Filming A New Beginning

A workshop for children by children

 Filming A New Beginning
A workshop for children by children

Written and illustrated by Anna Keune

Contact
anna.keune@gmail.com

Support
A a l t o U n i v e r s i t y, S c h o o l o f A r t a n d D e s i g n

A a l t o U n i v e r s t i y, S c h o o l o f S c i e n c e a n d Te c h n o l o g y

S r i s h t i S c h o o l o f A r t , D e s i g n a n d Te c h n o l o g y

Material Availability
w w w. f i l m i n g a n e w b e g i n n i n g . b l o g s p o t . c o m

Copyright
Th i s w o r k i s l i c e n s e d u n d e r t h e C r e a t iv e C o m m o n s A t t r i b u t i o n 3 . 0 U n p o r t e d L i c e n s e . Th i s
m e a n s a n y o n e i s f r e e t o s h a r e ( c o p y, d i s t r i b u t e a n d t r a n s m i t ) a n d r e m i x ( a d a p t ) t h e w o r k .
To v i e w a c o p y o f t h i s l i c e n s e , v i s i t h t t p : / / c r e a t i v e c o m m o n s . o r g / l i c e n s e s / b y / 3 . 0 / ; o r s e n d a
l e t t e r t o C r e a t ive C o m m o n s , 1 7 1 2 n d S t r e e t , S u i t e 3 0 0 , S a n Fra n c i s c o , C a l i f o r n i a , 9 4 1 0 5 ,
USA.
Table Of Content
Pa r t 1 - B a s i c I n f o r m a t i o n

Introduction.................................................9 Filming A New Beginning Closes........................35

Th e A c t i o n P l a n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 0
Wo r k s h o p t i m e l i n e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2 Pa r t 3 - L e a r n i n g R e s o u r c e s
Needed Equipment........................................13
S t o r y b o a r d Te m p l a t e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 8
Roles In A Production......................................14
Using Locations And Objects........................39
F i l m C r e w. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 5
U s i n g Th e C a m e r a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 0
F i l m i n g A n d P r i v a c y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 2
Pa r t 2 - S t e p - b y - s t e p G u i d e S p a c e Fo r F i l m m a k e r ’s N o t e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 3
Film 1 “Remember”........................................18
S t e p A “A c c e s s ” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9
Step B “Reflect”....................................20
Step C “Discover”.................................22
Film 2 “Encounter”........................................23
S t e p A “A c c e s s ” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 4
Step B “Reflect”....................................25
Step C “Discover”.................................26
Film 3 “Resolve”...........................................27
S t e p A “A c c e s s ” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 8
Step B “Reflect”....................................29
Step C “Discover”.................................30
Film 4 “Broadcast”.........................................31
S t e p A “A c c e s s ” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 2
Step B “Reflect”....................................33
Step C “Discover”.................................34
 Part 1

Part 1 - Basic Information

Part 1

SOME OF THE FNB DESIGN TEAM MEMBERS

All images in this guidebook are illustrations of authentic situations that happened
while designing and testing the FNB workshop.

8
Introduction
The Filming A New Beginning (FNB) workshop was de-
signed in 2009 with children from Chennai, India for
every child in the world. Adults are warmly invited to
participate. Anyone, even children, can become FNB fa-
cilitators.
In life, everybody faces difficult situations sometimes,
like when being shouted at for playing instead of study-
ing. Often, these situations are so tangled into the daily
routines that they are difficult to spot and speak about.
To pinpoint the situations, and know what to change,
day-to-day activities have to be investigated and ques-
tioned. This is called critical thinking. It is learned best
by hands-on action.
FNB is a film production workshop to initiate change by
spending zero money. Neither filmmaking experiences,
nor computers or Internet are needed. You only need a
camera mobile phone, pen cils, and paper.
During the FNB workshop, you will become a filmmaker,
and turn a difficult real life situation into a favorable one
while making 4 short mobile films. To start meaningful
discussions, you will present your films to an audience
of people on the street through the camera screens. This
way, you can test how realistic your change is.
The goal of the FNB workshop is to develop a personal
film language and a critical thinking strategy that equips Part 1
you with the skills to start a change, and a voice to speak
more fluently about topics you truly care about. Through
a project of personal interest, you and other filmmakers
learn about different subjects at the same time together.
You will grow into a more conscious minded and inde-
pendent person who can make a positive difference in
your own life and the lives of others.
In the FNB workshop we learn from and with each other,
no matter our age or gender. Everybody is an equal film-
maker and has the opportunity to practice responsibility
by using the camera.
First, read Part 1 to get all the information needed for
getting started. Then follow the steps in Part 2, one by
one, as you go along. Part 3 includes learning resourc-
es, such as a storyboard template, and additional infor-
mation.
Change can be as hands-on as making a film.
Enjoy filming your new beginning!
9
 The Action Plan : 4 Films
D u r i n g t h e F N B w o r k s h o p , 4 f i l m s a r e c r e a t e d . T h e f i l m s b u i l d o n o n e a n o t h e r, b u t t h e f i l m m a k e r s c h o o s e
Part 1 the content.

