THẦY FRANCIS PHAN VĨNH PHÚC Film making textbook

Movie making & the organisation of the Industry
Achievement Standard

Demonstrate understanding of a specific media
industry
 Explain and analyse how a specific media Industry is
organised and controlled.
 You are required to perceptively analyse the role of:
 at least one important feature and/or one key person within the
organisation of the industry.
 At least one important internal or external control that operates
within or over the industry.

Demonstrate understanding of a specific media
industry
 This unit will review:
 The history of film-making
 The development of the Studio
system
 The organisation of the Studio -
Management & Financing.
 The roles, responsibilities and
relationships in the film-making
process.
 The production process
 Key Personnel
 Relationships
 The Controls (the system checks
& balances )
 Internal
 External
 A Case Study - The making of …

The Seven Ages of Film
Pioneering Age
1896 - 1912
From Sideshow to Art
Form

The Silent Age
1913 - 1927
The emergence of
Hollywood
World War I and the
exodus from
Europe

The Transition Age
1928-32
From Silent to Sound

The Hollywood
Studio Age
1932 - 1946
Domination by the
Studio
Genre movies
World War II

The Internationalist
Age
1947 - 1959
Hollywood Studio
decline
The challenge of TV

The New Wave Age
1960 - 1980
From France to the world
Technological
innovation
Small scale productions
Strong social / political
value to film.

The Mass Media Age
1980 - present
Film & movies as part of
the global
entertainment /
communications
media
Digital production

History
Mechanisms for
producing moving
images had been
demonstrated from the
1860s. - zeotropes
praxinoscopes
kineoscopes

History
These relied on the
“persistence of vision”
to provide an illusion
of movement if the
images were moved at
sufficient speed past
the viewer.

History
The development of the motion picture projector and film stock
allowed the development of film.
Early motion pictures were static shots showing an event or action
with no editing or other cinematic techniques as this series
showing a nude walking demonstrates.

History
 Early films were a visual art until the late 19th century when they
developed into a narrative with a series of scenes linked together to tell
a story.
 Scenes were broken up into multiple shots of varying sizes and angles.
 Camera movement was used to add to the story development.
 Music was used to create mood using a pianist / organist using either
sheet music or a score as they accompanied the screen action.

Film History
» The first audience to
experience a moving film
did so in 1895. The film, by
the Lumiere brothers was
called “Workers leaving
the Lumiere Factory
(1895)”
» Their film “Train Entering
the Gare de Ciotat
(1895)” caused people to
faint with fear as the train
loomed from the screen
into the theatre
auditorium.
» These films did not carry a
story or narrative - they
merely showed a moving
image on the screen.

Film History
» August (1862-1954) & Louis
(1864-1948) Lumiere
A colourised still of the Train
Entering the Gare de Ciotat
Station.
Playing petanque (1895)

Film History - Melies
» Realising the potential of a
good story George Melies
( 1861-1938) utilised film to
create fantastic stories
that took his characters
and audiences to the
moon and beyond.

The changing process of cinema
» The changes in film process
involve several factors.
» George Huaco indentifies
four factors:
1. Current events &
achievements. (political
climate)
2. The creativity of the film-
makers who influenced the
team of crafts-people
involed in the films.
3. The technical
developments that could
be exploited.
4. The capacity of a sufficient
audience to appreciate
the results.

Changing process of cinema
» The division between film and
movie creates two views of quality
and purpose.
» MOVIES = This is a commercial
differentiation = popular
entertainment with a mass
circulation of copies of the movie.
The audience being largely
passive.
» . The product of an industry
dominated by the producer
(money) in which there is no
individual film-maker but a team
under the producer’s control. (The
studio system.) The director is hired
to create the movie from the script.
The final version is, however, the
responsibility of the Producer and
Editor.
» The director of a movie is known as:
metteur en scene = an interpreter
of a score / script.

Progressions - The Silent Film
» Film makers experimented with the use of the camera to develop
new techniques that would enhance their ability to tell a story.
» 1913: Giovanni Pastrone (Cabiria) moved his camera laterally
and slightly above the level of the forreground thus changing the
perspective of the audience from that they’d previously had in
the Luniere films.
» 1923: Carl Mayer directing Last Laugh for F.W.Murnau
proposed a forward movement of the camera at
dramatic moments as if to thrust the audience into the
action.

The man who exploited this change was D.W. Griffith (1875-
1948. USA) whose film “The Birth of a Nation (1914) created
an explosive examination of the development of the American
nation from the Civil War.
The films until then were
narrative and anecdotal this
followed several threads of
narrative - the friendly families
in the North & South, political
events in Washington, warfare
with friends in opposite camps,
exploitation of the South, white
& black, carpet baggers from
the North and the rise of the Ku
Klux Klan.

Griffith’s success was also his undoing. His films - Intolerance -
The Mother & The Law and The Fall of Babylon put him into
debt. As a result Financiers ceased to regard the film-makers as
the king-pins of production and decided to build up the film-star in
their place - to put control in the hands of the producer, aided by
his team of organisers and writers. (The Hollywood system).
This favoured the movie over the film and reduced the risk for the
banks.
It also meant that the actor was out of place in the movie world as
his / her versatility would make them unrecognisable and
therefore valueless commercially.
But they also introduced the langage (french = way of speaking)
of the film- long shot / mid shot/ close-up and their
variations.These terms allowed the editor to construct a movie or
film to produce identified reactions from the audience.

» F.W.Marnau (1888-1931) influenced the film
making process with the introduction of the
design tool - the storyboard. This is a script
visualised by drawings of every basic change
of camera angles in the film.
» Marnau was influenced by the swing to the
right in Germany post W/W I where business
took advantage of the high inflation rate to
mass produce films at cheap rates.

