Unit 1: Camera

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Unit 1: Camera

9/28-10/1 Intro to camera

9/28/10
Zamore: Film 3

Aim: Understanding the specific rules of 2-D and 3-D space

Daily Spark: If you had to tell a story about a child getting a new
puppy with only one photograph or picture, describe what the
picture would look like. Who/What is in frame? Where in the
frame? Etcâ

10/7-8

10/7/10
FP3: Zamore

Aim: Understanding the visual language and aesthetics of cinema

Daily Spark: What is the difference between a shot, a sequence and a scene?

1. Finish Pitches
2. Voting
3. Vectors and Psychological Closure

** You will get your groups tomorrow** DO NOT ASK AGAIN ABOUT THIS

Vectors and Psychological Closure PPT

10/8/10

Friday 10/8/10
FP3: Zamore

Aim: Understanding the visual language and aesthetics of cinema

Daily Spark: Here are the 6 choices, please select 3 in order of desire:

Wallet
BoyCat
Mime
Ghost
Invisible student living at school
Fighting for Sister

POP QUIZ!

Watch the first 15 minutes of Metropolis and see how many of the following you find:
Use of axes
Directing the eye
Balance/Inbalance
Disorientation/Orientation
Size
Graphic Vector
Index Vector
Motion Vector
Continuing Vector
Converging Vector
Diverging Vector
Psychological Closure
Premature Closure
Illogical Closure

Groups:

In your groups today, you will be writing treatments (if desired) and beginning your scripts.

How do we write a script?
Page: 17 (bottom-general screenwriting principals)
1. THE WORDS ON THE PAGE PRESENT EACH SCENE, ACTION, IMAGE, CHARACTER AND SERIES OF EVENTS TO A READER AS THEY APPEAR TO THE VIEWER (YES, THE VIEWER) OF THE FILM

2. NOTHIN IN THE SCRIPT THAT WILL NOT BE SEEN OR HEARD BY THE FILMS AUDIENCE.

Example:
Jenny is a nice girl who thinks about her future a lot. She has some friends and likes to it keep just a small group.

Is this screenplay formatting?

Read the beginning of scene on page 18

What are the different pieces of the screenplay format called?

1. Slug line/Scene heading -- all caps --
--always starts with INT or EXT (this is inside or outside) What would we do if we were standing outside a classroom?
--Always ends with time of day

2. Stage direction
--What is the ACTION / what does our audience SEE / what is happening?
--When character introduced for the 1st time, in CAPITAL LETTERS and age range given

3. Character cue
--Only character who's speaking's name
--All CAPS

4. Dialogue
--Indented, underneath Character Cue

5. Personal Direction
--in parenthesis within dialogue, but on own line and more indented
--describes what the character is doing or how they are speaking a line as they are speaking

You will use Pages for this assignment.

Write your scripts as a group
--just the

Friday 10/8/10 FP3: Zamore Aim: Understanding the visual language and aesthetics of cinema Daily Spark: Here are the 6 choices, please select 3 in order of desire: Wallet BoyCat Mime Ghost Invisible student living at school Fighting for Sister POP QUIZ! Watch the first 15 minutes of Metropolis and see how many of the following you find: Use of axes Directing the eye Balance/Inbalance Disorientation/Orientation Size Graphic Vector Index Vector Motion Vector Continuing Vector Converging Vector Diverging Vector Psychological Closure Premature Closure Illogical Closure Groups: In your groups today, you will be writing treatments (if desired) and beginning your scripts. How do we write a script? Page: 17 (bottom-general screenwriting principals) 1. THE WORDS ON THE PAGE PRESENT EACH SCENE, ACTION, IMAGE, CHARACTER AND SERIES OF EVENTS TO A READER AS THEY APPEAR TO THE VIEWER (YES, THE VIEWER) OF THE FILM 2. NOTHIN IN THE SCRIPT THAT WILL NOT BE SEEN OR HEARD BY THE FILMS AUDIENCE. Example: Jenny is a nice girl who thinks about her future a lot. She has some friends and likes to it keep just a small group. Is this screenplay formatting? Read the beginning of scene on page 18 What are the different pieces of the screenplay format called? 1. Slug line/Scene heading -- all caps -- --always starts with INT or EXT (this is inside or outside) What would we do if we were standing outside a classroom? --Always ends with time of day 2. Stage direction --What is the ACTION / what does our audience SEE / what is happening? --When character introduced for the 1st time, in CAPITAL LETTERS and age range given 3. Character cue --Only character who's speaking's name --All CAPS 4. Dialogue --Indented, underneath Character Cue 5. Personal Direction --in parenthesis within dialogue, but on own line and more indented --describes what the character is doing or how they are speaking a line as they are speaking You will use Pages for this assignment. Write your scripts as a group --just the

10/12-10/15--PrePro

Tues, 10/12/10
Zamore: FP3

Aim: Creating screenplays with strong characters and meaningful plot/conflict

Daily Spark: What are the MOST important things to remember when writing a screenplay?

