1

Duoc UC

audio visual

English

2Units and Contents

Understanding the Production Process - planning an agenda for a new broadcast. - pre production meetings.Filming Schedule - working with and planning a film schedule.Character Development - denotations and connotations. - creating a character and choosing music or sound elementWriting a Screenplay - learn about the three acts structure. - read an example of a screenplay.Storyboard Development - matching images with storylines. - vocabulary related to pre production.Pitching Your Ideas - read a pitch for a screenplay. - learn vocabulary for pitching. - develop a pitch for your screenplay.Commercial Project - discuss goals of the project. - prepare a shot list and storyboard.

Film staff Positions and Responsibilities - learn jobs and responsibilitiesFilming on Location - filming vocabulary - plan filming from a film schedule - discuss the difficulties of on location shootsOrganizing a Shoot - starting with the pre pro meeting. - talking about shot organization in English.The Grammar of TV and Film - learn shot methods and angles. - talk about why different shots are used. Commercial Shoot - setting up the shoot and filming.

Scene Analysis - watch a clip from a film and learn how to evaluate it.Short film Evaluations - 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.Writing a Film Review - stages of a film. - reading a film review. - learn review vocabulary. - writing a film review. - reading and evaluating other reviews.Movie Review - learn parts of a movie review and how to talk about it in a presentation.Movie Trailers - learn about the history behind movie trailers.

Pre - Production Production Post - Production

Unit 1 Preparations are made for the shoot, in which cast and film crew are hired, locations are selected, and sets are built.

Is when the raw elements for the finished film are recorded for the video production or film.

Is a term for all stages of production occurring after the actual end of shooting and/or recording the completed work.

Unit 2 Unit 3

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Pre - ProductionUnit 1

Pre-production is the process of preparing all the elements involved in a film, play, or other performance. During pre-production, the script is broken down into individual scenes and all the locations, props, cast members, costumes, special effects and visual effects are identified. An extremely detailed schedule is produced and

arrangements are made for the necessary elements to be available to the film-makers at the appropriate times. Sets are constructed, the crew is hired, financial arrangements are put in place and a start date for the beginning of principal photography

is set. At some point in pre-production there will be a read-through of the script which is usually attended by all cast

members with speaking parts, the director, all heads of departments, financiers, producers, and publicists.Even though the writer may still be working on it, the screenplay is generally page-locked and scene-numbered at the beginning of pre-production to avoid confusion. This means that even though additions and deletions

may still be made, any particular scene will always fall on

the same page and have the same

scene number.

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Pre - Production

Understanding the Pre Production process.

A.) In pairs, discuss the following questions.1. 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?

B.) Canyoumatchthewordsintheboxtotheirdefinitions(a–g).

1. Correspondent

2. Running order

3. Coverage

4. Wires

5. (an) exclusive

6. DV footage

7. Camera crew

a.) Journalism jargon for news agency (a newswire or wire service).

b.) A team responsible for filming.

c.) Recorded images shot on a digital video camera, often taken by eyewitnesses to news events.

d.) The list of stories that make up a news program.

e.) Reporting done on a particular story.

f.) A journalist employed by a TV station or a newspaper to report on a particular subject or send reports from a foreign country: similar to a reporter.

g.) News which no other news organization has.

Section 1

C.) Circle the word that does not belong in each group.

1. Live a.) footage b.) show c.) crew

2. TV a.) program b.) live c.) channel

3. Exclusive a.) director b.) story c.) footage

4. Camera a.) work b.) crew c.) broadcast

5. Editing a.) team b.) show c.) room

6. News a.) story b.) program c.) top

7. Running a.) order b.) commentary c.) crew

8. Live a.) camera b.) coverage c.) broadcast

Section 2

5

Pre - Production

A.) In pairs, discuss the following questions.

1. Can you name some of the people involved in a production team?2. What does the production team do?

3. Have you ever worked as part of a production team? If so, describe what you did.

Section 2

B.) What do the words in the box below have to do with the production process?

Research

Money

Filming

Travel Arrangements

Interviews

Advertising

C.) Use the words from the box to complete the sentences below.

1. The _______________________ for the earthquake documentary has been approved.

2. A lot of ____________________ must be done to show the different perspectives in relation to the earthquake.

3. We will be _______________________ lots of outdoor scenes and interviews.

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.

D.) In pairs, Complete the table below using modals studied in class.

Possibility Ability Giving advice / Recommendation 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. We (must to / have to) get permission to film on location.

3. The cameraman (has better / should) film the setting of the event before we arrive for the interview.

4. Some reporters (need to / must) be told what news to write about.

5. They (could / might to) cover the story from a perspective of a victim.

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Pre - Production

Filming Schedule.Section 3

A.) The team is preparing to make their documentary about the earthquake. In pairs, discuss the following questions.

1. What do you think the preparation will involve?

2. What roles do the editor and production manager play in preparing the documentary or TV series?

3. How many people do you think are involved in shooting on location?

4. Why is it important to have a filming schedule? What would you expect this schedule to include?

B.) Readthefilmingscheduleforthe“WhentheShakingStops”shootonthenextpageandanswerthe

1. How long will the shoot last?

2. Where will the shoot take place?

3. Who are the people that are going to be interviewed?

F.) In groups, brain storm for a pre-production meeting. Think about the agenda for the news broadcast.Selectacurrenteventthatyouwouldliketocoverinanewbroadcast.Then describe the topic and discuss the necessary pre-production process.

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Pre - Production

NBC News & Current Affairs When the Shaking StopsPSC FILMING SCHEDULE WEEK: 34DATES: Monday 22 – Sunday 28 OctoberLOCATION: Various locations in ChileTX DATE: TBC

CREW ON LOCATION: EDITOR: Franks Straten 086542 109 458PEPORTER: Sam Cox 086542 216 984CAMERA: Jim Bry 07444 8731 4968FIXER: Steven Mills 00 373 998 45629

TRAVEL DAY:Monday 22 October24:00 Arrive airport. Taxi to hotel.FILMING SCHEDULE:Tuesday 23 October9:00 R/V at Ministry to complete accreditation. Travel to Concepcion. IV a woman who lost everything.12:00 Film GVs at the refuge. IV with psychologist and IVs with other victims of the quake.15:00 PTC.18:00 R / V with representative from the Aftermath organization.Wednesday 24 October14:00 IV National Coordinator for the Rebuild Chile organization.16:00 Travel to other affected areas – 120km. Film sequences and GVs on location.Thursday 25 October9:00 R / V with IOD (International Organization for Disasters) Representative.11:00 Travel to location for IV with IOD Representative and PTC.14:00 Van back to capital.

CHECKLIST PRE-TRAVELFlight Tickets, Foreign Currency & Daily Rates, Release Forms, Carnets,

Passports, Visas, Excess Baggage Vouchers, Production Mobile, Digital MP3 recorder.

CAMERA SOUND

DIRECTOR TO PROVIDE TAPE STOCK

LIGHTSTECHNICAL REQUIREMENTS:

STANDARD DIGIBETA PSC STANDARD SCU KIT BASIC KIT

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Pre - Production

C.) Readthefilmingscheduleagainandanswerthefollowingquestions.

1. Who do you think it was written by?

2. Who is it written for?

3. What kind of document is it? There may be more than one possible answer.

factual friendly informal informative

4. What verb form is mainly used?

gerund (verb with ing) infinitive with to (to + verb) infinitive without to (verb)

D.) Completethefollowingdefinitionsusingtheabbreviationsinboldinthefilmingschedule.

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. Rendezvous: That is, to meet up with someone. ___________________

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. _____________________

E.) Completethefollowingdefinitionsusingthetermsinboldinthefilmingschedule.

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. An audio recording device. _______________________

4. This tells the crew how much money they have to spend on food and minor expenses per day. ______________________

5. This is a tape format, often used by long-format documentaries. _____________________

6. Digibeta tapes which the camera operator records footage onto. _____________________

7. A series of filmed shots that can be edited together to form a single section of the documentary. ____________________

8. Customs documents often needed when taking expensive equipment outside the European Union. ______________________

9

Pre - ProductionF.) 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.) 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.