» The storyboard design focus introduced
techniques like “visual punning” that (e.g)
involved showing the passage of time by
tracking towards a candle flame then
dissolving into a lighted gas jet or electric bulb
from which they would track away to the next
sequence of the story.
» This technique was replaced by nouvelle
vague that introduced jump cuts to show or
allow the passage of time and space.
» This was known as “kultur-film” in Germany.
» World War I signaled the advance of the
movie from the USA. This was because while
Europe was fighting a four year long war,
costing 10 million dead, the Americans only
fought for six months at a cost of 115,000
dead. The 10 years of prosperity in the USA
allowed the industry to gain dominance.

The Advent of Sound
» Sound and film were slow to
accommodate each other.
» Sound technology was
clumsy and difficult to link to
the speed of the film.
» Sound made it difficult to film
in the open air, to film
without interfering with
lighting, without interfering
with the way the actors
spoke and with the number
of cameras able to be used.
» Sound forced film to adapt
and develop new narrative
techniques.

Sound
» Historical events and the
sound film.
» The depression (1929-35)
encouraged the
development of the
conventions of the
gangster movie (the
urban western ) and
comedies that saw
ordinary folk standing up
against corrupt big
business.
» World War II encouraged
the development of the
propaganda film and
again helped the USA
gain dominance of the
movie making business.
» The impact of the
technology is seen in
Citizen Kane (Oson Welles
1941)

History
 The increased costs of movie / film making had created the Studio
system with its complex financing and control systems designed to
ensure that the mix of expensive technology, cast of actors and
associated technicians and financiers would return a profit.
 The previous slides outlined the technical developments and their links
to the Studio system.
 The period 1920-50 marked the “Golden years” of the system.

History
 The period 1920-50 was the Golden Age for the Studios. Films were
produced rapidly and regularly. Often following a formula:
Western, slapstick comedy, Film Noir, musical, cartoon, biopic…
depending on the studio.

History
 The Studios controlled the Directors:
• Gibbons & Stothard - MGM
• Cecil B deMille - Paramount
• Newman & King - Twentieth Century Fox
 Controlled the Actors:
• Bogart & Bacall - Warner Bros
• Garland - MGM

History
Studio a factory for film production.
Technicians, Directors and actors all
on salary and expected to work as
required by contract.
Directors expected to produce films
compared with modern system
where a Director may only make
one film a year.
e.g. Between 1930-39 the big
directors: Curtiz made 44 films
(Warner Bros ), Leroy made 36
and John Ford made 26.

History
Studio system meant that Director
had little control over final
product as final editing was done
by post-production unit with
Studio executives often making
final decisions.
RESULT:
Studios had recognisable styles:
MGM - glossy production values +
middle brow content.
Paramount = European
Universal = Horror
Republic = Western

History
This meant that films across all
studios had intellectual
conformity that reflected public
concerns, shared myths & mores
as the films were designed to fit
into the market rather than
reflect the concerns of the
Directors.

History
World War II
Studios became propaganda
machines for the War Effort.
Films patriotic and focused on
concerns of those on the
home-front as they worried
over those on the battle field
as the stills from “Freedom
Comes High” (1943) shows

History 1947-59
WWII delayed the TV age but
post war the threat of TV re-
emerged.
1946-51 Studios ordered to divest
theatre chains - reluctance
meant that they failed to
capitalise on the possibilities
of the TV as a medium for
film.
Result: A period of mergers and
consolidations as the Studios
lost their power.

History 1947-59
Desilu took over RKO for TV
production.
Revue took over Republic.
Warner Bros sold their back
catalogue to Seven Arts who on-
sold to United Artists. Seven
Arts took over Fox back
catalogue then (1967) bought
out Warner Bros Studio.
 Decca Records bought out
Universal.
 MCA bought Paramount’s back
catalogue then Decca, then
Universal.
 Gulf & Western bought Paramount
Studios in 1968.
 Transamerica took over United
Artists.
 RESULT: Conglomerates dominated
the US Film industry by the end of
the “60s.

History 1947-59
RESULT:
1) A horizontal control of the media with the Media Conglomerates able to
exploit Film, TV, Books, CD, record, DVD publication for mass profit.
2) Individual contracting systems for “talent” rather than salaried staff
favoured by the Studios. Actors, Directors, Technicians contracted for
single movies.
3) The advent of the “Blockbuster” disaster genre as the Conglomerates look
to mass saturation marketing and maximised profit.
4) Smaller Production houses move into specialised niche audience
orientated films e.g Woody Allan

French Cinema - the art form

New Wave 1960-80
The death of the Studio system had
international effects allowing the
re-emergence of competition from
Europe - particularly Sweden,France
and Britain.
The collapse of the Studio System also
encouraged the Film Festival circuit
giving a screen to films made
outside of the USA conglomerates.
 The New Wave allowed the
nascent European Film industry
a time to recover from the US
domination that had emerged as
a result of WWII.
 However the resurgence of USA
post 1980 meant that European
film-makers moved into TV
production - particularly in the
UK.

History- The Mass-Media age
1980 -2000+
The growth of the Conglomerate in the 1950-70 period allowed for the
emergence of Mass-Media industry.
REMEMBER that:
1) A horizontal control of the media with the Media Conglomerates able to exploit
Film, TV, Books, CD, record, DVD publication for mass profit.
2) Individual contracting systems for “talent” rather than salaried staff favoured by the
Studios. Actors, Directors, Technicians contracted for single movies.
3) The advent of the “Blockbuster” disaster genre as the Conglomerates look to mass
saturation marketing and maximised profit.
4) Smaller Production houses move into specialised niche audience orientated films
e.g Woody Allan
This has changed the face of the Film Industry - particularly in terms of production
and distribution.

