Documente Academic
Documente Profesional
Documente Cultură
audio visual
English
1
Production
Post - Production
Scene Analysis
Filming Schedule
Character Development
Writing a Screenplay
Storyboard Development
Commercial Project
Filming on Location
- filming vocabulary
- plan filming from a film schedule
- discuss the difficulties of on location
shoots
Organizing a Shoot
Commercial Shoot
- watch 7 films.
- evaluate 3 of the films.
- talk about your choices.
- develop a message for a short film.
- convey the message using
storyboards and storylines.
- stages of a film.
- reading a film review.
- learn review vocabulary.
- writing a film review.
- reading and evaluating other reviews.
Movie Review
Movie Trailers
Unit 1
Pre - Production
Pre-production
Pre - Production
Section 1
A.)
B.)
Do you work, or do you know anyone who works, in the TV or film industry? What do you or they do?
2.
Would you like to work for a TV broadcasting company? Explain why / why not.
3.
Look at some of the jobs used in the TV industry: Director of news and current affairs, Editor, Social affairs
correspondent, Reporter, Researcher. Do you know what they do?
4.
What do you think are the differences between a journalist for a news paper and for the TV?
Can you match the words in the box to their definitions (a g).
1. Correspondent
2. Running order
3. Coverage
4. Wires
5. (an) exclusive
6. DV footage
7. Camera crew
C.)
a.) director
b.) story
c.) footage
4. Camera
a.) work
b.) crew
c.) broadcast
7. Running
a.) order
b.) commentary
c.) crew
8. Live
a.) camera
b.) coverage
c.) broadcast
A.)
B.)
C.)
D.)
Pre - Production
Section 2
In pairs, discuss the following questions.
1.
2.
3.
Have you ever worked as part of a production team? If so, describe what you did.
What do the words in the box below have to do with the production process?
Research
Filming
Interviews
Money
Travel Arrangements
Advertising
Use the words from the box to complete the sentences below.
1.
2.
A lot of ____________________ must be done to show the different perspectives in relation to the earthquake.
3.
4.
The ___________________________ of the documentary must be fully developed, with the feelings of the people
who lost loved ones during this tragic event in mind.
5.
We have to avoid too many ___________________________ to keep the documentary more visually interesting.
6.
They are making _____________________________ to visit some of the places worst hit by the earthquake.
Possibility
Ability
Necessary
Not Necessary
Could
E.)
In the following sentences, both of the verbs in the brackets are correct. However, one of the
alternatives in each sentence has a mistake. Correct the mistakes so that both are correct.
1.
The director thinks you (ought to / should to) interview people from different cities.
2.
3.
The cameraman (has better / should) film the setting of the event before we arrive for the interview.
4.
5.
They (could / might to) cover the story from a perspective of a victim.
Pre - Production
F.)
In groups, brain storm for a pre-production meeting. Think about the agenda for the news
broadcast. Select a current event that you would like to cover in a new broadcast. Then
describe the topic and discuss the necessary pre-production process.
Filming Schedule.
Section 3
A.)
B.)
The team is preparing to make their documentary about the earthquake. In pairs, discuss the
following questions.
1.
2.
What roles do the editor and production manager play in preparing the documentary or TV series?
3.
4.
Why is it important to have a filming schedule? What would you expect this schedule to include?
Read the filming schedule for the When the Shaking Stops shoot on the next page and answer the
1.
2.
3.
Pre - Production
WEEK:
DATES:
LOCATION:
TX DATE:
34
Monday 22 Sunday 28 October
Various locations in Chile
TBC
CREW ON LOCATION:
EDITOR:
Franks Straten
PEPORTER:
Sam Cox
CAMERA:
Jim Bry
FIXER:
Steven Mills
TECHNICAL REQUIREMENTS:
CAMERA
SOUND
LIGHTS
BASIC KIT
Pre - Production
C.)
Read the filming schedule again and answer the following questions.
1.
2.
3.
What kind of document is it? There may be more than one possible answer.
D.)
E.)
Complete the following definitions using the abbreviations in bold in the filming schedule.
1.
Portable Single Camera: this means there is just one cameraman / woman responsible for recording both video and
sound. ___________________
2.
Piece to camera: this is when a reporter speaks directly to the viewers through the camera. __________________
3.
Transmission date: that is, the day the finished program will be broadcast. ____________________
4.
5.
Interview: _____________________
6.
General views: a series of shots of a location that are used to set the scene for the story. _____________________
7.
Single camera unit: this means that the sound equipment needed is just for one cameraman and reporter with
interviewees. _____________________
Complete the following definitions using the terms in bold in the filming schedule.
1.
A freelance journalist who sets up interviews and gets permission to film on location before the crew arrives: also acts
as a translator and provides up-to-date information. _______________________
2.
Legal documents that interviewees and other contributors to the program sign to confirm their contributions can be
used, usually without receiving any payment. _______________________
3.
4.
This tells the crew how much money they have to spend on food and minor expenses per day.
______________________
5.
6.
7.
8.
Customs documents often needed when taking expensive
equipment outside the European Union.
______________________
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Pre - Production
F.)
In pairs, discuss what the different words in the box below are and what they are uesd for.
carnets daily rates tape stock release forms
G.)
H.)
In groups, think of a topic you would like to make a documentary about, for example a topic in
the news at the moment, or a topic you know about. Discuss the following points.
Write a filming schedule on a seperate sheet of paper, for the documentary discussed in the last exercise,
using the schedule as a model. Include as many details as possible.
Pre - Production
Character Development
Section 4
A.)
2.
Denotations
The picture denotes a man screwing his face up and pointing
his finger.
Connotations
The picture connotes a man who is angry because of his
facial expressions and the aggressive way he is pointing.
Our own interpretation of what we see and what we
persieve helps us to evaluate each situation. Picture for
example a person that is tired from working all day.
You probably see a person with their eyelids
half closed with their arms hanging at their
side. They may even have a blank
look on their face that not only
shows exhaustion, but also tells us
that they dont want to engage in
conversation.