• Length of time needed for shooting.

• Number of crew members involved and their tasks.

• Need for fixers.

• Need for GVs.

H.) Writeafilmingscheduleonaseperatesheetofpaper,forthedocumentarydiscussedinthelastexercise, using the schedule as a model. Include as many details as possible.

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Pre - Production

Character DevelopmentSection 4

A.) In pairs, discuss the questions below.

1. How can a character be described?

2. What makes each character different?

Recognizing Connotation and Denotation:

When we look at a picture we are really “reading” the image in the same way that we read a piece of writing; the key difference is that we are reading what we can see visually rather than based on the image in our imagination. There are two words that you need to learn to describe what you read in a text:

Denotation: Which is what you can actually see in the picture.

Connotation: Which is what you can infer based on what you have seen in the picture.

For example...

DenotationsThe picture denotes a man screwing his face up and pointing his finger.

ConnotationsThe 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 don’t want to engage in conversation.

B.) Lookateachofthepituresthatfollow.Eachofthemareoffilmcharacterthatyoumayormaynot know. Complete the Denotations and Connotations for each one.

Connotations:

Denotations:

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Pre - Production

Connotations:

Connotations:

Denotations:

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:

.............................................................................................................................................................................

.............................................................................................................................................................................

.............................................................................................................................................................................

.............................................................................................................................................................................

.............................................................................................................................................................................

Maximus:

.............................................................................................................................................................................

.............................................................................................................................................................................

.............................................................................................................................................................................

.............................................................................................................................................................................

.............................................................................................................................................................................

James Bond:

.............................................................................................................................................................................

.............................................................................................................................................................................

.............................................................................................................................................................................

.............................................................................................................................................................................

.............................................................................................................................................................................

Description Darth Vader’s Entrance Maximus in Battle James Bond’s Entrance

How is costume, body language and speech used to create the character?

How do the camera shots help to create the character?

How does scoring help to create the character?

Any additional ideas you have that might help create the character.

E.) Nowyouneedtousetheideasthatyouhavelearnedtocreateyourownfilmcharacter.Theaimof thistaskistomakeyouthinkabouthowfilmmakersconstructcharacters.

1. Brainstorm ideas with a partner.

2. Try to picture and describe your character to your partner.

3. Then try to explain how this character fits in to the overall story of the film.

D.) When thinking about the following characters, complete the Denotations and Connotations for each one.

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Pre - ProductionF.) 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.

Connotations:

Denotations:

G.) Inthespacesbelowstoryboardyourcharactersentrancetothefilm.

CameraShot:

CameraShot:

CameraShot:

CameraShot:

CameraShot:

CameraShot:

1 2 3

4 5 6

H.) Explain your choice of music and sound effects for the scene.

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Pre - Production

Writing a screenplaySection 5

A.) Lookatthefilmimagesatthebottomofthepage.Inpairs,discussthefollowingquestions.

1. What films have you seen?

2. Do you have a favorite film?

3. What makes these films good or bad?

Section 6

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Pre - ProductionB.) Completethefollowingdefinitionsusingthewordsinthebox.

C.) Inpairs,discusstheaspectsofafilmthatarethemostimportantforyouwhendecidingwhichfilmsto see. Use the words in the last exercise to help you.

1. The putting together of sequences and scenes in a film: ________________________________

2. A story written for a film: ________________________________

3. Someone who writes stories for a film: ________________________________

4. All the actors in a film: ________________________________

5. Series of events in a film that make up the main story: ________________________________

6. Images or sounds in a film that are created by trick photography or computers: ______________________________

7. The music in a film: ________________________________

8. The main actors in a film: ________________________________

9. The person responsible for overall artistic content of film, including telling the cast what to do:

________________________________

the cast director editing plot screenplay

screenwriter special effects soundtrack the stars

Section 6

A.) MostscreenplaysaredividedintothreeActs.MatchtheActs(1–3)tothedescriptions(a–c).

1. Act 1 __________ a. The main conflict

2. Act 2 __________ b. The resolution

3. Act 3 __________ c. The background

B.) Inpairs,thinkaboutafilmyoueachknowwellandtaketurnsaskingandansweringthefollowing questions.

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)

C.) Thinkaboutastoryyouwouldliketotell,orabookyouwouldliketoadaptintoafilm.Makenotesunder the following headings.

Act 1 The background Act 2 The conflict Act 3 The resolution

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Pre - Production

FADE IN:

EXT.SHENANDOAHNATIONALPARK,SCENICVIEWLOT-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, we’d see

that he was carrying a 9mm. Glock.

INT.BLACKTOWNCAR-CONTINUOUS

In the backseat of the car sit HAMERSLEY and REYNOLDS, each well-kept and in his early 50’s.

REYNOLDS

“I know thy works and thy labour

and how thou canst not bear them

that are evil. And thou hast tried

them who say they are apostles and

hast found them to be liars”.

Revelations II.

HAMERSLEY

What the hell does it mean?

REYNOLDS

It means who’s side are you on?

HAMERSLEY

You didn’t ask me to meet you 30

miles from my office for a Bible

study class.

Section 7

A.) ReadascenefromtheEnemyoftheStatescreenplay(1998),whichisaboutagovernmentcover up. Answer the following questions.

1. Who is involved in the scene? 4. What is happening?

2. Where does it take place? 5. Why is this scene taking place?

3. When does it take place? 6. How do the protagonists feel?

REYNOLDS

It’s a bi-partisan issue. Everyone

needs to swallow hard. No one,

including you, wants to be fingered

as the one obstructing efforts to

crack down on terrorism, and--

HAMERSLEY

You’re gonna finger me as soft on

terrorism? Terrorism, you

inconsiderate two face?

REYNOLDS

There are planes falling out of the

sky, buildings blowing up. American

buildings. Americans getting bombs

in the mail. What are we gonna do!?

HAMERSLEY

We’re not gonna hand you and your

band of lunatics the keys to the

kingdom. I’m not gonna sit in

Congress and write a law that

allows the NSA to point a camera

and a microphone at anything they

feel like. And the next time you have

something to say to me, we do it

above-board, in my office, like

everyone else. Now get outa my car,

I’ve got a committee meeting on the hill.

REYNOLDS regards HAMERSLEY a moment, then opens the car

B.) In pairs, discuss the following questions.

1. Do you think Hamersley and Reynolds have the same vision about things?

2. What do you think Hamersley means by “We’re not gonna hand you the keys to the kingdom.”?

3. What do you think will happen next?

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Pre - ProductionC.) Complete the following statements with the words found in the box.

action present center V.O.

capital dialogue INT. brackets

1. The names of the characters and scene headings are written in ______________________ letters.

2. Dialogue is written in the _______________________ of the page.

3. Descriptions of the settings and _________________________ are written in blocks which are wider than the dialogue.

4. Descriptions of how a character delivers his lines are in ____________________________ .

5. Characters generally have little _________________________ at one time.

6. Descriptions of settings and actions are written in the ________________________ tenses.

7. Voice-overs are abbreviated as ___________________________ , external shots as EXT. and internal shots as ____________________________ .

D.) Read what happens next in the screenplay and answer the following question.

• Who do you think Hamersley is?

EXT.PARKWAY-MORNING

HAMERSLEY’s car snakes down the twisting mountain road.

INT.HAMERSLEY’SCAR-CONTINUOUS

HAMERSLEY MAKES VERBAL NOTES concerning the Reynolds

meeting into his memo-recorder as he drives. He picks

up his cellular phone and punches in a number.

VOICE (O.S.)

Senator Albert’s office--

The line goes dead.

HAMERSLEY tries again but can’t get a dial tone. Then,

in the rear-view mirror, a BROWN SEDAN gains fast.

