The document summarizes a debate between four individuals - Fredric Nachbaur, Frank J. Donoghue, Kathleen Fitzpatrick, and Bob Stein - on issues relating to the future of humanities scholarship and publishing in the digital age. Some of the key topics debated include whether digital scholarship and ebooks will be accepted for tenure, how to ensure high quality scholarship is recognized, balancing print and digital publication, the benefits of open access, students' use of ebooks, and collaboration between universities and publishers.
Rockstar Games uses various marketing techniques to promote their Grand Theft Auto (GTA) franchise. They employ proliferation by adapting the GTA experience to different gaming formats. They leverage media convergence by allowing fans to interact online through fan sites and user-created mods. Rockstar also utilizes viral, guerilla, and synergistic marketing. Through vertical integration, they acquired developers to gain control over the development, funding, and marketing of their products.
The document summarizes information about the abortion of female fetuses in India in 1999, which is leading to a drastic reduction in female population. Cultural traditions favoring male children over female children, as well as the financial burden of dowries, are driving couples to abort female fetuses. The Indian Medical Association is launching a nationwide campaign to educate people and change attitudes regarding the practice, which they view as degrading and inhuman. Estimates suggest between 2-5 million female fetuses are being destroyed in India annually.
BioOne invested over $2 million in creating an open access journal called Elementa based on a collaborative and sustainable business model, despite some referring to open access as "magical thinking". Elementa provides peer-reviewed research and data on environmental changes from human impacts. It was created in partnership with universities and its long-term sustainability will be evaluated in 2016 based on metrics like submission volumes, costs, and ability to be self-sufficient without BioOne subsidies.
This document summarizes a presentation about open access mandates in the UK and their implications. It discusses the key recommendations of the Finch Report that supported gold and hybrid open access. It outlines influential open access mandates from funders like Wellcome Trust and Research Councils UK. It also discusses HEFCE's green open access policy and the total cost of ownership for universities between journal subscriptions and publication fees. Finally, it examines challenges for open access in the humanities given lower research funding levels compared to STEM fields.
The music video for Adele's "Rolling in the Deep" consists of seven scenes that were filmed to gather coverage for the editor. Each scene contains different shots that were recorded in multiple takes to provide raw footage. The scenes include Adele singing in an elegant room, a dancer in a military uniform, a drummer under stairs, close ups of glasses filling with water, cups being smashed against a screen, explosions destroying a model city, and a close up of a fresco. There is no obvious narrative to the video.
Character 1B is a large, gentle biker whose rough appearance belies his shy, solitary personality. While his sturdy square shape suggests intimidation, rounded elements like his headgear, shoulders, belly and shoes soften his silhouette to communicate friendliness. His closed-off body language in the final design reflects his preference for solitude over human company.
This document provides a sample 10-page design document template that outlines the key elements to include such as an executive summary, product overview, user experience goals, design details, visual design concepts, and next steps. The template is intended to help product teams communicate design ideas and get early feedback before beginning development.
The document summarizes a debate between four individuals - Fredric Nachbaur, Frank J. Donoghue, Kathleen Fitzpatrick, and Bob Stein - on issues relating to the future of humanities scholarship and publishing in the digital age. Some of the key topics debated include whether digital scholarship and ebooks will be accepted for tenure, how to ensure high quality scholarship is recognized, balancing print and digital publication, the benefits of open access, students' use of ebooks, and collaboration between universities and publishers.
Rockstar Games uses various marketing techniques to promote their Grand Theft Auto (GTA) franchise. They employ proliferation by adapting the GTA experience to different gaming formats. They leverage media convergence by allowing fans to interact online through fan sites and user-created mods. Rockstar also utilizes viral, guerilla, and synergistic marketing. Through vertical integration, they acquired developers to gain control over the development, funding, and marketing of their products.
