3step filmmaking process
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These are the 3 steps in the film making process.

These are the 3 steps in the film making process.

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  • REVIEW PAGE 70 AFI SCREEN SET LIGHTING
  • STORYBOARDING - SHOTS & DEFINITIONS AFI PAGES 44& 45 & 49 ….50-61
  • Definitions AFI Pages 46-48 Call Sheet Page 84
  • Definitions AFI Pages 46-48 Call Sheet Page 84

3step filmmaking process Document Transcript

  • 1.
      • PRE-PRODUCTION
        • Script Development
            • Brainstorm
            • Decide upon project
            • Identify the “Who, What, Where, When and Why”
            • Screenwriting & Storyboarding
      • PRODUCTION
        • Production & Filming
      • POST-PRODUCTION
        • Editing
        • Exhibit, Review & Reflect
    FILMMAKING 3-Step Process
  • 2.
    • WRITE A ONE-PAGE STORY DESCRIBING THE PROPOSED PROJECT
        • Describe what you intend to do and why
        • Set-up, tension development (conflict/crisis) and resolution
        • Used to sell a project (to the teacher) before the script is written
        • What characters are in the scene? What do they say? How do they communicate?
        • Does the scene make sense?
    • SET LENGTH FOR FINAL PROJECT (30SEC - 5MIN)
    • PRESENT OR “PITCH” THE STORY IDEA TO THE TEACHER FOR COMMENT AND APPROVAL
    STEP 1 SCRIPT DEVELOPMENT
  • 3.
    • CREATE A SHOOTING SCRIPT FOR THE FILM PROJECT
        • Movies tell stories with visual images and sound.
        • The screenplay provides a detailed roadmap for the director and other members of the filmmaking team
        • The screenplay includes:
          • All the words spoken by the characters
          • Stage directions that indicate all nonverbal actions by characters
          • Elements of setting
          • Sound effects
          • Design & music
        • All in all --- A screenwriter writes everything intended for an audience to see and hear.
    STEP 1 SCREENWRITING
  • 4. SCR I P T FORMA T T I NG GU I DE
    • Title Page: Title & screenwriter(s) names in the middle.
    • Font: Always use 12-point Courier ; no bold face or italics.
    • Page Numbering: Place the page number on every page in the upper right corner, except the cover.
    • Spacing: Double space between slug line, action line, speaking character, stage directions and dialogue. Single space action lines and lines of dialogue.
    • The Slug Line: The general or specific location and time of day. Always in ALL CAPS.
    • Action Line: Sets the scene with a description of characters, places and action single spaced from margin to margin.
    • Voice Over: Indicated by placing (VO) immediately to the right of the character name.
    • Off Camera: Indicates that a character is speaking off screen, place (OC) Immediately to the right of the character name.
    • Stage directions : Written in parenthesis and under the name of the character speaking. Include what the character is doing within the scene.
    • Sound/Music Effects: Are always capitalized.
  • 5. SCRIPT EXAMPLE
  • 6.
    • SPIES
    • by
    • Roseanne Perez
  • 7.
    • 1.
    • ” SPIES"
    • FADE IN:
    • 2 SPACES
    • EXT. CITY STREET – DAY
    • 2 SPACES
    • Heat rises from the pavement. A red car
    • 2 SPACES
    • Pedestrians leap out of the way of the wayward
    • As the car approaches, we see the driver is
    • 3 SPACES
    • INT. CITY STREET – NIGHT
    • MACK
    • (with a smirk)
    • Try to catch me now,
    • coppers!
    • He tosses a stack of LOOSE BILLS out of the
    • Chaos ensues as PEOPLE rush into the street to
    • (MORE)
    • SCENE HEADINGS
    • AKA
    • SLUG LINE
    • (ALWAYS CAPS)
    • Must Include:
    • INT OR EXT
    • LOCATION
    • DAY OR NIGHT
    • TRANSITION
    • Method of changing from
    • one scene to another
    • RULE OF THUMB
    • Every scene will CUT TO: the next if no transition is specified
    • If necessary to specify one, it appears against the right margin like this.
    • DISSOLVE TO:
    • SCENE ACTION
    • ALWAYS PRESENT TENSE
    • MIX UPPER AND LOWER CASE TEXT
    • RULE OF THUMB
    • LIMIT A PARAGRAPH OF SCENE ACTION TO 4-5 LINES
    • EACH PARAGRAPH IS A BEAT OF ACTION WITHIN YOUR SCENE
    • Scene action should only deal with what is happening on the screen and must never stray into thoughts or back-story.
    • NOTE
    • Description of character must follow his introduction
    • CHARACTER
    • INDENTED AROUND THE MIDDLE BUT NOT CENTERED 2.2INCHES
    • NAMES SHOULD BE CONSISTENT THROUGHOUT THE SCRIPT
    1 inch 2 inches
    • PARENTHETICAL
    • SPECIAL EMPHASIS
    • EXAMPLE
    • (to GRANDMA)
    • WORDS THAT DESCRIBE
    • MUST BE IN CAPS
    swerves through traffic. sedan. MACK ATTACK (20s), an unwashed cowboy whose eyes twinkle from lack of sleep. grab the money. window.
  • 8.
    • 2.
    • INT. POLICE STATION/OFFICE – DAY
    • SARGEANT PAUL GARCIA (55) slams down his
    • GARCIA
    • (to his SIDEKICK)
    • Mack is back.
    • DISSOLVE TO:
    • EXT. POLICE STATION – NIGHT
    • MACK (O.S.)
    • I have something to tell you
    • too, Scott.
    • I was born an alien.
    • Looking straight into her eyes. Pam (45), tall
    • OPERATOR (V.O.)
    • Station one, we have a reported
    • murder on Boardwalk and Lee Street.
    • (MORE)