History- The Mass-Media age
1980 -2000+
 Modern Film industry has cross fertilisation from other nationalities”
industries: e.g. India, Asia & Australasia.
 Examples of films: Bride & Prejudice: Bollywood interpretation of classic
English text Pride & Prejudice. A similar cross fertilsation happened with
Vanity Fair.
 Matrix utilised effects from Asian film: Crouching Tiger Hidden
Dragon.
 Utu, a NZ film, was effectively a Western transposed into a NZ setting.

References
 Web-based:
 Wikipedia - History of Film - this site has numerous hyper links to specific sites on
Studio System and international film industry.
 Texts:
 How to Read A Film: Monaco. OUP. 1981
 Studying the Media: O’Sullivan, Dutton & Rayner. OUP. 2003
 NEXT SEQUENCE:
 The Studio System in Action 1930-50

Production Phases
 There are five phases of production common to most
professionally produced motion pictures. These are:
 Development
 Pre-production
 Production
 Postproduction
 Distribution
 Film Production Workflow

 Pre-production
 Production
 Postproduction
Production Phases
 We will concern ourselves with three of these:
 Development
 Distribution

 Pre-production
 Production
 Postproduction
Production Phases
 We will concern ourselves with three of these:

Preproduction Phase
 In general, the
preproduction phase
encompasses all aspects
of preparation that are
performed before the
camera starts to roll.
Some aspects of
preproduction include:
 Screenwriting
 Storyboarding
 Funding
 Assembling a crew
 Casting
 Costume Design
 Location Scouting
 Set Design
 Properties (“props”)
 Scheduling

Preproduction Phase
 Screenplay/Script: The screenplay supplies the general
plan for the production of a film. There are two types:
 The “spec” script
 The “shooting” script

Preproduction Phase
 The “Spec” (Speculation) Script is the version of a
screenplay that writers distribute to producers in
the hope that it will be “optioned” (i.e. considered
for production). It primarily contains:
 Slug-Line (brief description of the setting, e.g. “INT.
ROOM – DAY” which means the interior of a room
during the day)
 Business (descriptions of characters/action)
 Dialog (the lines intended to be spoken by the actors)

Preproduction Phase
 The Shooting Script is a much more detailed version of
the spec script that includes numbered scenes, specific
camera angles and other technical information. An
example of a page from a shooting script can be seen
on the next slide.

Preproduction Phase
 Storyboarding: A storyboard is a series of drawings
intended to represent how the film will be shot,
including how each frame will be composed and how
subject and camera motion will occur.
 The storyboard articulates the mise-en-scene of the film.
 Mise-en-scene: All of the elements that compose the shot.

Preproduction Phase
 Funding: Films are generally expensive to produce.
Even small independent productions with unknown
actors can cost hundreds of thousands of dollars.
Because of the level of investment involved, most films
rely on either production companies (“Hollywood”
films) or independent investors (“Independent” films).

Preproduction Phase
 Assembling a Crew: A crew is the group of workers on
a film set who are responsible for facilitating
production (as opposed to acting). Although large
productions may employ many crew members in many
different departments, there are only a few basic
positions which are detailed later in the production
phase.

Preproduction Phase
 Casting: Choosing actors to play roles.
 Costume Design: Choosing or designing the
clothing/costumes that the actors wear.
 Location Scouting: Choosing the locations where the
film will be shot.
 Set Design: Constructing sets where the film will be
shot.

Preproduction Phase
 Properties (“Props”): Choosing the tools and objects
used in the film.
 Scheduling: Coordinating all aspects necessary to the
production.

Production Phase
 The production phase
refers to the period of
time when the film is
actually being shot.
Some aspects of
production include:
 Direction
 Camera operation
 Lighting
 Sound recording
 Acting

Production Phase
 During production, these roles are usually delegated to
the production departments listed on the next two
slides.

Production Phase
 Production Departments
 Direction
 Director (oversees all aspects of the production)
 Assistant Director (drives the set)
 Second Assistant Director (works with the actors)
 Camera
 Cinematographer or DP (oversees camera operation)
 Camera Operator (operates the camera)
 Camera Assistants (loads camera, pulls focus)
 Clapper/Loader (loads film and slates scenes)
 Lighting
 Cinematographer (oversees lighting design)
 Gaffer & Electricians (control the lights)
 Key Grip & Grips (control the shadows and do special rigging)

Production Phase
 Production Departments (continued)
 Sound
 Sound Mixer (records the sound)
 Boom operator (positions the microphone)
 Clapper (displays the clap slate for the camera)
 Talent
 Actors (perform before the camera)
 Miscellaneous
 Production Coordinator (scheduling)
 Continuity “script girl” (watch for continuity errors)
 Make-up Artist (apply make-up to actors)
 Production Assistant (various jobs)

Production Phase
 All of the departments and positions described on the
last two slides serve one goal: to capture the sound and
image necessary to tell the story. Although going into
every detail of production is far beyond the scope of
this course, let’s consider the “nuts and bolts” that go
into filmmaking.

Production Phase
 Sound Recording
 In traditional film production, sound is recorded
separately from the image. This is known as “double
system” sound recording. Generally speaking, there are
at least four soundtracks in any feature length narrative
film:
 1 – the dialog track.
 2 – the room tone track.
 3 – the music track.
 4 – the sound effects track.

Production Phase
 Sound Recording
 Dialog
 In order to record dialog in “double system” film
production, it is necessary to synchronize the
movement of lips with the sound of voices. Simple as
this may seem, achieving it requires precision
instrumentation.
 Most modern film sound is recorded digitally, but
earlier films made use of a “crystal” synchronized
analog tape recorded referred to as a “Nagra”
(manufacturer’s name) which kept the speed of the
tape constant so that no “drifting” occurred between
the picture and the sound track.