In your groups, please complete the writing exercise before continuing with your screenplay.

I will hand you back your screenplays. The final draft of these are due today.

Halfway through today (around 1:10) we will look at creating shooting scripts (p86-87)

As you are thinking of what types of shots to use, consider:
1. The Big Picture:

a. What is the overall tone, mood and pace?
i. Ex: Energetic
1. Many quick shots cut together
ii. Ex: Contemplative/Thoughtful
1. Long takes, fluid slow camera movements
iii. Consider static vs. movement

b. What is the overall point of view? How will the camera represent this?
i. Wide angle vs tight close up—what are you trying to convey—what do you want the audience to see?

2. The details:

a. Once you have figured out your general aesthetic (VOCAB WORD: philosophical theory as to what is beautiful) look at individual shots and ask yourself:
i. What is this scene about?
ii. What REALLY happens in this scene
iii. Whose scene is this/from who’s point of view should this scene be presented
iv. Are there any important moments, actions or details that need to stand out above everything else?

Once you discuss these questions with the group, mark up your script to create your shooting script. Then we will Location Scout and storyboard

If you finish early, you may start LOCATION SCOUTING and creating your shooting script

Thurs 10/14/10
Zamore: FP3

Aim: Understanding the two pre-visualization tools: Shooting script and storyboards and preproduction organization: the shot list

Daily Spark: What do you look for when you location scout?

Notes about scouting:

Notes about Shot lists:

You use your shooting script and your location scout to create your shot list

NOTES:

CREATING 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

10/15/10
F3: Zamore

Aim: Wrapping up Pre-production: Understanding the two pre-visualization tools: Shooting script and storyboards and preproduction organization: the shot list

Daily Spark: Sit Quietly with your group and wait for instruction

Today groups will be broken in to two:
2-3 people will location scout
2-3 people will create the shot list

As a group, decide what locations you think would be appropriate for the action in your film.

On your scout: take photos of your locations and mark your location scout sheet well for each location with description.

Before you leave, you MUST submit to me a list of places you are going to scout and who is in what roll: the director, the location manager, (if there are three people) set designer

Those of you who are creating shot lists will stay: choose director, cinematographer, (if there are three people) producer

At the end of today, you will have completed the following:
1. Shooting script from yesterday complete with numbers and letters for shot list
2. Complete location scout with locations selected
3. Shot lists divided by day

*****BRING IN YOUR SD CARD MONDAY -- designate two crew members to bring in*****
Monday we will storyboard and Tuesday begin production.

Monday we will

Tues, 10/12/10 Zamore: FP3 Aim: Creating screenplays with strong characters and meaningful plot/conflict Daily Spark: What are the MOST important things to remember when writing a screenplay? In your groups, please complete the writing exercise before continuing with your screenplay. I will hand you back your screenplays. The final draft of these are due today. Halfway through today (around 1:10) we will look at creating shooting scripts (p86-87) As you are thinking of what types of shots to use, consider: 1. The Big Picture: a. What is the overall tone, mood and pace? i. Ex: Energetic 1. Many quick shots cut together ii. Ex: Contemplative/Thoughtful 1. Long takes, fluid slow camera movements iii. Consider static vs. movement b. What is the overall point of view? How will the camera represent this? i. Wide angle vs tight close up—what are you trying to convey—what do you want the audience to see? 2. The details: a. Once you have figured out your general aesthetic (VOCAB WORD: philosophical theory as to what is beautiful) look at individual shots and ask yourself: i. What is this scene about? ii. What REALLY happens in this scene iii. Whose scene is this/from who’s point of view should this scene be presented iv. Are there any important moments, actions or details that need to stand out above everything else? Once you discuss these questions with the group, mark up your script to create your shooting script. Then we will Location Scout and storyboard If you finish early, you may start LOCATION SCOUTING and creating your shooting script Thurs 10/14/10 Zamore: FP3 Aim: Understanding the two pre-visualization tools: Shooting script and storyboards and preproduction organization: the shot list Daily Spark: What do you look for when you location scout? Notes about scouting: Notes about Shot lists: You use your shooting script and your location scout to create your shot list NOTES: CREATING 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 10/15/10 F3: Zamore Aim: Wrapping up Pre-production: Understanding the two pre-visualization tools: Shooting script and storyboards and preproduction organization: the shot list Daily Spark: Sit Quietly with your group and wait for instruction Today groups will be broken in to two: 2-3 people will location scout 2-3 people will create the shot list As a group, decide what locations you think would be appropriate for the action in your film. On your scout: take photos of your locations and mark your location scout sheet well for each location with description. Before you leave, you MUST submit to me a list of places you are going to scout and who is in what roll: the director, the location manager, (if there are three people) set designer Those of you who are creating shot lists will stay: choose director, cinematographer, (if there are three people) producer At the end of today, you will have completed the following: 1. Shooting script from yesterday complete with numbers and letters for shot list 2. Complete location scout with locations selected 3. Shot lists divided by day *****BRING IN YOUR SD CARD MONDAY -- designate two crew members to bring in***** Monday we will storyboard and Tuesday begin production. Monday we will

