3step filmmaking process
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Transcript of 3step filmmaking process
1. PRE-PRODUCTION• Script Development
• Brainstorm• Decide upon project• Identify the “Who,
What, Where, When and Why”
• Screenwriting & Storyboarding
2. PRODUCTION• Production & Filming
3. POST-PRODUCTION1. Editing2. Exhibit, Review & Reflect
1. WRITE A ONE-PAGE STORY DESCRIBING THE PROPOSED PROJECT
• Describe what you intend to do and why
• Set-up, tension development (conflict/crisis) and resolution
• Used to sell a project (to the teacher) before the script is written
• What characters are in the scene? What do they say? How do they communicate?
• Does the scene make sense?
2. SET LENGTH FOR FINAL PROJECT (30SEC - 5MIN)
3. PRESENT OR “PITCH” THE STORY IDEA TO THE TEACHER FOR COMMENT AND APPROVAL
1. CREATE A SHOOTING SCRIPT FOR THE FILM PROJECT
1. Movies tell stories with visual images and sound.
2. The screenplay provides a detailed roadmap for the director and other members of the filmmaking team
3. The screenplay includes:1. All the words spoken by the
characters2. Stage directions that indicate
all nonverbal actions by characters
3. Elements of setting4. Sound effects5. Design & music
4. All in all --- A screenwriter writes everything intended for an audience to see and hear.
SCR
I PT
FORMATTING
GUIDE
Title Page: Title & screenwriter(s) names in the middle.
Font: Always use 12-point Courier; no bold face or italics.
Page Numbering: Place the page number on every page in the upper right corner, except the cover.
Spacing: Double space between slug line, action line, speaking character, stage directions and dialogue. Single space action lines and lines of dialogue.
The Slug Line: The general or specific location and time of day. Always in ALL CAPS.
Action Line: Sets the scene with a description of characters, places and action single spaced from margin to margin.
Voice Over: Indicated by placing (VO) immediately to the right of the character name.
Off Camera: Indicates that a character is speaking off screen, place (OC) Immediately to the right of the character name.
Stage directions: Written in parenthesis and under the name of the character speaking. Include what the character is doing within the scene.
Sound/Music Effects: Are always capitalized.
SPIES by
Roseanne Perez
1. ”SPIES"
FADE IN:
2 SPACES
EXT. CITY STREET – DAY
2 SPACES
Heat rises from the pavement. A red car
2 SPACES
Pedestrians leap out of the way of the wayward
As the car approaches, we see the driver is
3 SPACES
INT. CITY STREET – NIGHT
MACK(with a smirk)
Try to catch me now, coppers!
He tosses a stack of LOOSE BILLS out of the
Chaos ensues as PEOPLE rush into the street to
(MORE)
SCENE HEADINGSAKA
SLUG LINE(ALWAYS CAPS)
Must Include:•INT OR EXT•LOCATION
•DAY OR NIGHT
TRANSITIONMethod of changing fromone scene to anotherRULE OF THUMB•Every scene will CUT TO: the next if no transition is specified•If necessary to specify one, it appears against the right margin like this. DISSOLVE TO:
SCENE ACTION
•ALWAYS PRESENT TENSE•MIX UPPER AND LOWER CASE TEXTRULE OF THUMB•LIMIT A PARAGRAPH OF SCENE ACTION TO 4-5 LINES•EACH PARAGRAPH IS A BEAT OF ACTION WITHIN YOUR SCENE Scene action should only deal with what is happening on the screen and must never stray into thoughts or back-story.
NOTE
•Description of character must follow his introduction
CHARACTER
•INDENTED AROUND THE MIDDLE BUT NOT CENTERED 2.2INCHES•NAMES SHOULD BE CONSISTENT THROUGHOUT THE SCRIPT
1 inch 2 inches
PARENTHETICALSPECIAL
EMPHASIS
•EXAMPLE(to GRANDMA)
WORDS THAT DESCRIBE
•MUST BE IN CAPS
swerves through traffic.
sedan.
MACK ATTACK (20s), an unwashed cowboy
whose eyes twinkle from lack of sleep.
grab the money.
window.
2.
INT. POLICE STATION/OFFICE – DAY
SARGEANT PAUL GARCIA (55) slams down his
GARCIA
(to his SIDEKICK)
Mack is back.
DISSOLVE TO:
EXT. POLICE STATION – NIGHT
MACK (O.S.)
I have something to tell you
too, Scott.
I was born an alien.
Looking straight into her eyes. Pam (45), tall
OPERATOR (V.O.)
Station one, we have a reported
murder on Boardwalk and Lee Street.