Production Phase
 Sound Recording
 Dialog (Continued)
 The function of the “clap slate” or “sticks” (see the slide after
next) is to supply a marking point for when the
synchronization between picture and audio begins, allowing
the editor to accurately align picture with sound later during
post production.
 The first film credited with synchronized sound is The Jazz
Singer (1927).

Production Phase
 Sound Recording
 Dialog
 There are a series of steps that are taken on a film set in order to
ensure the proper coordination of picture and sound track:
 1: The director says “quiet on the set” and “roll sound.”
 2: The sound mixer says “sound speed” when the tape is running
at the correct speed for recording synchronized sound.
 3: The director calls out “roll camera.”
 4: The camera operator says “speed” when the film is running at
sound speed (24 frames per second).
 5: The director calls out “slate” or “marker”
 6: The clap slate indicating roll, scene, and take is placed before
the camera and read out loud (e.g. “Roll 1, Scene 1, Take 1”).
 7: The slate is clapped and removed.
 8: Finally, the director calls “action” to cue the actors.

Production Phase
 Sound Recording
 Room Tone
 Room tone is recorded silence. Normally, once all of the
dialog is recorded, the sound mixer asks for about a minute
of quiet to record the sound of silence in the particular
setting.
 The reason for recording room tone is that all recordings
have a low level of “noise” in the background and, during
the editing process it is sometimes necessary to fill in gaps
so that there is not an abrupt change in the tone of the
background noise.

Production Phase
 Sound Recording
 Sound Effects
 For the most part, sound effects are obtained separately by
a “foley” artist who coordinates sound effects in
synchronization with the onscreen action through a
process known as “looping” – where a portion of the film is
repeatedly played to perfect the timing of the sound effects.
This is considered to be part of post-production which we
will cover next.
 Alternatively, for low-budget productions, libraries of
prerecorded sound effects can be used or sounds can be
recorded during production by the sound mixer and boom
operator.

Production Phase
 Sound Recording
 Music
 Film music is either purchased (if it is not in the “public
domain”) or scored specifically for the production.
 Music that is scored is done in similar fashion to foley sound
in the sense that film is playing during the recording session
to enhance timing.

Postproduction Phase
 The postproduction phase
refers to the period of time
after the film is shot, but
before it is released in its
final form. Postproduction
includes:
 Processing and printing of film
 Transferring film to video
 Synchronizing picture and sound
 Paper edit (creating an EDL)
 Creating a rough cut
 Creating a online edit
 Final audio mix
OLD SCHOOL
 Conforming the original negative
 Adding optical effects and
transitions
 Creating release prints
NEW SCHOOL
 Film out & release prints

 Processing, Printing, and Transferring.
 The first few steps of postproduction are routine,
requiring more technical knowledge than creative
decision making:
 Processing: Developing the camera negative.
 Printing: Creating dailies on DVD or a work print for the
director and crew to see
 Transferring: Film transfer or “Telecine” to video for editing

 Synchronizing and Assembling
 Synchronizing
 Information from the slate and recorded on
the audio tracks is stored at the beginning
(“head”) of each take to allow the scene/take to
be easily identified.
 To synchronize picture with sound, the editor
aligns the beginning of the sound for a given
scene/take with the beginning of the picture
for that take, using the sight and sound of the
slate as a reference point.

 Synchronizing and Assembling.
 Assembling
 The footage is captured to the editing
system from the video tape or transferred
from the hard drives if it is a digital
workflow
 Once the footage is captured, the editor
assembles a rough cut for timing and to
make sure all necessary footage is present

 Creative License
 Between the rough cut and the online edit is where all of
the creative decisions are made.
 Rough Cut: Places the film in rough sequence from beginning
to end according to the screenplay. Dialog is in place, but
sound effects, and music are incomplete.
 Online Edit: All of the final editing decisions and the final
soundtrack mix are complete. The film is ready for final
output.

 Getting from Rough Cut to Online Edit.
 Editing is the arrangement of imagery and sounds into a
sequence that tells the story of the film.
 An editor may arrange based on different aesthetic styles
depending upon the needs of the story. For example:
 Invisible editing.
 Montage editing.

 OLD SCHOOL - Conforming the negative
 Once all of the editing decisions have been made, the
original “camera” negative is brought to a “negative
cutter” who uses cement splices and A/B rolling in order
to conform the negative based on the decisions of the
final cut of the workprint.

 Creating a release print.
 Once the negative has been conformed to an A/B roll, a
married print is created and joined with the final audio
mix which is inscribed at the edge of the film optically.
 For the purposes of distribution, an “internegative” is
then created from the married print for the sake of
striking positive “release” prints that are shipped to
theaters.

 NEW SCHOOL –
 Once the edit is “locked” or final, the footage is
transferred back to film in a process called a “film out”.
 For distribution, an “internegative” is then created from
the “film out” for the sake of striking positive “release”
prints that are shipped to theaters.

 NEW SCHOOL –
 As more theaters become able to project films digitally,
film prints will become obsolete and will be replaced
with reusable hard drives that are easily shipped from
studio to theater.
 The hard drives can be pre-programmed only to play the
film a proscribed number of times saving the studios
billions of dollars a year in lost revenues and in film
printing costs.