10/18-10/22: Production week

10/18/10
FP3: Zamore

Daily Spark: How do you feel your pre-production time has gone so far? Is the planning helping you think about your film? Are you using your time wisely?

Today is our final prepro day.
You should have handed in to me the following on Friday:
1. Shooting script
2. Shot list
3. Location scout sheet

Today you will work on creating your storyboards and blocking.

What is blocking?

The actual physical movements by performers in any scene. Also can refer to the movements of the camera.

As you go through your locations and set your cameras up for storyboards -- follow your shooting script to insure you have coverage at all times. Do all storyboards by location and then come back to the room to put them together.

You should split into two groups to take pictures for your storyboards so the work gets done faster and more efficiently. Story board photos and blocking should be done by 12:40 so that you have time to come back and create your storyboards.

Blocking does not require the correct actors at this stage--it is practice for you so you can see where your actors should stand and how they should move and how the camera should move when you are actually filming so that you can give specific instruction to your actors and cameraman.

At the end of today, I should have your storyboards and any other materials you have not yet handed in. Also, if your location scout needed to be more descriptive, use today while you are storyboarding and blocking to do so.

10/19/10
Zamore: FP3

Aim: Clarifying framing and training the eye towards thoughtful cinematic space

Daily Spark: If you were to take a photo of yourself surrounded by the things that are most
important to you, what would the photo look like (where would you be in the frame,
what would be in the photo with you, where would everything be placed, what is
your background/location…)

Today we will speak a little about framing and then one of two things:
1. If you have not completed your storyboards-they come first
2. If you have completed all pre-pro work, you may fill out a call sheet and, using your shot list, begin blocking and shooting

Today's roles:
1. Producer -- Keep all crew members on task
2. Director -- Final say on all creative -- makes all direction calls
3. Cinematography -- Creates the shots according to the shot list, films, responds to the director
4. Assistant Director/ Script Supervisor -- Keeps shot log, helps cinematographer to follow shot list
5. Location Manager -- Makes sure everything in frame is as it is supposed to look for the on screen image. Makes sure location is left the way it was entered and cleans up/re-arranges as necessary and directs crew members to help

(If you are only 4 people, you will combine director and producer)

--review framing techniques and camera speak

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.

10/20/10
Zamore:FP3

Aim: Creating thoughtfully framed images through planned and organized filming.

Daily Spark: What more do you need to do before you can begin shooting? Create a list.

Once you have printed out your storyboards and written out your call sheets, you can check with me and then start shooting.

Be back by 1:10

Roll and Call and Response Reminders:

1. Producer -- Keep all crew members on task
2. Director -- Final say on all creative -- makes all direction calls
3. DP aka Cinematographer -- Creates the shots according to the shot list, films, responds to the director
4. Assistant Director/ Script Supervisor (write this name in PM spot)-- Keeps shot log, helps cinematographer to follow shot list
5. Location Manager -- Makes sure everything in frame is as it is supposed to look for the on screen image. Makes sure location is left the way it was entered and cleans up/re-arranges as necessary and directs crew members to help

(If you are only 4 people, you will combine director and producer)

--review framing techniques and camera speak

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.

10/21/10
Zamore:FP3

Aim: Creating thoughtfully framed images through planned and organized filming.

Daily Spark: none--listen--I have some remarks about production yesterday.

Once you have written out your call sheets, you can check with me, get your shot lists, logs and shooting script and then start shooting.

