Video Handbook

7/30/2019 Video Handbook

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LHSVIDEO HANDBOOK

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Welcome! 6

The Director 6

Camera 1 Operator 7

Camera 2 Operator

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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

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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.


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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.


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.


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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 [email protected] (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


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.

Email

All announcemens will be emailed to [email protected]. 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 [email protected].

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


standard casing

Characters Name


IN ALL CAPS

Dialogue


no longer than 60 spaces or 3.5

standard case letters

Parenthetical or Actors Direction


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)




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)




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 [email protected]

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LHSVIDEO ADVERTISINGADVERTISEMENT SEQUENCE
mailto:[email protected]:[email protected]


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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.


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:


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.


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.


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.


Alternatively, you can establish both locations separately.


Show your first character speakinginto the phone like this.


Then establish your next location.


And show your second characterlike this.

INTERCUT:


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.


Another way to write phone conversations is to show onecharacter speaking but only hear the other.


This is the character we see onthe phone.

CHARACTER #2 (V.O.)Whilst we hear the secondcharacter speaking at the otherend.


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.


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.


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.


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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:


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

Documents

Video Handbook