Thursday, April 23, 2026

Pitch

 IN THIS POST: Pitch notes, pitch presentation, feedback, teaser trailer

Pitch presentation:

The Next Act by Јоvana Filipovic

One page pitch:

The Next Act is a documentary series that aims to explore the role of traditional arts in modern society as well as their evolution that came as a response to a rapidly changing media and technological landscape. While arts such as the opera, ballet and orchestra are often overlooked and viewed as entertainment of the past, we aim to show that they are constantly being reshaped throughout the use of new formats, adaptation, digital innovation and change in participants. The documentary series portrays the arts as dynamic, offering a fresh forward looking perspective rather than being stagnant in what people presume are traditional values. 


The pilot will focus on local orchestras such as the UvA, VU and Rotterdam Orchestra, following participants throughout rehearsals, professional and personal preparations leading up to a live performance. Simultaneously it will aim to interview “regular people” in order to better grasp their opinions and views on the orchestra. 

With access to the previously mentioned institutions, the pilot aims to capture the behind the scenes, discipline and the way in which tradition and modernity are combined in order to invite more contemporary audiences. 

Through the use of archival footage, interviews, on and behind the scenes footage, this pilot aims to portray the shift in the arts and the new hybridity in which the traditional, classical format meets modernity creating contemporary music styles. 


Traditional arts such as the orchestra are often reduced to stereotypes, with the common belief being that they are meant for older generations, the elites and are often outdated or inaccessible. Most media coverage on this topic is focused on the final product (the performance) and overlooks the creative processes and labour that go into not only creating a show, but involving culture and innovation in them. 

Moreover, there is a growing divide between younger audiences and the traditional arts influenced by the changing media landscape. Recently there has been a shift in viewing habits, an increase in streaming and binging content and reduced attention spans. With our knowledge and research in these topics, we aim to use exactly these techniques in order to draw in younger audiences and  present them with a new perspective on the previously mentioned arts. 

The series offers an intimate perspective with behind the scenes and rehearsal footage showing how the arts are actively adapting. By showing the way in which institutions adapt, The Next Act reframes classical arts in a modern society. 


Production will begin with research on general style and aesthetics, narrative, archival footage, and relevant institutions. It will then go into a discussion and interviewing stage in which key actors will be identified. Filming will consist of formal and informal interviews, behind the scenes and rehearsal moments, B-roll footage. In the final stage, the post production, the footage will be edited in order to create a clear story and narrative. 


The series adapts to the growing demand for authentic, intimate storytelling using the behind the scenes footage. The blurring of lines between modernity and tradition offers great audio-visual appeal that invites both more niche audiences such as orchestra goers as well as audiences that might not be as familiar with it. 

However some limitations may be logistical challenges with securing access to institutions. Additionally due to competition with other documentaries about music and declining attention spans with younger audiences, a distinctive recording and editing style are required in order to keep the audiences engaged. 


Overall, The Next Act will focus on the evolution of art, shifting the focus from performance to the ever changing nature of arts and their re-connection with contemporary audiences. 



Feedback from students:


Why would we watch it:

  • Cultural aspect, like the opera
  • Timothy Chalamet relevance
  • Niche and unique
  • Visually appealing !!!
  • Music


Why would we turn it off:

  • too niche
  • how to make it appeal to a broad audience
  • how to be a series / how to expand / seriality


Questions:

  • define audience! young audience, classical audience…
  • which platform ?
  • Benjamin Clemantino … Who?
  • More specfic on an instrument
  • Rap and pop included 
  • What’s happening, what will we see?
  • Why don’t we care anymore? its ineresting

Monday, April 20, 2026

Documentary/docuseries inspiration

 IN THIS POST: Documentaries that inspired us and why


Friday, April 17, 2026

Exercise 3: Testing B-roll and Interviewing

 IN THIS POST: Experimenting with archival footage, b-roll, interviewing, understanding sound and shot types, reflecting on our work, and the feedback we were given


Ideas:

Reflection:

Feedback:

Wednesday, April 15, 2026

Horizontal research

 IN THIS POST: Early research

Horizontal Research

 

Our research explores the question of what place the orchestra holds in the future of the arts within a fast-paced, digital, and increasingly informal cultural landscape. While orchestras are often perceived as elitist, traditional, and disconnected from contemporary audiences, current research suggests that they are actively adapting to remain relevant.

 

One of the most significant challenges facing orchestras today relates to audience demographics. Research on classical music audiences in the Netherlands shows that concertgoers tend to be significantly older than the general population, raising concerns about long-term sustainability. This demographic imbalance has led many orchestras to rethink how they attract and retain younger audiences, experimenting with new formats, informal performance settings, and shorter programs.