Be back by 1:30

Roll and Call and Response Reminders:

1. Producer -- Keep all crew members on task
2. Director -- Final say on all creative -- makes all direction calls
3. DP aka Cinematographer -- Creates the shots according to the shot list, films, responds to the director
4. Assistant Director/ Script Supervisor (write this name in PM spot)-- Keeps shot log, helps cinematographer to follow shot list
5. Location Manager -- Makes sure everything in frame is as it is supposed to look for the on screen image. Makes sure location is left the way it was entered and cleans up/re-arranges as necessary and directs crew members to help

(If you are only 4 people, you will combine director and producer)

--review framing techniques and camera speak

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.

10/22/10
Zamore:FP3

Aim: Creating thoughtfully framed images through planned and organized filming.

Daily Spark: listen up and then get ready. One practice call and response.

+++Once you have written out your call sheets, you can check with me, get your shot lists, logs and shooting script and then start shooting.+++

Be back by 1:30

Roll and Call and Response Reminders:

1. Producer -- Keep all crew members on task
2. Director -- Final say on all creative -- makes all direction calls
3. DP aka Cinematographer -- Creates the shots according to the shot list, films, responds to the director
4. Assistant Director/ Script Supervisor (write this name in PM spot)-- Keeps shot log, helps cinematographer to follow shot list
5. Location Manager -- Makes sure everything in frame is as it is supposed to look for the on screen image. Makes sure location is left the way it was entered and cleans up/re-arranges as necessary and directs crew members to help

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.

10/18/10 FP3: Zamore Daily Spark: How do you feel your pre-production time has gone so far? Is the planning helping you think about your film? Are you using your time wisely? Today is our final prepro day. You should have handed in to me the following on Friday: 1. Shooting script 2. Shot list 3. Location scout sheet Today you will work on creating your storyboards and blocking. What is blocking? The actual physical movements by performers in any scene. Also can refer to the movements of the camera. As you go through your locations and set your cameras up for storyboards -- follow your shooting script to insure you have coverage at all times. Do all storyboards by location and then come back to the room to put them together. You should split into two groups to take pictures for your storyboards so the work gets done faster and more efficiently. Story board photos and blocking should be done by 12:40 so that you have time to come back and create your storyboards. Blocking does not require the correct actors at this stage--it is practice for you so you can see where your actors should stand and how they should move and how the camera should move when you are actually filming so that you can give specific instruction to your actors and cameraman. At the end of today, I should have your storyboards and any other materials you have not yet handed in. Also, if your location scout needed to be more descriptive, use today while you are storyboarding and blocking to do so. 10/19/10 Zamore: FP3 Aim: Clarifying framing and training the eye towards thoughtful cinematic space Daily Spark: If you were to take a photo of yourself surrounded by the things that are most important to you, what would the photo look like (where would you be in the frame, what would be in the photo with you, where would everything be placed, what is your background/location…) Today we will speak a little about framing and then one of two things: 1. If you have not completed your storyboards-they come first 2. If you have completed all pre-pro work, you may fill out a call sheet and, using your shot list, begin blocking and shooting Today's roles: 1. Producer -- Keep all crew members on task 2. Director -- Final say on all creative -- makes all direction calls 3. Cinematography -- Creates the shots according to the shot list, films, responds to the director 4. Assistant Director/ Script Supervisor -- Keeps shot log, helps cinematographer to follow shot list 5. Location Manager -- Makes sure everything in frame is as it is supposed to look for the on screen image. Makes sure location is left the way it was entered and cleans up/re-arranges as necessary and directs crew members to help (If you are only 4 people, you will combine director and producer) --review framing techniques and camera speak 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. 10/20/10 Zamore:FP3 Aim: Creating thoughtfully framed images through planned and organized filming. Daily Spark: What more do you need to do before you can begin shooting? Create a list. Once you have printed out your storyboards and written out your call sheets, you can check with me and then start shooting. Be back by 1:10 Roll and Call and Response Reminders: 1. Producer -- Keep all crew members on task 2. Director -- Final say on all creative -- makes all direction calls 3. DP aka Cinematographer -- Creates the shots according to the shot list, films, responds to the director 4. Assistant Director/ Script Supervisor (write this name in PM spot)-- Keeps shot log, helps cinematographer to follow shot list 5. Location Manager -- Makes sure everything in frame is as it is supposed to look for the on screen image. Makes sure location is left the way it was entered and cleans up/re-arranges as necessary and directs crew members to help (If you are only 4 people, you will combine director and producer) --review framing techniques and camera speak 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. 10/21/10 Zamore:FP3 Aim: Creating thoughtfully framed images through planned and organized filming. Daily Spark: none--listen--I have some remarks about production yesterday. Once you have written out your call sheets, you can check with me, get your shot lists, logs and shooting script and then start shooting. Be back by 1:30 Roll and Call and Response Reminders: 1. Producer -- Keep all crew members on task 2. Director -- Final say on all creative -- makes all direction calls 3. DP aka Cinematographer -- Creates the shots according to the shot list, films, responds to the director 4. Assistant Director/ Script Supervisor (write this name in PM spot)-- Keeps shot log, helps cinematographer to follow shot list 5. Location Manager -- Makes sure everything in frame is as it is supposed to look for the on screen image. Makes sure location is left the way it was entered and cleans up/re-arranges as necessary and directs crew members to help (If you are only 4 people, you will combine director and producer) --review framing techniques and camera speak 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. 10/22/10 Zamore:FP3 Aim: Creating thoughtfully framed images through planned and organized filming. Daily Spark: listen up and then get ready. One practice call and response. +++Once you have written out your call sheets, you can check with me, get your shot lists, logs and shooting script and then start shooting.+++ Be back by 1:30 Roll and Call and Response Reminders: 1. Producer -- Keep all crew members on task 2. Director -- Final say on all creative -- makes all direction calls 3. DP aka Cinematographer -- Creates the shots according to the shot list, films, responds to the director 4. Assistant Director/ Script Supervisor (write this name in PM spot)-- Keeps shot log, helps cinematographer to follow shot list 5. Location Manager -- Makes sure everything in frame is as it is supposed to look for the on screen image. Makes sure location is left the way it was entered and cleans up/re-arranges as necessary and directs crew members to help 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.

