LHSVIDEO HANDBOOK

Welcome! The Director Camera 1 Operator Camera 2 Operator Sound Engineer Switchboard Operator Teleprompter Grades Supplies Equipment Email Ethical Issues Care of the Room/Equipment Off Site Shooting Have Fun!!! Storytelling- Treatment- The Script- The 5 Steps of the Writing Process-
The Character- How to Develop a Good One

6 6 7 7 8 8 9 9 10 10 10 10 10 11 11 16 16 16 16
18

Formatting a Script- Closing Notes for Screenplay Preproduction- The Directors Notebook Composition- Transitions Storyboards and the visualization process

20 20 22 24 25 25 26

Step 1- the directors script breakdown Step 2- marking the script Step 3- the shot list Step 4- the shooting script Step 5- the storyboards

26 27 28 28 29

Lighting and lighting Jargon

Five ways to create depth: Basics of electricity Types of Light: Light Temperatures: Types of Fixtures: Types of Fixtures: Three Point Lighting Terms: Rules for Lighting: (rules are made to be broken!) Lighting Safety

32
32 33 34 34 34 35 35 36 36

Sound
THE ROLE OF THE DIRECTOR CONCERNING SOUND THE ROLE OF THE PRODUCER CONCERNING SOUND 9 RESPONSIBILITIES OF THE SOUND CREW CONSIDERATIONS FOR PLACING MICS ACOUSTICS OF THE LOCATION APPROACHES TO RECORDING SOUND Microphones Types of Microphones

38
38 38 39 40 41 41 41 42

Casting Directing Actors:- how to get the best performance Shooting A Scene: Projects Sample Script

44 47 49 51 57

PART 1

THE BROADCAST STUDIO

Welcome!
Welcome to the LHS Video Production class! You are extremely lucky to have the privilege of participating in the experience of live television as well as creating short lms. 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 rst outlines the duties of the live broadcast and we will go through the duties of short lm 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 certain that the script is smooth and that any tricky portions are corrected and needed phonetic spellings are added. (usually the anchors will do this) Direct the run-through it there is time available. Make certain anchors are sitting up, speaking clearly, pacing the material properly, pausing between items, and making a pleasant presentation with a smile. Be in charge of the run-through. Keep the studio quiet and orderly for run-through. Make certain everyone is on-task and working hard to prepare for the program. You are also responsible for calling previews (the switcher) and calling them to air. It is important that you know the order of the content of the show. You must always be thinking what comes next? for the production to be smooth. You will also have headphones on to talk to camera 1.

After the show:

1. 2. 3. 4. 5. Make sure the studio is clean, cameras and lights turned off. Make sure the production room is clean and all equipment is turned off. Make sure that the Magic Box is sending a feed to the large school projectors. Make sure all equipment is put away neatly- this includes proper storage of cables. Fill out the post show form.

Camera 1 Operator
Before the show:
1. 2. 3. 4. 5. 6. Check to ensure that the camera is securely attached to the tripod. If necessary, white balance the camera. Make sure camera is turned on and a feed is running to the Broadcast Pix computer Make sure the focus is set on the talent. (zoom in and focus) Turn on the teleprompter monitor. 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. You will 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 that there is no uninteresting visual information. Make sure that the anchors are the same height in the frame 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. 2. 3. 4. Check to ensure that the camera is securely attached to the wall mount. If necessary, white balance the camera. Make sure camera is turned on and a feed is running to the Broadcast Pix computer 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 the camera 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 the easiest 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.

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 that plays on the y. You will mic up the anchors and test each one as well as test each clip loaded into the 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. 2. 3. 4. Boot up the Broadcast Pix box and load the daily show template. Work with director to load proper clips and edit cgs. (anchor names) Test all clips and cgs to make sure they are working properly. 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 understanding on where your clips/cgs/cameras are loaded into the board. You will also edit the cgs to make sure that correct text is displayed as well as any stills used in the production. The director will be telling you 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.

