FP3: Editing Unit

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FP3: Editing Unit

11/17-11/19

11/17/10
FP3: Zamore

Aim: Understanding the vast implications of Editing on a film

Daily Spark/Warm up: As we watch the following video, I will pause and you will write down the emotion that the man is feeling or what you think he is thinking about.

First, before we move into editing, a couple of wrap up notes
1. Change in Vocabulary Homework. Still 10 points and still due Monday, but you will only be responsible for 1-2 words and you will upload it by Monday on our new wiki site!
http://fssafilm3-4.wikispaces.com/
---Listen up so I can tell you which words are yours!

2. We will get our last projects on wiki
http://fssafilm3-4.wikispaces.com/
Go to this site and we will follow the instructions together

Please sign up to be a member of the wiki so we can continue to compile our work.

You have 15 minutes to get your scrapbook uploaded onto the wiki. If you don't have it here, please start on the vocabulary work and wait as others finish.

EDITING!

What is the power of the edit?
Watch the following film. What editing techniques do you notice used (think about motion vectors, continuity etc).

Maya Deren, Meshes of the Afternoon/At Land
What is the story line?
How are regular editing techniques used to create a non linear story?

11/18/10
FP3: Zamore

Aim: Brainstorming and understanding ways to visually represent an emotion

Daily Spark: What is the difference between linear v. non-linear story lines? What is an example of each?

Review Project together

Break into groups--within your group you will decide on an emotion to represent (these are vying for a spot at the winter concert so take that into consideration--try to stick with an emotion that connects with winter or holiday time if you can)

Once you figure out your emotion, let me know what you are going to do and then get started on the next steps:

Beginning your emotion film:

1. Start with researching what historically is representative of your word
a. (for example, the color purple historically represents royalty, red=warning, flower=femininity etc…)
2. Find at least 10 symbols for your word.
3. Now, think of a way to turn these symbols on their head—how can you use your knowledge of these symbols to create meaning for people in an inspired way?
4. Create an outline for your linear story that utilizes some of these symbols.
5. Describe each scene as visually and cinematically as possible
6. Highlight images or pieces of scenes that could work for your other piece
7. Begin creating an outline for your film treatment

Each treatment should be at least 3 paragraphs
• A treatment generally has one paragraph for each major dramatic event
• “Narrative beat” –a dramatic event in which the action, decisions or revelations of the
• moment move the plot forward by either intensifying it or moving it in a new direction
• Each treatment should describe the story VISUALLY!!
o It’s not “he was sad because he liked the girl”
o It is, “He looked on longingly as she walked away, hand clasped firmly with the other boy’s”
• For the experimental pieces, just describe what we will see

By the end of today, you should have an outline for your film treatment and the 7 steps above figured out. You should have started your actual treatment.

11/19/10
FP3: Zamore

Aim: Ensuring that our treatment is descriptive and accurate

HW 2.3 and Midterm Reminder: Your vocabulary homework is due up on fssafilm3-4.wikispaces.com by Monday! Your take home midterm is due Monday after Thanksgiving (5 bonus points if it is in by next Wednesday)

Daily Spark/Warm up: come up with more descriptive ways to say the following:
Walk Good Funny Pretty Tired

A quick note about midterm: Your in class piece will be completing a shooting script and putting a shot list in the right order (I will give you the shots and you will have to organize them according to the way shot lists are supposed to be organized)

A quick note about scapbooks--print them out, email them to me or, if it is in iMovie, make it a quicktime video and give it to me today to drag to my desktop.

Today you will move from your outline to your treatments.

Each treatment should be at least 3 paragraphs—

For the narrative treatment:
A treatment generally has one paragraph for each major dramatic event aka--“Narrative beat”

“Narrative beat” –a dramatic event in which the action, decisions or revelations of the
moment move the plot forward by either intensifying it or moving it in a new direction

Each treatment should describe the story VISUALLY!!

--It’s not “he was sad because he liked the girl”

--It is, “He looked on longingly as she walked away, hand clasped firmly with the other boy’s”

For the montage pieces, just describe what we will see and in what order we will see it.

