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LHSVIDEO HANDBOOK
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Welcome! 6
The Director 6
Camera 1 Operator 7
Camera 2 Operator
7
Sound Engineer 8
Switchboard Operator 8
Teleprompter 9
Grades 9
Supplies 10
Equipment 10
Email 10
Ethical Issues 10
Care of the Room/Equipment 10
Off Site Shooting 11
Have Fun!!! 11
Storytelling- 16
Treatment- 16
The Script- 16
The 5 Steps of the Writing Process- 16
The Character- How to Develop a Good One 18
Formatting a Script- 20
Closing Notes for Screenplay 20
Preproduction- 22
The Directors Notebook 24
Composition- 25
Transitions 25
Storyboards and the visualization process 26
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Step 1- the director s script breakdown 26
Step 2- marking the script 27
Step 3- the shot list 28
Step 4- the shooting script 28
Step 5- the storyboards 29
Lighting and lighting Jargon 32
Five ways to create depth: 32
Basics of electricity 33
Types of Light: 34
Light Temperatures: 34
Types of Fixtures: 34
Types of Fixtures: 35
Three Point Lighting Terms: 35
Rules for Lighting: (rules are made to be broken!) 36
Lighting Safety 36
Sound 38
THE ROLE OF THE DIRECTOR CONCERNING SOUND 38
THE ROLE OF THE PRODUCER CONCERNING SOUND
38
9 RESPONSIBILITIES OF THE SOUND CREW 39
CONSIDERATIONS FOR PLACING MICS 40
ACOUSTICS OF THE LOCATION 41
APPROACHES TO RECORDING SOUND 41
Microphones 41
Types of Microphones 42
Casting 44
Directing Actors:- how to get the best performance 47
Shooting A Scene: 49
Projects 51
Sample Script 57
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PART1THE BROADCAST STUDIO
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Welcome!
Welcome to the LHS Video Production class! You are extremely lucky to have the privilege of participat-
ing in the experience of live television as well as creating short films. You will be showing your work to a
real audience, so it is imperative that you have excellent attendance and work ethic. Video takes much
more time that you think it will, but your hard work will be paid of with your end products!
This handbook first outlines the duties of the live broadcast and we will go through the duties of short
film making as the year progresses.
The Director
The director is the producer for that days program. They are in charge of the studio for that day and
must oversee the setup and use of the equipment, the anchors, the other presenters on the program, and
manage the cleanup of the studio for the next days show.
Before the show:
1. Turn all technical equipment for show and make sure it is operating properly. This includes the
cameras, Broadcast Pix computer, switcher, magic box, monitors, and cable feed.
2. All cameras have been locked onto tripods, are wired up, and are feeding a signal to the board.
3. All clips are loaded properly.
4. All microphones are on and tested and properly placed. Test them and the sound feed in to the
production room.
5. The News set is in order and everything needed for the show is present. Anchors are in position
with good posture, etc.
6. Water is available for on-air personnel.
7. Create a script break-down so you know where to call the switches and previews.
8. Load the passing period dvd and play when the bell rings.
The Director should oversee the pre-show run-through, making certainthat the script is smooth and that any tricky portions are corrected and needed phonetic spellings areadded. (usually the anchors will do this) Direct the run-through it there is time available. Make cer-tain anchors are sitting up, speaking clearly, pacing the material properly, pausing between items, andmaking a pleasant presentation with a smile. Be in charge of the run-through. Keep the studio quietand orderly for run-through. Make certain everyone is on-task and working hard to prepare for theprogram. You are also responsible for calling previews (the switcher) and calling them to air. It is im-portant that you know the order of the content of the show. You must always be thinking what comesnext? for the production to be smooth. You will also have headphones on to talk to camera 1.
After the show:1. Make sure the studio is clean, cameras and lights turned off.
2. Make sure the production room is clean and all equipment is turned off.
3. Make sure that the Magic Box is sending a feed to the large school projectors.
4. Make sure all equipment is put away neatly- this includes proper storage of cables.
5. Fill out the post show form.
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Camera 1 Operator
Before the show:1. Check to ensure that the camera is securely attached to the tripod.
2. If necessary, white balance the camera.
3. Make sure camera is turned on and a feed is running to the Broadcast Pix computer
4. Make sure the focus is set on the talent. (zoom in and focus)
5. Turn on the teleprompter monitor.
6. Make sure you can talk to the producer via the headset
The camera operator for Camera 1 will be framing the talent as they read from the teleprompter. Youwill swing the camera and place the talent in the correct location if there is an over the shoulder (ots)key computer graphic (cg). It is important that you actively listen to the show and the director so that
you dont miss focusing on the proper talent. Also, make sure that your frame is tight enough so thatthere is no uninteresting visual information. Make sure that the anchors are the same height in theframe so all you have to do is swing from anchor to anchor.
After the show:
1. Make sure the camera is turned off and that the headset is put away.
2. Neatly place any stray or loose cables in their proper location.
3. Help the Director with any other cleanup of the set or production room.
Camera 2 Operator
Before the show:
1. Check to ensure that the camera is securely attached to the wall mount.
2. If necessary, white balance the camera.
3. Make sure camera is turned on and a feed is running to the Broadcast Pix computer
4. Make sure the focus is set on the talent.
The camera operator for Camera 2 will be framing the talent as a 2 shot. You will not be moving thecamera to frame each person. Rather, you will be focusing on both anchors at the same time. Your
camera will be used when camera one has to swing from one anchor to the next. This is probably theeasiest job. Remember to frame the talent as close as possible. Its ok to cut of the LHS banner.
After the show:
1. Make sure the camera is turned off.
2. Neatly place any stray or loose cables in their proper location.
3. Help the Director with any other cleanup of the set or production room.
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Sound Engineer
Before the show:
1. Check to ensure that the soundboard is turned on and that all proper connections are made.
2. Plug microphones for anchors in and check to make sure there is audio and that the proper levels
are set and that each anchor has equal volume relative to their voices. (you dont what the levels
to ever peak on red- this causes distortion)
3. Check to make sure that you are getting audio from each video clip cued in the Broadcast Pix
box.
The sound engineer must ensure that all audio is at proper levels and is in charge of any music thatplays on the fly. You will mic up the anchors and test each one as well as test each clip loaded intothe Broadcast Pix box.