Film 1 ‘Remember’ Film 2 ‘Encounter’ F i l m 3 ‘ R e s o l v e ’ Film 4 ‘Broadcast’

FILM THEMES

Stage, act and film diffi-
cult everyday situations
to understand your role
in them.
Stage, act and film the
motives of other people
in these situations to
emphasize with them.
Ideate, stage, act and
film a resolution for the
difficult situation to-
g e t h e r.
Learn how realistic your
change is. Start mean-
ingful conversations by
showing your films in
p u b l i c t o p a s s e r s b y.

AN EXAMPLE

A child is playing at Th e m o t h e r w o u l d Mother and child both A shop owners tells the
home and the mother rather like to see the think a calm talk can filmmakers that he made
shouts at the child. child studying. be a resolution. similar experiences as a
child.

10
E a c h o f t h e 4 f i l m s i s c r e a t e d f o l l o w s 3 s t e p s . E a c h s t e p l a s t s a b o u t 2 h o u r s . Pa r t 2 o f t h i s g u i d e b o o k o f f e r s
a detailed step-by-step guide for all 4 films. Here is an example:

Part 1

+ +

S t e p A ‘A c c e s s ’ Step B ‘Reflect’ Step C ‘Discover’

Find information Make storyboards Film storyboards

= Film 3 ‘Resolve’

B E PAT I E N T
^ E v e r y d ay s i t u a t i o n s c a n b e c o m p l e x , s e n s i t iv e a n d ch a l l e n g i n g t o a p p r o a ch . Fo l l o w i n g t h e t h r e e

TIP s t e p s f o r e a ch f i l m s u p p o r t s yo u t o f i n d yo u r ow n p a c e o f f i l m i n g . Wa i t u n t i l e ve r y b o dy i s r e a dy
before starting with the next film.

11
 Workshop timeline

Part 1
P r e p a r a t i o n Film 1 ‘Remember’ Film 2 ‘Encounter’ Film 3 ‘Resolve’ Film 4 ‘Broadcast’

A B C A B C A B C A B C

A preparation phase precedes the FNB workshop. Arrange the workshop schedule and equipment during that
t i m e . Fo r e q u i p m e n t s e e t h e n e x t p a g e .

Th e F N B s ch e d u l e s h a p e s a s t h e w o r k s h o p p r o g r e s s e s , b e c a u s e t h e s ch e d u l e d e p e n d s o n t h e ava i l a b i l i t y
a n d m o b i l i t y o f e v e r yo n e i n vo l v e d , t h e e q u i p m e n t a n d t h e f i l m l o c a t i o n s . Th i s i s u n i q u e f o r e v e r y s i t u a -
t i o n . S c h e d u l i n g l a n d m a r k s a r e p o i n t e d o u t i n Pa r t 2 .

Yo u w i l l d e v e l o p c l o s e r a n d m o r e r e w a r d i n g r e l a t i o n s h i p s w i t h y o u r f i l m s , t h e m o r e r o u t i n e l y F N B w o r k s h o p
sessions are scheduled.