By the end of today you should have completed:
--List of Symbols
--Outline
--Both treatments

By the end of today you should have started:
--Script

Discuss techniques:
Montage
Assembly Edit
Mise en Scene
Intercutting
Dissolve
Smash Cut

11/17/10 FP3: Zamore Aim: Understanding the vast implications of Editing on a film Daily Spark/Warm up: As we watch the following video, I will pause and you will write down the emotion that the man is feeling or what you think he is thinking about. First, before we move into editing, a couple of wrap up notes 1. Change in Vocabulary Homework. Still 10 points and still due Monday, but you will only be responsible for 1-2 words and you will upload it by Monday on our new wiki site! http://fssafilm3-4.wikispaces.com/ ---Listen up so I can tell you which words are yours! 2. We will get our last projects on wiki http://fssafilm3-4.wikispaces.com/ Go to this site and we will follow the instructions together Please sign up to be a member of the wiki so we can continue to compile our work. You have 15 minutes to get your scrapbook uploaded onto the wiki. If you don't have it here, please start on the vocabulary work and wait as others finish. EDITING! What is the power of the edit? Watch the following film. What editing techniques do you notice used (think about motion vectors, continuity etc). Maya Deren, Meshes of the Afternoon/At Land What is the story line? How are regular editing techniques used to create a non linear story? 11/18/10 FP3: Zamore Aim: Brainstorming and understanding ways to visually represent an emotion Daily Spark: What is the difference between linear v. non-linear story lines? What is an example of each? Review Project together Break into groups--within your group you will decide on an emotion to represent (these are vying for a spot at the winter concert so take that into consideration--try to stick with an emotion that connects with winter or holiday time if you can) Once you figure out your emotion, let me know what you are going to do and then get started on the next steps: Beginning your emotion film: 1. Start with researching what historically is representative of your word a. (for example, the color purple historically represents royalty, red=warning, flower=femininity etc…) 2. Find at least 10 symbols for your word. 3. Now, think of a way to turn these symbols on their head—how can you use your knowledge of these symbols to create meaning for people in an inspired way? 4. Create an outline for your linear story that utilizes some of these symbols. 5. Describe each scene as visually and cinematically as possible 6. Highlight images or pieces of scenes that could work for your other piece 7. Begin creating an outline for your film treatment Each treatment should be at least 3 paragraphs • A treatment generally has one paragraph for each major dramatic event • “Narrative beat” –a dramatic event in which the action, decisions or revelations of the • moment move the plot forward by either intensifying it or moving it in a new direction • Each treatment should describe the story VISUALLY!! o It’s not “he was sad because he liked the girl” o It is, “He looked on longingly as she walked away, hand clasped firmly with the other boy’s” • For the experimental pieces, just describe what we will see By the end of today, you should have an outline for your film treatment and the 7 steps above figured out. You should have started your actual treatment. 11/19/10 FP3: Zamore Aim: Ensuring that our treatment is descriptive and accurate HW 2.3 and Midterm Reminder: Your vocabulary homework is due up on fssafilm3-4.wikispaces.com by Monday! Your take home midterm is due Monday after Thanksgiving (5 bonus points if it is in by next Wednesday) Daily Spark/Warm up: come up with more descriptive ways to say the following: Walk Good Funny Pretty Tired A quick note about midterm: Your in class piece will be completing a shooting script and putting a shot list in the right order (I will give you the shots and you will have to organize them according to the way shot lists are supposed to be organized) A quick note about scapbooks--print them out, email them to me or, if it is in iMovie, make it a quicktime video and give it to me today to drag to my desktop. Today you will move from your outline to your treatments. Each treatment should be at least 3 paragraphs— For the narrative treatment: A treatment generally has one paragraph for each major dramatic event aka--“Narrative beat” “Narrative beat” –a dramatic event in which the action, decisions or revelations of the moment move the plot forward by either intensifying it or moving it in a new direction Each treatment should describe the story VISUALLY!! --It’s not “he was sad because he liked the girl” --It is, “He looked on longingly as she walked away, hand clasped firmly with the other boy’s” For the montage pieces, just describe what we will see and in what order we will see it. By the end of today you should have completed: --List of Symbols --Outline --Both treatments By the end of today you should have started: --Script Discuss techniques: Montage Assembly Edit Mise en Scene Intercutting Dissolve Smash Cut

11/22/10-11/24/10: Prepro continues and midterm

11/22/10
FP3: Zamore

Aim: Understanding the transition from treatment to Script

Daily Spark: What is a Narrative Beat?