After the show:
1. The mixer is turned off and that the headphones are put away.
2. Put away the lavs used by the anchors. (make sure cables are put away neatly and correctly.
3. Help the Director with any other cleanup of the set or production room.
Switchboard Operator
Before the show:
1. Boot up the Broadcast Pix box and load the daily show template.
2. Work with director to load proper clips and edit cgs. (anchor names)3. Test all clips and cgs to make sure they are working properly.
4. Test cameras to make sure that they are feeding a signal
The switchboard operator listens to the director for cues to preview and air clips, cameras, and cgs.This is a very critical position in that you must be aware at all times and have a good understandingon where your clips/cgs/cameras are loaded into the board. You will also edit the cgs to make surethat correct text is displayed as well as any stills used in the production. The director will be tellingyou what to load and when to bring it to air. You must really focus if this is to be done correctly.
After the show:1. If necessary, shut down the Broadcast Pix box.
2. Help the director with the Magic Box and have any announcements correctly formatted to air on
the large projectors.
3. Help the Director with any other cleanup of the set or production room.
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Teleprompter
Before the show:
1. Boot up computer and load text into teleprompter software.
2. Make sure a feed is going to the teleprompter.
3. Log in into lakewodtigers@gmail.com (pswd- announce)
4. Make any adjustments to the copy as needed.
5. Print copies of the script for everyone including the anchors.
The teleprompter will display text read by the anchors. It is up to you to scroll down at a proper paceas to not create confusion or long pauses. Be familiar with the copy so you can easily give correctpacing to the anchor. Remember that people read slightly ahead of what they are actually saying androll through the script accordingly. Dont use the mouse for this. Instead, use the +/- or number pad.
After the show:
1. Turn off the computer.
2. Recycle all copies of the script
3. Help the Director with any other cleanup of the set or production room.
Grades
Grades will be tallied by receiving points in the following areas:
Projects- 75% (including daily broadcasts)
1. Students will have various projects due that focus on different aspects of video.2. Projects must be burned to a dvd and will be screened in class.
3. All scripts and shot lists must be approved by the instructor before any equipment is checked out.
4. No scripts that have any questionable content will be accepted. As a filmmaker, you can go out in
the world and shoot what you like. This is a school environment so our projects must abide by
school rules and ethics.
The Group Process- 25%
Video production requires a team and it is important that you work as a team member. This in-
cludes:
1. Showing up on time.
2. Taking an active roll in the group.
3. Listening to your crew if you are the director and taking direction from the director if you are part
of the crew.
4. Remember- this is the first class of the day! You NEED to be here on time!!!
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Supplies
I will supply you with DV tape and will supply DVD-R discs for burning. If you wish to purchase
additional tapes from me you can for $5.00. (but only if you lose too many tapes)
You will also be checked out a hard drive. This is yours to use here but not take home. If you
plan on editing at home, you will need your own storage. Also fo those of you playing at home, weuse Final Cut Express and you can get a discount from Apple if you are a student. If you are wishing
for a computer and are serious about video, get a Mac. A PC will work, but the Colorado Film School
teaches on Macs- they set the industry standard. You dont need your own computer for this class,
but it is nice to edit from your own house.
Equipment
We have equipment here for you to check out and use. You may also use your own camcorder if you
wish! I actually recommend this as its good to be familiar with your own equipment. Equipment will be
checked out to you once you show me that you know how to operate it correctly. Also, NEVER EVERleave the equipment in your car. It will get stolen and I dont think your parents will be happy about hav-
ing to replace a nice light kit or a 3 chip camera. All professional photographers life by that rule and they
take their cameras everywhere.
Also, as I have said before, there is no equipment checked out unless I have a script and a shot list.
Pre production planning is an important step in the making of film and will give you a better finished prod-
uct.
All announcemens will be emailed to lakewoodtigers@gmail.com. You will have access to this website sothat you can upload the daily announcements to the teleprompter.
Ethical Issues
The video you shoot will have a real audience. That means that all videos must not have any copyrighted
material in them (including music). Also, the footage used for broadcast is property of Lakewood High
School. Make sure that you follow strict rules that do not cause any person or institution any harm. If you
put something up on YouTube or some other video sharing sight, it cant be to harass or demean any-
bodys character. This is a class where you will be expected to be a professional. If you violate these
policies, you will be removed from the course and will receive an F on your transcript.
Care of the Room/Equipment
We have about 40 students who are sharing all this equipment. It needs to be put away properly and
neatly every time that you use it. Plan that when you are scheduling a shoot. The better we treat the
equipment, the better the equipment will treat us! Make sure that you are protecting anything that is on a
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tripod, including lights, so that people dont trip over them (this includes power cords). Also, all cables
must be wrapped up neatly and stored in the appropriate location and batteries must be charged. Always
take inventory when you check out materials and when you get back. If there was something missing
when you checked it out, and you dont tell me, you are responsible for it.
Failure to take care of equipment will result in loss of use privileges.
Off Site Shooting
Eventually, you will be shooting off campus. That means that you have to obtain permission to shoot in
public places as well as peoples property. Location forms can be downloaded at the Colorado Film
School website:
http://www.coloradofilmschool.net/cgi-bin/disp_students.cgi?subpage=forms
You will be a representative of Lakewood High School and will conduct yourself in a professional manner.
Failure to do so will result in removal from the class. I do not want to get a phone call. If a problem does
arise, please have the parties contact me at 720.837.6283. My email is aronscav@jeffco.k12.co.us.
Finally, never put yourself or anyone else in danger. This means no car chases, stunts, or Jackass
types of bits. This is not a reality show class.
Have Fun!!!
The digital video community is growing at a fast rate and you have the chance to get your work out there!
Filmmaking is really fun and will provide you with skills that you can take anywhere. I want this to be a
positive experience for you and would love to see your name on the big screen someday! Enter festivals,
watch films, and enjoy the process! And remember these two rules:
1. Always plan more time than you need.
2. Feed your crew!
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PART2CREATIVE FILM
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CHAPTER 1STORYTELLING AND THE SCRIPT
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Storytelling- every story has a basic conflict
man vs. self
man vs. man
man vs. unknown
man vs. monster/machine
man vs. society
Treatment- bare bones of story
written as a narrative
present tense active voice (all happening now)
no dialogue
one page max
The Script- blueprint of story you intend to tell after the final edit of your film.
The 5 Steps of the Writing Process-Step 1: Concept Development
What is the genre?
what is the story going to be about?
what themes are portrayed?
is there a social message?
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Step 2: Character Development
the movie is about the character
create character outlines- repeat for every character
is character a protagonist or antagonist?