The document summarizes information about the abortion of female fetuses in India in 1999, which is leading to a drastic reduction in female population. Cultural traditions favoring male children over female children, as well as the financial burden of dowries, are driving couples to abort female fetuses. The Indian Medical Association is launching a nationwide campaign to educate people and change attitudes regarding the practice, which they view as degrading and inhuman. Estimates suggest between 2-5 million female fetuses are being destroyed in India annually.
BioOne invested over $2 million in creating an open access journal called Elementa based on a collaborative and sustainable business model, despite some referring to open access as "magical thinking". Elementa provides peer-reviewed research and data on environmental changes from human impacts. It was created in partnership with universities and its long-term sustainability will be evaluated in 2016 based on metrics like submission volumes, costs, and ability to be self-sufficient without BioOne subsidies.
This document summarizes a presentation about open access mandates in the UK and their implications. It discusses the key recommendations of the Finch Report that supported gold and hybrid open access. It outlines influential open access mandates from funders like Wellcome Trust and Research Councils UK. It also discusses HEFCE's green open access policy and the total cost of ownership for universities between journal subscriptions and publication fees. Finally, it examines challenges for open access in the humanities given lower research funding levels compared to STEM fields.
The music video for Adele's "Rolling in the Deep" consists of seven scenes that were filmed to gather coverage for the editor. Each scene contains different shots that were recorded in multiple takes to provide raw footage. The scenes include Adele singing in an elegant room, a dancer in a military uniform, a drummer under stairs, close ups of glasses filling with water, cups being smashed against a screen, explosions destroying a model city, and a close up of a fresco. There is no obvious narrative to the video.
Character 1B is a large, gentle biker whose rough appearance belies his shy, solitary personality. While his sturdy square shape suggests intimidation, rounded elements like his headgear, shoulders, belly and shoes soften his silhouette to communicate friendliness. His closed-off body language in the final design reflects his preference for solitude over human company.
This document provides a sample 10-page design document template that outlines the key elements to include such as an executive summary, product overview, user experience goals, design details, visual design concepts, and next steps. The template is intended to help product teams communicate design ideas and get early feedback before beginning development.
This document provides a template for a game design document (GDD) that can be adapted for action, adventure, platform, RPG, and shooter-style video games. The template outlines sections for documenting game goals, story, controls, technology requirements, gameplay, levels, characters, progression, and more. It is intended as a comprehensive guide but notes that not all sections need to be filled and the GDD is a living document that may change during development.
This document provides an outline for a 10-page design document, with each page covering a different essential aspect of the game design. Page 1 introduces the game basics. Pages 2-3 describe the story, gameplay, and game flow. Pages 4-5 cover characters, controls, gameplay concepts, and platform-specific features. Pages 6-7 explain the game world and interface. Pages 8-9 discuss mechanics, power-ups, enemies, and bosses. Page 10 concludes with cutscenes, bonus material, and competitor games. The goal is to hit all the major design points while keeping the document concise and engaging to read.
The document provides guidance for developing a magazine by outlining key areas to consider including reflecting the qualities and aspirations of the target audience, proposing a magazine name and qualifier, listing potential feature and regular content ideas, and suggesting advertisers that could be approached.
Little White Lies magazine appeals to its target audience of 18-30 year old professionals and students through its high quality design and focus on independent and art house films. It uses hand-drawn images and unconventional layouts to distinguish itself from glossier film magazines and attract culturally discerning readers. The magazine's content, which includes in-depth reviews and discussions of interesting films and creative practitioners, aims to inspire aspiring filmmakers and spark cultural debate beyond mainstream cinema.
Total Film magazine targets 15-35 year olds interested in mainstream cinema. Its glossy design and full-bleed images of blockbuster films like The Dark Knight Rises appeal to readers' interest in major Hollywood releases. The magazine promises a comprehensive overview of upcoming films and film news through multiple cover stories and features. It aims to position itself as an authoritative guide for informed film fans seeking opinions rather than press releases.