10/25-10/30

10/25/10
Zamore: FP3

Aim: Editing with intention and focus on visual narrative

Daily Spark: What is meant by the term "cut on action?"

Discuss cut on action -- demo

Groups edit--At least two people in the group are editing. The other group members should be 1. Searching for music (with HEADPHONES) or writing up their reflections for the production portion of this project

10/26/10
Zamore: FP3

Aim: Understanding the use of the precision editor on iMovie to make precise edits.

Daily Spark: http://www.apple.com/ilife/tutorials/#imovie-trim

As you edit--keep your storyline in mind, make sure you are cutting on action and I will come around to help. If you personally did not edit yesterday, make sure you do so today.

If you are NOT editing: Music selections, Titles and Credits, Reflection.

Reflection:
In one page, typed please reflect on your pre-production and production experience. What roles did you play? How did your group work together? What worked well? What did you struggle with? Did your story turn out the way you thought or did it change? Do you think you contributed an equal share to the crew's work? If not, why not? Did you contribute more or less than your fair share? What do you feel you have learned as a result of this project?

10/27/10
Zamore: FP3

Aim: Understanding the use of the precision editor on iMovie to make precise edits.

Daily Spark: screen side and direction explanation short film

As you edit--keep your storyline in mind, make sure you are cutting on action and I will come around to help. If you personally did not edit yesterday, make sure you do so today.

Today I will be looking for fine tuned rough cuts--you should be near complete by the period's end. Monday will be final cuts and Tuesday we will screen.

If you are NOT editing: Music selections, Titles and Credits, Reflection.

Reflection:
In one page, typed please reflect on your pre-production and production experience. What roles did you play? How did your group work together? What worked well? What did you struggle with? Did your story turn out the way you thought or did it change? Do you think you contributed an equal share to the crew's work? If not, why not? Did you contribute more or less than your fair share? What do you feel you have learned as a result of this project?

10/28/10
Zamore: FP3

Aim: Understanding and utilizing Screen Direction and screen side.

HW 2.1: Read pages 58 (from "Continuity of Performance..." ) through page 75 (Stop before "Parallel Action Sequence) and answer questions on the worksheet.

Daily Spark--Take notes on screen side as we watch the following clip. Notice when the two characters establish screen side, when it changes and how it changes.

Handout to accompany. Save this--you will be doing a project related to this assigned on Monday.

As you edit--keep your storyline in mind, make sure you are cutting on action and I will come around to help. If you personally did not edit yesterday, make sure you do so today.

Today you should be nearing your final cut. Monday will be final cuts and Tuesday we will screen.

If you are NOT editing: Music selections, Titles and Credits, Reflection.