Part A- Name character
Part B- psychology, sociology, physiology
psych- personal history
soc- social groups they belong to
phys- appearance
Part C- miscellaneous
casting- who you want to play the character
random items
Step 3: The Outline
outline events like in an essay
some find it helpful
Step 4: The Treatment
one page max
bare-bones of story written as a narrative
short story format/minimal dialogue
present tense and active (runs- not running)
Step 5: The Screenplay
story told in visual format with detailed dialogue and through characters action
no feelings, thoughts, emotions should ever be included in a script
use correct formatting
http://www.celtix.com- free program for script formatting (all platforms)
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The Character- How to Develop a Good OneInternal objectives
a characters needs. these may be conscious or subconscious emotionalneeds that the character must fulfill in the story
examples: castaway- his wife
Also known as subtext
a director should have his opinions of the characters internal objectives butnot direct the actors based on this.
External objectives
a characters goals or wants. these are what the character is actively strivingto get throughout the story. these are usually something that exists outside ofthe character.
examples- castaway- getting off the island
also known as the motivation
this is the realm of the director.
Internal Obstacles
things that keep the character from fulfilling his or her emotional needs.these usually consist of fear or psychological biases that the character hasdeveloped over his or her life.
examples- fear of loneliness
this is the realm of the director.
External Obstacles
physical barriers that the character has to overcome in order to accomplishhis or her goal. these can be other characters, forces of nature, the charac-ters own disabilities, or physical elements of the set.
examples- castaway- island, tooth, hands
this is the realm of the director but usually these obstacles are apparent inthe script.
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Means
the way in which a character goes about overcoming his or her obstacles andreaching his or her goal.
these are adverbs (the -ly verbs)
this is often a tool that director has to communicate with the actor.
Public Life
the facade a character shows to the people around her to avoid rejection andfeel accepted or to fit in with the social groups to which he or she may sub-scribe.
realm of actor and director- collaboration
Private Life
the true nature of the character that he or she hides or subdues in order tomaintain a certain lifestyle.
realm of actor and director- collaboration
Actions
physical things a character does to overcome the external obstacles andachieve his or her goals.
these are laid out in the script.
the director dictates the means by which a character goes about doing them
therefore, it is important the director go through and identify them.
Independent activities
actions a character does that are independent of the major flow of the story
ex- washing the dishes
a good script usually includes a fair number of these but the director oftenhas to introduce them
there has to be a moment when a character gives up his or her independent
activities to deal with other elements in the scene.
Windows of true nature
moments in the scene when a character drops their facade (or public life) andshows their true nature (private life) to the other characters
the director should seek out these moments and direct the actor s accordingly
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Formatting a Script-Headings and Action:
Heading
15 spaces or 1.5 from left edge
IN ALL CAPS
ex- INT- PARKING GARAGE- NIGHT
Action
15 spaces or 1.5 from left edge
standard casing
Characters Name
37 spaces or 3.7 from left edge
IN ALL CAPS
Dialogue
25 spaces or 2.5 from left edge
no longer than 60 spaces or 3.5
standard case letters
Parenthetical or Actors Direction
31 spaces or 3.1 from left edge
no longer than 50 spaces or 1.9 wide
all lowercase except for proper names
Closing Notes for Screenplay Less is more, especially in short film
focus on 1 character, 1 location, 1 central theme
keep it simple character must be likable
character must have a goal
creates conflict
dont run over your time limit
1 page of script = 1 minute of screen time
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CHAPTER 2PREPRODUCTION
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Preproduction- gathering of all elements necessary to begin photography
getting all raw materials required for next phase
Raw Materials
Project Manager reads/color codes the script
break into 1/8 pages
color code elements in script to create lists of what s needed for production
stunts
primary cast
prop
Color Coding
every element underlined first time it s in a scene
The Colors:
Red- speaking role
Yellow- silent bit
Green- extras
Blue- Special EFX
Purple- Props
Pink- Vehicle/Animals
Black- set dressing
Brown- SFX
Orange- Stunts
Black- wardrobe
* (asterisk) hair makeup
boxed- special equipment (crane/track/dolly)
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Unit Production Manager
Makes production schedule for budgeting purposes
Production budget- based on schedule and $$$ available
Casting- talent agreements/contracts
Hiring- in charge of hiring crew
Insurance- PM takes care of liability
Scouting and Securing locations- get location agreements
Equipment Rentals- makes list of equip to rent
Directors Raw Materials
Wish list- Gives Wish List to PM
Casting- Director responsible for casting
Hiring- director has say as to whos hired
Shot List/Shooting Script
Shooting Script
breakdown by Dir and Director of Photography (DP) to play out shots andfigure out the setups needed
from the shooting script- a shot list is created
Story-boarding- Dir and DP put together a storyboard
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The Directors Notebook a scene by scene breakdown of directors impressions, reactions, and thoughts on the
film
the director must know the script the best
Contents of notebook
3. Director Script Breakdown-
detail the character objectives
copy of script marked with verbs (to comfort, attack, seduce)
4. Storyboards
5. Script
6. Shooting Script
7. Shooting Schedule
8. Copies of all permits, contracts, agreements
* always plan twice the amount of time you need!
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Composition- frame can be full, empty, askew, off balance or in motion
dutch angles are shot tilted sideways (used fro dramatic effect)
p.o.v.- use dutch angle for someone falling
placement of characters in frame can be balanced or unbalanced
create drama by including foreground and background action
extending the frame- including off-screen elements with sound through audiencesimagination.
draw the viewers eye to what you want them to see. use sound and images to directviewers attention.
depth can create emotion or drama with what you include in background and fore-ground.
focus- rack focus to draw the viewers eye or direct audience
Use of color and black and white
color- vibrant and sets mood
b+w sets different mood
Transitions shoot transitions rather than doing in post- zoom, move away, match the action, push in and
pull out
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Storyboards and the visualization processGoing from ideas to reality
storyboard-
the visual outline or the final edit of your film or
a diagram of the process in which the film will be shot and assembled
the storyboards will clear up communication on set between crew about what the shotis
Step 1- the directors script breakdown the directors script breakdown lays out the directors vision and the available tools to
the director on how to get the film as close to that vision as possible
through this work, the director will come to understand the theme and emotional un-
dertones of the script
the process of breakdown is precise.
Supplies
a few pens
a clean copy of the script (no writing)
a notepad of some kind
time
Part A- the script wash read through the script once for your enjoyment
afterwards, write down your initial reactions to the script
reactions include: feelings brought on by the script, impressions of the charac-ters, the general plot, anything else that comes to mind.
repeat this process as many times as necessary.