12
Needed Equipment
Part 1

: : Vi d e o c a m e ra , s u ch a s a c a m e ra m o b i l e p h o n e
:: Pa p e r
:: Pe n c i l s

O f t e n , i t i s p o s s i b l e t o b o r r o w a c a m e r a m o b i l e p h o n e f r o m a f a m i l y m e m b e r o f a n F N B f i l m m a k e r. E x p l a i n
the aim of your production, how and by whom the camera will be used, and the advantages of the FNB
w o r k s h o p t o t h e m . S c h e d u l e t h e F N B w o r k s h o p w i t h t h e m a c c o r d i n g t o t h e i r a v a i l a b i l i t y.

L e a r n m o r e a b o u t u s i n g t h e c a m e r a a n d r e a d a b o u t r e c o m m e n d e d f i l m p r a c t i c e s i n Pa r t 3 o f t h i s g u i d e -
book.

13
 Roles In A Production
T h e F i l m D i r e c t o r T h e F i l m A c t o r s Th e C a m e r a p e r s o n
Part 1

Yo u g u i d e t h e a c t o r s a n d Yo u a c t s c e n e s a n d l i s t e n Yo u f i l m t h e a c t i o n s o f t h e
the cameraperson, and to comments of the direc- actors, and follow the film
check the recording. tor and the cameraperson. d i r e c t o r ’s g u i d a n c e .

F R E E D O M TO S W I T C H R O L E S
^ Choosing and switching roles during the FNB workshop supports your creative process and

TIP your development of a personal film language.

14
Film Crew
A f i l m c r e w i s a g r o u p o f f i l m m a k e r s w o r k i n g t o g e t h e r. I t h a s 4 t o 6 m e m b e r s o f d i f f e r e n t a g e s a n d g e n -
d e r s . O n e w o r k s h o p c a n h a v e m o r e t h a n o n e c r e w. F o r m y o u r f i l m c r e w s i n t h e b e g i n n i n g o f t h e w o r k s h o p . Part 1
Fa c i l i t a t o r s j o i n a f i l m c r e w.

FILM CREWS REMAIN THE SAME

^ Staying in the same crew allows you to take full ownership over your films and the process of

TIP making them. While this is recommended it is not essential.

15
 Part 2

Part 2 - Step-By-Step Guide

 Film 1 “Remember”
Act and film difficult everyday situations, such as the conflict of a child wanting to play and the mother
shouting at the child.
Film 1
“Remember”
LEARNING OUTCOME
:: Realize your role and position in the situations
:: Learn how to investigate your everyday life
:: Start developing your personal film language

18
 Step A “Access”
Gather information about your everyday life.

: : Th i n k o f d i f f i c u l t s i t u a t i o n s i n wh i ch yo u f e l t s c a r e d , s a d o r u n e q u a l
:: Stage, act and film them with your crew Film 1
:: Debrief with everybody “Remember”

CA M E R A U S AG E
^ Use the camera like a sketchbook. Film anything that comes to your mind without paying at-

TIP tention to how your films look.

A DEBRIEF IS FOR SHARING

^ Gather with everybody and share your experiences. Speak about your observations on top-

TIP i c s s u c h a s w o r k i n g i n y o u r c r e w, d i f f i c u l t i e s y o u r c r e w e x p e r i e n c e d , a n d h o w y o u o v e r c a m e
them.

19
 Step B “Reflect”
Create storyboards of difficult situations that you wish to change.

:: Everyone watches the films from the last session by passing around the cameras

Film 1 :: Identify difficult situations and discuss how to film them better
:: Create storyboards
“Remember”

Th e n e x t p a g e s h o w s a s i m p l e s t o r y b o a r d by t h e f i l m m a k e r s o f t h e F N B d e s i g n t e a m , a n d a n e x p l a n a t i o n o f
w h a t s t o r y b o a r d s a r e u s e d f o r.

F i n d a n e m p t y s t o r y b o a r d t e m p l a t e i n Pa r t 3 o f t h i s g u i d e b o o k .

ABOUT REFLECTION
^ Ta l k i n g a b o u t v i s u a l i m p r o v e m e n t s o f y o u r f i l m s c a n l e a d i n t o c o n t e n t i d e a t i o n .