El documento trata sobre un thriller de espionaje y conspiración. Se centra en temas como el espionaje, la intriga y la conspiración. Presenta una trama que involucra probablemente a agentes secretos, operaciones encubiertas y complots.
A crime thriller novel follows the story of Detective John Smith as he investigates a string of murders in the city. Several victims are found dead with no clear motive or suspects. Through interviews and evidence collection, Detective Smith slowly uncovers clues that point to a potential serial killer on the loose. After a climactic confrontation, Detective Smith is finally able to identify and apprehend the killer, solving the case.
A psychological thriller novel explores the dark depths of the human psyche and often features a protagonist struggling with mental instability, paranoia, delusions or some other psychological affliction that draws them into danger. The story creates mystery, suspense and tension through manipulation of the protagonist's fragile mental state and the uncertainty of what is real versus imagined. The plot is driven by the protagonist's unraveling grip on reality and descent into their own psychology, leaving the reader to question how much can actually be trusted from an unreliable narrator.
This document appears to be a questionnaire intended to gather information from respondents about their preferences and expectations regarding film noir movies. It asks about the respondent's age and gender, which aspects of film noir they feel are most important, what they expect to see in an opening scene and film noir in general, other films they associate with the genre, whether they are a fan and why, what keeps them watching at the beginning of films, and their favorite movie opening and why. The questionnaire aims to collect both quantitative and qualitative feedback.
This pitch document proposes an unnamed film idea but does not provide details on the story, characters, setting, or tone. It asks how credits will be presented but does not give an answer. Influences on the idea are not mentioned. The intended audience is not described.
The document provides an 8 step process for preparing a film project:
1) Write a script
2) Walk through the script
3) Do a location recce
4) Create a digital storyboard
5) Make a shot list
6) Do test shots
7) Create a shooting schedule
8) The final shoot
Following these steps systematically is presented as the key to being fully organized and prepared for a successful film project.
This document summarizes several key theories and theorists related to media and collective identity:
1) Stella Ting-Toomey's theory of identity negotiation discusses how people interact with others to create an identity through consistent behaviors that reinforce personal or group identity.
2) Emile Durkheim's theory of collective consciousness proposes that social groups share beliefs and attitudes that unite members.
3) Louis Althusser's theory of interpellation suggests that media can present subjects in ways that shape reality and how those subjects see themselves.
4) Herbert Marcuse argued that mass media promotes prescribed attitudes and habits to influence consumers and reduce them to a passive mass.
Cook is a youth who gets into fights, doesn't let anything stop him from getting what he wants, speaks his mind rudely, smokes, drinks heavily, does drugs, and gets into fights. He has no positive role model as his father is immature and irresponsible, living an isolated life drinking and smoking himself into an early grave, ultimately letting Cook down.
Brett and his gang are represented in the media and psychological theories in several ways:
1) They exhibit behaviors associated with stormy adolescence such as mood swings, risky behavior, and rejection of responsibility.
2) The media often demonizes youth and the gang instills fear in the young couple they encounter.
3) Psychological theories suggest they feel alienated and are let down by a lack of guidance from adults and the education system.
The document provides an analysis of the film "Away Days" and the character Carty. It discusses Carty's struggle with balancing multiple identities as the main male figure in his family, a football hooligan, artist, and teenager. Throughout the film, Carty is torn between these roles. By the end, he realizes he wants to focus on his family and girlfriend rather than the violent behavior of the football hooligan gang. The document also examines how the film portrays youth subcultures and gangs in 1970s Liverpool, known at the time for football hooliganism.
Nathan stands out from the other characters in Misfits due to his cocky and sarcastic personality. He does not put much effort into customizing his community service jumpsuit, showing his somewhat blank personality. Nathan has a troubled relationship with his parents, with his parents splitting up and his father not providing much emotional support. As a result, Nathan lives independently in the community center, feeling unloved by anyone.
Billy experiences conflict between his identity and desire for an adult role as represented in popular notions of adolescence. He dreams of being a writer in London but remains unsure of his path. As such, he exists in a limbo between childhood and adulthood, embodying the fears of both his own generation and society.