Part B- Find the arch of the story
read through the script one time for each character
after a reading, sit down and write out the macro-level elements for that character
Macro-level elements: Overlying objectives (internal and external), obstacles (in-ternal and external), means, public life, private life and anything of interest thatmay influence the choices you make later.
repeat this process as many times as necessary.
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Part C- scene by scene breakdown
to be done after the director has familiarized himself with the overall arch of thestory
the director must then go through scene by scene and break apart the dramaticelements of each scene
the director will be looking for the same elements as before but for each par-ticular scene
the director will also be looking at elements that occur only on a scene byscene basis
the director will also go through the copy of the script and mark out two things
action verbs for each line in the scene (according to meisner technique)
to be written next to characters lines
ex- to attack, to comfort, to seduce
beat changes at each time a character changes up the dynamics of the scene
every time there is a verb change in one character s intent on a line
includes actions, independent activities, and windows of true nature
Step 2- marking the script the director, dp, and the editor sit down together sit down with another clean copy of
the script.
they go through the script together moment by moment
they choose the shots based on their collective vision of the script
they mark where the shots begin and end and what the shot is.
questions for the marked script
ls, ms, cu?
what do we see in the shot?
what is the angle on?
does the shot move?
is it a dolly shot, trucking shot, crane shot, pan, tilt, or zoom?
the director must keep in mind the arch of the overall arch of the story and the indi-vidual scene.
all technical elements should be used toe support and enhance the story
let the characters guide you, and use the shotes to build a camera language thatreveals more about the story and the characters.
be aware of going too far!
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Step 3- the shot list from the marked script the director and the dp will formulate the shot list.
each shot will be labeled with an alpha-numeric code to easily identify the shot
example of the shot number: for the fourth shot in scene 25 you would have shot
25D- the 5th- 25E and so on include what kind of shot it is and what you see in the shot.
example:
scene 1
shot 1A LS high angle shot, lisa walks through party avoiding everyone.
shot 1B CU OTS on doug, lisa runs into doug and spills her drink on him.
Step 4- the shooting script can be done at the same time as the shot list or before the shot list
from the marked script, you go through the script and write in the shots where theystart.
example:
INT - DOUGS HOUSE - NIGHT
ANGLE ON LISA WALKING - LS
Lisa walks through the party crowd. She avoids running into people like the place isa plague ward.
the purpose of the shot list is to detail the shots include high angle, low angle, dolly shot, etc in the shot list
dont over describe the shot- this is a reference tool
the purpose of the shooting script is to detail the flow of the film and how the shotscome together
tell me where the shot begins and what type of shot it is. anything else takes toolong to read and takes me out of the story.
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Step 5- the storyboards after the shooting script and shot list are finished, the director and the dp sit down
with a storyboard artist begin drawing up the production storyboards.
the storyboards are visual representations of the story that will guide principlephotography
often these will be done after locations have been scouted so the artist has accu-rate renderings of the space to work with as well.
storyboards consist of a drawing of what the shot will look like over a sort descriptionof the shot.
description will include the shot number, the shot description, and any audio that willbe heard in the scene.
if you run out of space, cut off the audio there and start the next shot in the story-boards with the audio that begins there
make sure to outline any dolly moves, pans, etc.
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CHAPTER 3LIGHTING
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Lighting and lighting JargonWhy do we light?
to create depth and separation
Lights-
known as fixtures
Five ways to create depth:1. lighting
2. move the camera
dolly shot, trucking shot, crane shot
3. selectivefocus
whats in focus an whats not in focus
ex- rack focus
4. Atmospheric haze
fogging or smoking the room
5. warms and cools
5600k for daylight (cools)
3200k for Tungsten (warms)
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Basics of electricityMetaphor of running water
amt of water in the reservoir (amps)
amount of water in the pipes (volts)
amount of water your faucet can draw at home (watts)
Amps
the amount of power reserve in a specific circuit
the water in the reservoir
average household circuit- 10--20 amps
average business circuit- 20-40 amps
Volts
the amount of power that a certain line can carry
the flow of water through the pipes
all circuts carry about 100 volts. some have 200
Watts
the amount of electricity the device pulls from the circuit.
the amount of water that comes out of faucet and fills sink
how many watts in a circuit?
amps X volts= watts
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Types of Light:Hard Light
a type of light with a very sharp light to shadow drop off leaving well defined shadowsand thin transfer areas.
Soft Light
a type of light with a very diffuse light to shadow drop off leaving very large and unde-fined transfer areas.
Light Temperatures:Tungsten
light of the color orange, 3200k, equal to that of most indoor lights.
Daylight
light of the color blue, 5600k, equal to that of most outdoor lights.
Types of Fixtures:Fresnel (fray-nel)
fresnel lens- a type of lens that has the same optical effect as a convex lens but has re-duced weight and heat retention
Open Face
a light that has no lens, only a bulb in front of a reflector
Mercury Medium-Arc Iodide
a type of gas discharge light with a color temperature equal to that of daylight and highefficiency (over 90 lumens per watt)
lumen- in international unit of light in europe
1 lux- 1 lumer per square meter
Lux= metric system vs. foot candle = standard system
also known as an HMI or Hemmy
use daylight lighting for outside shots and shots at night. Use tungsten forinside shots and around fires.
Florescent bulbs require a special gel or filter called minus green. It re-moves the green color from the fluorescent lights.
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Types of Fixtures:Ace
1000 watt fresnel aka 1k
Mickey
an open face 1k aka mickey mole, mickey, redhead, and open-face 1kJoker
a 1200 watt fresnel hmiJunior
2000 watt fresnelTweenie
650 watt fresnelMini
200 watt fresnel
Pepper a 100 watt fresnel
Three Point Lighting Terms:Key Light
the main light on the subject. this is the brightest source that gives us the most detailand a sense of the light.
Styles of Lighting:
High Key- a bright lighting style with low contrast and bright spectral highlights (noshadows)
Low Key- a dark shadowy lighting style.
Fill Light
The source that brings in detail to the shadow areas of the subject on camera
Fill vs. Fill Light
Fill- reflector board or white board
Fill Light- an actual light
Back Light
a light placed behind the subject that helps to create separation from the background
Different types of back light
back light- shines on the background behind the subject to create depth
rim light- a light that brushes against the on-camera subject to create a bright rimaround the edge of their image.