TIP Tr y t o c o m b i n e s i m i l a r e x p e r i e n c e s b y o t h e r f i l m m a k e r s o f t h e s a m e s i t u a t i o n i n t o o n e s t o r y -
board.

C R E AT I N G A S T O R Y B O A R D
^ Include positions of actors, camera angles, locations, characters, objects, and dialogue pieces

TIP i n t o y o u r s t o r y b o a r d s . Yo u c a n b o r r o w i d e a s f r o m t e l e v i s i o n f i l m s y o u h a v e s e e n .

20
A S TO RY B OA R D F R O M I N D I A

Film title and description Film director :

Film actors :

Camera person :

Film 1
“Remember”

Location : Location : Location :

Characters : Characters : Characters :

Props : Props : Props :

Dialogue / Sound : Dialogue / Sound : Dialogue / Sound :

S TO RY B OA R D S A R E L I K E C O M I C S T R I P S
^ Th e y i n c l u d e i n s t r u c t i o n f o r a f i l m . M a k i n g s t o r y b o a r d s i s a c o m m o n p r a c t i c e o f f i l m m a k e r s .

TIP It is used as guide when filming a scene, because the information included in the storyboard
m a k e s f i l m i n g a s c e n e e a s i e r.

21
 Step C “Discover”
Re-film your difficult situations.

:: Film your storyboards

:: I d e n t i f y o t h e r p e o p l e i n t h e s i t u a t i o n s - Th e y w i l l b e t h e s u p p o r t i n g f i l m m a k e r s o f yo u r f i l m s
Film 1
:: Contact the supporting filmmakers, and agree on when and where to meet them
“Remember”
:: Decide which films in what order to show to them
:: Debrief with everybody

Remember to update the FNB schedule

CA M E R A U S AG E
^ T h i s t i m e , u s e t h e c a m e r a l i k e a n a r t i s t i c m e d i u m . Pa y a t t e n t i o n t o t h e w a y y o u r f i l m s l o o k .

TIP Fo r e x a m p l e , wa i t u n t i l yo u r f i l m i s d o n e b e f o r e m e n t i o n i n g n e w i d e a s , b e c a u s e i n s t r u c t i o n s
disturb your film.

S L OW A P P R OAC H
^ Only you and your crew can decide when your film is ready and presentable to an audience.

TIP Start the debrief when everyone is ready by watching all films. Everyone expresses their posi-
tion in their film.

22
Film 2 “Encounter”
F i l m d i f f i c u l t e v e r y d a y s i t u a t i o n s f r o m t h e s u p p o r t i n g f i l m m a k e r ’s p o i n t o f v i e w. F o r e x a m p l e , t h e m o t h e r ’s
reason for shouting at the playing child.

LEARNING OUTCOME
:: D e ve l o p e m p a t hy a n d u n d e r s t a n d i n g f o r t h e s u p p o r t i n g f i l m m a k e r s
:: Learn that multiple points of view exist at the same time
:: Further develop your personal film language

Film 2
“Encounter”

23
 Step A “Access”
G a t h e r i n f o r m a t i o n a b o u t t h e s u p p o r t i n g f i l m m a k e r ’s r e a s o n s .

:: Meet the supporting filmmakers and show your films to them

:: Speak about their experience of the situations in your film with them
:: Stage, act and film their motives in these situations together
:: Debrief with all filmmakers

Film 2 Ta k e a s t e p t o w a r d s t h e s u p p o r t i n g f i l m m a k e r s a n d m e e t t h e m a t a l o c a t i o n o f t h e i r c h o i c e .

“Encounter”

CA M E R A U S AG E
^ Again, use the camera like a sketchbook. Film anything that comes to your mind without pay-

TIP ing attention to how your films look.

P R I VA C Y C O N C E R N S
^ Be polite and respect the privacy of others: Ask for permission before filming the supporting

TIP filmmakers.