    SLUG LINE W/SUBLOCATION SCENE ACTION
    • NOTE
    • Sometimes it may be necessary to hear characters when we cant actually see them
    • O.S.
    • OFF SCREEN MEANS THE CHARACTER IS PHYSICALLY PRESENT WITHIN THE SCENE, BUT CAN ONLY BE HEARD
    • (they are speaking from another room)
    PARENTHETICAL phone.
    • V.O.
    • VOICEOVER IS USED WHEN THE CHARACTER IS NOT PRESENT WITHIN THE SCENE, BUT CAN BE HEARD VIA A MECHANICAL DEVICE SUCH AS A PHONE/RADIO.
    • ALSO USED WHEN CHARACTER NARRATES THE STORY.
    blonde secretary, started CRYING.
  • 9.
    • 3.
    • INTERCUT - INT. POLICE STATION/HOME – DAY
    • GARCIA
    • (into phone)
    • What happened?
    • MACK
    • (into phone)
    • I cant believe
    • this crime scene.
    • FADE TO:
    • EXT./INT. POLICE STATION – DAY
    • PROFESSOR
    • (EXCITEDLY) Let me guess!
    • Revolutionaries? (LEANING IN CLOSER) Intent on
    • stealing my life’s work?
    • FADE OUT.
    • THE END
    SLUG LINE Scene Heading will look like this when its necessary to CUT back and forth between locations in the same scene
    • NOTE
    • IF YOU HAVE A SCENE WHERE THE ACTION IS CONTINUOSLY MOVING BETWEEN THE INT AND EXT OF THE SAME LOCATION, DO YOUR SCENE HEADING LIKE THIS
    • BUT USE INTERCUT FOR CUTTING BACK AND FORTH BETWEEN TWO SEPARATE PIECES OF ACTION INSIDE AND OUTSIDE.
    • NOTE
    • SIGN-OFF A FILM SCRIPT WITH
    • THE END CENTERED ON THE PAGE,
    • PRECEDED BY
    • FADE OUT
  • 10.
    • CREATE A SET OF STORYBOARDS THAT
    • ACCURATELY VISUALLY DESCRIBE THE FILM
    • PROJECT
      • A visual script created by a series of pictures that conveys the essential shots of a scene.
      • With simple artwork, even stick fi gures, the storyboard artist quickly and simply communicates to the entire team the visual components— broken down into individual shots—of the script.
      • The director should be able to determine the position of actors and the direction of their movements, and the type and framing of the shot (close-up, long shot, etc.).
    • Things to think about:
      • • Does your storyboard show the important shots that you want in your fi lm?
      • • Does it show how the fi lm sequence will be paced?
      • • Does the storyboard show the action that is happening?
      • • Could someone else outside of your group clearly understand what it is communicating?
    STEP 1 STORYBOARDING
  • 11. STORYBOARD EXAMPLE Nationwide Comcast Commercial
  • 12.  
  • 13.  
  • 14.  
  • 15.  
  • 16.  
  • 17.  
  • 18.  
  • 19.  
  • 20.
    • 1. ROLES & RESPONSIBILITIES FOR THE SHOOT
      • As a team, decide what roles each of you will play to produce the scene that you have scripted and storyboarded.
      • Things to think about:
      • Who will manage the production from start to finish?
      • Who will direct? Who will shoot the film?
      • How will you create believable characters? Locations? Situations?
    • 2. SHOOTING FROM THE STORYBOARDS
      • Based on the storyboards you created, film the shots required to completely tell the story described in your script and storyboards.
    • Things to Think About:
      • What is your job and what are your responsibilities for the shoot?
      • Are you recording sound you don’t want?
      • How will you light the scene to achieve your dramatic intent?
      • How will you create mood?
      • Do you have all the props and costumes you need on the day(s) you are shooting?
    STEP 2 PRODUCTION & FILMING
  • 21.
    • Editing is to filmmaking as rewriting is to writing.
    • Storyboards are the outline.
    • Shooting is the first draft. And, like most first drafts, cut out the bad sentence structure/misspellings, and subtract and reconstruct to tell the story better!
    • The editor takes the jumbled pieces of film that come out of production, and, in consultation with the director and producer, transforms them into a coherent and well-paced story.
    • During the post-production step of the process, teams will perform the following tasks:
    • • Import video elements shot during the production step of the process.
    • • Use music, transitions and other effects to produce a finished final edit of the project.
    STEP 3 POST-PRODUCTION EDITING
  • 22.
    • 1. EXHIBIT - VIEW VIDEO ON SCHOOLTUBE
    • 2. REVIEW - WRITE REVIEW ON CLASSROOM BLOG (EDMODO).
    • Remember: Convince the reader that you have something interesting to say about the film - the plot is trivial, the hero is not really a hero, the plot and characters are fine but the camera work is needlessly tricky, or whatever else you decide your main point be. Any opinion must be supported by examples.
    • Things to Think About:
    • Here are some basic, starting questions to ask yourself when writing your review:
      • Is the story original, how fresh or innovative is it?
      • Are the characters believable? What is the theme of the film?
      • Is the setting appropriate and effective?
      • Does the film make certain use of color, lighting, etc., to enhance the theme, mood and setting?
      • Is the sound track effective? Are camera angles used effectively?
      • Are there special effects in the film? If so, are they essential to the plot?
      • 3. REFLECT After reading the individual reviews’, group members will reflect and reply to the classroom blog.
    STEP 3 EXHIBIT/ REVIEW/ REFLECT