B.)
Look at each of the pitures that follow. Each of them are of film character that you may or may not
know. Complete the Denotations and Connotations for each one.
Connotations:
Denotations:
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Pre - Production
Connotations:
Denotations:
Connotations:
Denotations:
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Pre - Production
C.)
In the spaces below, you need to write about how the images that you have looked at are
particularly effective in helping to create the characters.
Darth Vader:
His costume is really shocking to us, because he has a cool helmet and cape. Because
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we can't see his eyes, he becomes scary. The color of his costume represents the
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darkness in his soul.
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Maximus:
He looks like the hero of classic history. He has a muscular appearance and looks
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strong.
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James Bond:
He looks fancy, like a stud. Like a cool man, to respect and fear.
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D.)
When thinking about the following characters, complete the Denotations and Connotations for each
one.
Description
Maximus in Battle
E.)
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Now you need to use the ideas that you have learned to create your own film character. The aim of
this task is to make you think about how film makers construct characters.
1.
2.
3.
Then try to explain how this character fits in to the overall story of the film.
very
In the space below, draw an image of the character that you were describing in the last
activitiy. Then describe the denotations and connotations of your image.
Pre - Production
F.)
Denotations:
Connotations:
G.)
H.)
Camera Shot:
Camera Shot:
Camera Shot:
Camera Shot:
Camera Shot:
Camera Shot:
Explain your choice of music and sound effects for the scene.
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Pre - Production
Writing a screenplay
Section 5
A.)
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Look at the film images at the bottom of the page. In pairs, discuss the following questions.
1.
2.
3.
Pre - Production
B.)
special effects
soundtrack
the stars
1.
2.
3.
4.
5.
6.
Images or sounds in a film that are created by trick photography or computers:
______________________________
7.
8.
9.
The person responsible for overall artistic content of film, including telling the cast what to do:
________________________________
C.)
In pairs, discuss the aspects of a film that are the most important for you when deciding which films to
see. Use the words in the last exercise to help you.
Section 6
A.)
Most screenplays are divided into three Acts. Match the Acts (1 3) to the descriptions (a c).
1. Act 1 __________
a.
2. Act 2 __________
b.
The resolution
3. Act 3 __________
c.
The background
B.)
In pairs, think about a film you each know well and take turns asking and answering the following
questions.
C.)
1.
How is the story set up and how are the characters introduced? (Act 1)
2.
What conflict(s) do the characters deal with during the story that is, what is the problem/desire/goal at the
center of the story? (Act 2)
3.
How is/are the conflict(s) resolved at the end of the film? (Act 3)
Think about a story you would like to tell, or a book you would like to adapt into a film. Make notes under
the following headings.
Act 1 The background
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Pre - Production
Section 7
A.)
Read a scene from the Enemy of the State screenplay (1998), which is about a government cover
up. Answer the following questions.
1.
4. What is happening?
2.
3.
FADE IN:
EXT. SHENANDOAH NATIONAL PARK, SCENIC VIEW
LOT - MORNING
Shenandoah mountains. A cold dawn. TWO BLACK
TOWN CARS sit side by side, facing a view of a farming
valley below.
Two MEN in dark suits and long coats stand near the
cars, casually on the lookout. If we caught a glimpse
underneath the coat of the taller of the two, wed see
that he was carrying a 9mm. Glock.
INT. BLACK TOWN CAR - CONTINUOUS
REYNOLDS
HAMERSLEY
REYNOLDS
REYNOLDS
HAMERSLEY
Revelations II.
HAMERSLEY
REYNOLDS
HAMERSLEY
study class.
B.)
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the car
Do you think Hamersley and Reynolds have the same vision about things?
2.
What do you think Hamersley means by Were not gonna hand you the keys to the kingdom.?
3.
Complete the following statements with the words found in the box.
Pre - Production
C.)
D.)
1.
The names of the characters and scene headings are written in ______________________ letters.
2.
3.
Descriptions of the settings and _________________________ are written in blocks which are wider than
the dialogue.
4.
5.
6.
7.
Read what happens next in the screenplay and answer the following question.
E.)
2.
Think of a film ending that you like/dislike. What do you like/dislike about it?
3.
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Pre - Production
G.)
F.)
Look at the following list of features that are typical of spoken dialogues.
Feature
Examples
Incomplete sentences
Missing subjects
Repetition
Short sentences
We agree.
In pairs, make a list of any other typicaly spoken conversations used in screenplay dialogues.
Interruptions, rephrasing
H.)
Write a scene for the film you made notes for in the previous exercise. Use a screenplay format
and make the dialogue seem as natural as possible.
Storyboard Development
Section 8
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A.
B.
C.
D.
E.
F.
G.
Pre - Production
A.)
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Pre - Production
H.
I.
J.
20
K.
L.
M.
N.
O.
P.
R.
S.
T.
U.
V.
W.
X.
Y.
Pre - Production
Q.
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Pre - Production
A.
B.
C.
22
D.
E.
F.
G.
H.
A.)
B.)
Pre - Production
Section 9
In pairs, answer the questions below.
1.
What does someone have to receive before they can start work on a project and what
does it consist of?
2.
What is the amount of money that there is to spend on a project and why is it important?
1. Proposal ________
2. Budget ________
3. Expenses ________
C.) A plan for carrying out a process or procedure, giving lists of intended
events and times.
5. Requirements ________
7. Schedule ________
G.) A plan or suggestion, esp. a formal or written one, put forward for
consideration or discussion by others.
8. Meeting ________
9. Advertising brief ________
10. Deadline ________
11. Storyline ________
12. Storyboard ________
13. Casting ________
14. Rundown ________
15. Script ________
C.)
Fill in the blanks using only the first 10 words from above.
To finish before the 1.) ______________________ we need to speed-up the filming process.
Maybe we can adjust our filming 2.) ______________________ and move our 3.) ______________________ to next week.