This document provides a template for a game design document (GDD) that can be adapted for action, adventure, platform, RPG, and shooter-style video games. The template outlines sections for documenting game goals, story, controls, technology requirements, gameplay, levels, characters, progression, and more. It is intended as a comprehensive guide but notes that not all sections need to be filled and the GDD is a living document that may change during development.
This document provides an outline for a 10-page design document, with each page covering a different essential aspect of the game design. Page 1 introduces the game basics. Pages 2-3 describe the story, gameplay, and game flow. Pages 4-5 cover characters, controls, gameplay concepts, and platform-specific features. Pages 6-7 explain the game world and interface. Pages 8-9 discuss mechanics, power-ups, enemies, and bosses. Page 10 concludes with cutscenes, bonus material, and competitor games. The goal is to hit all the major design points while keeping the document concise and engaging to read.
The document provides guidance for developing a magazine by outlining key areas to consider including reflecting the qualities and aspirations of the target audience, proposing a magazine name and qualifier, listing potential feature and regular content ideas, and suggesting advertisers that could be approached.
Little White Lies magazine appeals to its target audience of 18-30 year old professionals and students through its high quality design and focus on independent and art house films. It uses hand-drawn images and unconventional layouts to distinguish itself from glossier film magazines and attract culturally discerning readers. The magazine's content, which includes in-depth reviews and discussions of interesting films and creative practitioners, aims to inspire aspiring filmmakers and spark cultural debate beyond mainstream cinema.
Total Film magazine targets 15-35 year olds interested in mainstream cinema. Its glossy design and full-bleed images of blockbuster films like The Dark Knight Rises appeal to readers' interest in major Hollywood releases. The magazine promises a comprehensive overview of upcoming films and film news through multiple cover stories and features. It aims to position itself as an authoritative guide for informed film fans seeking opinions rather than press releases.
El documento trata sobre un thriller de espionaje y conspiración. Se centra en temas como el espionaje, la intriga y la conspiración. Presenta una trama que involucra probablemente a agentes secretos, operaciones encubiertas y complots.
A crime thriller novel follows the story of Detective John Smith as he investigates a string of murders in the city. Several victims are found dead with no clear motive or suspects. Through interviews and evidence collection, Detective Smith slowly uncovers clues that point to a potential serial killer on the loose. After a climactic confrontation, Detective Smith is finally able to identify and apprehend the killer, solving the case.
A psychological thriller novel explores the dark depths of the human psyche and often features a protagonist struggling with mental instability, paranoia, delusions or some other psychological affliction that draws them into danger. The story creates mystery, suspense and tension through manipulation of the protagonist's fragile mental state and the uncertainty of what is real versus imagined. The plot is driven by the protagonist's unraveling grip on reality and descent into their own psychology, leaving the reader to question how much can actually be trusted from an unreliable narrator.
This document appears to be a questionnaire intended to gather information from respondents about their preferences and expectations regarding film noir movies. It asks about the respondent's age and gender, which aspects of film noir they feel are most important, what they expect to see in an opening scene and film noir in general, other films they associate with the genre, whether they are a fan and why, what keeps them watching at the beginning of films, and their favorite movie opening and why. The questionnaire aims to collect both quantitative and qualitative feedback.
This pitch document proposes an unnamed film idea but does not provide details on the story, characters, setting, or tone. It asks how credits will be presented but does not give an answer. Influences on the idea are not mentioned. The intended audience is not described.
The document provides an 8 step process for preparing a film project:
1) Write a script
2) Walk through the script
3) Do a location recce
4) Create a digital storyboard
5) Make a shot list
6) Do test shots
7) Create a shooting schedule
8) The final shoot
Following these steps systematically is presented as the key to being fully organized and prepared for a successful film project.