Reflection:
In one page, typed please reflect on your pre-production and production experience. What roles did you play? How did your group work together? What worked well? What did you struggle with? Did your story turn out the way you thought or did it change? Do you think you contributed an equal share to the crew's work? If not, why not? Did you contribute more or less than your fair share? What do you feel you have learned as a result of this project?

10/25/10 Zamore: FP3 Aim: Editing with intention and focus on visual narrative Daily Spark: What is meant by the term "cut on action?" Discuss cut on action -- demo Groups edit--At least two people in the group are editing. The other group members should be 1. Searching for music (with HEADPHONES) or writing up their reflections for the production portion of this project 10/26/10 Zamore: FP3 Aim: Understanding the use of the precision editor on iMovie to make precise edits. Daily Spark: http://www.apple.com/ilife/tutorials/#imovie-trim As you edit--keep your storyline in mind, make sure you are cutting on action and I will come around to help. If you personally did not edit yesterday, make sure you do so today. If you are NOT editing: Music selections, Titles and Credits, Reflection. Reflection: In one page, typed please reflect on your pre-production and production experience. What roles did you play? How did your group work together? What worked well? What did you struggle with? Did your story turn out the way you thought or did it change? Do you think you contributed an equal share to the crew's work? If not, why not? Did you contribute more or less than your fair share? What do you feel you have learned as a result of this project? 10/27/10 Zamore: FP3 Aim: Understanding the use of the precision editor on iMovie to make precise edits. Daily Spark: screen side and direction explanation short film As you edit--keep your storyline in mind, make sure you are cutting on action and I will come around to help. If you personally did not edit yesterday, make sure you do so today. Today I will be looking for fine tuned rough cuts--you should be near complete by the period's end. Monday will be final cuts and Tuesday we will screen. If you are NOT editing: Music selections, Titles and Credits, Reflection. Reflection: In one page, typed please reflect on your pre-production and production experience. What roles did you play? How did your group work together? What worked well? What did you struggle with? Did your story turn out the way you thought or did it change? Do you think you contributed an equal share to the crew's work? If not, why not? Did you contribute more or less than your fair share? What do you feel you have learned as a result of this project? 10/28/10 Zamore: FP3 Aim: Understanding and utilizing Screen Direction and screen side. HW 2.1: Read pages 58 (from "Continuity of Performance..." ) through page 75 (Stop before "Parallel Action Sequence) and answer questions on the worksheet. Daily Spark--Take notes on screen side as we watch the following clip. Notice when the two characters establish screen side, when it changes and how it changes. Handout to accompany. Save this--you will be doing a project related to this assigned on Monday. As you edit--keep your storyline in mind, make sure you are cutting on action and I will come around to help. If you personally did not edit yesterday, make sure you do so today. Today you should be nearing your final cut. Monday will be final cuts and Tuesday we will screen. If you are NOT editing: Music selections, Titles and Credits, Reflection. Reflection: In one page, typed please reflect on your pre-production and production experience. What roles did you play? How did your group work together? What worked well? What did you struggle with? Did your story turn out the way you thought or did it change? Do you think you contributed an equal share to the crew's work? If not, why not? Did you contribute more or less than your fair share? What do you feel you have learned as a result of this project?

11/1/10-11/5/10

11/1/10

Aim: Finishing up editing of Camera Project

HW 2.2 This is worth 15 points: Your one page reflection on your experience during this film project from beginning to end:
In one page, typed please reflect on your pre-production and production experience. What roles did you play? How did your group work together? What worked well? What did you struggle with? Did your story turn out the way you thought or did it change? Do you think you contributed an equal share to the crew's work? If not, why not? Did you contribute more or less than your fair share? What do you feel you have learned as a result of this project

Daily Spark: What is one new piece of knowledge that you gained through your reading over the weekend?

We will finish brainstorming studio names and then you will finish editing your videos. Final cuts should be exported by the period's end. If you think you have finished, please show me your final cut for final notes and comments.

As you edit--keep your storyline in mind, make sure you are cutting on action and I will come around to help. If you personally did not edit yesterday, make sure you do so today.

Today you are completing your final cuts and Wednesday we will screen.

If you are NOT editing: Music selections, Titles and Credits, Reflection.

Reflection:
In one page, typed please reflect on your pre-production and production experience. What roles did you play? How did your group work together? What worked well? What did you struggle with? Did your story turn out the way you thought or did it change? Do you think you contributed an equal share to the crew's work? If not, why not? Did you contribute more or less than your fair share? What do you feel you have learned as a result of this project?

11/3/10

Aim: Showcasing new camera framing skills.