24
 Step B “Reflect”
Create storyboards of the motives of the supporting filmmakers.

: : Wa t ch t h e f i l m s f r o m t h e l a s t s t e p
:: Identify the intentions of the supporting filmmakers and discuss how to film them better
:: Create storyboards

Film 2
“Encounter”

C R E AT I N G S T O R Y B O A R D S
^ Create the storyboards as before, but this time focus on how to represent the motives of the

TIP s u p p o r t i n g f i l m m a k e r s t h r o u g h t h e i r a c t i o n s . S i m i l a r i n t e n t i o n s c a n b e c o m b i n e d t o o n e s t o r y.
F i n d t h e s t o r y b o a r d t e m p l a t e i n Pa r t 3 o f t h i s g u i d e b o o k .

IDENTIFYING ACTIONS
^ Recognize the actions of the supporting filmmakers that are particular for your situation by

TIP s p e a k i n g a b o u t w h a t y o u s a w.

25
 Step C “Discover”
Re-film the motives of the supporting filmmakers.

:: Film your storyboards

:: Schedule another meeting time and place with the supporting filmmakers
:: Contact the supporting filmmakers again, and agree on when and where to meet them
:: Decide which films in what order to show to them
:: Debrief with all filmmakers

Film 2
“Encounter” Remember to update the FNB schedule

CA M E R A U S AG E
^ T h i s t i m e , u s e t h e c a m e r a l i k e a n a r t i s t i c m e d i u m a g a i n . Pa y a t t e n t i o n t o t h e w a y y o u r f i l m s

TIP l o o k . Fo r e x a m p l e , wa i t u n t i l yo u r f i l m i s d o n e b e f o r e m e n t i o n i n g n e w i d e a s , b e c a u s e i n s t r u c -
tions disturb your film.

S L OW A P P R OAC H
^ Again, only you and your crew can decide when your film is ready and presentable to an au-

TIP dience. Start the debrief when everyone is ready by watching all films. Everyone expresses the
motives of the supporting filmmakers shown in their film.

26
Film 3 “Resolve”
Fi l m r e a l i s t i c r e s o l u t i o n s a n d f avo r a b l e p r a c t i c e s f o r t h e d i f f i c u l t s i t u a t i o n s . Fo r e x a m p l e , i n s t e a d o f s h o u t -
i n g a t t h e c h i l d f o r p l a y i n g , t h e m o t h e r a n d t h e c h i l d c a n s p e a k a b o u t t h e i r i n t e n t i o n s c a l m l y.

LEARNING OUTCOME
:: Understand that challenging situations can be overcome with a change of practice
:: Discover favorable future behavior
:: Further develop your personal film language

Film 3
“Resolve”

27
 Step A “Access”
Gather ideas for realistic and favorable practices.

:: Meet the supporting filmmakers and watch all of your films with them
:: Stage, act and film realistic and favorable practices with the supporting filmmakers
:: Debrief with everybody

Film 3
“Resolve” CA M E R A U S AG E
^ Again, use the camera like a sketchbook. Film anything that comes to your mind without pay-

TIP ing attention to how your films look.

D E B R I E F W I T H E V E R Y B O DY
^ Th e d e b r i e f h a p p e n s i n t h e s a m e way a s b e f o r e , b u t t h i s t i m e w i t h t h e s u p p o r t i n g f i l m m a k e r s .

TIP S p e a k a b o u t t h e c o n f l i c t i n g p o i n t s o f v i e w. T h e m a i n q u e s t i o n t o d i s c u s s i s : W h o ’s p r a c t i c e
should change and how?

28
 Step B “Reflect”
C r e a t e s t o r y b o a r d s o f r e s o l v i n g p r a c t i c e s . Th e y w i l l b e yo u r n e w b e g i n n i n g .

: : Wa t ch t h e f i l m s o f t h e l a s t a c c e s s s e s s i o n w i t h t h e s u p p o r t i n g f i l m m a k e r s
:: Identify resolving practices and discuss how to film them better
:: Create storyboards

Film 3
R E S O LV I N G P R A C T I C E “Resolve”
^ To m a k e t h e r e s o l u t i o n m o r e r e a l i s t i c , f o c u s o n h o w c o n t r a s t i n g i n t e n t i o n s c a n b e r e p r e s e n t e d

TIP in your film.