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Rules for Lighting: (rules are made to be broken!)
key light should be 30 degrees off camera
take every light into consideration
use the world of your move to create the light
people like to see the eyes of the subject
light should come from above
Lighting Safety
always wear gloves
never replace a bulb or even touch a bulb with your bare hands
always secure your light to prevent accidents (with shot bags)
always yell FIRING before turning on a light on set
always leave any less-than-full light cases open or with one latch secured
do not position lights above water at any time
use common sense
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CHAPTER 4SOUND
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SoundSound is simultaneously the best and worst thing to happen to motion pictures.
THE HISTORY OF SOUND IN FILM
Thomas Edison invented the Kinetograph to accompany the Phonograph.
In 1926, sync-sound was created. The first talkie is believed to be King Vidors Halle-lujah.
The advent of sound deteriorated the language of film and put many silent stars out ofwork.
Crystal Sync and other inventions allowed the camera to free up and became widelyused in the 1960s.
THE ROLE OF THE DIRECTOR CONCERNING SOUND Part of the directors job is to make sure the sound mixer can record clean sound.
Sit down with the sound mixer and make a sound list for each scene.
The director, producer, sound mixer and location scout should visit each location at theapproximate time of shooting to ensure the location is sound friendly.
THE ROLE OF THE PRODUCER CONCERNING SOUND The producers responsibility is to make sure time and money are saved.
Make sure the sound crew has all the equipment they are going to need.Get the bestdeal possible on equipment rental.
Make sure locations are sound friendly.
Ask the sound mixer to make sure all sounds that may be needed are captured fromeach location.
Ensuring that the crew is taking proper care of the equipment so that it is returned in thecondition it was received if not better.
THE SOUND MIXER-
The person in charge of the sound quality going on to tape. This person is in charge ofmixing all sound to make sure it doesnt clip or isnt lost to background noise.
THE BOOM OPERATOR- (A.K.A. Boom-Op)
The person who operates the boom pole.
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9 RESPONSIBILITIES OF THE SOUND CREW RULES ARE MEANT TO BE BROKEN
1. RECORD CLEAN DIALOGUE-
Dialogue that is not interrupted or troubled with noise.
Clean dialogue can be heard and understood.
2. AUTOMATIC DIALOGUE REPLACEMENT (ADR)-
The process to replace dirty location dialogue by re-recording it in the studio.
Also known as Looping.
Match the sound perspective with the camera angles.
Just as we are used to seeing and hearing sound from the same perspective, anaudience expects the same courtesy.
If an actor appears to be farther away from camera, his or her dialogue should feelfarther away.
Reverb, lower levels, and other tricks can be used.
3. GET NEEDED SOUND EFFECTS
The sound mixer should record as much of the ambient sounds and any wild soundthat he or she can in a location.
If this can be accomplished during a take, then great But dont count on it!!!
4. WILD SOUND-
Any sound recorded without an image to be synced up to certain actions in the filmin post.
5. GET ROOM TONE
ROOM TONE-
The ambient sound in a location that can be heard when all other sounds are gone.
Room one is used to smooth out transitions between shots and to fill in sound for
MOS sequences. MOS(Mid-Out-Sound)- Any shot that is captured without the accompaniment of
sound.
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6. KEEP ORGANIZED SOUND REPORTS
SOUND REPORTS-
Clear and comprehensive notes of the dialogue and other audio recorded onset and the wild sounds recorded on or off the set.
Primarily used in the editing room, but you must keep them up during produc-tion.
They mark what time code the sounds lie on and any notes on problems withaudio.
7. CONSISTENCY WITHIN THE SHOT
No drop outs, tape clicks, or other noise should be heard in the take.
8. CONSISTENCY BETWEEN SHOTS WITHIN A SCENE
The background noise shouldnt jump up and down between shots in a scene.
9. CONSISTENCY BETWEEN SCENES
All audio levels should hit about the same marks in every scene. Dialogue shouldntbe louder or softer from scene to scene.
CONSIDERATIONS FOR PLACING MICS THE DIRECTORS VISION
ACTORS BLOCKING
CAMERA PLACEMENT
SIZE AND COMPOSITION OF THE SHOT
THE LIGHTING
MOVEMENT OF THE SHOT
60 hz Hum
-A hum that is created when power cords and sound cables become intertwined.
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ACOUSTICS OF THE LOCATIONSound Blankets
Furniture pads with one white side and one dark side used to dampen sound bydraping them over noise causing agents, hanging them from C-STANDS in front of
windows or doors, or hanging them on a wall to deaden the room.
CAMERA NOISE- not applicable if ditital
BARNEY-
A jacket that is wrapped around the camera to reduce the noise it generates.
BLIMP-
A waterproof housing that the camera is placed in which reduces noise.
APPROACHES TO RECORDING SOUNDBOOM
Mot popular way to record sound.
Microphone is attached to a long pole, suspended over the talent on camera andmoves to follow the sounds as theyre made.
Usually a shotgun mic.
PLANT/SLASH
A mic thats hidden somewhere on set. Usually a dynamic microphone.
LAVALIERE(LAVS)
The type of microphone people wear on talk shows. Hidden on a subject, as close totheir mouth as possible. May be wireless or wired.
MicrophonesEvery microphone has two elements that define it.
1. POWER REQUIREMENT
Dynamic Microphones
Condenser Microphones
2. PICK-UP PATTERN
Omni-Directional Microphones
Cardioid Microphones.
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Types of MicrophonesDYNAMIC MICROPHONES-
These microphones dont require any signal amplification but pick up a lot of roomnoise.
CONDENSER MICROPHONES-
Condensers need a phantom power source.
SHOTGUN MIC- Directional microphones whose listening area is so directional itresembles the spray of a shotgun.
OMNI-DIRECTIONAL MICROPHONES
These microphones pick up any sound that comes near them. Best used asstashed or planted microphones.
CARDIOD MICROPHONES
These microphones are sometimes directional but always limit the amount
of sound they pick up.
SHOTGUN MIC- Directional Microphones whose listening area is so direc-tional it resembles the spray from a shotgun. Also known as hyper-cardiodmicrophones.