Daily spark: What is one new camera technique you learned or was made more clear to you through this project?

WE will be presenting videos today. As a group, take the first 15 minutes of class to preview your video and be ready to point out the different techniques you used in your final project and why you used them (see the original project handout for a reminder of the techniques you were to focus on)

Once you have presented your video and explained your camera choices, we will give each group feedback. After that, you are to make your production books: 1. Shooting script 2. Shot list 3. storyboards 4. location scouts 5. Shot Logs

Types of feedback:
Positive feedback
Constructive feedback

Make sure to hand in your reflections too!

11/4/10

Aim: Understanding visual design

Daily spark: Are you proud of your first major video submission? Why or why not, specifically?

Review each video

Discussion of framing and film elements

Tech positions given out

Explanation of new project.

Begin new project

11/5/10
Zamore: FP3

Aim: Understanding the importance of framing and thoughtful camera work

DS: Check out new seating chart

Finish reviewing videos

Discussion of framing and film elements

Tech positions given out

Explanation of new project.

Begin new project

11/1/10 Aim: Finishing up editing of Camera Project HW 2.2 This is worth 15 points: Your one page reflection on your experience during this film project from beginning to end: In one page, typed please reflect on your pre-production and production experience. What roles did you play? How did your group work together? What worked well? What did you struggle with? Did your story turn out the way you thought or did it change? Do you think you contributed an equal share to the crew's work? If not, why not? Did you contribute more or less than your fair share? What do you feel you have learned as a result of this project Daily Spark: What is one new piece of knowledge that you gained through your reading over the weekend? We will finish brainstorming studio names and then you will finish editing your videos. Final cuts should be exported by the period's end. If you think you have finished, please show me your final cut for final notes and comments. As you edit--keep your storyline in mind, make sure you are cutting on action and I will come around to help. If you personally did not edit yesterday, make sure you do so today. Today you are completing your final cuts and Wednesday we will screen. If you are NOT editing: Music selections, Titles and Credits, Reflection. Reflection: In one page, typed please reflect on your pre-production and production experience. What roles did you play? How did your group work together? What worked well? What did you struggle with? Did your story turn out the way you thought or did it change? Do you think you contributed an equal share to the crew's work? If not, why not? Did you contribute more or less than your fair share? What do you feel you have learned as a result of this project? 11/3/10 Aim: Showcasing new camera framing skills. Daily spark: What is one new camera technique you learned or was made more clear to you through this project? WE will be presenting videos today. As a group, take the first 15 minutes of class to preview your video and be ready to point out the different techniques you used in your final project and why you used them (see the original project handout for a reminder of the techniques you were to focus on) Once you have presented your video and explained your camera choices, we will give each group feedback. After that, you are to make your production books: 1. Shooting script 2. Shot list 3. storyboards 4. location scouts 5. Shot Logs Types of feedback: Positive feedback Constructive feedback Make sure to hand in your reflections too! 11/4/10 Aim: Understanding visual design Daily spark: Are you proud of your first major video submission? Why or why not, specifically? Review each video Discussion of framing and film elements Tech positions given out Explanation of new project. Begin new project 11/5/10 Zamore: FP3 Aim: Understanding the importance of framing and thoughtful camera work DS: Check out new seating chart Finish reviewing videos Discussion of framing and film elements Tech positions given out Explanation of new project. Begin new project

11/08-11/12

11/8/10
Zamore: FP3

Aim: Understanding the importance of thoughtful framing

DS: Write down 2-5 specific things you are hoping to gain or learn how to do in filmmaking this year. I will collect this.

Get with your partners. Camera tech will sign out cameras. Remember, you are taking your partner's photographs and your partner is taking yours.

Congrats to our technicians!
Anna: Audio Tech
Ariana: Camera Tech
Ilias and Alexa: Computer Tech
Tom B. : Tripod Tech

You must be back by 1:25 to upload what you've taken today. Tomorrow you will finish photos and Wednesday you will create your online, storyboard or slideshow scrapbook.

11/09/10
Zamore: FP3

Aim: Understanding the importance of thoughtful framing

DS: Which of the types of pictures did you have the most trouble with yesterday? Why?

Today you will finish taking pictures--remember there need to be TWO FULL SETS of photos--one for each group member. You will decide on your photos and you will explain to your parter what you want and your partner will shoot the picture.