C R E AT I N G A S T O R Y B O A R D
^ C r e a t e t h e s t o r y b o a r d s a s b e f o r e . Th e s u p p o r t i n g f i l m m a k e r s d o n o t h av e e x p e r i e n c e s w i t h t h i s

TIP p r a c t i c e y e t . P l e a s e g u i d e t h e m . F i n d t h e s t o r y b o a r d t e m p l a t e i n Pa r t 3 o f t h i s g u i d e b o o k .

29
 Step C “Discover”
Re-film the resolutions, film your new beginning.

:: Film your storyboards

:: I d e n t i f y p u b l i c p l a c e s w h e r e y o u c a n s h o w y o u r f i l m s t o p a s s e r s b y, a n d s c h e d u l e a t i m e f o r t h a t
:: Decide which films in what order to show to passersby
:: Debrief with everybody

Remember to update the FNB schedule

Film 3
“Resolve” F I L M I N G YO U R N E W B E G I N N I N G
^ Yo u r r e s o l u t i o n s a r e i d e a s f o r p o s s i b l e f u t u r e s , b u t t h e y a r e n o t p r a c t i c e d i n e v e r y d a y l i f e y e t .

TIP By staging and filming them, your resolutions become visible and real possibilities for your
everyday life.

CA M E R A U S AG E A N D S L OW A P P R OAC H
^ A g a i n , u s e t h e c a m e r a l i k e a n a r t i s t i c m e d i u m . Pa y a t t e n t i o n t o h o w y o u r f i l m s l o o k .

TIP R e m e m b e r, o n l y y o u a n d y o u r c r e w c a n d e c i d e w h e n y o u r f i l m i s r e a d y a n d p r e s e n t a b l e .

30
Film 4 “Broadcast”
Share the your films in public, for example with a local shop owner or passersby at a playground. Film
their comments, criticism and alternative resolutions.

LEARNING OUTCOME
:: Understand that your films are a powerful way to express yourself
:: Discover how realistic your resolutions are for other people
:: Further develop your personal film language

Film 4
“Broadcast”

31
 Step A “Access”
Gather comments from a public audience.

:: M e e t w i t h e v e r y b o d y, i n c l u d i n g t h e s u p p o r t i n g f i l m m a k e r s i n a p u b l i c p l a c e
:: Show your films to passersby
:: Film the comments and alternative resolutions you get from the passersby
:: Debrief with everybody

P U B L I C LY A C C E S S I N G I N F O R M AT I O N
^ B r i e f l y i n t r o d u c e p a s s e r s b y t o F N B , t h e n s h o w a l l t h r e e o f y o u r f i l m s t o t h e m . To s t a r t a c o n -

TIP v e r s a t i o n , a s k t h e p a s s e r s b y w h o t h e y i d e n t i f y w i t h i n y o u r f i l m s a n d w h y. M o t i v a t e t h e m t o
Film 4 act their ideas. Again, use the camera like a sketchbook.
“Broadcast”

P U B L I C L O C AT I O N S
^ Playgrounds, parks, or any other safe location with people passing by are good places for this

TIP FNB step.

32
 Step B “Reflect”
Create storyboards of the coments you got.

: : Wa t ch t h e f i l m s f r o m t h e l a s t s e s s i o n w i t h t h e s u p p o r t i n g f i l m m a k e r s
:: Identify the ideas of the passersby and discuss how to film them better
:: Create storyboards

C R E AT I N G S T O R Y B O A R D S
^ Create the storyboards as before, this time focus on the ideas of the passersby and how real-

TIP i s t i c y o u r r e s o l u t i o n s w e r e p e r c e i v e d b y t h e m . F i n d t h e s t o r y b o a r d t e m p l a t e i n Pa r t 3 o f t h i s
guidebook. Film 4
“Broadcast”

A D D I T I O NA L B R OA D CA S T S
^ Share your films with more people through additional broadcasts. It is motivational, because

TIP your films will have a wider affect and you can access more diverse comments.