Whoever the guy is, he’s flying. Then a man with a

rifle leans out the sedan’s window. Aims. HAMERSLEY flies into a blind curve. Tires SCREECH as he rounds the bend to see A PROPANE TRUCK. Blocking both lanes of the road.

HAMERSLEY’s eyes widen. He stomps the brakes, SKIDS and SLAMS into the truck. The EXPLOSION engulfs everything.

HAMERSLEY and the car are consumed. The pursuing sedan slows to a stop. The men watch. The car’s an inferno.

The MEN make a ‘U’ turn and drive away.

INT.CRYSTALCITY,VIRGINIA,TALLOFFICEBLDG.-DAY

A well-appointed big-city law office filled with

citations of merit and pictures of a wife and child.

ROBERT DEAN, a likable young lawyer, sits behind his

desk with his back to an OLDER MAN. He stares at a

commanding view of Washington, D.C. as he listens to a

tired, smoke and whiskey voice.

E.) In pairs, discuss the following questions.

1. Why do you think something happened to Hamersley?

2. Think of a film ending that you like/dislike. What do you like/dislike about it?

3. What do you think is “the best screenplay ever written”?

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F.) Look at the following list of features that are typical of spoken dialogues.

Incomplete sentences That’s … I appreciate that.

Missing subjects Sort of hot in here.

Repetition Thanks. Thank you. Thanks

Short sentences We agree.

Simple linking words So, why don’t you tell me your thoughts …

Use of shared knowledge to leave things unsaid We (i.e. the people of the USA) think you’re just great.

Feature Examples

G.) In pairs, make a list of any other typicaly spoken conversations used in screenplay dialogues.

Interruptions, rephrasing

H.) Writeasceneforthefilmyoumadenotesforinthepreviousexercise.Useascreenplayformat and make the dialogue seem as natural as possible.

Storyboard DevelopmentSection 8

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Pre - ProductionA.) In pairs, try to match the storyboard images with their explainations.

Content: Leaf on screen settled for a beat, Protagonist’s (here after know as Pro) foot crushes leaf and disturbs peaceful scene. Camera: Steady on leaf, as foot hits slight chaos.

Content: Pro running at camera, slow reveal of a tiny gap in a fallen tree which the Pro must get through. Camera: Long-shot. DOF change to bring tree gap into focus.

Content: Long shot of scene, titles overlaid. Camera: Fade in from black, begin to track down as titles fade.

Content: Leaf falls as titles fade, floating down to the floor. Camera: Long-shot to close-up of the leaf, tracking follows leaf down to the floor

Content: Pro dives through the gap without breaking stride gracefully. Guards try to follow stutter then run around (off camera). Camera: Mid-shot, locked.

Content: Pro running through the woods. Camera: Behind pro showing full body.

Content: Pro running through woods. Camera: Mid-shot tracking sideways with Pro.

Content: Pro runs through gap in two trees, arrow strikes a tree as Pro passes, two Soldiers follow through gap. Camera: Continue mid-shot, pan whip 25-45 degrees as character passes between trees and leaves the scene.

Content: Archer pulling back the string on a bow ready to fire again. Camera: Mid-shot, locked/ minor track back.

A. C. F.

G.

B.

D.

E.

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Pre - Production

Content: Pro leaping through the air, showing the extent of the gap and the drop below. Slow motion. Camera: Long-shot.

Content: Guards readying themselves as Pro approaches.Camera: Steady, low-shot showing the guards.

Content: Pro swings through to the other side using rope and begins to run again. Guards in the background run around (off camera). Camera: Long-shot, not static for feel of the piece.

Content: Hand reaching out for and grabbing rope. Slow motion. Camera: Extreme close-up.

Content: Over the shoulder shot of Pro running at the guards. Camera: Long-shot, track slightly up revealing Pro running.

Camera movement reveals a large canyon in front of Pro. Notable point, rope and tree should be readily available for audience to see. Camera: Pan whip up for larger scale shot.

Content: Pro running from behind, guards silhouetted in the distance.Camera: Mid-shot, ensuring background of visible guards.

Content: Pro leaps off right foot, showing foot as it leaves the edge. Slow motion. Camera: Close-up.

Content: Pro plants left foot on boulder. Camera: Close-up.

H.

J.

K. N.

O.

P.

I.

L.

M.

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Pre - ProductionContent: Guard smashed by boulder. (this should be very quick and look brutal), dust begins to be kicked up. Camera: Long-shot.

Content: Pro flashes up through background and lands in the foreground, with only his legs visible in the foreground.Camera: Low Close-up of legs.

Content: Over the shoulders of guards who scan themselves for injuries (from the knives), Turn around to see boulders heading toward them. Camera: Long-shot.

Content: Knives Sever ropes behind guards. Camera: Close-up.

Content: Pro, is flying out of the dust and debris via the cut rope. Background showing debris clearing with the guards downed. Camera: Elevated Long-shot.

Content: Pro, whilst running, reaches for throwing knives and seemingly launches them at the guards.Camera: Mid/Long. Camera follows knives via tracking and panning, to directors discretion.

Content: In a dusty place, Pro’s hand is seen cutting a rope. Camera: Close-up. Quick shot.

Content: Gate of a trap falls, allowing an avalanche of rounded boulders to fall. Camera: Mid/Long. Static, 45 degree angle to action.

Content: Pro’s alternate hand grabbing rope. Camera: Close-up. Quick shot.

Q.

S.

T. W.

X.

Y.

R.U.

V.

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Pre - Production

Content: Character turns Locket panel revealing a picture of a child. After a moment the hand clasps tightly on the locket and squeezes. Camera: POV

Pro pulls his hood back over his face and sets out with rejuvenated determination, running toward the camera.Camera: Looking up at Pro to emphasize power and determination.

Content: As pro reaches camera cut to black. Camera: Static.

Content: Pro holds locket firmly to his heart with a longing expression. Camera: Mid-shot. Front left.

Content: Scans grave (in focus), hand holding a locket moves into shot (out of focus). Suddenly focus shifts to locket in Pros hand, reveling a picture of a woman. Camera: POV

Content: Pro pulls hood down, revealing his face for the first time. Face showing pain and sadness. (showing Pros humanity). Camera: Close-up.

Content: Pro begins to walk slowly and powerfully (first time character is seen moving slowly). Camera: Close-up static.

Content: Pro stood at a grave, head down. Camera: Over the shoulder shot.

A.

C.

D. G.

H.B.E.

F.

Section 9

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Pre - ProductionSection 9

A.) 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?

B.) Matchthewordswiththeirdefinitions.

1. Proposal ________

2. Budget ________

3. Expenses ________

4. Target market ________

5. Requirements ________

6. Time frame ________

7. Schedule ________

8. Meeting ________

9. Advertising brief ________

10. Deadline ________

11. Storyline ________

12. Storyboard ________

13. Casting ________

14. Rundown ________

15. Script ________

A.) A coming together of two or more people, by chance or arrangement.

B.) Is the specific group of customers that a company aims to capture.

C.) A plan for carrying out a process or procedure, giving lists of intended events and times.

D.) The amount of money needed or available for a purpose.

E.) A thing that is needed or wanted.

F.) Document confirming understanding between a client and an advertising agency on objectives of an advertising campaign.

G.) A plan or suggestion, esp. a formal or written one, put forward for consideration or discussion by others.

H.) The latest time or date by which something should be completed.

I.) A thing on which one is required to spend money.

J.) A period of time, esp. a specified period in which something occurs or is planned to take place.

K.) The choosing of actors for a production.

L.) Lists the items to be shown on camera and their main features. Indicates which camera will be used, who will be on screen and how long each segment of the program will last.

M.) The written text of a play, movie, or broadcast.

N.) The plot of a novel, play, movie, or other narrative form.

O.) A sequence of drawings, typically with some directions and dialogue, representing the shots planned for a movie or television production.

C.) Fillintheblanksusingonlythefirst10wordsfromabove.

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 don’t 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

Pitching your ideasSection 10

A.) In pairs, discuss the following questions.