The Fundamental Principles
of Scriptwriting
DR FRANCIS

Screenplay: Definition
The script for a film, including
Instructions for Sets and Camera
Work and Movement within the
Scenes
A Template/Plan for the
Movie/Show

Basic Function:
On Paper, To Outline . . .
 Overall Descriptions of Characters and Story
 Movement within the Story
 Actions throughout the Movie
 Expression and Feeling of every Scene
 Dialogue
 Interaction and Relationships between Scenes

 General Outline of the Plot
 Description of Movement within each Scene and
Transitions between Scenes

 Explanations of each Character
 Individual instructions for each actor
 Directions for Crew and Technical Staff
1. Overall Descriptions of Characters and
Story

2. Movement within the Story
Descriptions of how all the elements are connected
together
The Relationship between the Characters, the Dialogue
and the Environment or Settings of each Scene
(known as ‘Mise en Scène')

Movie
Instruction and description of every action in a Scene
including . . .
 The Physical Movement of the Characters
 Expressions and Body Language of the Characters during
dialogue
 Camera Movement
 Interaction and Engagement of Props, Scenery and
Environment
Interaction between all of the above

4. Expression and Feeling of Every Scene
What is the intended mood of the Moment?
 Dramatic or Tense
 Angry or Violent
 Romantic
 Comedy
 Scary
 Relaxed with Regular Interaction
 Political
 Fairytale and Fantasy

The actual Conversation between the
Characters
Narration
Instructions and Personal Direction for
each Character
5. Dialogue

6. Interaction and Relationships between
Scenes
• Connecting Related Storylines
• Completing Plots and Sub-Plots
• Final Resolution

Dependencies
 On the Action: Guns, Fights, Chases, Dramatic
Moments
 Technology
 The Profile and Personality of the ‘Star’
 On the Big Budget

Sample Script 1: ‘Final Draft’

Sample Script 2: ‘Final Draft’

Self Actualization
Esteem
Belongingness & Love
Safety
Physiological
Maslow’s Hierarchy of Needs
Chisnall P.M. (1995) Consumer Behaviour

References
Trottier, D. Mefford , J. The Screenwriter’s Bible & Script Magazine, of Final Draft,
Inc.
Hepburn, S. SCRIPT WRITING FOR SHORT FILMS: A Practical Guide In 8 Steps
University of the West of Scotland
The BBC Writers Room http://www.bbc.co.uk/writersroom/
The Times Online
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/article3336775.
ece
www.finaldraft.com
Chisnall, P, M. Consumer Culture Cambridge Press

The Screenplay (Script) You have delivered your Pitch
 Written a short Outline
 Delivered a detailed Treatment
 And so finally onto….
 Your Screenplay!

The Screenplay (Script)
 Well done!
 For making it
 this far

The Screenplay (Script) If your Treatment works well then writing the
script should come naturally and easily and all
your energy can be focussed on the task ahead.
 This is what you have been striving towards and
hussling and impressing and having endless
meetings and negotiations about so now enjoy the
scriptwriting process.
 However….(why is there always a catch?)

The Screenplay (Script) Actually this time there is really no catch, but there
are specific rules when writing and delivering your
screenplay.
 Firstly: Screenplay FORMAT
 Courier 12pt laid out correctly…..nothing else is
acceptable.

The Screenplay (Script) Remember when I told you that script
readers/editors look for reasons not to complete a
script?
 The correct layout / format is the first one.
 (…TV often uses a different layout but for spec
scripts and commissioned scripts use the correct
layout if they want a different layout you will be
asked to provide it…)

The Screenplay (Script) Importantly:
 1 page of script is equal to 1 minute of
screentime…….it just is.
 Your 300 page Sci-Fi epic is not 90 minutes long
and never will be….
 If your script is not laid out correctly it will not be
taken seriously and probable not even read.

The Screenplay (Script) Look at and read scripts to familiarise yourself with
layout and styles.
 The basics to understand:
 INT = Interior
 EXT = Exterior
 INT.LECTURE THEATRE DAY

The Screenplay (Script) INT = Interior
 EXT = Exterior
 INT.LECTURE THEATRE DAY
 Character names in CAPS the first time you refer to
them in a scene.
 CONT = Continued

The Screenplay (Script) 1. The basic elements of a script are:
 Action, Dialogue, Character names.
 (Other elements may also appear, such as scene
headers, but not always.)
 2. All three of these are typed and laid out
distinctively — so it’s easy to tell them apart.
 3. Actions are written in the present tense (‘Alice
goes to Bill’, not ‘Alice went to Bill’).

The Screenplay (Script) The great thing is that there is screenplay writing
software available to undertake all the layout and
typing chores for you.
 The most successful and popular ones are:
 Final Draft
 Movie Magic Screenwriter
 These are the default ones most used

The Screenplay (Script) Alas both are quite expensive to buy:
 £160.00 approx each

 Help is at hand:
 www.celtx.com
 Celtx is FREE!!!
 And very good

The Screenplay (Script) Celtx
 is free!

The Screenplay (Script) Celtx is pretty sophisticated

 Screenplay software will undertake all the technical
aspects for you, but it is a good thing to understand
the layout being used and the terminology as you will
be expected to know the language.

 Read the pdf
 on the 162mc Blog:
 I have listed the
 basic terminology
 for you to
 understand

The Screenplay (Script) A brief note about dialogue:
 Read it out loud, it is meant to be heard, not read
like a book.
 Book dialogues is not often very good or convincing
when read out loud…

 Basically remember that you are working in a visual
media so…..
Show….Don’t….Tell
 I usually write as much dialogue as I like then go
through the script and try to lose about 1/3
immediately

Moth
 Very little dialogue
 and relies on the
 images to tell the
 story.

The Screenplay After you have been through each of the previous
stages the screenplay will and should be an
enjoyable experience, after all it is the reason that
you started in the first place.
 There will be frustrations and aspects you want to
change and adapt but the basic story will be
working and you can finally get down the
story/script you want to write.

The Screenplay
 The time contracted to write a first draft will vary from:
 A week for some TV eg; Doctors on the BBC for a half
hour drama
 To 12 weeks for the first draft of a Feature
commissioned by a production company.