During that time we can talk about the 4.) ______________________ and 5.) ______________________ for the project.
That will give us a chance to see how close to the initial 6.) ______________________ we are.
I think we will be fine as long as we dont go over our 7.) ______________________.
In the end we only have to worry about the agreenment in the 8.) ______________________ and our 9.) ________________
that we hope to capture.
What was the 10.) ______________________ that we were given for filming? It was 8 weeks.
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Pre - Production
B.)
24
Once you have written a screenplay, what do you think is the next step?
2.
Which is more important: talent or being in the right place at the right time?
You are going to read a query letter written by a screenwriter. In pairs, discuss what you think a query
letter might be.
Pre - Production
C.)
My New Screenplay!
Frank
Dear Mr. Smith,
I have recently finished my second screenplay, named without you. Last summer I finished a two-year graduate course in
screenwriting at Michigan University, and I was one of the top finalists for the screenwriter of the year. I would like to ask if
you would be kind enough to read my latest project.
Without you is a touching comedy drama set in the south of Chile about a group of childhood friends who, after turning
40, realize that they have lost touch over the years and want to reunite with their teenage friends only to find that alot has
changed since their teenage years and ideas arent always the same across generations. There are a number of heart
warming scenes which are accompanied by a few comical settings and situations. Without you is a feel-good film which
combines tears and laughter. Think spanglish meets old school. I am confident it will generate lots of hype at the box office
and become an instant success.
If you are interested in reading my work, please contact me at the address at the top of the page.
Yours truly
Frank Right
D.)
E.)
Read the query letter in the last exercise again and decide if the following statements are True (T)
or False (F).
1.
The first paragraph outlines the writers credentials and the reason for writing.
2.
The second paragraph outlines the plot and the most important points about the screenplay.
3.
All the tenses in the second paragraph are either present tenses or use the modal verb might.
4.
5.
Write a query letter for a film you have seen recently, use the query letter to help you.
25
Pre - Production
Section 11
A.)
Read the advert for a seminar and answer the following questions.
1.
What is a pitch?
2.
Do you think the seminar would be interesting and / or useful? Explain why / why not.
The (1) ___________: is it a comedy, thriller, drama, teen movie, documentary, etc.?
The (2) __________: something that would make us want to see the film.
Any other (4) __________: additional information that will get peoples attention (target audience, location,
music, etc.).
B.)
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2.
3.
4.
5.
6.
7.
D.)
hooks
F.)
title
E.)
logline
Pre - Production
C.)
2.
Why do you think loglines are so important for screenwriters and film executives?
Write a logline for the film you recently used or for a film you have seen recently. Then, in groups,
compare your loglines. Decide which you think are the most effective. Explain your answer.
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Pre - Production
Section 12
A.)
Read the advert for a seminar and answer the following questions.
Small talk
The pitch
My films called
Clarifying information
about the pitch
(Without you ) is a
touching film
I dont fully
understand
C.)
In pairs, role play a pitch. Student A will be pitching
the film that they prepared with their logline. Student
B, is the film executive. Student B, must evaluate
Student As pitch and provide feedback. Use the notes in the
box to help you. Then, change roles and practice again.
Commercial Project
Section 13
A.)
28
Pre - Production
B.)
Home work: Find examples of TV and online commercials and discuss, as a class, the
audience, purpose, and effectiveness of each video advertisement. Make sure to include
commercials with the following techniques and discuss how each technique enhances the
commercial:
Compositing
Groups should collect design ideas as they review commercials. Create a project proposal and turn into your
teacher for approval.
C.)
Prepare your shot list & Storyboard. As you prepare to plan your shot selections for the
commercial, discuss techniques such as chrome keys and compositing that can help you
create commercials and other types of video projects without needing to be on location (for
instance, placing an actor in an action scene that would be too expensive or dangerous to
film). You might want to look up the following terms to help understand these concepts:
Chrome key (also referred to as blue screen or green screen): Shooting a person or object in front of a
colored screen and replacing the colored screen with a substitute background.
Keying: Postproduction process in which the color of the blue or green screen in a shot is identified
and then removed. When you key out a color, it becomes transparent. As you begin to shoot footage
for your commercials, determine the importance of and how to shoot for composite (layered) videos
and chrome key shots. Some things to include are:
Even backlighting helps ensure a solid-color background without shadows and facilitates keying out
one color rather than multiple colors.
Light your actors and position them at least 4 feet from the screen. Make sure actors arent wearing
clothing with colors that match the background.
To create a specific effect where you need to remove a particular body part, have the actor use
background colored clothing for that particular body part.
Use content that matches the background to be keyed in. For instance, if the person is to be outside,
have clothing that matches the environment.
Consider the framing and camera angle of your shot and how it will match your intended background.
High-contrast scenes lend themselves to making either the dark or light portions transparent. The same
holds true for shooting light objects against a dark background or vice versa.
For most keying shots, you need to use a tripod and lock down your camera. Viewers are distracted
when keyed objects bounce. The exception to this is when youre keying in wild, animated
backgrounds; then camera movement is not a problem.
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Pre - Production
D.)
E.)
After creating your storylines and storyboards. It is now time to write your script, which
should include:
Groups should now shoot the necessary footage from your shot list, using the equipment and
locations identified in their Project Proposal. Record any necessary voiceover narration
according to your scripts. As you prepare to create your commercials in Adobe Premiere Pro
or After Effects, advanced editing techniques may be helpful.
Compositing
Layering clips
Masking
F.)
Continue to edit and modify. Create or obtain a musical score that fits the tone of your
commercial and that you can integrate with any script dialog (voiceover narration,
actor dialog, etc.) where appropriate.
G.)
Each team should take time to create graphics and visual effects for their commercial and to
finalize your commercial.
H.)
You need to publish your commercials ready to play in Quicktime, Windows Media, or any
other commonly used media player for class viewing. Commercials
Description
30
Points Possible
10
Quality of images.
Product is described.
