FILMMAKER HANDBOOK CURRICULUM GUIDE

Transcription

1 FILMMAKER HANDBOOK CURRICULUM GUIDE

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3 FILMMAKER HANDBOOK CURRICULUM GUIDE Property of

4 CONTENTS Introduction Screenwriting Production Directing Cinematography & Sound Lighting & Grip Post Production No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission of the publisher. Copyright 2011 Trent Duncan Productions, Inc. All rights reserved. Printed in the U.S.A.

5 INTRODUCTION Technology of the 21st century is fostering a new type of independent filmmaker. No longer do you need fancy equipment, expensive technical schools, or massive film crews to bring your vision to life. The Online Film School Boot Camp combines the best techniques of documentary style and traditional style filmmaking to teach students the six fundamentals necessary to successfully organize and operate a low budget independent film set. This process maximizes the efficiency of each individual, enabling them to make a movie in less time, with less money, and with fewer resources. Military Veteran and Filmmaker Trent Duncan bring this process direct to you with easy to learn tutorial videos and materials all designed to make you a more complete self-sustaining filmmaker. This Filmmaker Handbook is used as a curriculum guide to follow along with each video tutorial and can be used as a reference when on set.

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7 SCREENWRITING Developing a well written screenplay is arguable the most important aspect of any film production. The screenwriting video will teach you the three ACT structure used in all good Hollywood movies, as well as other critical aspects essential to developing a complete storyline. SCREENWRITING SOFTWARE Refer to the Video Extras Document BUILD YOUR STORY Build from: Index cards Outline Treatment Journal Tape recorder Define The Stakes

8 THREE ACT STRUCTURE Act 1: Set-up Push: Goal: Central Question: Problem/Crisis Point: -Subplots Act 2: Development Action Points: - Barrier: - Complication: - Reversal: Actions & Responses Creating the Scene

9 Act 3: Resolution CHARACTER DEVELOPMENT Character Likability: Character Spine: relationship of motivation and action to the overall goal. Motivation Physical Actions: Dialogue: Situations: Flash Backs: Real Motivation Always happens in the Present! Action The Goal What s at stake? CONFLICT

10 Inner Situational Societal Cosmic Dimensional Characters Philosophy creates Attitude. Attitude creates Decisions. Decisions create Action. Action creates Character Understanding. TRANSFORMATIONAL ARC Story/Characters Influence/Change a character INDIE SCREENWRITING TIPS Strengths Weaknesses

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12 PRODUCTION The pre-production and production phases of a film shoot are extremely important because they set they tone for the entire shoot. Many aspects of a production must work properly and be in sync for a shoot to be successful. The planning and preparation involved in a film shoot, before anyone steps on set, is extremely crucial. This video is designed to help the filmmaker gain a better understanding of the planning process and the details involved in the pre-production and production phases of a film shoot. ORGANIZE YOUR CREW Core crew of 2-6 people. Refer to the Video Extras Document on the Documents CD Pros of Documentary style filmmaking. Larger crew Disadvantages: Each crewmember must know their role. Who is the overall decision maker for the production? Positions: Director/DP/Assistant Director: Boom Operator:

13 Grip/Electric: Producer/PA: Make-up/FX: SCHEDULING Break down the script by scenes. Build your schedule around availability of locations and actors. Complete filming at each location before moving to the next location. Can the location handle your crew? Complexity of each scene determines time at location. Factors that extend your time: Quickest shots to execute: 1-Handheld 2-Tripod 3-slider/dolly 4-jib arm 5-moving vehicle

14 Choose between various methods to add to the mood of your film. Know your speed Document: The Evidence Practice Script CONTRACTS Sign contracts! It s a good habit. BUDGET Up front money: Back end money: CASTING Post a breakdown: Where to post and what to post? Document: Casting Notice Responses: rejection letters to those who do and don t fit the role of your character. Document: Audition Responses

15 How many actors to audition? Actors invited to audition. Document: Audition Responses Additional information to provide to auditioning actors: Date/Time Character Script Sides confirmation! No open casting Schedule in blocks: After casting rejections Document: Audition Responses Audition Location Where to audition: Distractions? TECH SCOUT (Technical Scout) The crew scouts each location as the director describes his or her vision for the film at each location.