Teleprompter
Before the show:
1. 2. 3. 4. 5. Boot up computer and load text into teleprompter software. Make sure a feed is going to the teleprompter. Log in into lakewodtigers@gmail.com (pswd- announce) Make any adjustments to the copy as needed. 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 pace as to not create confusion or long pauses. Be familiar with the copy so you can easily give correct pacing to the anchor. Remember that people read slightly ahead of what they are actually saying and roll 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. 2. 3. 4. Students will have various projects due that focus on different aspects of video. Projects must be burned to a dvd and will be screened in class. All scripts and shot lists must be approved by the instructor before any equipment is checked out. No scripts that have any questionable content will be accepted. As a lmmaker, 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 includes: Showing up on time. Taking an active roll in the group. Listening to your crew if you are the director and taking direction from the director if you are part of the crew. Remember- this is the rst class of the day! You NEED to be here on time!!!

1. 2. 3. 4.

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, we use 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 EVER leave the equipment in your car. It will get stolen and I dont think your parents will be happy about having 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 lm and will give you a better nished product.

Email
All announcemens will be emailed to lakewoodtigers@gmail.com. You will have access to this website so that 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 anybodys 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 10

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.coloradolmschool.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 lms, and enjoy the process! And remember these two rules: 1. Always plan more time than you need. 2. Feed your crew!

11

12

PART 2

CREATIVE FILM

13

14

CHAPTER 1

STORYTELLING AND THE SCRIPT

15

Storytelling every story has a basic conict 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 nal edit of your lm.

The 5 Steps of the Writing ProcessStep 1: Concept Development What is the genre? what is the story going to be about? what themes are portrayed? is there a social message?

16

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 nd 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)

17

The Character- How to Develop a Good One

Internal objectives a characters needs. these may be conscious or subconscious emotional needs that the character must fulll in the story examples: castaway- his wife Also known as subtext a director should have his opinions of the characters internal objectives but not direct the actors based on this. External objectives a characters goals or wants. these are what the character is actively striving to get throughout the story. these are usually something that exists outside of the 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 fullling his or her emotional needs. these usually consist of fear or psychological biases that the character has developed 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 accomplish his or her goal. these can be other characters, forces of nature, the characters 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 in the script.

18

Means the way in which a character goes about overcoming his or her obstacles and reaching 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 and feel accepted or to t in with the social groups to which he or she may subscribe. realm of actor and director- collaboration

Private Life the true nature of the character that he or she hides or subdues in order to maintain a certain lifestyle. realm of actor and director- collaboration

Actions physical things a character does to overcome the external obstacles and achieve 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 ow of the story ex- washing the dishes a good script usually includes a fair number of these but the director often has 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) and shows their true nature (private life) to the other characters the director should seek out these moments and direct the actors accordingly

19

Formatting a ScriptHeadings 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 lm focus on 1 character, 1 location, 1 central theme keep it simple character must be likable character must have a goal creates conict dont run over your time limit 1 page of script = 1 minute of screen time

20

CHAPTER 2

PREPRODUCTION

21

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 whats needed for production stunts primary cast prop

Color Coding every element underlined rst time its 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)

22

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 and gure out the setups needed from the shooting script- a shot list is created

Story-boarding- Dir and DP put together a storyboard

23

The Directors Notebook

a scene by scene breakdown of directors impressions, reactions, and thoughts on the lm 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!
24

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 audiences imagination. draw the viewers eye to what you want them to see. use sound and images to direct viewers attention. depth can create emotion or drama with what you include in background and foreground. 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

25

Storyboards and the visualization process

Going from ideas to reality
storyboard the visual outline or the nal edit of your lm or a diagram of the process in which the lm will be shot and assembled

the storyboards will clear up communication on set between crew about what the shot is

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 lm as close to that vision as possible through this work, the director will come to understand the theme and emotional undertones 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 characters, 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 (internal and external), means, public life, private life and anything of interest that may inuence the choices you make later. repeat this process as many times as necessary.

