for 2021, and more recently the UK Government announced a new funding stream for knowledge exchange. But achieving impact isn't easy, especially for researchers early in their careers.
If you ever have a spare week, or ten, it's worth reading through some of the 6,637 REF impact case studies on the HEFCE website. There are some brilliant and fascinating examples of how researchers have achieved impact, but what strikes me most is how different impact looks across different subjects. At the risk of being flippant, among many of the medical or technological examples there is a familiar pattern and a clear route to impact: make breakthrough; license drug/technology; save lives/£millions.
For social and political science (not to mention economics, languages, education, philosophy, etc.) the route to impact is much more fragmented. Among the 97 sociology case studies, for example, impact comes from numerous briefings of government officials and parliamentarians, before the academics join "networks" and "committees" discussing their research and wider issues. Their research is covered by national media, they meet even more people – practitioners or third sector campaigning organisations to pass on their knowledge. And, after all that, and often a good deal more, sometimes there is a policy or practice change that can be pointed to as a direct impact, sometimes not.
Central to much of the impact is "access". Prominent and experienced academics are more likely to get on the committees, know the right journalists and government officials, and have links into third sector organisations, etc. I worked with Professor Sir John Curtice, of election night fame, for a number of years. He didn't need much support. I advised and facilitated, but after 30 years in the game he knew Whitehall (and Holyrood) inside and out – and they knew him. But many researchers, especially at the start of their careers, don't have these networks, so how can they develop them? One way is through the media.

SOLUTION: Who did the author work with of election night fame?

PROBLEM: Let's rewind to January 2013 for a moment. It's a sunny and warm day in Los Angeles—a bit of a weather shock to me after 11 years of Seattle's cold and rain. I've been officially on the job in the web department for all of 12 hours. I'm sitting in a conference room at a big wooden table, surrounded by my new coworkers and team members in the Getty's web group. A big monitor is displaying the prototype of the newly designed and almost-built Getty Iris. We're discussing The Iris logo you see at the top of this page, its multiple iterations, and, quite frankly, the pain involved in trying to get it to look right.
Wait-wait-wait, let's pause for a moment.
My name is Will Lanni. I'm a Web production specialist at the Getty, which is a complex way of saying I'm a developer and designer, which is a nice way of saying that I'm basically a "web monkey." Before I started at the Getty, I worked as a partner in a small web design and development firm for several years. I had some experience working for the Getty—I built the Pacific Standard Time at the Getty site, the Pacific Standard Time Festival site, as well as the interactive Getty Impact map. And, at the time of my hiring, I was not only working on the new design and build of The Iris, due to go live in only a month, but also the soon-to-be-launched website for Pacific Standard Time Presents: Modern Architecture in L.A. So I wasn't exactly new to projects at the Getty, even though I was a brand-spanking-new full-time employee.
OK. Now that you know who I am, let's get back to that moment. The Iris logo, and the hair-pulling it was causing for all of us—which is a pretty good representation of the steps that Web projects go through as we move from idea, to execution, to setback, to solution.

SOLUTION:
Who was a Web Production specialist at the Getty?