16 Location Considerations: Size: Props: Lighting *Lights = Electricity = Money! Sound: Air conditioning: off = heat Production Considerations: Parking: Equipment: Bathrooms: Wardrobe:

17 A Tech Scout is used for the Crew to gain a better logistical understanding of the locations, so everything can run smoothly on the day of the shoot. PRODUCTION Document: Call Sheet Template Call sheet info: Document: Location Map Example Location Map info: On Location Clean up & don t burn bridges!

18 DIRECTING As a director, the entire film rests on your shoulders. If it fails, you take all the blame. If it s successful, you get all the credit. This section will help you learn the logistics and leadership of becoming an independent film director. PRE-PRODUCTION Breaking down the script Create a shot list Mood Transitions Camera movements Framing Money Shot Characters Relationship Communication Communicate with all departments what is needed The more info you pass along, the less surprises you ll get along the way.

19 Locations Casting Good locations Be confident and professional Audition Process: Working with Actors Read Through The more work done in Pre-Production = less work on set But there are always changes on the day of filming. DIRECTING ON SET Your time to shine, don t hesitate. Be confident! A good crew knows their role and is proactive in their efforts IF given enough info ahead of time. Arriving on Set Call Sheet

20 Rehearsal - You want to rehearse so that everyone is one the same page. Wearing multiple hats: 2 main ones. -Assistant Director: -Camera Operator/DP: Working with Actors Communicate with your actors! This is the biggest fault of inexperienced directors. Blocking and movement 1, 2, 3, etc. movements - Blocking -

21 Framing the shot: Each scene has its own mood & the shot you choose dictates it. Framing Examples in Cinematography Section Wrapping Most film crews shoot for 12 hours a day with a lunch break after 6 hours from call time. Second meal Actor Applause Give ample time to clean up the location and always return it to a better condition then when you arrived! EDITING

22 CINEMATOGRAPHY & SOUND As a cinematographer, the entire picture quality rests on your shoulders. Today s digital cameras make it easier than ever to create magnificent works of art, but a good camera will only get you so far. It s your responsibly to help create the mood of the film and help capture the overall vision. CHOOSING YOUR CAMERA What best fits your needs? Refer to the Video Extras Document on the Documents CD Consumer - Prosumer - Menu Ease of Access Quick Access Menu Exposure Manual Automatic Audio levels - 3.5mm external Microphone plug Manual Automatic

23 White Balance Shooting modes: Consumer Camcorders: Snow, Beach, Sunset, Fireworks, Portrait, etc. Prosumer Camcorders: Cine mode: Shutter: Aperture priority: Programmed AE: Focus Manual Automatic Focus Tip: Zoom in on your subject, select autofocus, let the camcorder focus itself, once focused select manual focus, zoom out. Frame Rate: 24p 30 60i 1920 x 1080 HD

24 Interlace vs Progressive Refer to the Video Extras Document on the Documents CD Hand moving across screen Interlace Progressive SD: Secure Digital cards Camera Set-up Documentary style of filmmaking streamlined into the traditional style of filmmaking.

25 INTRO TO CINEMATOGRAPHY Composition: How elements are arranged on screen. Rule of thirds: Divide screen into thirds, horizontally & vertically. -How much foreground or background you want. -How much space do you want around your subject. -What kind of symmetry are you going for? Headroom Picture yourself sitting across the table from someone. The frame is your eyesight. The majority of your attention is on the objects directly in your foreground leading all the way up to the top of the individual s head across from you. Rarely do you every pay any attention to what s above and beyond their head. This is how you should approach framing. Blocking/Focus Points Help camera operator keep focus when following a subject with manual focus. Moving Objects

26 Depth of Field: Distance between the nearest and farthest objects in a scene. The more you zoom in, the shallower your depth of field gets and you create a more cinematic look. Framing: Object Distortion

27 WIDE SHOT (Wide) A wide shot is generally used as an establishing shot at the beginning of a scene. It brings the audience into the scene and helps them establish where the characters are in relation to one another and the surrounding environment. MEDIUM WIDE SHOT (MedWide) Also referred to as a cowboy shot, a medium wide shot allows the audience to see any movements by the characters, important background subject, and other characters that might enter into the scene. MEDIUM SHOT (Med) A medium shot are most popular comedy films to give the audience a good perspective of the scene, allowing them to see body movements and facial expressions MEDIUM CLOSE UP SHOT (MedCU) A medium close up provides a view of the characters expressions without getting to intimate. This shot also allows for shooting over the shoulder of another character. CLOSE UP SHOT (CU) A close up shot is a dramatic shot that is used to focus the audience s attention on a characters expression. It can be very intimate and is also used to help the audience focus on what the character is saying rather than what s going on around them. EXTREME CLOSE UP SHOT (ECU) An extreme close up shows extreme details and is generally used as an artistic shot. ECU s can generally be used for insert shots rather than in conversation.