26

Part C- scene by scene breakdown

to be done after the director has familiarized himself with the overall arch of the story the director must then go through scene by scene and break apart the dramatic elements of each scene the director will be looking for the same elements as before but for each particular scene the director will also be looking at elements that occur only on a scene by scene 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 characters 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 individual 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 that reveals more about the story and the characters. be aware of going too far!
27

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 shot 1B LS CU high angle shot, lisa walks through party avoiding everyone. 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 they start. example: INT - DOUGS HOUSE - NIGHT ANGLE ON LISA WALKING - LS Lisa walks through the party crowd. She avoids running into people like the place is a 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 ow of the lm and how the shots come together tell me where the shot begins and what type of shot it is. anything else takes too long to read and takes me out of the story.

28

Step 5- the storyboards

after the shooting script and shot list are nished, 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 principle photography often these will be done after locations have been scouted so the artist has accurate renderings of the space to work with as well.

storyboards consist of a drawing of what the shot will look like over a sort description of the shot. description will include the shot number, the shot description, and any audio that will be heard in the scene. if you run out of space, cut off the audio there and start the next shot in the storyboards with the audio that begins there make sure to outline any dolly moves, pans, etc.

29

30

CHAPTER 3
LIGHTING

31

Lighting and lighting Jargon

Why do we light? to create depth and separation

Lights known as xtures

Five ways to create depth:

1. lighting 2. move the camera dolly shot, trucking shot, crane shot

3. selective focus 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)

32

Basics of electricity
Metaphor of running water Amps Volts the amount of power that a certain line can carry the ow of water through the pipes all circuts carry about 100 volts. some have 200 the amount of power reserve in a specic circuit the water in the reservoir average household circuit- 10--20 amps average business circuit- 20-40 amps amt of water in the reservoir (amps) amount of water in the pipes (volts) amount of water your faucet can draw at home (watts)

Watts the amount of electricity the device pulls from the circuit. the amount of water that comes out of faucet and lls sink how many watts in a circuit? amps X volts= watts

33

Types of Light:
Hard Light a type of light with a very sharp light to shadow drop off leaving well dened shadows and thin transfer areas.

Soft Light a type of light with a very diffuse light to shadow drop off leaving very large and undened 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 reduced weight and heat retention

Open Face a light that has no lens, only a bulb in front of a reector

Mercury Medium-Arc Iodide a type of gas discharge light with a color temperature equal to that of daylight and high efciency (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 for inside shots and around res. Florescent bulbs require a special gel or lter called minus green. It removes the green color from the uorescent lights.
34

Types of Fixtures:
Ace 1000 watt fresnel aka 1k Mickey an open face 1k aka mickey mole, mickey, redhead, and open-face 1k Joker a 1200 watt fresnel hmi Junior 2000 watt fresnel Tweenie 650 watt fresnel Mini 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 detail and a sense of the light. Styles of Lighting: Fill Light The source that brings in detail to the shadow areas of the subject on camera Fill vs. Fill Light Fill- reector board or white board Fill Light- an actual light High Key- a bright lighting style with low contrast and bright spectral highlights (no shadows) Low Key- a dark shadowy lighting style.

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 rim around the edge of their image.

35

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

36

CHAPTER 4
SOUND

37

Sound
Sound 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 rst talkie is believed to be King Vidors Hallelujah. The advent of sound deteriorated the language of lm and put many silent stars out of work. Crystal Sync and other inventions allowed the camera to free up and became widely used 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 the approximate 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 best deal 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 from each location. Ensuring that the crew is taking proper care of the equipment so that it is returned in the condition 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 of mixing 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.
38

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, an audience expects the same courtesy. If an actor appears to be farther away from camera, his or her dialogue should feel farther 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 sound that 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 lm in 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 ll in sound for MOS sequences. MOS(Mid-Out-Sound)- Any shot that is captured without the accompaniment of sound.