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CHAPTER 5CASTING, ACTORS, AND THE SHOOT
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Casting Producer
give director widest choice of talent
Auditions
final decision is always the director
Casting Director
sifts through submissions so director can see only talent that meet the criteria
should have good understanding of directors vision
should have good relationships with talent agencies and managers
be aware of new talent
ability to make deals with actors and have working knowledge of SAG (screen actorsguild) rules
arrange and set up auditions so director and producer can show up
Steps to casting: (what the casting director does)
advertise roles
trade magazine
post fliers (good for independent filmmakers)
internet (coloradofilm.org)
scout local theatre companies
Denver performing arts
dinner theaters
see a show
scout schools, performing arts, acting, film/video
contact instructors
post fliers at schools
attend an event or a show that the schools doing
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Organize resumes and head shots
beware of older head shots
many are models but cant act
Arrange casting calls
find a location to hold auditions with adequate space (including a holding area forwaiting talent)
light and camera with videotape
coordinate how many per day and coordinate with director because they have tobe there
use 15 minute intervals (dont have them all show up at the same time)
have copies of script to read from (called sides), give cold reading
let them perform something rehearsed/improv
Arrange for someone to read opposite lines
waiting area, provide water, dont make them wait too long otherwise you have tofeed them!
if they wait too long- you have to pay them according to the SAG
Arrange callbacks
SAG rule- 3 callbacks without charge but after that you must pay
Negotiate with actors whove been selected
be honest and upfront about budget
non-SAG will work for screen credit, video copy, transportation to and from set orlocation, meals during production, dry cleaning of any personal wardrobe used inproduction
Deal with rejected actors
calling them, thank them, strive to keep good relationship
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Auditions provide the opportunity to hear lines, begins to come to life, what worksand what doesnt
Director/actor relationship:
director sets the tone at auditions
director can make the actor feel comfortable
children- high energy, low attention span
keep an open mind, never offer a part during audition
director will review the tape
do callbacks to check for chemistry/asthetics
Key Points:
leave no rock unturned when searching for talent
check for chemistry
understand the actor s process
know the actor
ask the actor how they operate
talk to them about their acting class
have backups in mind
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Directing Actors:- how to get the best performance Working the scene
directors job to help the actors
find the arc of the character (when a significant or discernible change in thecharacter)
theme of the story
how best to play their role
this should be done through the script, character analysis, and staging
Relationships between actor and director
director should get to know the actors
ask actor abut working methods, how they were trained, what s their approach tocharacters, how they see this character in relation to plot and in relation to othercharacters.
discuss with actor the directors methods, feelings about material, interpretationof character, your shooting style, any problems you foresee
actors need to get to know each other
through read through, rehearsal, off set
director and actor should develop mutual trust
make actor feel safe
discovery process, finding things to help build the character
without trust, miscommunication and frustration occur
Character Research
if character is a real person, get backstory, ie- will smith in Ali, jaymie fox raycharles
this will provide depth and credibility to the character
if not real person then all info to build character should exist in the script.
finding the character arc
director and actor should be able to agree on what arc is
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Read Through
assemble entire cast before theyve memorized lines, simply read
do at informal table meeting
see how it flows, allow actors to see dramatic arcs.
see how actors interpret their roles and interact with each other.
give little to no direction
BE RECEPTIVE TO THE ACTORS INPUT
Develop the Theme
Director needs to get cast to see script as he/she does without lecturing or im-posing ideas
the goal is to get everyone on the same page
ask actors what they think the purpose, message, subtext of story, etc
Blocking Action
blocking or choreographing a scene
allow performance to mold choreography of scene
actions by actors known as business (what they do in a scene- ex walking)will develop and the scene will take shape
director and actor should be able to agree on what arc is
rehearse in real location in which you intend to shoot, with set piece or mark thefloor
Actor must also discover the beats
pace and rhythm
directors job- time it takes to bring audience to height of emotion (speed up or
slow down)
give actor info about speed and pace of the action.
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Shooting A Scene: Pre Production
Production
you are there first as a director
set up, coordinate, you have final say as director
make sure you are open to feedback as director
define crew responsibilities
make sure every one knows whats expected of them
Set up time:
make sure every one arrives early
give enough time to set up lights, cameras, sound, set
shots blocked for the camera (where actors go in scene)
mark places for actors
set focus
set lighting
Run Through for crew
framing/blocking
make adjustments
Send actors to hair and makeup/wardrobe
Rehearsals for actors
make adjustments
Director
make micro adjustments
Principle Photography/Start shooting
quiet on the set
roll sound if separate (easier to sync if sound starts first)
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roll camera- wait for speed- audio and camera in sync
Slate/clapboard- project name, scene #, Take #, format, tape #, reel #, timecode
action!- background action first then primary action
Cut!- stop the action. good so as not to waste film. pad with a few seconds tomake editing easier.
Check the gate (in film only). to make sure no dust is on camera
back to one- get another take after the perfect one. its the safety shot
thats a wrap- after last shot of the day. dont do it early. double check yourshot list and schedule.
Stay on schedule
make adjustments if necessary
refer to shot list
feed your crew
Stay consistent
visually and audibly
Safety on set
lights/light placement (not near water or set pieces)
dont leave equipment unattended
dont leave valuables
cables- tape them down
Wrap up = Clean up
leave it better than when you got there
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CHAPTER 6PROJECTS
Projects
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Tell a visual story that presents a place. Look for various camera angles and meaning-ful details. Pay attention to foreground, middle, and background. Use long shots, me-dium shots and close-ups. Consider how a location will add meaning and significantmeaning to a story.
Grading Rubric: (100 points) (each person turns in own edit but may use same footage)
30 pts- look and feel20 pts- purposefully selected shots
10 pts- camera language
10 points- sound/music
5 points- 1 min in length (exactly)
5 points- 5 seconds of black space before and after the edit (not counted in time)
5 points- beginning text:
First Name Last Name Name of project Date trt: 00:01:00;00 (total running time: hrs:min:sec;frames)5 points- Credits
Director Writer Camera Sound Editor Grip10 points- file given to me via .mov file
These are due on________
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LHSVIDEO PROJECT 1LOCATION SEQUENCE
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Tell a visual story that presents a character. Concentrate on a persons dress, behaviorand actions. Use various angles. The portrait is to be built through what the characterdoes and by how the character acts and reacts (a character is based on their actions,not their thoughts). What choices does your character make, how are they carried outand why?