28 Exposure *In the editing room, it s always easier to make a scene darker than it is to try and brighten it. PRE-PRODUCTION Script/Scene Breakdown What is the overall mood? Tech Scout Notables - Equipment needed for each scene - Lighting set-up & time involved - Camera movements if any - Framing, angles, & the complexity of each shot Production Tip: PRODUCTION On Set Follow your Game Plan. One scene at a time: Director s notes: Watch the rehearsal: Work with the gaffer and grip on any lighting set-ups:

29 Minor tweaks: POST-PRODUCTION SOUND Built-in camcorder microphones offer low production quality sound. Shotgun Microphone Run sound directly into the camcorder: 3.5mm plug or XLR plug Boom Operator: Operates the boom pole that holds the microphone. - Take sound from overhead, pointing down - Take sound from below, facing up. Point the microphone at the area directly in front of the actor s mouth. Operating Boom Pole: Boom Operators are very essential to the overall production!

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31 LIGHTING & GRIP Lighting is a very important part of filmmaking that helps create the mood of your story. This section explains the basic 3-point lighting set-up used by industry professionals and various lighting tools and techniques for independent filmmaking. 3-POINT LIGHTING SET-UP Key Light Main source of Light Fill Fills in opposite side of Key Light Rim/Back Light highlights back of subject s head to separate them from the background.! 3 Point Lighting Rim/Back Light Sharpe Bright *Either side 45 degrees off center 45 degrees off center Center Key Light Brightest Light Fill Light Softer Less intense Online Film School Boot Camp By using a combination of the three, you can create an array of dramatic lighting effects.

32 Tips: Other Lighting Techniques: Above/Below: Side: Behind/Silhouette: Practical: Diffusion Gels Blue Orange Bouncing Dimmers Black Wrap (aluminum foil)

33 EXTERIOR vs INTERIOR LIGHTING Exterior Day PRO s CON s Exterior Night City locations look good, adding production value to your film. Interior PRO s CON s GRIP Shape/manipulate the lights, Set-up dolly track, rigging & secure anything camera sits on, etc.

34 ! INDIE LIGHTING PACKAGE Silver dome lamp with clamp - Can attach variable watt bulbs Spot or household bulbs - Be aware of different color temperatures of each bulb Extension cord(s) - Heavy-duty outside cords are preferred Cube tap - Good for attaching multiple extension cords Dimmer - Can be purchased or made Aluminum foil - Heavy-duty foil will last longer *Safety is priority when dealing with electricity! Never overload any circuits or outlets!!!!!!!! INDIE GRIP PACKAGE! Plastic Clamps - Very handy for a multitude of uses Gloves - Helpful when handling equipment and hot lights Multitool - Will always come in handy Rope - You never know when you ll need it Tape: Masking, Duct, and Paper tap - Good for repair and concealment

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36 POST PRODUCTION Editing is the final step in finely crafting your work of art. The post-production section covers streamlining your production for editing, Internet video hosting, and film festival information. Editing Software Programs Refer to the Video Extras Document on the Documents CD Editing Edit from an audience point-of-view. Cutting footage. Youtube tutorials are the first place to search if you are stuck on a technical issue. Download your footage onto your computer. External Hard Dive: Organize Your Workflow Production Footage: Behind the Scenes Footage: Photos: Admin: Special Effects / Foley: Music: Final Videos: SAVE your project often!

37 Begin by sorting through all of your clips. - Label & Delete Remember to save a couple of clips for the outtakes. Create a rough edit of your movie. - Transitions & Edits There is always fat that can be trimmed from every scene. Sound Dialogue Levels Sound Effects/Music Refer to the Video Extras Document on the Documents CD Color Correction Midtones Blacks Saturation Desaturation Blue Orange

38 Final Edit 720 lines of resolution or higher is considered HD After the Edit Youtube Vimeo DVD s Edits for Cast & Crew DVD Cover/Poster Film Festivals Entry Fee s Press Packet A press packet includes detailed information about your film for anyone interested. Logline, Synopsis or plot outline, credits that include actors and director, and poster/promo pictures WithoutABox Link: Without A Box IMDb Film Distribution Websites Refer to the Video Extras Document on the Documents CD

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