33
 Step C “Discover”
R e - f i l m t h e r e s o l u t i o n a n d c o m m e n t s o f t h e p a s s e r s b y.

:: Film your storyboards

:: O p t i o n a l l y, i d e a t e f u r t h e r p u b l i c p l a c e s o f w h e r e t o s h o w y o u r f i l m s a n d s c h e d u l e a t i m e f o r i t
:: Debrief the FNB workshop with everybody

Remember to update the FNB schedule

CA M E R A U S AG E A N D S L OW A P P R OAC H
^ A g a i n , u s e t h e c a m e r a l i k e a n a r t i s t i c m e d i u m . Pa y a t t e n t i o n t o t h e w a y y o u r f i l m s l o o k .

TIP R e m e m b e r, o n l y y o u a n d y o u r c r e w c a n d e c i d e w h e n y o u r f i l m i s r e a d y a n d p r e s e n t a b l e .
Film 4
“Broadcast”

FNB WORKSHOP DEBRIEF

^ Wa t ch a l l 4 f i l m s a n d s p e a k a b o u t yo u r l e a r n i n g e x p e r i e n c e o f p a r t i c i p a t i n g i n t h e F N B wo r k -

TIP shop. Reflect on your filming process and the steps of the workshop. Express what went well
a n d w h a t w a s n o t e n j o y a b l e f o r y o u a n d y o u r c r e w.

34
Filming A New Beginning Closes
We , t h e ch i l d r e n f r o m C h e n n a i a n d I , h o p e t h a t yo u e n j oye d t h e F N B wo r k s h o p .

Th e c r i t i c a l t h i n k i n g p r a c t i c e a n d t h e p e r s o n a l f i l m l a n g u a g e t h a t yo u l e a r n e d d u r i n g t h e F N B w o r k s h o p i s
yours to keep. It is not only useful during the workshop, but you can practice it in your everyday life as
well.

R e m e m b e r, m a k i n g a c h a n g e i s a s h a n d s - o n a s m a k i n g a m o v i e . E v e r y b o d y c a n d o i t !
Yo u a r e i n v i t e d t o b e c o m e a f a c i l i t a t o r o f y o u r o w n F N B w o r k s h o p . Yo u c a n u s e s t o r y b o a r d s a n d f i l m s t h a t
you and your fellow filmmakers made during this FNB workshop as examples for your FNB workshop.

Have a positive affect on people, and show others how to film their new beginning!

Film 4
“Broadcast”

35
Part 3 - Learning Resources

Part 3
The Storyboard Template Page : __ / __

Film title and description : Film director :

Film actors :

Camera person :

Location : Location : Location :

Characters : Characters : Characters :

Props : Props : Props :

Dialogue and Sound : Dialogue and Sound : Dialogue and Sound :

Using Locations And Objects

We l l - k n ow n l o c a t i o n s , e ve r y d ay o b j e c t s , a n d ch a ra c t e r i s t i c c l o t h i n g c a n c o nve y r e a l i s m t o yo u r a u d i e n c e ,
a n d e vo k e a f e e l i n g o f f a m i l i a r i t y i n t h e p e o p l e wh o w i l l s e e yo u r f i l m s . Pe o p l e f r o m t h e c o m m u n i t y c a n
r e l a t e t o y o u r f i l m s a n d s e e t h e m s e l v e s i n t h e m m o r e e a s i l y.
Also, well chosen locations and objects can help you to get prepared for filming.
R e m e m b e r, n o p u r c h a s e s a r e n e e d e d t o f i n d r e a l i s t i c l o c a t i o n s a n d o b j e c t s .

R U B Y, A N F N B F I L M M A K E R F R O M C H E N N A I R E C A L L S
“ O n e c r e w a c t e d a n d f i l m e d a s i t u a t i o n c a l l e d ‘ wa t ch i n g t e l e v i s i o n a t h o m e ’ . Th e y w o r k e d o u t d o o r s , a n d
spontaneously decided to use the scene, which was filmed by another crew indoors, as their television set.
T h e a c t o r s s a t d o w n i n f r o n t o f t h e d o o r a n d t h e t e a m s t a r t e d f i l m i n g .”

Part 3
39
 Using The Camera

To b o o s t e v e r y b o d y ’s c o n f i d e n c e i n t a k i n g u p a n y r o l e i n t h e F N B w o r k s h o p , e v e r y o n e s h o u l d l e a r n h o w t o
use the camera. Exploring and testing all camera functions is a good way to do that.