39

6. KEEP ORGANIZED SOUND REPORTS

SOUND REPORTS Clear and comprehensive notes of the dialogue and other audio recorded on set and the wild sounds recorded on or off the set. Primarily used in the editing room, but you must keep them up during production. They mark what time code the sounds lie on and any notes on problems with audio.

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 shouldnt be 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.

40

ACOUSTICS OF THE LOCATION

Sound Blankets
Furniture pads with one white side and one dark side used to dampen sound by draping 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 SOUND

BOOM
Mot popular way to record sound. Microphone is attached to a long pole, suspended over the talent on camera and moves 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 to their mouth as possible. May be wireless or wired.

Microphones
Every microphone has two elements that define it.
1. POWER REQUIREMENT Dynamic Microphones Condenser Microphones

2. PICK-UP PATTERN Omni-Directional Microphones Cardioid Microphones.

41

Types of Microphones
DYNAMIC MICROPHONES These microphones dont require any signal amplication but pick up a lot of room noise.

CONDENSER MICROPHONES Condensers need a phantom power source. SHOTGUN MIC- Directional microphones whose listening area is so directional it resembles the spray of a shotgun.

OMNI-DIRECTIONAL MICROPHONES
These microphones pick up any sound that comes near them. Best used as stashed 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 directional it resembles the spray from a shotgun. Also known as hyper-cardiod microphones.

42

CHAPTER 5

CASTING, ACTORS, AND THE SHOOT

43

Casting
Producer give director widest choice of talent

Auditions nal 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 actors guild) 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 iers (good for independent lmmakers) internet (coloradolm.org)

scout local theatre companies Denver performing arts dinner theaters see a show

scout schools, performing arts, acting, lm/video contact instructors post iers at schools attend an event or a show that the schools doing

44

Organize resumes and head shots beware of older head shots many are models but cant act

Arrange casting calls nd a location to hold auditions with adequate space (including a holding area for waiting talent) light and camera with videotape coordinate how many per day and coordinate with director because they have to be 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 to feed 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 or location, meals during production, dry cleaning of any personal wardrobe used in production

Deal with rejected actors calling them, thank them, strive to keep good relationship

45

Auditions provide the opportunity to hear lines, begins to come to life, what works and 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 actors process know the actor ask the actor how they operate talk to them about their acting class

have backups in mind

46

Directing Actors:- how to get the best performance

Working the scene
directors job to help the actors nd the arc of the character (when a signicant or discernible change in the character) 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, whats their approach to characters, how they see this character in relation to plot and in relation to other characters. discuss with actor the directors methods, feelings about material, interpretation of 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, nding 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 ray charles this will provide depth and credibility to the character

if not real person then all info to build character should exist in the script. nding the character arc director and actor should be able to agree on what arc is

47

Read Through
assemble entire cast before theyve memorized lines, simply read do at informal table meeting see how it ows, 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 imposing 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 the oor 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.

48

Shooting A Scene:
Pre Production Production
you are there rst as a director set up, coordinate, you have nal say as director make sure you are open to feedback as director

dene 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 rst)

49

roll camera- wait for speed- audio and camera in sync Slate/clapboard- project name, scene #, Take #, format, tape #, reel #, timecode action!- background action rst then primary action Cut!- stop the action. good so as not to waste lm. pad with a few seconds to make editing easier. Check the gate (in lm 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 your shot 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

50

CHAPTER 6
PROJECTS

Projects

51

LHSVIDEO PROJECT 1
LOCATION SEQUENCE
Tell a visual story that presents a place. Look for various camera angles and meaningful details. Pay attention to foreground, middle, and background. Use long shots, medium shots and close-ups. Consider how a location will add meaning and signicant meaning to a story.