Ad is persuasive.
Compositing Utilized.
10
10
20
Unit 2
Production
Production
Read about the different positions and responsibilities when working on a flim staff.
Executive Producer:
An executive producer of a motion picture is often the person who found and bought the literary property that a film is based
on, such as a novel or play. He might hire another producer to develop the project further. If the project gets the green-light
to go into principal photography, he might hire a line producer to watch over the production day to day. Since the 1980s,
however, it has become increasingly common for the line producer to be given the title of Executive Producer, while the
executive producer takes the Produced by credit. On other projects, the reverse happens, with the line producer taking the
Produced by credit. So the two credits have become effectively interchangeable, with no precise definition.
The executive producer can also be a person representing a financial investor in a film project, such as a film studio or a
distributor, but who is not directly involved in the day to day production. It can also be someone with other special interests in
the project, such as the author of the book that the film is based on, or one of the films key actors who has been instrumental
in persuading the studio to do the film. In such cases, the executive producer credit is mainly honorary.
Line Producer:
A line producer is the key manager during the daily operations of a motion picture production.
The line producer supports the vision given by the director but does not have direct influence on the creative expression or
narrative of the film.
From the beginning of principal photography, the line producer oversees the budgetary and physical production needs of the
shoot. By the first day of production, several versions of the budget have usually been drafted. A finalized or locked budget
is the one used for the production to move forward.
While in production, the line producer will oversee many decisions that must be made to deliver each days shoot. The
administrative aspects, especially those that have any financial impact, are all crucial areas of the line producers work.
Production Manager:
A production manager is involved with the planning, coordination and control of manufacturing processes.
A production manager ensures that goods and services are produced efficiently. They ensure the correct amount is produced
at the right cost and at the right level of quality.
32
Production
Production Coordinator:
The production coordinator serves under the production manager, producer to coordinate the various groups and
personnel that come together in filmmaking to a movie and video production to make a television show. The position
requires organizational skills and the ability to handle a multiple tasks simultaneously under often high-pressure
situations.
The duties of a POC are often undefined and extremely varied ranging from office manager, to human resources,
to controller, to accountant. Most all POCs are hired an on-call weekly status and are basically paid a flat rate per
week, no matter how many or few hours they work. Working conditions can vary on the medium (half-hour, hour-long
television, reality, live, soap and feature) and daily hours can range from 8 to 16 hour days. The POC is often the
first person in the office and the last to leave since they hold the responsibility of tending to the needs of the crew.
1st A.D. :
The primary role of a 1st Assistant Director is to help the Director in the making of the film in the time allowed,
dictated by the Producer/budget - but assisting the director in such a way as to allow them as much time as possible
to concentrate on the creative process rather than on all the practical/organizational elements involved.
1st ADs have two main responsibilities:
Pre-production (the period before filming starts) where they prepare the schedule, (a filming timetable that shows
which scene is to be shot on which day and what needs to pre-booked/hired to achieve that) and
Production (during the shoot) where their main task is to ensure that the production sticks to the schedule.
2nd A.D. :
The Second Assistant Director (Second or 2AD) creates the daily call sheets from the production schedule with
the production coordinator. The second also serves as the backstage manager, with actors, putting cast through
make-up and wardrobe, which relieves the first of these duties. Supervision of the setting of background (extras)
are parts of the seconds duties.
The Second Second Assistant Director (Second Second or 22AD) deals with the increased workload of a large
or complicated production. For example, a production with a large number of casts may require the division of the
backstage manager and the call sheet production work to two separate people.
P.A. :
A production assistant, also known as a PA, is a job title used in filmmaking and television for a person responsible
for various aspects of a production. The job of a PA can vary greatly depending on the budget and specific
requirements of a production.
production assistants are usually divided into different categories: Set PA, Locations PA, Office PA, or Set
Runner and Extra PA or Daily - Variations exist depending on a shows structure or region of the United States or
Canada.
Office PAs usually spend most hours in the respective shows production office handling such tasks as phones,
deliveries, script copies, lunch pick-ups, and related tasks in coordination with the production manager and
production coordinator.
Set PAs work on the physical set of the production, whether on location or on a sound stage. They report to the
assistant director (AD). Duties include (calling out) rolls and cuts, locking up (making sure nothing interferes
with a take), working with talents and background, facilitating communication between departments, distributing
paperwork and radios. Set PAs usually work 12- to 16-hour days with the possibility at the end of a shoot to work
more than 20 hours a single day and are regularly the first to arrive and the last to leave.
Location Manager:
The Location Manager is responsible for the finding and securing locations to be used and coordinating the logistics
involved for the production to successfully complete its necessary work. They are also the face of the production
to the community and responsible for addressing the issues that may arise due to the productions impact on the
community.
33
Production
Art Director:
On big budget films, Art Directors start work up to 4 to 5 months before shooting begins (on low budget films 8 weeks may
be sufficient). When the final schedule is delivered (detailing the precise order of scenes in which the film will be shot), Art
Directors begin the work of overseeing the preparation of the first sets required. Art Directors analyze the script to identify all
props or special items that may be required.
Set Dresser:
Set dressers arrange objects on a film set before shooting. They work under the direction of a leadman, a set decorator and a
production designer. Set dressers place furniture, hang pictures, and put out decorative items. They are also responsible for
some light construction and assembly of small items, such as air-conditioning. They also move items as necessary to make
room for the filming equipment. During the shoot, the prop department works with an on-set dresser to ensure that the props
and furnishing are in the proper location for the script.
DOP:
The Director of Photography, DOP or DP, is the chief of the camera and lighting crew of the film. The DOP makes decisions
on lighting and framing of scenes in conjunction with the films director. Typically, the Director tells the DOP how he or she
wants a shot to look, and the DOP chooses the correct aperture, filter, and lighting to achieve the desired effect as per the
Directors requirements.