1. 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?

B.) You are going to read a query letter written by a screenwriter. In pairs, discuss what you think a query letter might be.

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Pre - Production

C.) Read the query letter and check your answer to exercise b.

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 aren’t 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

Frank

Mr. Smith

My New Screenplay!

D.) ReadthequeryletterinthelastexerciseagainanddecideifthefollowingstatementsareTrue(T) orFalse(F).

E.) Writeaqueryletterforafilmyouhaveseenrecently,usethequerylettertohelpyou.

1. The first paragraph outlines the writer’s 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. The third paragraph says what the reader should do.

5. The letter is really informal.

26

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.

B.) Read the advert again and answer the following questions.

FILMMAKINGINTHEDIGITALAGEwithSimonFisher

AboutthePitchSession

SEMINAREMPHASIS:MAKEMONEYGETPAID!

Overview

The Pitch Session is the most popular and challenging part of the seminar. Besides filmmakers, we are inviting investors to the seminar who may be willing to invest millions of dollars if they see a project they like. To increase your chances of obtaining the financing and resources you need, we recommend you prepare your pitch before the seminar.

ThePitchSession

Your pitch will be one or two minutes long.

KeyElementsofyourPitch

Your opening sentences will include:

• The (1) ___________: is it a comedy, thriller, drama, teen movie, documentary, etc.?

• The (2) __________: something that would make us want to see the film.

• The (3) __________: a one-sentence synopsis of the screenplay.

• Any other (4) __________: additional information that will get people’s attention (target audience, location, music, etc.).

PracticingyourPitch

Write down the most significant selling points, and then pitch it until it comes naturally and you no longer need notes. The pitch itself may change as you work on it to find what works.

Pitch to family and friends; Describe your project using the four points above; use your hands to express yourself; make eye contact with the audience; be aware of your physical appearance and dress appropriately; remember to be successful at presenting you must feel comfortable, so use humor where appropriate and engage the audience.

1. Who do you think Simon Fisher is?

2. Who is the seminar for?

3. Who else might be at the event?

4. How much time will presenters have to pitch their film?

5. When will the pitches be prepared?

6. Why do they talk about family and friends?

7. In what other situations are skills involved in pitching useful?

27

Pre - ProductionC.) Completetheadvert(1-4)usingthewordsinthebox.

genre hooks logline title

D.) Matchthefilmtitles(1–3)totheloglines(a–c).

1. Live life on the Edge ________

2. The Underground Connection ________

3. Where two worlds meet ________

a. This is a story about a group of undercover officers, following a drug trafficing ring, who decide to go into the lions den and bust the dealers on their turf.

b. The story of two countries is brought together by the meeting of two totally different people, who are destined to come together and learn from each other along the way.

c. Set in the 2013, pushing the limites of what is known about the extreme sports and those who, test the limits between life and death tricks on a day to day basis.

E.) In pairs, discuss the following questions.

1. What is the purpose of a logline?

2. Why do you think loglines are so important for screenwriters and film executives?

F.) Writealoglineforthefilmyourecentlyusedorforafilmyouhaveseenrecently.Then,ingroups, compare your loglines. Decide which you think are the most effective. Explain your answer.

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28

Pre - Production

Name of film: _________________________________

Mentions: ____________________________________

Uses: _______________________________________

genre: eye contact:

title: hand gestures:

logline: relaxed style:

hooks: ______________________________________

How effective is the pitch? _____ / 10

A.) Read the advert for a seminar and answer the following questions.

Small talkI hope you found us without any problem?

How did you hear about this event?

So, is this your first screenplay?

The pitchMy film’s called…

It’s a (heart warming) film set in…

This film is aimed at…

There are a number of great…

(Without you ) is a touching film…

Think (Spanglish) meets (Old School).

Clarifying information about the pitch… could you explain how the audience is expected to believe that…?

Could you tell me more about…?

I don’t fully understand…

Ending the pitch meetingIf you leave a copy with us, we’ll get back to you within …

That’s everything for now. We’ll be in touch one way or the other.

C.) Inpairs,roleplayapitch.StudentAwillbepitching thefilmthattheypreparedwiththeirlogline.StudentB,isthefilmexecutive.StudentB,mustevaluate StudentA’spitchandprovidefeedback.Usethenotesinthebox to help you. Then, change roles and practice again.

Commercial Project

Section 13

A.) Discuss the goals of this project:

• Work with two to three classmates to create a 1- 2-minute commercial on a product or service of your choice.

• Create a project plan and schedule —Turn it in to your instructor.

• Work with composite video.

• Create motion and text animation and video special effects.

Section 12

29

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

• Musical score integrated with the script throughout the commercial

• Motion graphics and visual effects

Groups should collect design ideas as they review commercials. Create a project proposal and turn into your teacher for approval.

C.) Prepareyourshotlist&Storyboard.Asyoupreparetoplanyourshotselectionsforthe commercial, discuss techniques such as chrome keys and compositing that can help you createcommercialsandothertypesofvideoprojectswithoutneedingtobeonlocation(for instance, placing an actor in an action scene that would be too expensive or dangerous to film).Youmightwanttolookupthefollowingtermstohelpunderstandtheseconcepts:

• Compositing: Process of combining two or more video images into one.

• 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 aren’t 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 you’re keying in wild, animated backgrounds; then camera movement is not a problem.

30

Pre - Production

D.) After creating your storylines and storyboards. It is now time to write your script, which should include:

• The order in which the lines will be organized. • The lines to be said.

• The names of the actors saying the lines.

E.) Groups should now shoot the necessary footage from your shot list, using the equipment and locationsidentifiedintheirProjectProposal.Recordanynecessaryvoiceovernarration accordingtoyourscripts.AsyoupreparetocreateyourcommercialsinAdobePremierePro or After Effects, advanced editing techniques may be helpful.

• Speeding up/reversing clips • Compositing

• Layering clips • Masking

F.) Continuetoeditandmodify.Createorobtainamusicalscorethatfitsthetoneofyour commercialandthatyoucanintegratewithanyscriptdialog(voiceovernarration, actor dialog, etc.) where appropriate.

G.) Each team should take time to create graphics and visual effects for their commercial and to finalizeyourcommercial.

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

Ad looks like a commercial, not a simple presentation. 5

5

5

2

3

5

5

10

10

3

2

10

5

5

5

20

Points Possible

Product’s name is used at least three times in the ad.

Ad shows creativity and originality.

Quality of images.

Product is described.

Ad is persuasive.

Sound is used to enhance the ad.

Transitions and/or animations are used for special effects.

Shot list includes at least 5 different shot angles.

Compositing Utilized.

Chrome Key Utilized.

Utilized Advanced Editing Techniques.

Commercial Fades in and Fades out.

Project Plan, Project Storyboard, Project Shot List.

Spelling/grammar on ad and in sounds.

Spoken English Grammar.

31

ProductionUnit 2

In production, the video production/film is created and shot. More crew will be

recruited at this stage, such as the property master, script supervisor, assistant

directors, stills photographer, picture editor, and sound editors. These are

just the most common roles in filmmaking; the production office will be free to create any unique blend of roles to suit the various responsibilities possible during the production of a film.A typical day’s shooting begins with the crew arriving on the set / location by their call time. Actors usually have their own separate call times. Since set construction, dressing and lighting can take

many hours or even days, they are often set up in advance.

The grip, electric and production design crews are typically a step

ahead of the camera and sound departments: for efficiency’s sake,

while a scene is being filmed, they are already preparing the next one.

32

Production

Film Staff Positions and Responsibilities

Section 1

A.) Readaboutthedifferentpositionsandresponsibilitieswhenworkingonaflimstaff.

ExecutiveProducer:

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 film’s key actors who has been instrumental in persuading the studio to do the film. In such cases, the executive producer credit is mainly honorary.

LineProducer:

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 day’s shoot. The administrative aspects, especially those that have any financial impact, are all crucial areas of the line producer’s work.

ProductionManager:

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.