The Screenplay
 It is worth remembering that a half hour episode for
TV differs in length between the BBC and ITV
 BBC : 26 – 28 pages (Doctors used a word count)
 ITV: 24 – 26 page (Add breaks)

The Screenplay
 However you are not expected to work or write ‘blind’
all the information that you need will be given to you
and you will work with assigned script editors or
producers.
 They want and need the writers talents so will work
closely and develop ideas and scripts accordingly…
 Good luck!

What is a screenplay?
A screenplay (or script) is a
complete description of an
entire movie. It is the basic
plan that everyone follows to
make a movie from start to
finish.

What is in a screenplay?
 Information about the characters
 Dialogue and actions of the characters
 Locations
 Props
 Camera angles

A screenplay is an example of creative
writing. Choose a topic that really interests
you. Write about what you know and use
people you know as a way to start writing.
You could chose your uncle as the basis of a
character even if your story takes place 100
years ago.

Ways to find Inspiration
 Look in a newspaper for current stories
 Ask yourself, “what if…”
 Listen to people talk

Types of Stories
 Character driven
 Focuses on people and what happens to them
 Plot driven
 Focuses on events

Conflicts
 You need conflict to make a story interesting.
 Conflicts can be internal (inside the character’s head)
or external. It’s good to use both.

Character Growth
 The character has a goal
 The character overcomes obstacles
 The character reaches the goal (or does not). That part
is up to you.

Remember…
 Even the villain has a goal!

Does your character seem real?
 What makes your character get up in the morning?
Motivation?
 What makes your character happy?
 What makes your character upset?
 Does your character have unusual habits or
characteristics?

Building Your Story
 Each character needs to seem real
 They all need goals, clear backgrounds, relationships
to each other
 Build up each character until you have created a
separate world: your screenplay

What is your genre?
 Western
 Horror
 Love Story
 Thriller
 Science Fiction
 Comedy
 Etc.

Audience Expectations
 Western
 The loner with a moral code
 Horror
 Conflict between good and evil
 Comedy
 Ordinary people in extraordinary circumstances or
extraordinary people in ordinary circumstances

Things to consider about the protagonist
(main character)
 Are they dull at the start and then become interesting?
 Are they smart or a little stupid?
 Are they rich or poor?
 Do they get along with people or are they more
difficult?
 Are they shy or outgoing?

The Catalytic Event: In the beginning of a
film there is usually some event that
changes everything
 A body is discovered
 A woman leaves her husband
 The child discovers a magical box

Narrative Shape
 Does the movie happen over years?
 Does the movie flash back and forth (Pulp Fiction)?
 Does the movie start at the end and work backwards
(Momento)?

Dramatic Shape
 The rise and fall of a gangster
 Action concentrated at end? Middle?
 Action packed?
 Sad ending?
 Everyday pace focusing on the lives of the characters

The Three Acts
 Act 1
 Introduces characters and establishes the conflict that
makes up the story. Act 1 ends with the catalytic
moment.

Act 2
 Explores the consequences of the catalytic moment.
What happens to everyone as a result? Complications?

Act 3
 Tells what finally happens. Resolves any loose ends. We
understand what the movie is about.

Telling the story
 Films tell stories in pictures and dialogue
 Screenplays are dramatic
 Conflict equals drama
 Lack of conflict equals boring story
 We like to see challenge
 We like to see despair defeated
 We like to see integrity tested

Make sure the story is well structured
 Main story needs to start in the beginning and end at
the ending
 Don’t make it too complex
 Make sure it is complex enough!
 If there are subplots, do they resolve?

Characters
 Aim to know everything about their
backgrounds…even if you don’t end up using all that
information.
 Avoid lengthy descriptions. Let the story speak for
itself.
 Dialogue must sound natural. Read it outloud.

Dialogue
 Avoid long speeches
 Make characters say only what they need to get their
idea across
 Keep it short. Write your dialogue and then cut it even
shorter. Short and sweet.

Location
 What will the camera show?
 Small details can show a lot about the character

Other things to consider about the
character
 Name. The name is important. It can convey a great
deal about the character.
 Costume. Consider what everyone is or should be
wearing.
 Voice. What does your character sound like? Accent?

Camera Shots
& Angles
+Terminology

Subject Distance- distance between the
camera and the subject
being shot
Types include:
• close-up
• medium shot
• wide shot
SubjectDistance

Horizontal Camera Position
Front Angle- camera
faces the subject
Profile shot-
camera about 90º
off center
Rear angle-
camera behind
the subject

Vertical Camera Angle Position
HIGH- camera is
positioned above the
actor
NEUTRAL- camera
is positioned about
eye level of the actor
LOW- camera is
positioned below
the actor

Establishing Shot
Used to introduce the audience
to the characters and general
scene attributes such
as location, time of day, etc.

Over-the-Shoulder
Shoulder shots help to create
depth by including one subject
in the foreground and another
in the background.

Cutaway Shot
A cutaway shot is used to
show something not in the
main camera shot. It is
regularly used to show a
subject from the actors point of
view.

Point of View
Used to show the
viewers what the
actor is seeing.

Shot Population
• Single
• Two-shot
• Three-shot

Rule of Thirds
The Rule of Thirds is useful
in a wide range of subjects
from photography to
publishing and layout
design. Imagine the screen
divided into a series of grids
as shown on the left. Try to
have important aspects of
any composition line up in
the grid.
The green spot should be your main focal point during a
single shot. Try not to “center” the subject.