This document summarizes several key theories and theorists related to media and collective identity:
1) Stella Ting-Toomey's theory of identity negotiation discusses how people interact with others to create an identity through consistent behaviors that reinforce personal or group identity.
2) Emile Durkheim's theory of collective consciousness proposes that social groups share beliefs and attitudes that unite members.
3) Louis Althusser's theory of interpellation suggests that media can present subjects in ways that shape reality and how those subjects see themselves.
4) Herbert Marcuse argued that mass media promotes prescribed attitudes and habits to influence consumers and reduce them to a passive mass.
Cook is a youth who gets into fights, doesn't let anything stop him from getting what he wants, speaks his mind rudely, smokes, drinks heavily, does drugs, and gets into fights. He has no positive role model as his father is immature and irresponsible, living an isolated life drinking and smoking himself into an early grave, ultimately letting Cook down.
Brett and his gang are represented in the media and psychological theories in several ways:
1) They exhibit behaviors associated with stormy adolescence such as mood swings, risky behavior, and rejection of responsibility.
2) The media often demonizes youth and the gang instills fear in the young couple they encounter.
3) Psychological theories suggest they feel alienated and are let down by a lack of guidance from adults and the education system.
The document provides an analysis of the film "Away Days" and the character Carty. It discusses Carty's struggle with balancing multiple identities as the main male figure in his family, a football hooligan, artist, and teenager. Throughout the film, Carty is torn between these roles. By the end, he realizes he wants to focus on his family and girlfriend rather than the violent behavior of the football hooligan gang. The document also examines how the film portrays youth subcultures and gangs in 1970s Liverpool, known at the time for football hooliganism.
Nathan stands out from the other characters in Misfits due to his cocky and sarcastic personality. He does not put much effort into customizing his community service jumpsuit, showing his somewhat blank personality. Nathan has a troubled relationship with his parents, with his parents splitting up and his father not providing much emotional support. As a result, Nathan lives independently in the community center, feeling unloved by anyone.
Billy experiences conflict between his identity and desire for an adult role as represented in popular notions of adolescence. He dreams of being a writer in London but remains unsure of his path. As such, he exists in a limbo between childhood and adulthood, embodying the fears of both his own generation and society.
1. HOW TO PREPARE FOR A FILM SHOOT
Shooting a film, whether a student film or a professional film, is full of many creative
processes.
-Script Writing
-Storyboarding
-Test Shots
-Final Shooting
-Editing
+ many more.
With all these different processes, you need to be able to utilize all of your talents. The key
is to be organised and prepared.
The following guide has the key foundations in order to be prepared for your
final shoot.
If you miss out on any of these processes, your final product will suffer. Think of your film
as a combination of different layers. Your first layers are built a long time before you begin
filming. If you miss out on a layer, then you are missing out on using your own talent.
STEP 1 - THE SCRIPT
Your ideas should be written down. It is the only way to remember exactly what your ideas
were. Without anything to refer to, you are losing an aspect of filmmaking. The simplest or
most elaborate films all start on paper.
The script does not have to be overly complicated. It should be a descriptive outline of your
story, including actions and emotions. The script should not contain any camera
directions e.g ‘camera zooms into the sky’. This is a creative process that you will do
when storyboarding your script.
Here is a short script extract I made up:
A male student is at college.
The student is listening to music on his headphones as he walks across the car park with
his bike. He chains up his bike and fixes his bag over his shoulder, holding it carefully.
The bell rings in college and students start to disperse to their lessons. The bell doesn't
appear to distract this student. Instead, with his eyes fixed and headphones still on, he
heads towards the quadrangle, walking in the opposite direction to other students. Other
students glance over their shoulder with a confused look, wondering where he is going.
He continues to walk across the quadrangle - staring ahead of himself. Suddenly he stops
dead in his tracks, almost freezing. There appears to be nobody visible around him. He
pulls down his headphones slowly and brings his bag around to his front, while continuing
to stare forward. He calmly reaches into his bag. We see one final look of his stare, before
he closes his eyes tightly shut.