Each camera has a slightly different navigation menu, but the principle functions are the same for all:

: : Tu r n i n g t h e c a m e r a o n : : Vi e w a m ov i e
:: S t a r t i n g a r e c o r d i n g :: Automatic save
:: Pa u s i n g a r e c o r d i n g :: Delete a movie
:: Stopping a recording

A N NA , A N F N B F I L M M A K E R F R O M C H E N NA I R E CA L L S
“A t f i r s t I w a s c o n c e r n e d a b o u t p r o v i d i n g m y o w n c a m e r a t o t h e c h i l d r e n . B u t t h e y a l w a y s t r e a t e d t h e
t e c h n o l o g y a t t e n t i v e l y. T h e c h i l d r e n k n e w t h a t i f t h e p h o n e w o u l d b r e a k , w e w o u l d n o t b e a b l e t o c o n t i n u e
w o r k i n g . T h e y d i d n o t w a n t t o c o m p r o m i s e o n t h a t .”

Part 3
40
LENGTH OF FILMS
S o m e c a m e r a s a u t o m a t i c a l l y s t o p r e c o r d i n g a n d s av e yo u r f i l m s a f t e r a c e r t a i n t i m e . Th e a m o u n t o f t i m e
d e p e n d s o n y o u r c a m e r a ’s a v a i l a b l e m e m o r y s p a c e a n d t h e d e f i n e d r e c o r d i n g s i z e o f y o u r c l i p s . T h e s i z e
of your film clips can be changed through your camera menu.

M E M O R Y S PA C E
O n l y a l i m i t e d a m o u n t o f f i l m s c a n b e s av e d o n o n e c a m e r a a t a t i m e . S av e o n l y yo u r f i n a l f i l m s . Th e y a r e
n e e d e d u n t i l F N B c l o s e s . D e l e t e p o o r l y p r e s e n t e d f i l m s , b e c a u s e f i l m i n g a s c e n e i s q u i c k a n d e a s y. F o r f u -
ture references, you can note interesting ideas that were included in your poorly presented films down in
your storyboards.

Part 3
41
 Filming And Privacy

Th e F N B w o r k s h o p i s a b o u t i n i t i a t i n g a n d p r a c t i c i n g ch a n g e by e x p r e s s i n g yo u r d i s c o n t e n t w i t h a s i t u a -
t i o n , a n d f i l m i n g a n e w b e g i n n i n g . T h e F N B w o r k s h o p i s n o t a b o u t m a k i n g a n o t h e r p e r s o n f e e l g u i l t y, o r
criticizing individuals. It is important to respect the privacy of other people, and make sure to treat every-
body you film polite and kind.

VIEWING FORM A SMALL SCREEN

I n t h e F N B w o r k s h o p , yo u d o n o t n e e d a c o m p u t e r t o s h a r e a n d v i e w yo u r f i l m s w i t h o t h e r p e o p l e . Fo r
t h i s , t h e c a m e r a s i s p a s s e d o n b e t w e e n p e o p l e . Th i s m e a n s t h a t o n l y a l i m i t e d a m o u n t o f p e o p l e c a n wa t ch
o n e f i l m a t t h e s a m e t i m e . Vi e w i n g b e c o m e s a ve r y p e r s o n a l e x p e r i e n c e . A c r i t i q u e o f a n i n d iv i d u a l c a n b e
hurtful.

P R A D E E P, A N F N B F I L M M A K E R F R O M C H E N N A I R E C A L L S
“ M y c r e w a n d I e n a c t e d s c e n e s w i t h o u t t a r g e t i n g p a r t i c u l a r i n d iv i d u a l s . We o n l y e n a c t e d g e n e ra l ch a ra c -
t e r s . W e w a n t e d t o t e l l o u r o p i n i o n b u t d i d n ’ t w a n t t o a t t a c k a n y b o d y p e r s o n a l l y.”

Part 3
42
Space For Filmmaker’s Notes

Part 3
43
Filming A New Beginning