33

ProductionProductionCoordinator:

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 AD’s 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 “second’s” 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 show’s structure or region of the United States or Canada.

Office PAs usually spend most hours in the respective show’s 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 production’s impact on the community.

34

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.

SetDresser:

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 film’s 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 Director’s requirements.

PropsMaster:

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 person’s looks.

1st A.C:

A focus puller, or 1st assistant cameraman, is a member of a film crew’s 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 subject’s 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.

35

ProductionBest 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.

KeyGrip:

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 surface—anywhere 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.) Completethefollowingdefinitionsusingthewordsinboldfromthereading.

1. Who works with the Best Boy? ____________________________

2. Who is in charge of Shadows of light and movement of cameras? ____________________________

3. What gives the Director the ability to see the shot as it is being filmed? ____________________________

4. Who oversees workplace safety? ____________________________

5. Who works with the changing of the lens on the cameras? ____________________________

6. The clothing used in a film or production is called: ____________________________

7. Something used to change appearance: ____________________________

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. Who arranges items on a film set? ____________________________

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. Who is responsible for various aspects of a production? ____________________________

14. Who creates the daily call sheets? ____________________________

15. Who prepares the schedule for filming? ____________________________

16. Who must work under pressure with great organizational skills and have the ability to multi task? ____________________________

17. Who controls the manufacturing process? ____________________________

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? ____________________________

36

Production

D.) Writing: What position would you like to have in the future and why? What would be your responsibilities?

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C.) Ingroupsdiscusswhichfilmstaffpositionsseemthemostorleastappealingandwhy?

Filming on location.Section 2

A.) In pairs, discuss the following questions.

1. 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?

B.) Completethefollowingdefinitionsusingthetermsinthebox.

pan personal mic POV pull focus

tilt tracking shot walkie-talkie windshield

1. A covering used to protect a microphone from the noise created by the wind: _______________________

2. A shot where the camera is moved horizontally left-to-right or right-to-left: _______________________

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. Shot where the camera is moved vertically up or down: ___________________________

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): _________________________

7. Shot where the camera’s focus is moved from one point to another: _________________________

8. A small microphone often used for interviews and PTCs: ____________________________

Section 4

37

Production

Section 3A.) Review the common language used during a shoot below.

Saying what needs to be done Asking for and making suggestions Asking someone to do somethingWe’llneedto get the guards to hold the traffic…

We might need to put the big windshield on it.

We’llgiveitago and see what the sound’s like.

We still need to get some good shots from the other side of the border.

… I think we should get down to the PTC now.

What can we do about this strong wind?

Ithinkit’dbegoodto have you doing a walkie-talkie …

This light’s too bright. You’dbetteruse lenses.

What do you think?

If you have a better idea, please tell us.

… could you tell the guards what we want to do, please?

Would you mind asking the guards it that’s OK?

Organizing a ShootSection 4

A.) In goups, discuss the following questions.

1. Have you ever worked in film production? If so, what did you do? If not, what would you like to do?

2. What do the following people do during the production of a film?

film producer film director director of photography sound director

3. Of the people above, who is the most important to a film’s success?

38

Production

B.) Inpairs,Matchthetermsbelow(1–9)totheirmeanings(a–i).

1. lighting rig ________

2. reconnoiter (recce) ________

3. sound crew ________

4. production ________

5. to shoot ________

6. camera crew ________

7. generator ________

8. filters ________

9. location agency ________

a. the activity of organizing practical and financial matters connected with the preparation of a film.

b. colored glass which controls the light entering a camera.

c. the team taking care of shooting and photography.

d. an organization providing location management for film production purposes.

e. the team taking care of the sound system.

f. a machine producing electricity.

g. to film.

h. a check that everything is ok with logistics and technical equipment on location.

i. a system for lighting a location.

Explaining potential problems1. … there are practically no problems with...

3. … my main concern at this stage is that...

5. … we also need to avoid any problems that...

7. … I’malittleconcernedabout...

2. Ournextrecesswillbeaimedat...

4. the problem can be solved with...

6. I’lltrytoget...

8. I’vedecidedto...

D.) Ingroupsoffour,role-playameetingtodiscussshootingonlocation.StudentA,isthefilm producer;StudentB,isthefilmdirector;StudentC,isthedirectorofphotography;and StudentD,isthesounddirector.Chooseafilmthatyouallknowsomethingabout.

• Getting permission to shoot at certain locations.

• No electricity or other facilities are available.

• Testing the equipment before using it in the field.

• Finding local actors to use in crowd scenes.

• Confirming easy access to everywhere you need to shoot.

• Other?

Presenting solutions

C.) The expressions above are used for explaining potential problems and solving them. In pairs, practice usingtheexpressions.StudentA,readstheexpressionsinbold;StudentB,triestocompletethephrase. Change roles and practice again.

39

ProductionThe 'Grammar' of Television and Film

Section 5

A.) Readtheintroductiontothegrammaroftelevisionandfilm.

Television and film use certain common conventions often referred to as the ‘grammar’ of these audiovisual media. This list includes some of the most important conventions for conveying meaning through particular camera and editing techniques (as well as some of the specialized vocabulary of film production).

Conventions aren’t rules: expert practitioners break them for deliberate effect, which is one of the rare occasions that we become aware of what the convention is.

B.) Readaboutthedifferentshotsizesusedintelevisionandfilm.Inpairs,matchtheabribiationswith the approperate image below.

Longshot(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. MediumLongShot (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 ExtremeLongShot (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. MediumCloseShot (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 character’s 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 person’s 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 interviewee’s 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

40

Production

C.) Match the shot type to the photo examples.

Angle of shot. The direction and height from which the camera takes the scene. The convention is that in ‘factual’ programs subjects should be shot from eye-level only. In a high angle the camera looks down at a character, making the viewer feel more powerful than him or her, or suggesting an air of detachment.

A low angle shot, places camera below the character, exaggerating his or her importance. An overhead shot is one made from a position directly above the action.

Viewpoint. The apparent distance and angle from which the camera views and records the subject. Not to be confused with point-of-view shots or subjective camera shots.

Point-of-viewshot (POV). A shot made from a camera position close to the line of sight of a performer who is to be watching the action shown in the point-of-view shot.

Two-shot. A shot of two people together.

Selectivefocus. Rendering only part of the action field in sharp focus through the use of a shallow depth of field. A shift of focus from foreground to background or vice versa is called rack focus.

Softfocus. An effect in which the sharpness of an image, or part of it, is reduced by the use of an optical device.

Wide-angle shot. A shot of a broad field of action taken with a wide-angle lens.

Tilted shot. also known as a canted shot. When the camera is tilted on its axis so that normally vertical lines appear slanted to the left or right, ordinary expectations are frustrated. Such shots are often used in mystery and suspense films to create a sense of unease in the viewer.

Bird’s eye Eye-level High Canted Low Worm’s eye

D.) In pairs, match the shot vocabulary words with the approperate image below. Then explain what each shot is normally used for.

41

ProductionE.) Read about different camera and lens movements.

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 viewer’s relationship with the subject. ‘Hosepiping’ is continually panning across from one person to another; it looks clumsy.

Surveyingpan. 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 viewer’s 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.

Processshot. 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 Crab left / right Track in / out Pan left / right Ped up / down

42

Production

G.) Writeaboutyourpreferredmethodoffilmingandwhatitisusedfor?alsoexplainwhyyouliketouse itforfilming.Usethechartbelowasaguideforwriting.

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Shot Style

Close-up

Medium Shot

Long Shot

Wide Shot

Establishing Shot

High Angle Shot

Low Angle Shot

What Shot Shows Effect on audience

Shows enlarged view of part of an object / person.

Shows a normal sized view of an object / person like someone would expect to see using their own eyes.

It draws attention to objects / people and adds emotion.

It focuses out attention to details.

It is intended to give us an impression of size and scale.

It helps us see everything that is going on around somebody / something.

It helps the audience see where events take place.