Today we will discuss movement from Treatment to script.

What do we know about scriptwriting language???

Read together in the textbook: p -- Treatment and script information

By the end of today, you should have your script printed out for me and should begin working on your shooting script

11/23/10
Zamore: FP3
Aim: Finishing Shooting Script, Shot list and script breakdown sheet

Daily Spark: Convert the following into proper script language:
“When he went to the store, he was trying to remember what he needed to buy. He thought he might need some eggs, but he wasn’t sure. He knew he needed milk for his cereal and potatoes for dinner. He was thinking about making a cake, but wasn’t sure if there would be time. All of a sudden he realized he forgot his wallet.”

Today, you will finish your scripts. When you finish your script, you should begin a shooting script, shot list and script breakdown sheet.

Review how to make a shot list:
The Shot List: The first step in your practical production plan

1) Definition: A list of all the individual shots that make up the film In the order in which they will be shot
a) Films are not shot in sequential order, but by location to maximize efficiency
b) The shot list contains exactly the same shots as in your shooting script, but rearranged according to practical and logistical considerations
c) A good shot list communicates to the crew exactly what shot they need to set up for at any
given time

2) Before creating the shot list, you must go back to your shooting script and mark each scene in sequential order: scene 1, scene 2 ect…

3) Once you mark your scenes, you must mark each shot within the scene. First shot is “a,” second is “b” etc

4) How to organize your shot list (in order of consideration importance-not in order of when you actually shoot):
a) Location and time of day
i) Usually we shoot scripts by location-all scenes occurring in the same location are shot
together, no matter where they appear in the script
ii) Interior locations, regardless of time of day, are shot together
iii) Exteriors, using natural light have to be arranged together by location and time of day
(1) Generally schedule exterior shots first to take advantage of the weather
(2) Always have an alternate plan for weather issues when filming outside
(a) Called “cover set”

b) Camera Set up
i) Physical placement of camera
ii) Once camera is placed, set dec, lights, mics etc are set up
iii) Cluster all similar set ups together to reduce having to set up again

c) Shot size
i) Once we have location and set-up clustered, we further arrange our shots by size
(1) General rule of thumb: move from widest shot to closest shot
ii) “Master scene” first
(1) Done for several reasons:
(a) Wider shots require more set dec etc. Once completed, can shoot all shots
(b) Master shot covers more of the script
(c) If time runs out, easier to reshoot close-ups later or work without them
(d) Lighting (will explain when we get to this unit)

d) On set logistics
i) Avoid keeping cast and crew around when unnecessary
ii) Shoot set-ups with most people first
iii) Group shots that have the same characters together

e) Pick-up shots: shots that don’t require actors-just scenery, objects etc
i) Only requires small crew, so can do it once everyone else goes home

f) Exceptional considerations
i) Sometimes you have to arrange around someone else’s schedule or a particular prop etc—
this is not a concern for you at this time

Today:
Finish scripts
Create Shooting Script
Create Shot list

Beginning Scouting...

11/24/10

Aim: Storyboarding and Location Scouting

First: Part 1 of Midterm

Second: Scripts, shooting scripts, shot lists and storyboards.

Also, submit to me the number of characters your screenplay has and whether they are male or female so I can pair groups up--if you do not need members outside of your group, tell me that instead.