Storyboards consist of…
1. A Picture
2. A Description- for the camera
operator
a. Scene
b. Type of Shot/Angle
c. What is going on in the Picture
3. Audio- for the actors
1. Dialogue
2. Music
3. Sound Effects

Description/Video
CU of an upset woman in front of her
computer. Zooms out to MS
“Oh no, not again…why can’t this
Computer work? I always have to get someone to fix
it but it takes forever and my proposal is due this
afternoon!”
Audio

Description/Video
Audio
Description/Video
Audio
Description/Video
Audio
Description/Video
Audio
Description/Video
AudioOh no, not again…why can’t this
Computer work? I always have to get
someone to fix it but it takes forever and my
proposal is due this afternoon!
CU of an upset woman in front of her
computer. Zooms out to MS
(Ring) Hello…oh hello Rick. I am so
glad it is you…are you busy for lunch?
I can take you to eat if you can fix this
computer of mine.
ECU of phone ringing…zoom out to woman
on the phone.
CU of Rick
Sure, how about I come by around
eleven thirty? OK, see you then.
Music playing, as MS of Rick boarding
the subway.
She really ought to think about getting some
Training…but hey I always get a free lunch.
Pan LS of certified
computer technicians
If you are tired of calling a friend, or just
want to start earning your own free Lunches…call us ITC Tech to
find out about getting certified and becoming a
More valuable employee.
ITC Tech
409-225-1265

• Storyboards (SB) must be completed and approved
before filming.
• You must carry your storyboard and ID with you at
all times while filming.
• SB should have the names of the people in your
video- do not include people “walking the halls”.
• You may NOT enter academic hallways or
parking lots - only the Lobby, Library, Cafeteria
and practice field area.

THFM 1610: Introduction to Film
Dr. Rosalind Sibielski
Bowling Green State University

The Shot
 One uninterrupted take in
filming
 Take = recording of
image from time camera
is started to time that it
is stopped
 Shots are separated by
edits

The Scene
 Series of shots that are unified by
action or events taking place in the
same location at the same time
 A change in scene is marked by
a change in location and/or in
time
 Scenes are often recorded
multiple times (multiple takes)
using different camera and
lighting set-ups
 Scenes are composed by mixing
shots from these various takes

Image Tone (Tonality)
The range of color tones and
shades, as well as the
gradations of light, within
the image
Controlled by
Film Stock
Contrast
Exposure
Technological manipulation of
coloring

Contrast
Comparative
difference
between the light
and dark tones in
the image

High Contrast
 Stark contrast between
brightest and darkest
shades in the color
spectrum with few
variations in color tone in-
between
 Creates rich, saturated
colors when used with
color film stock

Low Contrast
 Minimal contrast
between brightest and
darkest shades in the
color spectrum with a
large range of tones in-
between
 Washes out and dulls
colors when used with
color film stock

Exposure
Refers to how
much light passes
through the
camera lens while
images are
recorded during
filming

Overexposure
Results in high
light levels so
that the image
appears overly
bright

Underexposure
Results in low
light levels so
that the image
appears overly
dark

Technological Manipulation of
Coloring
• Hand/Digital
Coloring
• Light Filter
• Tinting/Toning

Speed of Motion
 Rate at which images are
recorded and projected
 The standard frame rate for
movies is 24 frames per
second
 Filming at a higher rate (>24
fps)results in motion
appearing slowed-down
when projected at 24 fps
 Filming at a lower rate (<24
fps) results in motion
appearing sped-up when
projected at 24 fps

Time Lapse
 An extreme form of fast-
motion cinematography.
 Images are recorded over long
intervals (one every minute,
hour, etc.)
 Most often used to condense
the passage of a long period
of time into a few shots

Types of Lenses
 Short-focal-length (wide angle) lens
= wide horizontal field of vision
 Results in slight distortion at
edges of the image
 Exaggerates depth, making
images in foreground appear
bigger and distance between
foreground and background
appear further away

Types of Lenses
 Middle-focal-length
(medium) lens = avoids
noticeable perspective
distortion
 Closely mimics the
filed of vision of the
human eye

 Long-focal-length
(telephoto) lens = covers
greater distance but takes
in a narrower horizontal
field of vision
 Cues for volume and
depth are reduced
 Image appears squished
or flattened
Types of Lenses

Depth of Field
The range of
distance before
the lens within
which objects can
be photographed
in sharp focus

Planes of the Image
• Background = part of the image that is the furthest
distance from the camera
• Middle
ground =
midpoint
within the
image
• Foreground = part of the image that is the closest to
the camera

Deep Focus
All planes of the
image are clearly in
focus

Selective Focus
 Only one plane of the
image is in focus, while
the other two planes are
out of focus

 Framing = using the borders of
the cinematic image (the film
frame) to select and compose
what is visible onscreen
 In filming, the frame is formed
by the viewfinder on the camera
 In projection, it is formed by the
screen
Framing

Onscreen Space =
space depicted
within the frame
Offscreen Space =
space in the movie
world that is
outside the borders
of the frame
Onscreen & Offscreen Space

 Relative height
of the camera in
relation to
eye-level
Framing: Camera Height
At eye level
Below eye level

The camera’s relative
horizontal position in
relation to the horizon
Parallel to horizon
Canted framing
Framing: Camera Level

Vantage point imposed on
image by camera’s position
 Straight-On
 High Angle
 Low Angle
Framing: Camera Angle

 Content of shot appears at an extreme distance. If
figures appear in the shot they are too small to clearly
identify.
Extreme Long Shot

 Figures can be seen in full view (body fills the
frame) with some area above and below visible.
Background can also be clearly
seen.
Long Shot

 Figures can be seen from the knees up.
Background is largely visible within the
frame.
Medium Long Shot

 Figures are visible from the waist up. Some
background is visible within the frame.
Medium Shot

 Figures are visible from the middle of the chest to
the top of the head. Limited back-ground is
visible within the frame.
Medium Close-Up

 In the case of
figures, a single
part of the body
(most often the
face) fills the frame
vertically. In the
case of objects, the
object fills the
frame vertically.
Close-Up