It is designed to make an object / person seem smaller than they are.

It is designed to add scale and size to an object / person.

Shows a whole person or object allowing us to see everything around them.

Sets the scene of the action. Often involves shots of scenery and setting.

Helps us see a shot from a “bird’s eye view” of events.

Helps us see a shot from a “worm’s eye view” of events.

Shows people / objects from a distance.

43

Post - ProductionUnit 3

Post-production is part of filmmaking and the video production process. It occurs in the making of motion pictures, television programs, radio programs, advertising, audio recordings, photography, and digital art. It is a term for all stages of production occurring after the actual end of shooting and/or recording the completed work.Post-production is, in fact, many different processes grouped under one name. These typically include:• Video editing the picture of a television

program using an edit decision list (EDL)• Writing, (re)recording, and

editing the soundtrack.• Adding visual special effects

- mainly computer-generated imagery (CGI) and digital copy from which release prints will be made (although this may be made obsolete by digital-cinema technologies).

• Sound design, Sound effects, ADR, Foley and Music, culminating in a process known as sound re-recording or mixing with professional audio equipment.

• Transfer of Color motion picture film to Video or DPX with a telecine and color grading (correction) in a color suite.

44

Post - Production

Scene AnalysisSection 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 Additional Features Scoring

How is this aspect of filmmaking used in this scene?

Give an example of where this technique is used most effectively in this scene.

How does the filmmaker’s use of this technique help to create effects on the audience?

B.) DiscussthewaysthatRidleyScottusesarangeoftechniquestocreateeffectsontheaudiencein the sequence from Black Hawk Down.

Ideas about how Scott uses cinematic techniques in the sequence & examples:

Appropriate use of technical terminology to describe the techniques:

Exploration of the effects on the audience:

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Post - ProductionShort Film Evaluations

Section 2

A.) In pairs, discuss the questions below.

1. What is your criteria for evaluating what you watch as far as films are concerned?

2. What makes a good movie good and a bad movie bad?

3. Have you ever had to evaluate short films? if so, How did you do so?

B.) Nowyouaregoingtowatchsevenshortfilmsandanswerthefollowingquestionsabout3ofthe filmsandtheircontent.Itcanbethe3thatyoulikedortheworst,best,andaverage.Youdecide.

Film 1.

What was the film’s 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)

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Screenplay of the film: (1) (2) (3) (4) (5) (6) (7)

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Overall film: (1) (2) (3) (4) (5) (6) (7)

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Film 2.

What was the film’s 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)

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Screenplay of the film: (1) (2) (3) (4) (5) (6) (7)

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Overall film: (1) (2) (3) (4) (5) (6) (7)

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Post - Production

Film 3.

What was the film’s 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)

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Screenplay of the film: (1) (2) (3) (4) (5) (6) (7)

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Overall film: (1) (2) (3) (4) (5) (6) (7)

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C.) Discussasaclasstheoverallfeelingabouttheshortfilms.Hasanyoneeverhadtomakeashort film?ifsowhy?Whatwasitabout?

E.) Ingroupsof3,thinkaboutthemessageofthefilmandanyothershortfilmyouhaveseen.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.

D.) Forhomeworkgoonlineandfindonegoodexampleofashortfilmtosharewiththeclass.During class you will have to mention why you chose it.

What is the message:

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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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Section 3

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Post - Production

Writing a film reviewSection 3

A.) In pairs, discuss the following questions.

1. 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?

B.) Putthefollowingfilmprocessstagesinthecorrectorder.

• _________ Cinemas receive copies of the film a few days before they start showing the movie at the boxoffice.

• _________ 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 rights to the film are bought by a studio or producer.

• _________ 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.

• _________ 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.

• _________ A screenwriter has an idea for a film, which is pitched to potential investors.1

5

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Post - Production

C.) CompletethefollowingdefinitionsusingthewordsinBoldinthelastexercise.

1. Legal authority over who may use a film: _________________________

2. Place where films are edited and produced: _________________________

3. Contract giving someone the legal right to use a film: _________________________

4. Copies of the film: _________________________

5. Rent: _________________________

6. Ticket sales; literally, the place where people buy tickets at a cinema: _________________________

7. Period in which a film is shown: _________________________

8. Showings of the film: _________________________

Section 4

A.) In groups, discuss the following questions.

1. Have you ever read a film review? Explain why / why not.

2. How much does a film review influence your movie choices?

3. Who do you think should write film reviews and why?

B.) Readthefilmreview.Wouldyouliketoseethefilm?Explainwhy/whynot.

The Bourne LegacyUniversalPictures

When agent Aaron Cross plunges into icy waters in the opening moments of the brisk and satisfying spy thriller The Bourne Legacy, the scene serves two purposes: to commemorate the superb and well-loved trilogy that came before, in which Matt Damon, as the man called Jason Bourne, made his first appearance in The Bourne Identity, fished out of the Mediterranean Sea with bullets in his back; and to baptize Jeremy Renner as the action-hero heir worthy of leading the franchise forward.

The symbolism works elegantly. Renner’s Cross is a conflicted hero built character to take advantage of the Hurt Locker star’s best qualities as an actor — his default intensity, the way he conveys that complicated mental calculations are taking place under cover of watchful stillness, even underwater. Since director and co-writer Tony Gilroy (Michael Clayton) has custom-tailored The Bourne Legacy for the present by opening up the narrative. Unnerving scenes of backroom operations among shadowy governmental and private-enterprise types reveal the machinations of a much bigger tangle of players than previously imagined. There are mystery men running the country — and, by remote control, the world. This movie recommends worrying.

Meanwhile, Cross is currently the agent in the crosshairs. Yet to his handlers he’s only “No. 5,” one of six experimental warriors chemically enhanced for use by the Department of Defense in an operation called Outcome — sort of the 2.0 of the original trilogy’s Tread stone. But now his masters (led by an effectively steely Edward Norton) want to eradicate all evidence that Outcome ever existed. First of all destroying these six super agents. In desperation, he turns for help to the pharmaceutical scientist who “created” his enhanced capabilities (Rachel Weisz, a good choice, and from the looks of her, a good runner). Secondly, the two find themselves sprinting for their lives.

Like any story with Bourne in the title, this one scampers around the globe, with a big chunk of well-crafted showdown action set in teeming Manila. Gilroy, who as a screenwriter has shaped the movie saga from the beginning, trades the wired rhythms established in the past two episodes by Paul Green grass for something more realistic and closer to the ground. So the change is refreshing. Jason Bourne’s legacy is in good hands.

1

2

3

4

49

Post - ProductionC.) Read the review again and answer the following questions.

1. Is the review positive or negative?

2. What is said about the film?

3. What was this review meant to do?

D.) Usetheconnectorsintheboxtocompletethedefinitionsbelow.

1. To give contrasting information. ____________ , ______________ , ________________

2. To give additional information. ____________

3. To order points. ____________ , ______________

4. To show cause and effect. ____________ , ______________

E.) Complete a different review of the Bourn Legacy, using the connectors.

The Bourne LegacyUniversalPictures

Here is the film that many people, especially Bourn fans, have been waiting for all these years. A homage to the great trilogy, different in tone from similar films. (1) ________________________ . It was beleived that there was only one, our interest in Jason Bourne continues to this day. (2) ________________________ . Universal Pictures’ new film, the Bourne Legacy, taps into our collective fascination in two novel ways: (3) ________________________ by presenting a new side to Bourne’s life, Jeremy Renner; (4) ________________________ , by drawing on parallels between the new, old, and unknown.

(5) ________________________the story of Bourne is so well-known, it is thanks to Jeremy Renner that the film is both gripping (6) ________________________ action paked. Highly recommend.

F.) Matchtheparagraphnumbersinthe1stfilmreviewonthepreviouspagetotheirfunctions(a–d).

a. _________ Tells us about the lead actors role in the film and how they convey the character.

b. _________ Introduces the film: genre, basic plot.

c. _________ Concludes the review in an interesting way.

d. _________ Provides us with a sence of what to expect.