When you finish this, you will start scouting for storyboards (or split up the group and get them accomplished at once)

As you scout, look for:
1. Dimension of the frame
2. Graphic Qualities
3. Deep vs. Flat frames
a. Use of receding frames, horizontal/diagonal lines
4. Focus
5. Shadow

We’ll review this first…
By the end of today, you should have your shooting script, shot list, initial location list and a beginning of a storyboard

11/22/10 FP3: Zamore Aim: Understanding the transition from treatment to Script Daily Spark: What is a Narrative Beat? Today we will discuss movement from Treatment to script. What do we know about scriptwriting language??? Read together in the textbook: p -- Treatment and script information By the end of today, you should have your script printed out for me and should begin working on your shooting script 11/23/10 Zamore: FP3 Aim: Finishing Shooting Script, Shot list and script breakdown sheet Daily Spark: Convert the following into proper script language: “When he went to the store, he was trying to remember what he needed to buy. He thought he might need some eggs, but he wasn’t sure. He knew he needed milk for his cereal and potatoes for dinner. He was thinking about making a cake, but wasn’t sure if there would be time. All of a sudden he realized he forgot his wallet.” Today, you will finish your scripts. When you finish your script, you should begin a shooting script, shot list and script breakdown sheet. Review how to make a shot list: The Shot List: The first step in your practical production plan 1) Definition: A list of all the individual shots that make up the film In the order in which they will be shot a) Films are not shot in sequential order, but by location to maximize efficiency b) The shot list contains exactly the same shots as in your shooting script, but rearranged according to practical and logistical considerations c) A good shot list communicates to the crew exactly what shot they need to set up for at any given time 2) Before creating the shot list, you must go back to your shooting script and mark each scene in sequential order: scene 1, scene 2 ect… 3) Once you mark your scenes, you must mark each shot within the scene. First shot is “a,” second is “b” etc 4) How to organize your shot list (in order of consideration importance-not in order of when you actually shoot): a) Location and time of day i) Usually we shoot scripts by location-all scenes occurring in the same location are shot together, no matter where they appear in the script ii) Interior locations, regardless of time of day, are shot together iii) Exteriors, using natural light have to be arranged together by location and time of day (1) Generally schedule exterior shots first to take advantage of the weather (2) Always have an alternate plan for weather issues when filming outside (a) Called “cover set” b) Camera Set up i) Physical placement of camera ii) Once camera is placed, set dec, lights, mics etc are set up iii) Cluster all similar set ups together to reduce having to set up again c) Shot size i) Once we have location and set-up clustered, we further arrange our shots by size (1) General rule of thumb: move from widest shot to closest shot ii) “Master scene” first (1) Done for several reasons: (a) Wider shots require more set dec etc. Once completed, can shoot all shots (b) Master shot covers more of the script (c) If time runs out, easier to reshoot close-ups later or work without them (d) Lighting (will explain when we get to this unit) d) On set logistics i) Avoid keeping cast and crew around when unnecessary ii) Shoot set-ups with most people first iii) Group shots that have the same characters together e) Pick-up shots: shots that don’t require actors-just scenery, objects etc i) Only requires small crew, so can do it once everyone else goes home f) Exceptional considerations i) Sometimes you have to arrange around someone else’s schedule or a particular prop etc— this is not a concern for you at this time Today: Finish scripts Create Shooting Script Create Shot list Beginning Scouting... 11/24/10 Aim: Storyboarding and Location Scouting First: Part 1 of Midterm Second: Scripts, shooting scripts, shot lists and storyboards. Also, submit to me the number of characters your screenplay has and whether they are male or female so I can pair groups up--if you do not need members outside of your group, tell me that instead. When you finish this, you will start scouting for storyboards (or split up the group and get them accomplished at once) As you scout, look for: 1. Dimension of the frame 2. Graphic Qualities 3. Deep vs. Flat frames a. Use of receding frames, horizontal/diagonal lines 4. Focus 5. Shadow We’ll review this first… By the end of today, you should have your shooting script, shot list, initial location list and a beginning of a storyboard

11/29-12/3

11/29/10
Zamore: FP3

Aim: Preparing to shoot via scouting, storyboards and script breakdown sheets

**In your groups, decide who will bring in an SD card to save your work on so that it doesn't get erased**

Also discuss wikipage disappointment--those no longer up will have to email to me by Wednesday--I will put them all on the wikipage.