Grading Rubric: (100 points) (each person turns in own edit but may use same footage)
30 pts- Tells a story about a character
20 pts- purposefully selected shots
10 pts- camera language10 points- sound/music
5 points- 1 min in length (exactly)
5 points- 5 seconds of black space before and after the edit (not counted in time)
5 points- beginning text:
First Name Last Name Name of project Date trt: 00:01:00;00 (total running time: hrs:min:sec;frames)5 points- Credits
Director Writer Camera Sound Editor Grip10 points- burned to dvd
These are due on __________________
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LHSVIDEO PROJECT 2CHARACTER SEQUENCE
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Tell a visual story that features an interaction between two people and follows the de-velopment of that interaction. Provide coverage to give equal time to both characters.Consider action and reaction shots. Vary shot selection to convey mood, emotion ortheme. Try to match ws-ws, ms-ms, cu-cu, xcu-xcu. Make sure that all dialogue andsound is at consistent audio level.
Grading Rubric (100 points) (each person turns in own edit but may use same footage)
_____/20 points- Shots tell us about character_____/15 points- Shots purposefully selected
_____/20 points- Camera language
_____/15 points- Audio is clean
_____/5 points- 1 min in length (exactly)
_____/5 points- 5 seconds of black space before and after the edit (not counted intime)
_____/5 points- beginning text:
First Name Last Name Name of project Date trt: 00:01:00;00 (total running time: hrs:min:sec;frames)_____/5 points- Credits
Director Writer Camera Sound Editor Grip_____/10 points- burned to dvd
These are Due on ________________
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LHSVIDEO PROJECT 3DIALOGUE SEQUENCE
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Tell a visual story that includes a chase sequence. Watch Axis of Action issues (the 180 degree rule).Establish and control screen directions. Select shots that are easy to follow but that will also intensify
the development of the chase.
Grading Rubric: (100 points) (each person turns in own edit but may use samefootage)
30 pts- Shows a believable chase sequence
20 pts- purposefully selected shots/edits
10 pts- camera language
10 points- sound/music
5 points- 1 min in length (approx)
5 points- 5 seconds of black space before and after the edit (not counted in time)
5 points- beginning text:
First Name Last Name Name of project Date trt: 00:01:00;00 (total running time: hrs:min:sec;frames)5 points- Credits
Director Writer Camera Sound Editor Grip10 points- burned to dvd
These are due on _______________
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LHSVIDEO PROJECT 4CHASE SEQUENCE
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Your group will be responsible for creating one advertisement for a business. It will beyour job to find a business, create a relationship, and provide a quality project. Eachgroup will have to produce one ad per semester. Ads will run on announcements.
The Lakewood High School Video Program offers advertising opportunities thatreach over 2000 students and staff live daily and online. These advertisements are taxdeductible and contribute to the Lakewood TigerTV program. By purchasing video ad-
vertising at Lakewood High School on TigerTV, you are reaching a target audience of
2000 people every time the ad runs. This exposure has the power to draw many new
customers to, and remind repeat customers of, your business! Feel free to include a
Lakewood High School special announcement in your commercial.
TigerTV will take care of all shooting and editing of the spot, and will shoot atyour location. We will also work with you to create an ad that you feel best representsyour business.
Cost per month:$200 - Live advertisement every other day at the beginning of school video
announcements and online.
$100 - Your business featured on video message board which loops 24 hours aday.
$250 - Both live advertisement on announcements, online and looped on video
message boards 24 hours a day.These advertisements are tax deductible and help enrich the education of the 2000
students at Lakewood High School. If you have any questions, please feel free to con-
tact
Mr. Adam Ronscavage at: 720-837-6283 or adamrons@mac.com
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LHSVIDEO ADVERTISINGADVERTISEMENT SEQUENCE
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CHAPTER 7SAMPLE SCRIPT
Sample Script
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Updated: 06-Feb-04
Every script should have If you have an agent,a title page with one contact the address and numberaddress only in the bottom can go here.left hand corner. A draft number or dateAlways include a phone number is not required on a
and an e-mail address if you spec script.have one.
SCREENPLAY FORMAT
by
Matt Carless
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1.
"SCREENPLAY FORMAT"
FADE IN:
EXT. LOCATION #1 - DAY
This is how to begin your film or television screenplay.Scene headings are typed in capitals and must indicate:interior or exterior, the location, and day or night.
Scene action is double-spaced under the heading in upperand lower case text with double-spacing between paragraphs.
Scene action should only deal with what is happening on thescreen and must never stray into superfluous novelistictext related to character thoughts or back-story.
A general rule of thumb is to limit a paragraph of scene
action to four or five lines. Consider each paragraph as asignificant beat of action within your scene.
INT. LOCATION #2 - NIGHT
Begin a new scene with the heading triple-spaced from thepreceding scene. Always follow a scene heading with a lineof scene action.
CHARACTER #1Character cues appear in capitalsindented to around the middle ofthe page, but not centred. Thefirst letter of each cue is alwaysin alignment.
CHARACTER #2A character is designated byeither their first or last name,but a role designation may be usedinstead with personal titlesabbreviated. The designated nameshould remain consistentthroughout the script.
CHARACTER #1Dialogue appears directly underthe character name in normal upperand lower case text. Similarly,it is not centred.
(pause)Split dialogue between pages onlyif at least two lines appear onthe first page, and only after asentence.
(MORE)
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2.
CHARACTER #1 (CONT'D)Begin the following page with anew character cue like this.
CHARACTER #2(beat)
Parenthetical instructions appearin lower case text enclosed withinbrackets on a separate line in thebody of the dialogue.
(pause)Never leave a parentheticalhanging at the bottom of a pagewhen breaking a character'sspeech. Move it to the top of thenext page under the charactername.
If scene action interrupts a character's speech on the samepage...
CHARACTER #2 (CONT'D)Then you must begin a newcharacter cue when continuing thedialogue, but including (CONT'D)isn't essential. Dialogue mustalways be preceded by a charactername and never appear on its own.
INT. LOCATION #1 - DAY
On occasions, it may be necessary to indicate twocharacters speaking simultaneously. This should be usedsparingly, but if you need to do it this is how.
CHARACTER #1Show your first characterspeaking on the left.
CHARACTER #2While the character onthe right tries to get aword in edgeways.
CHARACTER #2And finally manages to achieve it.
Try to limit the length of youroverlapping dialogue.
EXT. LOCATION #2 - NIGHT
Sometimes you may need a character to speak in a foreignlanguage. Contrary to belief, it is not a good idea towrite the foreign language itself. A general rule of thumbis to always submit a script in the same language as theperson who'll be reading it.
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3.
CHARACTER #1(in French)
Indicate the foreign language inparenthesis and write the dialogueas you normally would in English.
CHARACTER #2(in Russian;English subtitles)
If your character is speaking in aforeign language with subtitles,then this is how to show it.