Since And But First of all Yet Secondly Although So

G.) Thinkofafilmyouhaverecentlyseen.Inpairs,taketurnstosaywhatyouthoughtabout thefilm,usingthephrasesinthepreviousexercise.

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Post - Production

Section 5

A.) Doesthefilmreviewfollowtherequirementsofagoodfilmreview(1–5)?Explainwhy/why

1. A good film review is written in mostly the present simple tense. Is that true of the review that you just read?

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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?

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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?

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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?

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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?

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B.) Youaregoingtowriteareviewofafilm.Beforeyouwriteyourreview,answerthefollowingquestions.

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. Alternatively, is the film based on an original screenplay? Is it new and fresh?

3. Are the characters convincing?

4. Is the casting up to your expectations?

5. Is the theme of the film successfully conveyed to the audience?

6. Is the setting appropriate and effective?

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.) Make notes for your review.

D.) Onaseperatesheetofpaper,writeyourreview.Useconnectorstomakeitclearertoread.Whenyou havefinished,readyourreviewtoaclassmateandmakeanycorrectionsneeded.

E.) Asaclass,Readasmanyclassmates’reviewsaspossible.Decidewhichisthebestreviewandwhy? Whichfilmwouldyoumostliketoseebasedonthereviewofyourclassmates?

Section 6

51

Post - ProductionSection 6

A.) In pairs, answer the questions below.

1. What is the difference between a screenplay, a scene, and a sequence?

2. How many Acts are in a typical movie?

B.) Matchthedefinitionswiththewordsinthebox.

Scene Sequence Screenplay Acts Beats

_________________ A sequence of continuous action in a play, movie, opera, or book.

_________________ Beats are specific, measured, and spaced to create a pace that moves the progress of the story forward.

_________________ The script of a movie, including acting instructions and scene directions.

_________________ Perform a fictional role in a play, movie, or television production.

_________________ A set of related events, movements, or things that follow each other in a particular order, or a part of a film dealing with one particular event or topic.

C.) Step1.)Ingroupsof2or3create:3mainCharactersforascreenplay.

Include: (personal information, physical description, attitude, style, and background).

D.) Step2.)Inyourgroupscreate3Actsor“situations”forthescreenplay.

E.) Step3.)Inyourgroupsbreakdownthe3Actsor“situations”into6Sequences.

F.) Step4.)Inyourgroupsbreakdownthe6Sequencesinto9Scenes.

G.) Step5.)Inyourgroupsbreakdownthe9ScenesintoBeats.

Include: (location description, event description, and situation).

Act 1) Beginning “set up” Act 2) Middle “conflict” Act 3) End “resolution”

Include: (description of action during sequence).

Include: (titles of the scenes and summery of what happens).

Include: (organization of beats and short story line).

Beginning Middle End

ACT 1 ACT 2 ACT 3

Setup

ScreenplayStoryStructure

Conflict Resolution

Character Setting Move towards goal Final Push

PlotPoint LowPoint Final Fight or Drama

Motivation Goal Motivation Goal LowPoint

HeroPrevailsWrap-up

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Post - Production

Section 7

A.) In pairs, discuss the questions below.

1. What should be included in a film review?

2. What are the most important parts of a film review for the reader?

B.) Thinkofamoviethatyouhaveseenrecently.Then,fillintheinformationaboutthefilm.

Titleofthefilm:_________________________________________

Genre:______________________________________

MainCharacter:_________________________________________

MovieStyle:

Character Description:

Scenes:

Plot:

General Description:

OpinionandRecomendations:

53

Post - ProductionMovie Trailers

Section 8

A.) In pairs, discuss the questions below.

1. What is a movie trailer and why are they made?

2. Why are they called movie trailers?

3. What was the best movie trailer you ever saw?

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 advertisement’s 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 didn’t 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 industry’s 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 audience’s 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.

54

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 MPAA’s 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 movie’s 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:

• Theatrical - those that play in a theater

• TV Spots - these play on TV (during commercial breaks)

• Consumer - these are usually at the beginning of DVDs

• 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.

 

1.) What are “Trailers”? …………………….…………………………………………..……………......................................................................

2.) Why are they called “Trailers”? ..…………………………………………………………………………………………....................................

……………………………………………………………………………………………………………………………………....................................

3.) What are other names for “Trailers”? ……………………………… ……………………………..

4.) When was the first “Trailer” seen? ……………………………........

5.) What was the “Trailer” for? ..………………………………………………………………………………………………...................................

6.) When did trailers first show up before the featured film?………………………………………………………………....................................

7.) What do trailers consist of? ..……………………………………………………………………………………………......................................

……………………………………………………………………………………………………………………………………....................................

8.) Why are Trailers important?……………………………………………………………………………………………….....................................

……………………………………………………………………………………………………………………………………....................................

9.) Why is narration used in a Trailer?………………………………………………………………………………………......................................

……………………………………………………………………………………………………………………………………....................................

10.) What is a “cast run”? …………………………………………………………………………………………………….....................................

11.) What is a “billing block”? …………………………………………………………………………………………………...................................

12.) What is the (MPAA)? …………………………………………………………………………………………………….....................................

13.) What are the all-green or all-red graphics at the beginning of the trailer used for? ………………………………………………………....

C.) Answer the questions below about the text that you just read about movie trailers.

55

Post - Production

Production

Pre - Production

What did you learn?

Pre Production

A.) In pairs, discuss the following questions.

1. What did you learn about the pre production process?

2. Did you learn anything that you didn’t already know in Spanish?

3. What are the steps included in the pre production process?

4. What job would you most like to do in the pre production process and why?

Production

A.) In pairs, discuss the following questions.

1. What did you learn about the production process?

2. Did you learn anything that you didn’t already know in Spanish?

3. What are the steps included in the production process?

4. What job would you most like to do in the production process and why?

Post Production

A.) In pairs, discuss the following questions.

1. What did you learn about the post production process?

2. Did you learn anything that you didn’t already know in Spanish?

3. What are the steps included in the post production process?

4. What job would you most like to do in the post production process and why?

56

Pre - Production Vocabulary Correspondent: a person employed to report for a newspaper or broadcasting organization, typically on a particular subject or from a particular country.

Running order: the items in a broadcast, concert, or show is the order in which the items will come.

Live: relating to a musical performance given in concert or show filmed, not a recording.

Wires: journalism jargon for news agency (a newswire or wire service).Exclusive: restricted to the person, group, or area concerned.DV footage: is a type of digital recorded film that works by using a digital rather than an analog video signal.Camera crew: a group of people hired by a production company for the purpose of producing a film or motion picture.Broadcast: transmit (a program or some information) by radio or televisionCommentary: an expression of opinions or offering of explanations explanations about an event or situation.Coverage: the area reached by a particular broadcasting station or advertising medium.Newsreader: a British newscaster.Reporter: a person who reports, esp. one employed to report news or conduct interviews for newspapers or broadcasts.Researcher: is somebody who performs research, the search for knowledge or in general any systematic investigation to establish facts.Director General: a chief executive or administrator of a film or production.Advertising: the activity or profession of producing advertisements for commercial products or services. PSC: Portable Single Camera: this means there is just one cameraman / woman responsible for recording both video and sound.TX date: Transmission date: that is, the day the finished program will be broadcast.Fixer: A freelance journalist who sets up interviews and gets permission to film on location before the crew arrives and also acts as a translator and provides up-to-date information.Digibeta: This is a tape format like VHS or Beta, often used by long-format documentaries. SCU: Single camera unit: this means that the sound equipment needed is just for one cameraman and reporter with interviewees.Daily Rates: This tells the crew how much money they have to spend on food and minor expenses per day.Release Forms: Legal documents that interviewees and other

contributors to the program sign to confirm their contributions can be used, usually without receiving any payment.

R/V: Rendezvous: That is, to meet up with someone.