Daily Spark: What does your group still need to accomplish in pre-pro?

As of now, your shooting script and shot lists should be completed.

Today is a scout and storyboard day. You will use the scout sheet to figure out your locations and take photos to use in your storyboard.

Before that, you will create a script breakdown sheet to insure you have everything that you need. After visiting your locations, you will add in any additional information to this sheet.

At the end of the double period, you will submit to me:
1. Shooting script
2. Shot list
3. Storyboards
--if you do not complete something, take it home and finish it.

You will keep your script breakdown sheets so that you can get whatever you need for tomorrow.

Tomorrow you should begin shooting your video.

11/30/10
FP: Zamore

Aim: Understanding shooting for the edit

Daily Spark: What does "shooting for the edit" mean?

Today you should begin shooting.

Quick roll play--how to talk to your cast and crew

Before shooting, you should show me:
1. Finished shooting script
2. Finished shot list--showing what will be shot today
3. Finished storyboards

Make sure to take camera log sheets with you to record as well as your scripts.

You must be back here by 1:40, no later!

Assign a Producer/Director, DP (Cinematographer) and AD/Script Supervisor/Camera Assistant

Producer/Director is to make sure everyone is staying focused and on task and MUST report at the end of the period about this. (S)he is also to direct talent and explain to the camera person what camera shots/framing they are looking for.

DP is responsible to respond to AD's call, tell the AD at the end of each shot whether it was a good take visually and help director come up with good camera angles/framing.

AD/SS/CA will record camera takes, stand in front of camera at the beginning of each take and say the scene and take number and make sure to keep your group on schedule. You have 5 days of filming, so you should get through at LEAST 1/5 of your shot list today.

AD: "Quiet on the set": AD calls for “Quiet on the set” at director's instruction that (s)he is ready to begin.

AD: "Picture's up" Meaning you are about to start filming and actors should stand by for their cue.

AD: "Camera" AD is telling the cinematographer (DP) to begin recording (asking if cinematographer is ready--but (s)he should be)

DP: "Speed!" Originally meant there was film moving through the camera. Just means that the camera is recording and ready to film the action

Script Supervisor: "Scene (Number + Letter), take (whatever take)

Director: "Action!" It is time for the main actors to perform

If there is a problem and you need a second take (or want to do a second take for safety):

Director says: "Back to one" meaning that actors and camera should return to your first position for that shot and standby to start action again.

12/1-3/10
FP3: Zamore
Aim: Shooting for the edit

Daily Spark--Thinking about shooting for the edit:
1. graphic matching -- images that look alike/are located in the same place from shot to shot for ease of transition between scenes (not between shots in the same scene)
2. continuity of action (so that you can cut on action--movement of actors happens the same way each time and with the same hand etc)
3. overlap shots so that you have some leeway with editing -- if someone opens a door, have them actually open the door from both angles, not with the door already open on second shot)

**Quick note re: Computer usage**

Before you leave, make sure you have:
1. Submitted call sheet (with rolls filled out)
2. Shot list
3. Shooting Script
4. Camera Report (Script Supervisor will fill this in as you shoot)
5. Call and response sheets if you don't have it memorized.

Be back at 1:30

Assign a Producer/Director, DP (Cinematographer) and AD/Script Supervisor/Camera Assistant

Producer/Director is to make sure everyone is staying focused and on task and MUST report at the end of the period about this. (S)he is also to direct talent and explain to the camera person what camera shots/framing they are looking for.

DP is responsible to respond to AD's call, tell the AD at the end of each shot whether it was a good take visually and help director come up with good camera angles/framing.

AD/SS/CA will record camera takes, stand in front of camera at the beginning of each take and say the scene and take number and make sure to keep your group on schedule. You have 5 days of filming, so you should get through at LEAST 1/5 of your shot list today.