 

As highlighted in research by Maastricht University, orchestras are increasingly focusing on audience experience and participation rather than solely on performance. Digital technologies play a key role in this shift, enabling new aesthetic forms and creating alternative ways for audiences to engage with classical music. These developments suggest a broader transformation in the field, where orchestras are not only preserving tradition but also redefining their cultural function.

 

At the same time, many orchestras are adapting their public image and outreach strategies. For example, Vrije Universiteit Orchestra has an active instagram page on which they post reels about their new projects such as a reggaeton inspired piece for Day of the Dead, sharing short-form videos that promote innovative projects, including performances inspired by contemporary genres. Similarly, Candlelight Concerts interprets artists like Adele, Imagine Dragons but also Queen in their very instagrammable venues filled with hundreds of lit candles. We also found many orchestras actively trying to diversify themselves to be less eurocentric, androcentric as well as finding ways to contribute to the conversation on ecology through music (CvA Changemakers).

 

 

Our research also shows that orchestral content is represented through a variety of documentary formats across platforms such as YouTube. These include observational documentaries focusing on rehearsals and artistic processes, character-driven narratives centered on conductors, and fast-paced explanatory mini-documentaries aimed at younger audiences. In addition, orchestras increasingly produce institutional media, combining behind-the-scenes footage with branding strategies. Short-form content on social media further transforms these representations into dynamic, visually driven fragments designed for rapid consumption.

 

Recent documentary and media representations of orchestras often rely on contrasting visual styles to communicate the tension between tradition and modernity. Classical concert settings are typically depicted through warm lighting and controlled compositions that highlight heritage and discipline, while digital content tends to employ faster editing, stronger contrasts, and more dynamic framing. This visual duality reflects a broader tension within the field: orchestras remain rooted in long-standing traditions while adapting to contemporary media environments.

 

Multiple perspectives also emerge when examining how the future of orchestras is discussed. Professional musicians and conductors often emphasize the importance of preserving artistic standards while integrating new technologies and global influences. At the same time, younger musicians and students are experimenting with hybrid forms that combine classical and contemporary elements. Audience perspectives further complicate this picture: while some value the formal and immersive experience of live concerts, others engage with orchestral music primarily through digital platforms, where accessibility and visual appeal play a larger role.

 

Finally, Archival and digital materials provide important insight into how orchestral identity has evolved over time. Collections such as the Concertgebouworkest archive document historical performances and institutional developments, while platforms like YouTube offer a vast range of recorded concerts, rehearsals, and experimental formats. Together, these materials reveal both continuity and change, showing how orchestras negotiate their historical legacy while responding to contemporary cultural conditions. 

 

Overall, this research highlights that the orchestra is not a static or declining form, but one that is actively negotiating its place within a rapidly changing media and cultural landscape.  

  

References

https://www.maastrichtuniversity.nl/news/reinventing-orchestra

​​https://www.maastrichtuniversity.nl/research/mcicm-maastricht-centre-innovation-classical-music /mcicm-research?utm

 The revival of the classical arts: Orchestra

https://www.sweelinckorkest.nl/ 

https://www.studentenkooramsterdam.nl/

https://www.conservatoriumvanamsterdam.nl/studie/klassiek/hoofdvakken/directie/orkestdirectie/ https://www.concertgebouworkest.nl/en/concertgebouw-orchestra-young/

https://candlelightexperience.com/nl/ 

 Archival materials

https://archief.concertgebouworkest.nl/en/archive/search/ 

https://www.classicalarchives.com/newca/#!/ 

https://www.youtube.com/watch?v=dGKwx-BFO0E 

  Concertgebouworkest

https://www.urbanparadoxes.nl/wp-content/uploads/2022/02/2021_UP_interim_rapport_Concert gebouworkest_Young_Comparing_2019_2021_SUMMARY-DEF-verkleind.pdf 

 audience perspectives

             https://thesis.eur.nl/pub/39513/Vercammen-Merel.pdf?utm 

 

 

Brand Identity

 IN THIS POST: Brainstorming our production name and logo, identifying our target audience, making a mission statement


Version 1: GroupA3A


Design by ambre bargache

Issues


The images connote authenticity with selfies, casual photos, not uniform, while the text is serif, black on white, which suggests something serious and old-school. It does not signal the right energy to our target audience.


Version 2: Off Beat




Issues:


The logo is too closely related to music, which makes our brand seem like a music company or a production house only focused on music. Also, the brown colour and the violin are too classical and even though the font connotes youth, the colours do not represent innovation in the right way.


Version 3: Still thinking productions


Design by ambre bargache

Intention: 


The bright colours and sans-serif font is quite "trendy" (see brat by Charlie XCX). “Still thinking” could signify that we are encouraging young people to continue to use their brains critically (hence the 3D brain icon) and finally it can also be read as tongue in cheek because it sounds like we are “still thinking” about what our name should be, so it can also be ironic.