Props Master:
The property master is an artistic and organizational employee in a film, television or theatrical production who is responsible
for purchasing, acquiring and/or manufacturing any props needed for a production. The property master also works with other
members of the production managing the physical appearance of the stage or set. The property master is on staff during
preproduction, develops the stylistic concept of the physical production, then continues on as a member of the physical
shooting/production crew.
During preproduction, the props master develops a props breakdown. This is essentially mapping out the logical progression
of each prop throughout the story. During shooting, the props master maintains the logical progression by ensuring the props
are positioned in their correct logical place for each scene according to the props breakdown.
Wardrobe:
Is the clothing used on or in a film.
Make Up: Is used for changing or enhancing a persons looks.
1st A.C:
A focus puller, or 1st assistant cameraman, is a member of a film crews camera department whose primary responsibility is
to maintain image sharpness on whatever subject or action is being filmed.
Pulling focus refers to the act of changing the lens focus distance setting in correspondence to a moving subjects physical
distance from the focal plane.
2nd A.C/ Loader:
A clapper loader, or second assistant camera (2nd AC) is part of a film crew, whose main functions are that of loading the
raw film stock into camera magazines, operating the clapperboard (slate) at the beginning of each take, marking the actors
as necessary, and maintaining all records and paperwork for the camera department. The name clapper loader tends to be
used in the United Kingdom and Commonwealth, while second assistant camera tends to be favored in the United States.
Gaffer:
A gaffer in the motion picture industry and on a television crew is an electrician, sometimes head of the electrical department,
responsible for the execution (and sometimes the design) of the lighting plan for a production. Gaffer is related to the moving
of overhead equipment to control lighting levels using a gaff. It has been used for the chief electrician in films since 1936. His
assistant is the best boy.
34
Production
Best Boy:
Best boys are responsible for the day-to-day operation of the lighting or grip department. Their many responsibilities
include the hiring, scheduling, and management of crew; the ordering, inventory, and returning of equipment; overseeing
workplace safety and maintaining discipline within their department; completing timecards and other paperwork; stocking of
expendables; loading and unloading production trucks; planning and implementing the lighting or rigging of locations and/or
sound stages.
Key Grip:
the key grip is the head of the grip department and chief rigging technician on the set. Using light, the key grip is in charge
of the shadows of light, the movement of the camera, the placing of cameras on any stationary, moving, flying, or floating
surfaceanywhere a camera is to work.
Video Assist:
Video assist is a system used in filmmaking , which allows filmmakers to view a video version of a take immediately after it is
filmed.
Originally a small device, called the video tap, was installed inside a movie camera that allows (with the addition of a monitor)
the director to see approximately the same view as the camera operator, and thus ensure that the film is being shot and
framed as desired.
B.)
Complete the following definitions using the words in bold from the reading.
1.
2.
3.
What gives the Director the ability to see the shot as it is being filmed? ____________________________
4.
5.
Who works with the changing of the lens on the cameras? ____________________________
6.
7.
8.
Who is the person that works with the physical items in a production? ____________________________
9.
Who is the person that works with lighting and framing of scenes to make them look the way the director wants?
____________________________
10.
11.
Who starts to work on a film around 4 to 5 months before shooting begins? ____________________________
12.
Who is responsible for the impact that filming has on the local community? ____________________________
13.
14.
15.
16.
Who must work under pressure with great organizational skills and have the ability to multi task?
____________________________
17.
18.
Who is the main person that oversee the budget, and influences the creative expression of the film?
____________________________
19.
Who is the person that finds and buys the literary property that a film is based on?
____________________________
35
Production
C.)
In groups discuss which film staff positions seem the most or least appealing and why?
D.)
Writing: What position would you like to have in the future and why? What would be your
responsibilities?
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Filming on location.
Section 2
A.)
B.)
Have you ever filmed on location? If so what were you filming and why? If not, what kind of shoot would you like to
be a part of?
2.
If you could have any positions in a TV film crew, which would you choose and why?
A covering used to protect a microphone from the noise created by the wind: _______________________
2.
3.
Filming with the camera placed on a wheeled carriage going along a railed track (in the listening, James is taking
shots from the car while it is moving along the road): ________________________
4.
Where the reporter or presenter walks and talks to the camera at the same time: ________________________
5.
6.
Shot where the camera is used to represent the viewpoint of a subject (in the listening, James filmed from under a
blanket to suggest the point of view of a woman being secretly smuggled across a border):
_________________________
36
7.
Shot where the cameras focus is moved from one point to another: _________________________
8.
Production
Section 3
A.)
Organizing a Shoot
Section 4
A.)
Have you ever worked in film production? If so, what did you do? If not, what would you like to do?
2.
film producer
3.
film director
director of photography
sound director
37
Production
B.)
4. production ________
5. to shoot ________
7. generator ________
g. to film.
8. filters ________
Presenting solutions
C.)
The expressions above are used for explaining potential problems and solving them. In pairs, practice
using the expressions. Student A, reads the expressions in bold; Student B, tries to complete the phrase.
Change roles and practice again.
D.)
In groups of four, role-play a meeting to discuss shooting on location. Student A, is the film
producer; Student B, is the film director; Student C, is the director of photography; and
Student D, is the sound director. Choose a film that you all know something about.
38
Other?
Production
B.)
Read about the different shot sizes used in television and film. In pairs, match the abribiations with
the approperate image below.
Long shot (LS). Shot which shows all or most of a fairly large subject (for example, a person) and usually
much of the surroundings. Extreme Long Shot (XLS) - see establishing shot: In this type of shot the camera is
at its furthest distance from the subject, emphasizing the background. Medium Long Shot (MLS): In the case
of a standing actor, the lower frame line cuts off his feet and ankles. Some documentaries with social themes
favor keeping people in the longer shots, keeping social circumstances rather than the individual as the focus of
attention.
Establishing shot. Opening shot or sequence, frequently an exterior General View as an Extreme Long Shot
(XLS). Used to set the scene.