11/29/10 Zamore: FP3 Aim: Preparing to shoot via scouting, storyboards and script breakdown sheets **In your groups, decide who will bring in an SD card to save your work on so that it doesn't get erased** Also discuss wikipage disappointment--those no longer up will have to email to me by Wednesday--I will put them all on the wikipage. Daily Spark: What does your group still need to accomplish in pre-pro? As of now, your shooting script and shot lists should be completed. Today is a scout and storyboard day. You will use the scout sheet to figure out your locations and take photos to use in your storyboard. Before that, you will create a script breakdown sheet to insure you have everything that you need. After visiting your locations, you will add in any additional information to this sheet. At the end of the double period, you will submit to me: 1. Shooting script 2. Shot list 3. Storyboards --if you do not complete something, take it home and finish it. You will keep your script breakdown sheets so that you can get whatever you need for tomorrow. Tomorrow you should begin shooting your video. 11/30/10 FP: Zamore Aim: Understanding shooting for the edit Daily Spark: What does "shooting for the edit" mean? Today you should begin shooting. Quick roll play--how to talk to your cast and crew Before shooting, you should show me: 1. Finished shooting script 2. Finished shot list--showing what will be shot today 3. Finished storyboards Make sure to take camera log sheets with you to record as well as your scripts. You must be back here by 1:40, no later! Assign a Producer/Director, DP (Cinematographer) and AD/Script Supervisor/Camera Assistant Producer/Director is to make sure everyone is staying focused and on task and MUST report at the end of the period about this. (S)he is also to direct talent and explain to the camera person what camera shots/framing they are looking for. DP is responsible to respond to AD's call, tell the AD at the end of each shot whether it was a good take visually and help director come up with good camera angles/framing. AD/SS/CA will record camera takes, stand in front of camera at the beginning of each take and say the scene and take number and make sure to keep your group on schedule. You have 5 days of filming, so you should get through at LEAST 1/5 of your shot list today. AD: "Quiet on the set": AD calls for “Quiet on the set” at director's instruction that (s)he is ready to begin. AD: "Picture's up" Meaning you are about to start filming and actors should stand by for their cue. AD: "Camera" AD is telling the cinematographer (DP) to begin recording (asking if cinematographer is ready--but (s)he should be) DP: "Speed!" Originally meant there was film moving through the camera. Just means that the camera is recording and ready to film the action Script Supervisor: "Scene (Number + Letter), take (whatever take) Director: "Action!" It is time for the main actors to perform If there is a problem and you need a second take (or want to do a second take for safety): Director says: "Back to one" meaning that actors and camera should return to your first position for that shot and standby to start action again. 12/1-3/10 FP3: Zamore Aim: Shooting for the edit Daily Spark--Thinking about shooting for the edit: 1. graphic matching -- images that look alike/are located in the same place from shot to shot for ease of transition between scenes (not between shots in the same scene) 2. continuity of action (so that you can cut on action--movement of actors happens the same way each time and with the same hand etc) 3. overlap shots so that you have some leeway with editing -- if someone opens a door, have them actually open the door from both angles, not with the door already open on second shot) **Quick note re: Computer usage** Before you leave, make sure you have: 1. Submitted call sheet (with rolls filled out) 2. Shot list 3. Shooting Script 4. Camera Report (Script Supervisor will fill this in as you shoot) 5. Call and response sheets if you don't have it memorized. Be back at 1:30 Assign a Producer/Director, DP (Cinematographer) and AD/Script Supervisor/Camera Assistant Producer/Director is to make sure everyone is staying focused and on task and MUST report at the end of the period about this. (S)he is also to direct talent and explain to the camera person what camera shots/framing they are looking for. DP is responsible to respond to AD's call, tell the AD at the end of each shot whether it was a good take visually and help director come up with good camera angles/framing. AD/SS/CA will record camera takes, stand in front of camera at the beginning of each take and say the scene and take number and make sure to keep your group on schedule. You have 5 days of filming, so you should get through at LEAST 1/5 of your shot list today.

12/6-12/10

12/6/10
FP3: Zamore
Aim: Shooting for the edit

NOTE: We will have a guest on Thursday, AJ Watson, an Operations Analyst at ESPN

What is an Operations Analyst?

Working at the ESPN Studios during daily taping. Job responsibilities include responding to on and off air requests in and around the Domestic Studio area. Managing 7 employees, guiding their careers in the direction that they want. Point person for communication between different show directors, talent and studio staff.

