Film finance & budgeting lecture
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This document discusses the importance of finance in filmmaking. It defines finance as the management of money and money-related matters. In filmmaking, finance refers to the money that is available versus the money that is needed to produce a film. It provides examples of where money is needed, such as paying crew wages and benefits, equipment rental, and travel costs. Potential sources of funding are also discussed, such as payments from broadcasters, private investors, or clients. The document stresses the importance of creating a budget to ensure enough money is available to pay for all production costs and avoid going over budget.
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This document provides guidance for students working on planning and recording soundtracks for interactive films. It informs students that they have 4 weeks to complete the project and outlines different planning tasks they need to undertake, including creating audio, foley, and ADR plans and finding props. Students are instructed to identify remaining work and record foley if possible. The goal is for students to make progress on their individual soundtracks through planning and recording work.
Fmp workshop
This lesson focuses on continuing to plan and edit the student's short film. The student must identify what creative and organizational planning remains to be completed before filming. Specifically, the student must identify what work is still needed for their filmmaking project, should edit any film rushes in video editing software, and could apply planning and creative skills to complete outstanding tasks. The document provides questions to guide the student in assessing what planning still needs to be done, such as storyboarding, shot lists, scheduling filming dates, and booking equipment. The student is asked to identify responsibilities, remaining planning tasks, unfinished video edits, and any filming yet to be completed along with planned dates.
Sound Design theory recap
The document discusses various concepts in sound design for film including different types of sounds like ambient noise, dialogue, and sound effects. It defines diagetic vs non-diagetic sounds and external vs internal diagetic sounds. It also discusses parallel vs contrapuntal sound and how silence is used in films. Students are tasked with continuing to write an essay analyzing the sound design of at least two scenes from a film by applying these sound design concepts and answering questions about how specific sounds are used to create mood, tension, and realism.
Soundtrack lesson 2
The document discusses how sound is used in film to create mood, meaning, and tension through different sound elements. It instructs students to analyze how the opening scene of A Quiet Place uses sound design to set mood and build tension. Students are then tasked with analyzing two film scenes to compare how sound is used to create these elements and with producing soundtracks as foley artists and sound designers for segments of their interactive films.
Soundtrack lesson 1
This document provides an overview of diegetic and non-diegetic sound in film. It defines diegetic sound as any sound that characters in the film can hear from within the film's world, such as dialogue, sound effects, and ambient noise. Non-diegetic sound includes any sounds added by the editor that characters cannot hear, like music and narration. Examples are provided of different types of diegetic sound, like external diegetic sound that the audience can hear but not see. The document also discusses how sound designers can use music that is parallel or contrasting to the visuals. Students are assigned tasks analyzing the uses of diegetic and non-diegetic sound in the opening scene of Sin City.
Documentary week 4: Waltz With Bashir
We will watch the documentary "Waltz With Bashir" this week and analyze what conventional documentary techniques Ari Folman uses, such as interviews and reconstructions, compared to other filmmakers. After viewing, there will be a class discussion.
Documentary week 5
Documentary has evolved across different mediums. Traditionally, documentaries were consumed through radio broadcasts, magazine and newspaper photography, and films shown on television. Now, the rise of streaming platforms and podcasts has changed where audiences listen to radio documentaries. Photographs are commonly viewed online, altering the relationship between viewers and images. Video on demand has impacted documentary structure by allowing flexible viewing. Emerging technologies like virtual reality now provide interactive documentary experiences through apps and headsets.
Documentary 3: Documentary Forms
The document outlines six types of documentaries categorized by American film theorist Bill Nichols:
1. Poetic documentaries focus more on feelings and mood through images and sounds rather than narrative.
2. Expository documentaries aim to inform and persuade audiences through authoritative narration, often seen in nature documentaries.
3. Observational documentaries observe subjects with minimal filmmaker interaction, giving an authentic first-hand view through a "fly on the wall" approach.