Be back by 1:25 to upload the photographs into iPhoto

11/10/10
Zamore FP3

Aim: Understanding the importance of thoughtful framing

DS: Look at the following picture. What do you notice in the frame? What does this frame communicate to you? What are some of the qualities of this frame that you are familiar with (in terms of vocabulary words about framing)

Today you will work independently to arrange your images with text either as a PPT, a iPhoto scrapbook or in storyboard format (with the words under each image explaining what cinematic element your image represents as well as what using this cinematic element allows the viewer to understand about the the action/story represented. Friday we will present.

**PLEASE MAKE SURE THAT YOU HAVE SUBMITTED TO ME YOUR LAST VIDEO PROJECT ONA FLASHDRIVE SO I CAN GRADE IT**

11/12/10
Zamore: FP3

Aim: Beginning to share our new understandings of framing and cinematic devices

Daily Spark: Look at the following frame, What do you notice in the frame? What does this frame communicate to you? What are some of the qualities of this frame that you are familiar with (in terms of vocabulary words about framing)

Computer techs, please hand out computers. You have period 6 to finish your project--I will come around and look at your photos as you work and select the 10 best to show to the class. Be ready as I come around to explain your work.

Period 7 we will show the 10 best works.

11/8/10 Zamore: FP3 Aim: Understanding the importance of thoughtful framing DS: Write down 2-5 specific things you are hoping to gain or learn how to do in filmmaking this year. I will collect this. Get with your partners. Camera tech will sign out cameras. Remember, you are taking your partner's photographs and your partner is taking yours. Congrats to our technicians! Anna: Audio Tech Ariana: Camera Tech Ilias and Alexa: Computer Tech Tom B. : Tripod Tech You must be back by 1:25 to upload what you've taken today. Tomorrow you will finish photos and Wednesday you will create your online, storyboard or slideshow scrapbook. 11/09/10 Zamore: FP3 Aim: Understanding the importance of thoughtful framing DS: Which of the types of pictures did you have the most trouble with yesterday? Why? Today you will finish taking pictures--remember there need to be TWO FULL SETS of photos--one for each group member. You will decide on your photos and you will explain to your parter what you want and your partner will shoot the picture. Be back by 1:25 to upload the photographs into iPhoto 11/10/10 Zamore FP3 Aim: Understanding the importance of thoughtful framing DS: Look at the following picture. What do you notice in the frame? What does this frame communicate to you? What are some of the qualities of this frame that you are familiar with (in terms of vocabulary words about framing) Today you will work independently to arrange your images with text either as a PPT, a iPhoto scrapbook or in storyboard format (with the words under each image explaining what cinematic element your image represents as well as what using this cinematic element allows the viewer to understand about the the action/story represented. Friday we will present. **PLEASE MAKE SURE THAT YOU HAVE SUBMITTED TO ME YOUR LAST VIDEO PROJECT ONA FLASHDRIVE SO I CAN GRADE IT** 11/12/10 Zamore: FP3 Aim: Beginning to share our new understandings of framing and cinematic devices Daily Spark: Look at the following frame, What do you notice in the frame? What does this frame communicate to you? What are some of the qualities of this frame that you are familiar with (in terms of vocabulary words about framing) Computer techs, please hand out computers. You have period 6 to finish your project--I will come around and look at your photos as you work and select the 10 best to show to the class. Be ready as I come around to explain your work. Period 7 we will show the 10 best works.

11/15/10

11/15/10
Zamore: FP3

Aim: Transitioning between Camera Study and Editing study

HW 2.3: Define all vocabulary terms on Unit guide--due Monday 11/22 (worth 10 points)

Daily Spark: Define the following words: Juxtaposition, Jump Cut, Montage

**I will not be here tomorrow--the work you do, if you COMPLETE it and submit it to the sub will count as 10 points towards your homework grade.

Midterm: 2 parts -- one in class next Wednesday (15 minutes) Part 2 will be a take home exam due the Monday after Thanksgiving.

Today we will do two things: First period, we will watch 10 students' scrapbooks

2nd period, we will begin our editing unit.

Screen work:

Editing Unit:
Brainstorm: Why do we edit? How is editing used to tell a story? What editing techniques/vocabulary do you already know? Beyond cutting together different length shots to create a simple narrative scene, what else should we take into consideration when editing? What else can an edit do?

Look at the two scenes on page 393-395 in V and V -- how does changing the editing change the storyline?

Look at Unit plan together and discuss the essential questions:

• How do we compose meaningful scenes through editing?
• What considerations must we make when making editing choices?
• How can we display emotions and meaning through editing choices?
• How do our editing choices affect a viewer’s experience?
• How do we use Final Cut Express to further our editing abilities?