AJ works with the studio set up and break down for Mike and Mike, Sports Center and First Take

Please write down a question you would have for him today. Submit to me during class or via email tonight. If I don't get your question, he won't

**After school editing hours--I am making time for you to work on your pieces -- you must sign up for either this Wednesday or next Monday to work on your final edit** Hours are from 3:30 until 4:45 each day.

These pieces will be finished by next Tuesday for screening so we have our pieces chosen for the holiday show on Thursday

Daily Spark--Thinking about shooting for the edit:
1. graphic matching -- images that look alike/are located in the same place from shot to shot for ease of transition between scenes (not between shots in the same scene)
2. continuity of action (so that you can cut on action--movement of actors happens the same way each time and with the same hand etc)
3. overlap shots so that you have some leeway with editing -- if someone opens a door, have them actually open the door from both angles, not with the door already open on second shot)

**Quick note re: Computer usage**

Before you leave, make sure you have:
1. Submitted call sheet (with rolls filled out)
2. Shot list
3. Shooting Script
4. Camera Report (Script Supervisor will fill this in as you shoot)
5. Call and response sheets if you don't have it memorized.

Be back at 1:30

Assign a Producer/Director, DP (Cinematographer) and AD/Script Supervisor/Camera Assistant

Producer/Director is to make sure everyone is staying focused and on task and MUST report at the end of the period about this. (S)he is also to direct talent and explain to the camera person what camera shots/framing they are looking for.

DP is responsible to respond to AD's call, tell the AD at the end of each shot whether it was a good take visually and help director come up with good camera angles/framing.

AD/SS/CA will record camera takes, stand in front of camera at the beginning of each take and say the scene and take number and make sure to keep your group on schedule. You have 5 days of filming, so you should get through at LEAST 1/5 of your shot list today.

12/6/10 FP3: Zamore Aim: Shooting for the edit NOTE: We will have a guest on Thursday, AJ Watson, an Operations Analyst at ESPN What is an Operations Analyst? Working at the ESPN Studios during daily taping. Job responsibilities include responding to on and off air requests in and around the Domestic Studio area. Managing 7 employees, guiding their careers in the direction that they want. Point person for communication between different show directors, talent and studio staff. AJ works with the studio set up and break down for Mike and Mike, Sports Center and First Take Please write down a question you would have for him today. Submit to me during class or via email tonight. If I don't get your question, he won't **After school editing hours--I am making time for you to work on your pieces -- you must sign up for either this Wednesday or next Monday to work on your final edit** Hours are from 3:30 until 4:45 each day. These pieces will be finished by next Tuesday for screening so we have our pieces chosen for the holiday show on Thursday Daily Spark--Thinking about shooting for the edit: 1. graphic matching -- images that look alike/are located in the same place from shot to shot for ease of transition between scenes (not between shots in the same scene) 2. continuity of action (so that you can cut on action--movement of actors happens the same way each time and with the same hand etc) 3. overlap shots so that you have some leeway with editing -- if someone opens a door, have them actually open the door from both angles, not with the door already open on second shot) **Quick note re: Computer usage** Before you leave, make sure you have: 1. Submitted call sheet (with rolls filled out) 2. Shot list 3. Shooting Script 4. Camera Report (Script Supervisor will fill this in as you shoot) 5. Call and response sheets if you don't have it memorized. Be back at 1:30 Assign a Producer/Director, DP (Cinematographer) and AD/Script Supervisor/Camera Assistant Producer/Director is to make sure everyone is staying focused and on task and MUST report at the end of the period about this. (S)he is also to direct talent and explain to the camera person what camera shots/framing they are looking for. DP is responsible to respond to AD's call, tell the AD at the end of each shot whether it was a good take visually and help director come up with good camera angles/framing. AD/SS/CA will record camera takes, stand in front of camera at the beginning of each take and say the scene and take number and make sure to keep your group on schedule. You have 5 days of filming, so you should get through at LEAST 1/5 of your shot list today.