Medium shots. Medium Shot or Mid-Shot (MS). In such a shot the subject or actor and its setting occupy
roughly equal areas in the frame. In the case of the standing actor, the lower frame passes through the waist.
There is space for hand gestures to be seen. Medium Close Shot (MCS): The setting can still be seen.
The lower frame line passes through the chest of the actor. Medium shots are frequently used for the tight
presentation of two actors (the two shot), or with dexterity three (the three shot).
Close-up (CU). A picture which shows a fairly small part of the scene, such as a characters face, in great detail
so that it fills the screen. It abstracts the subject from a context. MCU (Medium Close-Up): head and shoulders.
BCU (Big Close-Up): forehead to chin. Close-ups focus attention on a persons feelings or reactions, and are
sometimes used in interviews to show people in a state of emotional excitement, grief or joy. In interviews, the
use of BCUs may emphasize the interviewees tension and suggest lying or guilt. BCUs are rarely used for
important public figures; MCUs are preferred, the camera providing a sense of distance. Note that in western
cultures the space within about 24 inches (60 cm) is generally felt to be private space, and BCUs may be
invasive while (XCU) Extreme Close-up shots can be a little much, but great for impact in a drama.
CU
XLS
MS
XCU
LS
MLS
MCU
BCU
39
Production
C.)
D.)
In pairs, match the shot vocabulary words with the approperate image below. Then explain what each
shot is normally used for.
Birds eye Eye-level High Canted Low Worms eye
40
Production
E.)
Zoom. In zooming in the camera does not move; the lens is focused down from a long-shot to a close-up whilst
the picture is still being shown. The subject is magnified, and attention is concentrated on details previously
invisible as the shot tightens (contrast tracking). It may be used to surprise the viewer. Zooming out reveals
more of the scene (perhaps where a character is, or to whom he or she is speaking) as the shot widens.
Zooming in rapidly brings not only the subject but also the background hurtling towards the viewer, which can
be disconcerting. Zooming in and then out creates an ugly yo-yo effect.
Following pan. The camera swivels (in the same base position) to follow a moving subject. A space is left in
front of the subject: the pan leads rather than trails. A pan usually begins and ends with a few seconds of
still picture to give greater impact. The speed of a pan across a subject creates a particular mood as well as
establishing the viewers relationship with the subject. Hosepiping is continually panning across from one
person to another; it looks clumsy.
Surveying pan. The camera slowly searches the scene: may build to a climax or anticlimax.
Tilt. A vertical movement of the camera - up or down- while the camera mounting stays fixed.
Crab. The camera moves (crabs) right or left.
Tracking (dollying). Tracking involves the camera itself being moved smoothly towards or away from the
subject (contrast with zooming). Tracking in (like zooming) draws the viewer into a closer, more intense
relationship with the subject; moving away tends to create emotional distance. Tracking back tends to divert
attention to the edges of the screen. The speed of tracking may affect the viewers mood. Rapid tracking
(especially tracking in) is exciting; tracking back relaxes interest. In a dramatic narrative we may sometimes be
drawn forward towards a subject against our will. Camera movement parallel to a moving subject permits speed
without drawing attention to the camera itself.
Hand-held camera. A hand-held camera can produce a jerky, bouncy, unsteady image which may create a
sense of immediacy or chaos. Its use is a form of subjective treatment.
Process shot. A shot made of action in front of a rear projection screen having on it still or moving images as a
background.
F.)
In pairs, match the shot vocabulary words with the approperate image below.
Tilt up / down
Zoom in / out
Track in / out
Ped up / down
41
Production
G.)
Write about your preferred method of filming and what it is used for? also explain why you like to use
it for filming. Use the chart below as a guide for writing.
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Shot Style
Effect on audience
It draws attention to objects / people
and adds emotion.
Close-up
Medium Shot
Long Shot
It is intended to give us an
impression of size and scale.
Wide Shot
Establishing Shot
42
Unit 3
Post - Production
Post - Production
Scene Analysis
Section 1
A.)
You are going to watch a scene from Black Hawk Down. You need to look at the ways all of
the different techniques that you have studied are used in this scene and the effects that
they have on the audience.
Description
Characterisation
Cinematography
Scoring
Additional Features
B.)
Discuss the ways that Ridley Scott uses a range of techniques to create effects on the audience in
the sequence from Black Hawk Down.
Ideas about how Scott uses cinematic techniques in the sequence & examples:
44
Post - Production
B.)
What is your criteria for evaluating what you watch as far as films are concerned?
2.
3.
Have you ever had to evaluate short films? if so, How did you do so?
Now you are going to watch seven short films and answer the following questions about 3 of the
films and their content. It can be the 3 that you liked or the worst, best, and average. You decide.
Film 1.
What was the films name? ....
How does the name relate to the content? ..
.....
................................................................................................................................................................
What was the message of the film? ..
............
..................................................................................................................................................................................
How would you rate this short film and why?
Camera use of shots and angles: (1) (2) (3) (4) (5) (6) (7)
..................................................................................................................................................................................
Screenplay of the film:
..................................................................................................................................................................................
Overall film:
..................................................................................................................................................................................
Film 2.
What was the films name? ....
How does the name relate to the content? ..
.....
................................................................................................................................................................
What was the message of the film? ..
............
..................................................................................................................................................................................
How would you rate this short film and why?
Camera use of shots and angles: (1) (2) (3) (4) (5) (6) (7)
..................................................................................................................................................................................
Screenplay of the film:
..................................................................................................................................................................................
Overall film:
..................................................................................................................................................................................
45
Post - Production
Film 3.
What was the films name? ....
How does the name relate to the content? ..
.....
................................................................................................................................................................
What was the message of the film? ..
............
..................................................................................................................................................................................
How would you rate this short film and why?
Camera use of shots and angles: (1) (2) (3) (4) (5) (6) (7)
..................................................................................................................................................................................
Screenplay of the film:
..................................................................................................................................................................................
Overall film:
..................................................................................................................................................................................
C.)