If, however, the entire scene is being spoken in a foreignlanguage, then a special note should be included in thescene action.
NOTE: THE DIALOGUE IN THIS SCENE IS SPOKEN IN HUNGARIAN AND
SUBTITLED IN ENGLISH.
CHARACTER #1Then just write the dialoguenormally, in English.
CHARACTER #2And when you reach the end of thescene, include another specialnote.
END OF SUBTITLES.
If there is a specific reason for showing the foreignlanguage and the translation, use the dual dialogue methodwith the foreign language on the left and the translationon the right -- indicating that they are subtitles inparenthesis.
INT. LOCATION #2 - DAY
Scene transitions are technical information indicating themethod of changing from one scene to another. A generalrule of thumb is that every scene will CUT TO: the next if
no transition is specified.
Transitions are generally only used in shooting scriptsbut, if it's absolutely necessary to specify one, itappears against the right-margin like this.
DISSOLVE TO:
EXT. LOCATION #1 - NIGHT
Always keep scene headings with the scene action. Don't
leave loose headings hanging at the bottom of a page.
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4.
It's sometimes a good idea to start a new scene on a newpage if there is only a line or two at the bottom of theprevious one, but scenes can break over the page easilylike this. Shooting scripts include CONTINUED at the topof the page, but this is unnecessary in a spec script.
LATER
If you need to indicate the passing of time through thesame scene then use LATER as a sub-heading. There is noneed to continuously repeat the master scene heading.
THE CORNER OF THE ROOM
Similarly, you can break up lengthy and complex scenes byfocussing on specific areas of action with a sub-heading.This is useful when scripting large party or group scenes.
EXT. LOCATION #2 - NIGHT
Sometimes it may be necessary to hear characters when wecan't actually see them.
CHARACTER #1 (O.S.)Off Screen means the character isphysically present within thescene, but can only be heard, e.g.they are speaking from anadjoining room.
CHARACTER #2 (V.O.)Voiceover is used when thecharacter is not present withinthe scene, but can be heard via amechanical device such as atelephone or radio. It is alsoused when a character narratesparts of your story.
CHARACTER #2If you need to differentiatebetween a character's narration
and their on screen dialogue, thenhandle it as separate speeches.
CHARACTER #2 (V.O.)As (O.S.) and (V.O.) are technicalinstructions, they appear next tothe character name.
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5.
INTERCUT - INT. LOCATION #1/LOCATION #2 - DAY
If it's necessary to CUT back and forth betweensimultaneous action in two different locations in the samescene, then handle your scene heading like this. Use thismethod when you want to show a phone conversation.
CHARACTER #1(into phone)
You can then type your dialogue asnormal.
CHARACTER #2(into phone)
Whilst indicating that bothcharacters are on the phone.
CHARACTER #1
(into phone)Just make sure you indicate whenthe character hangs up.
(hangs up)Especially if you are going tocontinue the dialogue and scenebeyond the phone conversation.
INT. LOCATION #1 - DAY
Alternatively, you can establish both locations separately.
CHARACTER #1(into phone)
Show your first character speakinginto the phone like this.
INT. LOCATION #2 - DAY
Then establish your next location.
CHARACTER #2(into phone)
And show your second characterlike this.
INTERCUT:
CHARACTER #1(into phone)
Then continue the conversation,intercutting comfortably betweenthe two characters.
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6.
CHARACTER #2(hangs up)
If you finish the conversation andstay with one character, you don'tneed to repeat the scene headingas it has already been established
earlier.
INT. LOCATION #1 - NIGHT
Another way to write phone conversations is to show onecharacter speaking but only hear the other.
CHARACTER #1(into phone)
This is the character we see onthe phone.
CHARACTER #2 (V.O.)Whilst we hear the secondcharacter speaking at the otherend.
CHARACTER #1(into phone)
But the first character remainson-screen throughout the scene.
EXT./INT. LOCATION #1 - DAY
If you have a scene where the action is continuously movingbetween the interior and exterior of the same location,such as the hall and driveway of a house, do your sceneheading like this.
But use INTERCUT for cutting back and forth between twoseparate pieces of action inside and outside.
SERIES OF SHOTS:
A) SERIES OF SHOTS: is a group of short shots which make upa narrative sequence, useful for advancing the story ina rapid or economical way.
B) The shots are presented in logical arrangement for theaction with a beginning, middle and end point to thesequence.
C) MONTAGE: is a series of two or more images that blendinto and out of each other in order to create aparticular effect.
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7.
D) It is used to create an emotional environment, a maintitle sequence, or when representing archive stockfootage.
E) Both SERIES OF SHOTS: and MONTAGE: are used to avoidmultiple scene headings when scenes are deemed too short
(often only one shot in length) to conform to the usualformatting rules.
EXT. LOCATION #2 - NIGHT
On-screen text, such as letters, e-mails, or signs, areformatted in a couple of ways. Brief text, such as a sign,can go in the body of the scene action: "THIS IS A SIGN"
"Something longer, like a letter,is formatted like dialogueenclosed within double-quotemarks. It can be in normal upperand lower case text, OR ALL INCAPITALS depending on the text itis representing."
EXT. LOCATION #1 - NIGHT - 1956, FLASHBACK
If you want flashbacks in your script, treat them asseparate scenes and format your headings like this.
YOUNG CHARACTER #1If it's important, you can includethe specific year or time period.
YOUNG CHARACTER #2If your flashback takes placeacross a number of consecutivescenes, then specify it as aflashback sequence in the heading.
Indicate when the flashback or flashback sequence finishesand begin a new scene.
END FLASHBACK.
INT. LOCATION #1 - DAY
As a rule, scene numbers are not included on a spec filmscript. They generally only appear on shooting scriptsalong with camera and technical directions (which should beavoided in a spec script).
Don't forget to number all of your pages - page one beginswith scene one, not the title page.
7/30/2019 Video Handbook
66/66
8.
And keep all your pages together with a simple paper binderin the top left corner. Unfastened pages can becomeseparated from the rest of the script and get lost!
FADE TO:
INT. LOCATION #2 - NIGHT
It is standard practice to sign-off a film script with THEEND centred on the page, preceded by FADE OUT.
FADE OUT. only ever appears at the end of a feature-lengthscreenplay, or an act in a television script. If you wantto indicate a FADE OUT. and a FADE IN: within the body ofthe script, then the correct transitional term is FADE TO:as above.
However, as mentioned earlier, scene transitions should beavoided in spec scripts where possible.
FADE OUT.
THE END
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