 A single detail of an object or a figure
fills the
entire frame.
Extreme Close-up

 Reframing of the shot by
moving the position of
the camera during
filming rather than
cutting to a new take
filmed from a different
camera set-up
Mobile Framing

Camera swivels
from right to left or
left to right
Camera is
mounted on tripod
and remains
stationary
Pan/panning shot

 lateral movement of the
camera in any direction
 Camera is mounted on a
dolly and moves along a
track
 Differs from a zoom shot,
where a variable focus lens
is used to adjust focus while
the camera remains
stationary
Tracking shot

Camera moves
unrestricted through
space, often changing
direction
Handheld Camera
results in shaky image
(Cloverfield example)
Steady Cam used for
fluid camera movement
(Magnolia example)
Travelling shot

Camera tilts up or
down
Camera is
mounted on
tripod and
remains
stationary
Tilt shot

Camera physically
moves up or down
through space
Camera is
generally
mounted on a
crane
Crane shot

 Length of time the shot is
held before an edit
 Long Take = shot that
lasts for an extended
period of time before
cutting to the next shot
in the scene
 Sequence Shot = when
an entire scene is shot in
one take with no edits
and no interruption
in filming
Shot Duration

The following example is labeled as a long
take. It is more accurately an example of a
sequence shot, since the entire scene is filmed
in one very long take.
A long take can occur within a scene in which
it is not the only shot, but instead is combined
with shorter takes of other shots.
In a sequence shot, the entire scene is filmed
in one single long take.

“Rules are foolish, arbitrary, mindless things that raise
you quickly to a level of acceptable mediocrity, then
prevent you from progressing further”
The Art of Photography, Bruce Barnbaum

“There are no rules for good photographs, only good
photographs”
Ansel Adams

What is composition ?
“an arrangement of the parts of a work of art so as to
form a unified, harmonious whole”
The Art of Photography, Bruce Barnbaum

What is your photograph of ?
 A thing ?

 A place ?

 A person ?

 An event ?

 Nothing at all ?

“a good photograph is knowing
where to stand” Ansel
Adams
 Where do I stand ?
If you stand where everyone else is, you will take the
same photograph
 Where do I look ?
When everybody is looking up – look down
 Which way do I hold my camera ?
Still (usually)

A contradiction 1 – fill the
frame

A contradiction 2 – negative
space

The only unbreakable rule ?
 Straight horizons !

Oh no, it’s...the rule of thirds

Odd numbers (the preference for 3)

Role Orientation and
Task Distribution

Production Manager
Production Arts Camera Post-Prod
Director
1st AD &
2nd AD
Casting Director
Scriptwriter
Location Manager
Assistant
Location
Manager &
Location
Scout
Production Designer
Props Master
HMUA
Set
Designer
Custodian
DoP(Optional)
Camera Crew
Cinematographer
Production Sounds
Film Editors
Sound Editors

Production Manager - supervises the physical aspects of the production (not the creative
aspects) including personnel, technology, budget, and scheduling of shoot.
- Responsibility to make sure the filming stays on schedule and within its budget. Collaborate
with all key persons in the production staff.
- May work with Assistant Production Manager.
Casting Director- Works closely with the director to cast the film, coordinate with casts/artists
regarding schedules.
Director- overseeing the creative aspects of a film.
1st AD- assists the Production Manager and Director. (optional)
2nd AD- chief assistant of the 1st AD and helps carry out those tasks delegated to the
1st AD.(optional)
Scriptwriter- writer/s of story. Sequence breakdown.
Location Manager- responsible for looking/researching possible venues and reserving it.
Ensuring the readiness of a location before, during and after shoot.
Location Scout- works with location manager. Does much of the actual research, footwork and
photography to document location possibilities.

Production Designer- responsible for creating the physical, visual appearance of the
film - settings, costumes, character makeup, all taken as a unit. The Production
Designer works closely with the Director and the Cinematographer to achieve
the look of the film.
Props Master- responsible for finding and providing needed props
Hair and Make-up artist- responsible for the look of the artist.
Costume designer/Custodian- responsible for clothing aspects of artistappears on
screen.
Set Designer- Responsible for the look of the set, structures and interior spaces.

Director of Photography- (Optional) chief of the camera and lighting
crew of the film. The DoP makes decisions on lighting and framing of
scenes in conjunction with the film's director.
Camera Operators- May hawak ng camera, tripod. Maganda kung may
camera din for documentation of BTS.
Cinematographer- lighting aspects of the production.
Production Sound- Boom mic operator

Film Editor
Sound editor- will research sounds/music to be used
in the film. May also produce sound effects, compose
music, etc.

Production Manager
Director
Casting Director
Scriptwriter
Location Manager
Production Designer
Camera Crew
Editor

Production Manager
Production Arts Camera Post-Prod
Director
1st AD &
2nd AD
Casting Director
Scriptwriter
Location Manager
Assistant
Location
Manager &
Location
Scout
Production Designer
Props Master
HMUA
Set Designer
Custodian
DoP(Optional)
Camera Crew
Cinematographer
Production Sounds
Film Editors
Sound Editors

1. Location Manager should look for possible venues and if possible, close deal
with the owner.
2. Casting Director must talk to target casts, submit list of sure casts plus their
available schedules.
3. Director must collaborate with the scriptwriter with regard to the breakdown of
script and talk to the production designer about needed props, etc.
4. Production Designer must be ready to provide needed props, etc. for the shoot.
5. Production manager will take-charge with the over all preparation, manage
people, gather information, integrate schedules/needs and coordinate
with key persons.
So Deadline would be within this week, if possible before Saturday. You can
Message Kuya Mond anytime in FB, especially for the Location and Casts.
Thanks and God bless everyone. Be Motivated. All for God’s Glory!

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