Discuss as a class the overall feeling about the short films. Has anyone ever had to make a short
film? if so why? What was it about?
D.)
For homework go online and find one good example of a short film to share with the class. During
class you will have to mention why you chose it.
E.)
In groups of 3, think about the message of the film and any other short film you have seen. Then
decide as a group a message that you would like to convey. Make sure it is something that you all
agree on. Then brainstorm ways of conveying that message through cinematography and powerful
scenes.
What is the message:
..................................................................................................................................................................................
..................................................................................................................................................................................
How can you convery the message that you chose above?
..................................................................................................................................................................................
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..................................................................................................................................................................................
..................................................................................................................................................................................
..................................................................................................................................................................................
F.)
Create 3 storyboard slides with small story lines to show your ideas.
............................................................
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46
............................................................
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............................................................
............................................................
Post - Production
B.)
Do you know how many different stages are involved in making a movie?
2.
Who is the most important for a movies success: the creative people, the investors, the promoters, or the
distributors?
_________ Cinemas receive copies of the film a few days before they start showing the movie at the box office.
_________ The number of prints to be made of the film are decided on by the studio or producer.
_________ An agreement is made with the distribution company about which films they wish to
lease and fix the terms of the lease agreement with the buyers.
_________ The film is shot, and when completed is sent to the studio.
_________ The film is returned to the distribution company, when the film run ends, which pays the amount due.
5
_________
A licensing agreement is signed by the studio, with a distribution company.
_________ At screenings, the film is shown to potential buyers representing the cinema chains.
_________ A producer, director, cast and camera / sound crew are hired to make the film.
1
_________
A screenwriter has an idea for a film, which is pitched to potential investors.
47
Post - Production
C.)
Complete the following definitions using the words in Bold in the last exercise.
1.
2.
3.
4.
5.
Rent: _________________________
6.
Ticket sales; literally, the place where people buy tickets at a cinema: _________________________
7.
8.
Section 4
A.)
B.)
Have you ever read a film review? Explain why / why not.
2.
3.
Read the film review. Would you like to see the film? Explain why / why not.
D.)
2.
3.
Since
E.)
Post - Production
C.)
And
But
First of all
Yet
Secondly
Although
1.
2.
3.
4.
So
F.)
G.)
Match the paragraph numbers in the 1st film review on the previous page to their functions (a d).
a.
_________ Tells us about the lead actors role in the film and how they convey the character.
b.
c.
d.
Think of a film you have recently seen. In pairs, take turns to say what you thought about
the film, using the phrases in the previous exercise.
49
Post - Production
Section 5
A.)
Does the film review follow the requirements of a good film review (1 5)? Explain why / why
1.
A good film review is written in mostly the present simple tense. Is that true of the review that you just
read?
....................................................................................................................................................................................
2.
A good film review gives a brief outline of the plot and characters without telling you everything. Is that
true of the review that you just read?
....................................................................................................................................................................................
3.
A good film review avoids the use of over-emphatic language like the best film ever and the greatest
acting. Is that true of the review that you just read?
....................................................................................................................................................................................
4.
A good film review provides information about the successful and unsuccessful characteristics of the
film. Is that true of the review that you just read?
....................................................................................................................................................................................
5.
A good film review highlights the strong points of the film making it worth seeing. Is that true of the
review that you just read?
....................................................................................................................................................................................
B.)
You are going to write a review of a film. Before you write your review, answer the following questions.
1.
Is the film a novel / play adaptation? How close is it to the original? Is its cinematography version better or worse than
the novel itself?
2.
3.
4.
5.
6.
7.
Are camera effects (texture, lighting, color, etc.) and the soundtrack effective and functional? Do they enhance the
mood, theme and setting of the film?
C.)
D.)
On a seperate sheet of paper, write your review. Use connectors to make it clearer to read. When you
have finished, read your review to a classmate and make any corrections needed.
E.)
As a class, Read as many classmates reviews as possible. Decide which is the best review and why?
Which film would you most like to see based on the review of your classmates?
50
A.)
B.)
Post - Production
Section 6
In pairs, answer the questions below.
1.
2.
C.)
D.)
Step 2.) In your groups create 3 Acts or situations for the screenplay.
Include: (location description, event description, and situation).
Act 1) Beginning set up Act 2) Middle conflict Act 3) End resolution
Beginning
Middle
ACT 1
End
ACT 2
Setup
Conflict
Resolution
Character Setting
Final Push
Plot Point
Low Point
Motivation Goal
Motivation Goal
Low Point
ACT 3
Step 3.) In your groups breakdown the 3 Acts or situations into 6 Sequences.
Include: (description of action during sequence).
F.)
G.)
Post - Production
Section 7
A.)
B.)
2.
What are the most important parts of a film review for the reader?
Think of a movie that you have seen recently. Then, fill in the information about the film.
Title of the film: _________________________________________
Genre: ______________________________________
Main Character: _________________________________________
Movie Style:
Character Description:
Scenes:
Plot:
General Description:
52
Post - Production
Movie Trailers
Section 8
A.)
2.
3.
B.)
Now you are going to read about the history of movie trailers and then answer the questions that
follow.
Why short movie advertisement clips are called trailers, even though they are typically shown before the
movie.
It turns out, the first movie trailers occurred not at the beginning of the films, as they do today, but rather at the
end of the films. They were called trailers because the advertisements would be spliced directly on the end of
the reels, so that the movie advertisements film trailed the actual film.
The first known movie trailer to appear in a theater was in November of 1913. Nils Granlund, advertising
manager of Marcus Loew theaters in the United States, made it. The trailer was for the musical The Pleasure
Seekers, which was shortly to open on Broadway. In this trailer, he included short clips of rehearsals of the
musical. This idea caught on and trailers began appearing routinely after films. This was particularly the case
with cartoon shorts and serials that would often end in climactic situations where you needed to watch the next
episode in the serial or cartoon to see what would happen. Thus, these trailers, in particular that advertised the
next episode, made a lot more sense at the end of the serial or cartoon than at the beginning.