4. Participatory documentaries include the filmmaker who may influence events, raising questions about truth and balance.
5. Performative documentaries share the filmmaker's personal stories in a wider social context, also
Documentary 2: the history of British documentary
1. The British Documentary movement began in the 1920s-1930s led by John Grierson who used documentary films to promote British trade but also showcased working class life.
2. The Free Cinema movement of the 1950s-1960s produced low-budget documentaries that focused on realistic depictions of ordinary people's lives, moving away from propaganda and upper-class focus.
3. Both movements aimed to use film to address social issues and represent everyday experiences, though Grierson and his units also had government promotional objectives at times. They helped shift British films towards kitchen sink realism.
Jump Cuts 1
The document provides information about an upcoming film production challenge called "Jump Cuts". Students will work in small groups to write, plan, film, and edit a 2-minute short film based on the theme of "hunter" that is due in mid-November. They will need to submit pre-production materials like a script, storyboards, shooting schedule. The short film must not contain any dialogue. Students are instructed to come up with 3 simple story concepts and develop a 7-point narrative plan for each during the workshop.
Short film
In this workshop, students will develop concepts for 3 short film ideas through research and apply idea generation strategies. Over the next 3 weeks, they will work in small groups to produce a 2-minute short film based on the theme "Hunter" for the Jump Cuts film festival. Students must submit pre-production documents and their film cannot contain dialogue. The workshop emphasizes keeping ideas simple and realistic given the time constraints. Students should be prepared to work outside of class time to complete filming by mid-December.
HND Film: Documentary, an introduction
What is a documentary?
What is at the heart of every documentary?
What techniques & content do we use?
How is our relationship with the truth complicated.
Fmp lesson 2 hopes
The document discusses developing ideas for a final major project (FMP) video. It provides guidelines for different video formats - short film, music video, documentary, and public information film (PIF). The student is instructed to identify which format best aligns with their career goals, then brainstorm 3 simple concepts that fit the chosen format. They will then pitch their initial ideas to the class.
Film Narrative & concept: an introduction
This document provides an overview of narrative structure for filmmaking. It defines key concepts like narrative, plot points, and 3-act structure. For 3-act structure, it compares a narrative to a burger split into setup (act 1), conflict (act 2), and resolution (act 3). Plot points mark turning points at the end of each act. It also discusses linear vs. non-linear narratives and uses the film Arrival as an example to identify its narrative elements.
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Chapter wise All Notes of First year Basic Civil Engineering.pptx
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
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Chapter 5
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Chapter 6
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Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
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3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
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Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
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Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Film finance & budgeting lecture
- 2. Finance is an important part of film- making, but…. What is ‘finance’?
- 3. Finance Is the management of money, and money related matters. need. In film-making, finance can be best thought of as the money we have versus the money we need.
- 4. What do we need money for?
- 5. Lets think about funding for our crew… They’ll need the correct equipment for their job… We’ll need to get them to their location (travel)… We need to make sure they’re fed & watered during production…. We need to pay them a fair wage…
- 6. Where can we get money from? A broadcaster might pay us to make a programme for them… (eg. TV show) A private investor might give us money in return for a share of the profits…. (eg. A feature film) A client may pay us to make a video for them… (eg. Music video) A charitable film fund may give you money (eg. Feature films)
- 7. Once we’ve got our funding we can budget for our production. What is a budget? “…an estimate of income and expenditure for a set period of time.”
- 8. Why do we need to do a budget? We need to make sure we have enough money to pay for all of our costs.
- 9. Why do we need to do a budget? You have £1000 budget for a music video. • You are filming for 2 days • You need 3 camera operators • Each camera operator costs £200 p/d • Each camera costs £80 for 2 days hire Total cost = £1440 Total funding = £1000 Loss = £440
- 10. What are the implications of going over-budget?
- 11. This is why we always need to do a budget for our productions…
- 12. Task 1 Log onto the planning and research section of Moodle and look at todays tasks under week 4.