Grading Rubric: (100 points) (each person turns in own edit but may use same footage) 30 pts- look and feel 20 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) Director Writer Camera Sound Editor Grip

5 points- Credits

10 points- le given to me via .mov le These are due on________

52

LHSVIDEO PROJECT 2
CHARACTER SEQUENCE
Tell a visual story that presents a character. Concentrate on a persons dress, behavior and actions. Use various angles. The portrait is to be built through what the character does 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 out and 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 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) Director Writer Camera Sound Editor Grip

5 points- Credits

10 points- burned to dvd These are due on __________________

53

LHSVIDEO PROJECT 3
DIALOGUE SEQUENCE
Tell a visual story that features an interaction between two people and follows the development of that interaction. Provide coverage to give equal time to both characters. Consider action and reaction shots. Vary shot selection to convey mood, emotion or theme. Try to match ws-ws, ms-ms, cu-cu, xcu-xcu. Make sure that all dialogue and sound 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 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) Director Writer Camera Sound Editor Grip

_____/5 points- Credits

_____/10 points- burned to dvd These are Due on ________________

54

LHSVIDEO PROJECT 4
CHASE SEQUENCE
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 same footage) 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) Director Writer Camera Sound Editor Grip

5 points- Credits

10 points- burned to dvd These are due on _______________

55

LHSVIDEO ADVERTISING
ADVERTISEMENT SEQUENCE

Your group will be responsible for creating one advertisement for a business. It will be your job to nd a business, create a relationship, and provide a quality project. Each group will have to produce one ad per semester. Ads will run on announcements.

The Lakewood High School Video Program offers advertising opportunities that

reach over 2000 students and staff live daily and online. These advertisements are tax deductible and contribute to the Lakewood TigerTV program. By purchasing video advertising 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 at

your location. We will also work with you to create an ad that you feel best represents your 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 a day. $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 contact Mr. Adam Ronscavage at: 720-837-6283 or adamrons@mac.com

56

CHAPTER 7
SAMPLE SCRIPT

Sample Script

57

Updated: 06-Feb-04

SCREENPLAY FORMAT by Matt Carless

Every script should have a title page with one contact address only in the bottom left hand corner. Always include a phone number and an e-mail address if you have one.

If you have an agent, the address and number can go here. A draft number or date is not required on a spec script.

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 upper and lower case text with double-spacing between paragraphs. Scene action should only deal with what is happening on the screen and must never stray into superfluous novelistic text 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 a significant beat of action within your scene. INT. LOCATION #2 - NIGHT Begin a new scene with the heading triple-spaced from the preceding scene. Always follow a scene heading with a line of scene action. CHARACTER #1 Character cues appear in capitals indented to around the middle of the page, but not centred. The first letter of each cue is always in alignment. CHARACTER #2 A character is designated by either their first or last name, but a role designation may be used instead with personal titles abbreviated. The designated name should remain consistent throughout the script. CHARACTER #1 Dialogue appears directly under the character name in normal upper and lower case text. Similarly, it is not centred. (pause) Split dialogue between pages only if at least two lines appear on the first page, and only after a sentence. (MORE)

2. CHARACTER #1 (CONT'D) Begin the following page with a new character cue like this. CHARACTER #2 (beat) Parenthetical instructions appear in lower case text enclosed within brackets on a separate line in the body of the dialogue. (pause) Never leave a parenthetical hanging at the bottom of a page when breaking a character's speech. Move it to the top of the next page under the character name. If scene action interrupts a character's speech on the same page... CHARACTER #2 (CONT'D) Then you must begin a new character cue when continuing the dialogue, but including (CONT'D) isn't essential. Dialogue must always be preceded by a character name and never appear on its own. INT. LOCATION #1 - DAY On occasions, it may be necessary to indicate two characters speaking simultaneously. This should be used sparingly, but if you need to do it this is how. CHARACTER #1 Show your first character speaking on the left. CHARACTER #2 While the character on the right tries to get a word in edgeways.

CHARACTER #2 And finally manages to achieve it. Try to limit the length of your overlapping dialogue. EXT. LOCATION #2 - NIGHT Sometimes you may need a character to speak in a foreign language. Contrary to belief, it is not a good idea to write the foreign language itself. A general rule of thumb is to always submit a script in the same language as the person who'll be reading it.