However, it didnt take long for movie studios to realize that full film advertisements would be a lot more effective
if they showed up before the movie, instead of after, and by the end of the 1930s the switch had been made.
Despite the industrys sincerest attempts over the last 60 or 70 years to get the name changed from trailers to
some form of previews, among industry professionals and English speaking audiences the world over, trailer
is still the generally used term. Although, this has begun to change very recently among the general public
when referring to trailers shown in theaters, which are now synonymously known as previews.
Trailers tell the story of a film in a highly condensed fashion that must have maximum appeal. In the decades
since film marketing has become a large industry, trailers have become highly polished pieces of advertising,
able to present even poor movies in an attractive light. Some of the elements common to many trailers are
listed below. Trailers are typically made up of scenes from the film they are promoting, but sometimes contain
deleted scenes from the film.
Most trailers have a three-act structure similar to a full feature-length film. They start with a beginning (Act 1)
that gives the set up of the story. The middle (Act 2) drives the story further and usually ends with a dramatic
climax. (Act 3) usually features a strong piece of signature music (either a recognizable song or a powerful,
sweeping orchestral piece). This last act often consists of a visual montage of powerful and emotional moments
of the film and may also contain a cast run if there are noteworthy stars that could help sell the movie.
Voice-over narration is used to briefly set up the premise of the film and provide explanation when necessary.
Since the trailer is a highly condensed format, voice-over is a useful tool to enhance the audiences
understanding of the plot. Music helps set the tone and mood of the trailer. Usually the music used in the trailer
is not from the film itself.
A cast run is a list of the stars that appear in the movie. If the director or producer is well known or has made
other popular movies, they often warrant a mention as well. Most trailers conclude with a billing block, which
is a list of the principal cast and crew. It is the same list that appears on posters and print publicity materials,
and also usually appears on-screen at the beginning (or end) of the movie. Studio production logos are usually
featured near the beginning of the trailer.
53
Post - Production
The Motion Picture Association of America (MPAA) mandates that theatrical trailers not exceed 2 minutes and 30
seconds in length, and each major studio is given one exception to this rule per year. There are no time restrictions
concerning Internet or home-video trailers. Rating cards appear at the head of trailers in the United States, which
indicate how closely the trailer adheres to the MPAAs standards.
A green band is an all-green graphic at the beginning of the trailer. Until April 2009, these cards indicated that they had
been approved for all audiences and often included the movies MPAA rating. This signified that the trailer adheres
to the standards for motion picture advertising outlined by the MPAA, which include limitations on foul language and
violent, sexual, or otherwise objectionable imagery. In April 2009, the MPAA began to permit the green band language
to say that a trailer had been approved for appropriate audiences, meaning that the material would be appropriate for
audiences in theaters, based on the content of the film they had come to see.
Trailers that do not adhere to these guidelines may be issued a red band, which indicates approval for only restricted
or mature audiences. These trailers may only be shown before R-rated, NC-17-rated, or unrated movies. These
trailers may include nudity, profanity or other material deemed inappropriate for children.
Types of trailers
there are different types of what we call trailers (also known as coming attractions or previews.) They include:
In-store - these are created for the impulse buyer and usually
play near the DVDs that you had no idea you were about to
buy.
C.)
Answer the questions below about the text that you just read about movie trailers.
..
Post - Production
Production
Pre - Production
2.
Did you learn anything that you didnt already know in Spanish?
3.
4.
What job would you most like to do in the pre production process and why?
Production
A.)
2.
Did you learn anything that you didnt already know in Spanish?
3.
4.
What job would you most like to do in the production process and why?
Post Production
A.)
2.
Did you learn anything that you didnt already know in Spanish?
3.
4.
What job would you most like to do in the post production process and why?
55
Production Vocabulary
Executive Producer: is often the person who found and
bought the literary property that a film is based on, such as
a novel or play. He might hire another producer to develop
the project further.
Line Producer: is the key manager during the daily
operations of a motion picture production. The title is
associated with the idea that they are the person who is
on the line on a day-to-day basis.
Production Manager: run productions on behalf of the
Producer and Line Producer. They help to determine the
most efficient and economic way to schedule shoots,
negotiate business deals for crews, locations and technical
equipment, and make day-to-day production decisions to
ensure that productions proceed smoothly.
Production Coordinator: controls and manages the flow
of information between the various components of a film
project to provide all the required components within the
time frame needed.
1st Assistant Director: is to help the Director in the
making of the film in the time allowed, dictated by the
Producer/budget - but assisting the director in such a way
as to allow them as much time as possible to concentrate
on the creative process rather than on all the practical/
organizational elements involved.
2nd Assistant Director: serves directly under the First
Assistant Director and is their right hand man. Their main
function is to ensure that all the First ADs orders and
directions are carried out.
Production Assistant: is the entry level position on a film
or television set. The production assistant does just about
anything and everything, from getting coffee, to making
script copies to shuttling crew or equipment around town
as needed.
Location Manager: is responsible for the finding and
securing locations to be used and coordinating the logistics
involved for the production to successfully complete its
necessary work. They are also the face of the production
to the community and responsible for addressing the
issues that may arise due to the productions impact on the
community.
Art Driector: is in charge of the overall visual appearance
and how it communicates visually, stimulates moods,
contrasts features, and psychologically appeals to a target
audience.
Set Dresser: is in charge of the set dressing on a film set,
which includes the furnishings, wallpaper, lighting fixtures,
and many of the other objects that will be seen in the film.
Props and set dressing often overlap, but are provided by
different departments.
DOP Director of Photography: designate a chief over the
camera and lighting crews working on a film, responsible
for achieving artistic and technical decisions related to the
image.
57
Production Vocabulary
Props Master: is an artistic and organizational employee
in a film, television or theatrical production who is
responsible for purchasing, acquiring and/or manufacturing
any props needed for a production.
59
Duoc UC
English
60