IV: is an interview.GV: General views: a series of shots of a location that are used to set the scene for the story.PTC:Piece to camera: this is when a reporter speaks directly to the viewers through the camera.Sequence: a part of a film dealing with one particular event or topic.Factual: concerned with what is actually the case rather than interpretations of or reactions to it.Friendly: kind and pleasant.Informal: having a relaxed, friendly, or unofficial style, manner, or nature.Informative: providing useful or interesting information.Tape stock: Digibeta tapes which the camera operator records footage onto.Denotations: the literal or primary meaning of a word, in contrast to the feelings or ideas that the word suggests.Connotations: an idea or feeling that a word invokes in addition to its literal or primary meaning.Screenplay: the script of a movie, including acting instructions and scene directions.The cast: the actors taking part in a play, movie, or other production.Screenwriter:a person who writes a screenplay.Director: special effects: Soundtrack: a recording of the musical accompaniment to a movie.Plot: the main events of a play, novel, movie, or similar work, devised and presented by the writer as an interrelated sequence.Act: a main division of a play, ballet, film or opera.Capital: wealth in the form of money or other assets owned by a person or organization or available or contributed for a particular purpose such as starting a company or investing.Dialogue: conversation between two or more people as a feature of a book, play, or movie.INT: internal shots. VO:voice-oversStoryboard: a sequence of drawings, typically with some directions and dialogue, representing the shots planned for a movie or television production.Proposal:a plan or suggestion, esp. a formal or written one, put forward for consideration or discussion by others.Budget: an estimate of income and expenditure for a set

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Pre - Production Vocabularyperiod of time.Expenses: the cost required for something; the money spent on something.Target Market: is a group of customers that the business has decided to aim its marketing efforts and ultimately its merchandise towards.Requirements: a thing that is needed or wanted.Time Frame: a period of time, esp. a specified period in which something occurs or is planned to take place.Schedule: a plan for carrying out a process or procedure, giving lists of intended events and timesMeeting: an assembly of people, esp. the members of a society or committee, for discussion or entertainment.Advertising Brief: Document confirming understanding between a client and an advertising agency on (1) objectives of an advertising campaign, (2) identification of the targeted audience, (3) strategies to be adopted in reaching the audience, (4) the timeframe of the campaign, and (5) its total estimated cost.Deadline: the latest time or date by which something should be completed.Storyline:the plot of a novel, play, movie, or other narrative form.Casting: assign a part in a play, movie, or other production to (an actor).Rundown: an analysis or summary of something by a knowledgeable person.Script: the written text of a play, movie, or broadcast.Pitch: a form of words used when trying to persuade someone to buy or accept something.Genre: a category of artistic composition, as in music or literature, characterized by similarities in form, style, or subject matter.Hooks: a thing designed to catch people’s attention.Logline: is a one-sentence summary of your script.Smalltalk: polite conversation about unimportant or uncontroversial matters in social occasions.Compositing: is the combining of visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene.Layering: the action of arranging something in layers.Masking: the covering up of elements that are not required.Keying: a technique for compositing two full frame images together.

ExecutiveProducer: 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.LineProducer: 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.ProductionManager: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.ProductionCoordinator: 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 AD’s orders and directions are carried out. ProductionAssistant: 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 production’s 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.SetDresser: 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.DOPDirectorofPhotography:designate a chief over the camera and lighting crews working on a film, responsible for achieving artistic and technical decisions related to the image.

Production Vocabulary

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Production VocabularyPropsMaster: 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.Wardrobe: the department in charge of the set of clothes appropriate for a particular occasion or scene. Gaffer: is the head electrician. This means that they are in charge of all the lighting personnel.Best Boy: is the gaffer’s assistant.KeyGrip:is the person in charge of all the people who move anything.Video Assist: is a system used in filmmaking , which allows filmmakers to view a video version of a take immediately after it is filmed.Pan: swing (a video or movie camera) in a horizontal or vertical plane, typically to give a panoramic effect or follow a subject.Personalmic: is a microphone worn on an individule.Tracking shot: a camera shot in which the cameraman follows a specific person or event in the action.Tilt: is a cinematographic technique in which the camera is stationary and rotates in a vertical plane (or tilting plane).POV: point of view. Walkie-talkie: a portable two-way radio.Pullfocus: a filming technique whereby the focal point is drawn towards the viewer. Windshield: protection from the wind for filming.Technical issues: a problem with technological broadcasting equipment preventing normal broadcast (cameras, wires, TVs.Lighting rig: a structure that holds the lights for a stage in a theatre, at an outdoor concert or for filming.Reconnoiter: make a military observation of (a region). Soundcrew: a group of people hired by a production company for the purpose of recording and producing sound for a film or motion picture.To shoot: film or record a scene for a film. Generator: a thing that generates something, in particular like electricity.Filters: a camera accessory consisting of an optical filter that can be inserted in the optical path, or something applied to an image to change the coloring or tone.Location agency: is an agency that offers photoshoot, filming locations.CU: close up. XLS: extreme long shot.MS: medium shot or mid shot.XCU: extreme close up.

LS: long shot.MLS: medium long shot.MCU: medium close up.BCU: big close up.Angle of shot: The direction and height from which the camera takes the scene.Low angle shot: places camera below the character, exaggerating his or her importance. An overhead shot is one made from a position directly above the action.Viewpoint: The apparent distance and angle from which the camera views and records the subject.Two shot: A shot of two people together.Selectivefocus: Rendering only part of the action field in sharp focus through the use of a shallow depth of field.Softfocus: An effect in which the sharpness of an image, or part of it, is reduced by the use of an optical device.Wide-angle shot: A shot of a broad field of action taken with a wide-angle lens.Titled shot: also known as a canted shot. When the camera is tilted on its axis so that normally vertical lines appear slanted to the left or right, ordinary expectations are frustrated.Bird’seye: looking down on the subject from above.Eye-level: filming at eye level of the subject.High: filming from above the subjects eye level that causes the subject to look less important.Canted: camera is tilted on its axis so that normally vertical lines appear slanted to the left or right, ordinary expectations are frustrated.Low: filming from below the subjects eye level that causes the subject to look more important.Worm’seye: a perspective seen from below or from a low or inferior position.Tilt up / down: camera angle that looks up or down at the object being photographed.Zoom in / out: focus in from a long-shot to a close-up.Crab left / right: The camera moves (crabs) right or left.Track in / out: the camera itself being moved smoothly towards or away from the subject.Panleft/right: to move from left to right on one pivit point.Pedup/down: to move the camera up and down but maintaining the same perspective.Wide shot: to observe the most action in the performance.EstablishingShot: showing the relationship between its important figures and objects. High and low angle shots: when the camera angle is located above or below the eyeline.

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Post - Production VocabularyCharacterization: describe the distinctive nature or features of someone or something.Cinematography: the art of making motion pictures.Scoring: the music composed for a movie or play.Cinematic: having qualities characteristic of motion pictures.Terminology: the body of terms used with a particular technical application in a subject of study, theory, profession, etc. Effects: the lighting, sound, or scenery used in a play, movie, or broadcast.Prints: produce (a photographic print) from a negative.Box office: a place at a theatre, cinema, etc. where tickets are bought or reserved.Lease: a contract by which one party conveys land, property, services, etc., to another for a specified time, usually in return for a periodic payment.Rights: entitlement, privilege, advantage, due, birthright, liberty, authority, power, license, permission, sanction, freedom.

Studio: a room from which television or radio programs are broadcast, or in which they are recorded. also a place where movies are made or produced.Run: continue or be valid or operative for a particular period of time.Screenings: a showing of a movie, video, or television program.Trailer: an excerpt or series of excerpts from a movie or program used to advertise it in advance; a preview.Theatrical: of, for, or relating to acting, actors, or the theater. Editing: is the process of selecting and preparing written, visual, audible, and film media used to convey information through the processes of correction, condensation, organization, and other modifications performed with an intention of producing a correct, consistent, accurate, and complete work.

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Duoc UCaudio visual esp

English