(MORE)
SLUG LINEW/SUBLOCATION
SCENE ACTION
NOTE
•Sometimes it may be necessary to hear characters when we cant actually see them
O.S.
•OFF SCREEN MEANS THE CHARACTER IS PHYSICALLY PRESENT WITHIN THE SCENE, BUT CAN ONLY BE HEARD(they are speaking from another room)
PARENTHETICAL
phone.
V.O.
•VOICEOVER IS USED WHEN THE CHARACTER IS NOT PRESENT WITHIN THE SCENE, BUT CAN BE HEARD VIA A MECHANICAL DEVICE SUCH AS A PHONE/RADIO.•ALSO USED WHEN CHARACTER NARRATES THE STORY.
blonde secretary, started CRYING.
3.
INTERCUT - INT. POLICE STATION/HOME – DAY
GARCIA
(into phone)
What happened?
MACK
(into phone)
I cant believe
this crime scene.
FADE TO:
EXT./INT. POLICE STATION – DAY
PROFESSOR
(EXCITEDLY) Let me guess!
Revolutionaries? (LEANING IN CLOSER) Intent on
stealing my life’s work?
FADE OUT.
THE END
SLUG LINEScene Heading will look like
this when its necessaryto CUT back and forth between locations in
the same scene
NOTE
•IF YOU HAVE A SCENE WHERE THE ACTION IS CONTINUOSLY MOVING BETWEEN THE INT AND EXT OF THE SAME LOCATION, DO YOUR SCENE HEADING LIKE THIS•BUT USE INTERCUT FOR CUTTING BACK AND FORTH BETWEEN TWO SEPARATE PIECES OF ACTION INSIDE AND OUTSIDE.
NOTE
•SIGN-OFF A FILM SCRIPT WITH THE END CENTERED ON THE PAGE,PRECEDED BY FADE OUT
CREATE A SET OF STORYBOARDS THAT ACCURATELY VISUALLY DESCRIBE THE FILM PROJECT
• A visual script created by a series of pictures that conveys the essential shots of a scene.
• With simple artwork, even stick figures, the storyboard artist quickly and simply communicates to the entire team the visual components— broken down into individual shots—of the script.
• The director should be able to determine the position of actors and the direction of their movements, and the type and framing of the shot (close-up, long shot, etc.).
Things to think about: • Does your storyboard show the important shots
that you want in your film? • Does it show how the film sequence will be
paced? • Does the storyboard show the action that is
happening? • Could someone else outside of your group clearly
understand what it is communicating?
1. ROLES & RESPONSIBILITIES FOR THE SHOOT
As a team, decide what roles each of you will play to produce the scene that you have scripted and storyboarded.
Things to think about:• Who will manage the production from start to finish?• Who will direct? Who will shoot the film?• How will you create believable characters? Locations?
Situations?
2. SHOOTING FROM THE STORYBOARDSBased on the storyboards you created, film the shots required to completely tell the story described in your script and storyboards.
Things to Think About:• What is your job and what are your responsibilities for
the shoot?• Are you recording sound you don’t want?• How will you light the scene to achieve your dramatic
intent?• How will you create mood? • Do you have all the props and costumes you need on
the day(s) you are shooting?
Editing is to filmmaking as rewriting is to writing.
1. Storyboards are the outline.2. Shooting is the first draft. And, like most
first drafts, cut out the bad sentence structure/misspellings, and subtract and reconstruct to tell the story better!
3. The editor takes the jumbled pieces of film that come out of production, and, in consultation with the director and producer, transforms them into a coherent and well-paced story.
During the post-production step of the process, teams will perform the following tasks:
• Import video elements shot during the production step of the process.
• Use music, transitions and other effects to produce a finished final edit of the project.
1. EXHIBIT - VIEW VIDEO ON SCHOOLTUBE
2. REVIEW - WRITE REVIEW ON CLASSROOM BLOG (EDMODO).Remember: Convince the reader that you have something interesting to say about the film - the plot is trivial, the hero is not really a hero, the plot and characters are fine but the camera work is needlessly tricky, or whatever else you decide your main point be. Any opinion must be supported by examples.Things to Think About:
Here are some basic, starting questions to ask yourself when writing your review:
– Is the story original, how fresh or innovative is it?– Are the characters believable? What is the theme of the film?– Is the setting appropriate and effective?– Does the film make certain use of color, lighting, etc., to
enhance the theme, mood and setting?– Is the sound track effective? Are camera angles used
effectively?– Are there special effects in the film? If so, are they essential
to the plot?
3. REFLECT After reading the individual reviews’, group members will reflect and reply to the classroom blog.