END OF SCENE.
If you want to be more professional in your approach to scriptwriting, you can head each
scene with the following:
- INTERIOR / EXTERIOR (INT./EXT.)
2. - THE LOCATION (COLLEGE CAR PARK)
- DAY OR NIGHT.
Your script will then look like this:
EXT. - COLLEGE CAR PARK - DAY
A male student is at college....
INT. - BEDROOM - NIGHT
The student is in his bedroom....
etc.
This process does not take long and it will help you when creating your shooting schedule
as you can quickly see how many day/night shots or interior/exterior shots you have to
film.
STEP 2 - SET YOUR SCENE
At some point, you should attempt to walk-through your scene, step by step. If possible,
you should attempt to do this at the location you intend on filming. If you can’t, then try to
recreate it as best as possible.
Walking through your script will benefit you in many ways.
- it may help you identify problems with your script - some aspects of it may be too difficult
to achieve.
- if you are on location, you may identify restrictions within your shooting (that we will
discuss later in location recce)
- the director (or all of you) will learn more about the potential success’s and failures of
your script and ideas.
STEP 3 - LOCATION RECCE
You may already have covered some of this in STEP 2 if you visited your location. The
idea is to diagnose any problems with your location. You should ALWAYS do a location
recce in order to see if your location is suitable for filming. Even if you have been to a
location in the past, it is still advisable to re-visit the location before filming - as memory
does not serve as the best reminder of what the place looks like.
When you visit a location, you should try to educate yourself on different factors which
would/could affect your filming on the day.
For example, on a Monday you may visit a local park as a potential location, and decide
that it is perfect. It may be quiet and peaceful. However, if you were to turn up for filming
on a Sunday, you may discover that there will be football teams playing there all day -
making the location unusable. Do you have a PLAN B?
Also, if you are looking at outdoor areas, special attention should be paid to weather and
lighting (shade/shadows of buildings etc can all effect the visuals of your film).
Visiting a location at the exact time & day that you intend on filming would be a good idea.
Seeing where the sun rises and sets in an open space may help you be more creative in
the lighting of your scene - especially if it is going to be used for visual or dramatic effect.
3. On a location recce, you should be making notes on what you see and hear. Is it noisy
because of traffic? Will you be able to hear dialogue scenes here? What can you see in
the background? Is it too busy/too quiet?
Any notes that you take will help you remember the location and help you to compare it to
other potential locations you could use.
In addition, it is advised to take plenty of photograph’s of your location. Photographs
should be from various angles and positions, so that someone who has not visited the
location themselves will be able to understand exactly what it looks like and the
surrounding space.
For more advanced shooting, there are plenty of other elements that you may want to
discover about your location. Perhaps you will be shooting in an open field for a whole day.
You would need to know in advance where people can park their cars, where the nearest
toilets are, where you can go for lunch, where the nearest source of electricity is (to charge
cameras etc).
The thoroughness of a location recce could make or break your shoot.
STEP 4: - DIGITAL STORYBOARD
You may be able to combine your location recce with the chance to take some digital
storyboards. Even if your characters/actors are unavailable, you can have somebody stand
in. Take pictures of the different frames and shot types that you may envision your shotlist
to contain. It is good practice to storyboard different angles that you may not originally
have considered for your shoot - but this will help as it gives you an extra option. You could
even print these out, or put them on your phone, so that when you are filming, you have
these to hand to make reference too.
If you are working on a rather large location and will be moving around a lot, it is a good
idea to have a birds-eye view of your location - so that you can easily communicate where
you are supposed to be and where different action is going to take place.
Find your location on Google Earth, either as a satellite image or a map - and use a
highlighter or marker to create numbered dots for different shots. Create a map for every
location - it will prove to be a useful tool.
Preparation for your shoot is key.
STEP 5: SHOT LIST
You should always prepare for your shoots by having a shot list.
When you are on your set, it is fine to film more ideas than those listed on your shot list.
But it is fundamental to have a shot list in place - so that you don’t forget certain shots and
can help organise the shoot and time you have.
At this stage of pre-production, you should have a vision of what your film is going to look
like because you have found your locations and done a storyboard/digital storyboard.
I would suggest creating a shot list as follows:
Go through your script line by line. Select each part of your script and identify what type of
shots would cover that moment. For example:
A male student is at college.
Their are two main parts to this line. A male student and college.
4. How will we know the student is male? How do we know he is at college?
These may seem like very silly questions - but when your audience is watching the film,
they need to be able to understand everything through the use of visuals.
So how would we know the student is male? Obvious answer: his face. If you film a
student from a distance wearing a wooly hat and scarf covering their face, you have failed
to educate your audience on your character. Instead, how about a close-up of their visible
face. Easy. Start with the basics and then become more creative as you build up your shot
list. Make a note of this in your script. How do we know the student is at college? How
about a wide shot of the college?
Work this into your script shot list:
A male student is at college.
(1.C/U face) (2. Wide-shot college)
The student is listening to music on his headphones
(3. C/U face & headphones)
as he walks across the car park with his bike. He chains up his bike....
(3. Wide - carpark) (4. Long shot) (5. C/U Chain & hand)
You can do this either on a computer or by printing off your script but leaving a space after
each line. You can then write in different shot types and use a highlighter.
Remember to number your shots in order. When you are finished, take all your numbered
shots and compile a list, separated by each location:
Front of college:
2. Wide shot of college
Car park:
1. CU of face
3. CU face and headphones
4. Long shot bike
5. C/U Chain and hand
etc....
Once you have completed this process - voila! You have developed a shot list for each
location! You can now take this list to your shoot and know what shots you need in able to
tell your story. Remember, you don’t have to film ONLY your shot list - you can be creative
and shoot extra variety shots - but you must have a foundation for your story.
STEP 6: - TEST SHOTS
At some stage, it would be a good idea to take some test footage. Time restrictions may
mean that you are not able to do this. Test shots will serve different purposes:
- It will give you practice of shooting on location
5. - Using the equipment
- Polishing off your script
- Identifying outfits and props needed
- Helping with the edit process: you may have time to cut together a short sequence of test
shots. You may discover that you need to go back and add different angles to your
storyboard & shot list.
Test shots are normally done quickly and you should not spend the same amount of time
as you would on the actual shoot. However if you are not restricted by time - then you
should aim to film your shots as best as possible. You never know - you may end up using
some it in your final film!
STEP 7: - SHOOTING SCHEDULE
By now you should have everything ready for your shoot. Storyboards, shot lists etc.
Time to organise your shooting day.
Start by printing out an hour-by-hour break down of your day. Then start to block out
different times for different location, based on your restrictions and what you need to film.
What sort of restrictions would you have?
- daylight
- weather
- equipment hire
- personal availability
- use of location
- transport
- interior/exterior shots
Even if your shoot is only 2 hours long, you would still benefit from a shooting schedule.
Tailor make your schedule to suit your shoot. Every schedule is different. Here is an
example:
10.00 - Pick up equipment. Everyone meet at John’s house.
10.30 - Leave Johns house and go to LOCATION 1: The park.
10.45-11.30 Shooting ‘playground’ location
Shots 3,4,7,12,14.
11.30-13.00 Shooting ‘forest’ location
Shots 1,2,5,22
13.00 Travel to LOCATION 4: Claybury Fields.
13.30-14.30 Shooting by the canal. (marked number 2 on map).
Shots 16-21.
15.30 Finish filming. Return equipment to John’s house.
All members of your film crew should receive a copy of the shooting schedule, so that
everyone understands exactly what the plans are.
6. You will notice that many of the processes within this guide are interlinked and you can do
two at once. Many of these do not take long to complete, but they will no doubt help you to
be better organised.
Be organised and prepared - then you can be creative and let your talent shine through!