3. CHARACTER #1 (in French) Indicate the foreign language in parenthesis and write the dialogue as you normally would in English. CHARACTER #2 (in Russian; English subtitles) If your character is speaking in a foreign language with subtitles, then this is how to show it. If, however, the entire scene is being spoken in a foreign language, then a special note should be included in the scene action. NOTE: THE DIALOGUE IN THIS SCENE IS SPOKEN IN HUNGARIAN AND SUBTITLED IN ENGLISH. CHARACTER #1 Then just write the dialogue normally, in English. CHARACTER #2 And when you reach the end of the scene, include another special note. END OF SUBTITLES. If there is a specific reason for showing the foreign language and the translation, use the dual dialogue method with the foreign language on the left and the translation on the right -- indicating that they are subtitles in parenthesis. INT. LOCATION #2 - DAY Scene transitions are technical information indicating the method of changing from one scene to another. A general rule of thumb is that every scene will CUT TO: the next if no transition is specified. Transitions are generally only used in shooting scripts but, if it's absolutely necessary to specify one, it appears 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.

4. It's sometimes a good idea to start a new scene on a new page if there is only a line or two at the bottom of the previous one, but scenes can break over the page easily like this. Shooting scripts include CONTINUED at the top of the page, but this is unnecessary in a spec script. LATER If you need to indicate the passing of time through the same scene then use LATER as a sub-heading. There is no need to continuously repeat the master scene heading. THE CORNER OF THE ROOM Similarly, you can break up lengthy and complex scenes by focussing 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 we can't actually see them. CHARACTER #1 (O.S.) Off Screen means the character is physically present within the scene, but can only be heard, e.g. they are speaking from an adjoining room. CHARACTER #2 (V.O.) Voiceover is used when the character is not present within the scene, but can be heard via a mechanical device such as a telephone or radio. It is also used when a character narrates parts of your story. CHARACTER #2 If you need to differentiate between a character's narration and their on screen dialogue, then handle it as separate speeches. CHARACTER #2 (V.O.) As (O.S.) and (V.O.) are technical instructions, they appear next to the character name.

5. INTERCUT - INT. LOCATION #1/LOCATION #2 - DAY If it's necessary to CUT back and forth between simultaneous action in two different locations in the same scene, then handle your scene heading like this. Use this method when you want to show a phone conversation. CHARACTER #1 (into phone) You can then type your dialogue as normal. CHARACTER #2 (into phone) Whilst indicating that both characters are on the phone. CHARACTER #1 (into phone) Just make sure you indicate when the character hangs up. (hangs up) Especially if you are going to continue the dialogue and scene beyond the phone conversation. INT. LOCATION #1 - DAY Alternatively, you can establish both locations separately. CHARACTER #1 (into phone) Show your first character speaking into the phone like this. INT. LOCATION #2 - DAY Then establish your next location. CHARACTER #2 (into phone) And show your second character like this. INTERCUT: CHARACTER #1 (into phone) Then continue the conversation, intercutting comfortably between the two characters.

6. CHARACTER #2 (hangs up) If you finish the conversation and stay with one character, you don't need to repeat the scene heading as it has already been established earlier. INT. LOCATION #1 - NIGHT Another way to write phone conversations is to show one character speaking but only hear the other. CHARACTER #1 (into phone) This is the character we see on the phone. CHARACTER #2 (V.O.) Whilst we hear the second character speaking at the other end. CHARACTER #1 (into phone) But the first character remains on-screen throughout the scene. EXT./INT. LOCATION #1 - DAY If you have a scene where the action is continuously moving between the interior and exterior of the same location, such as the hall and driveway of a house, do your scene heading like this. But use INTERCUT for cutting back and forth between two separate pieces of action inside and outside. SERIES OF SHOTS: A) SERIES OF SHOTS: is a group of short shots which make up a narrative sequence, useful for advancing the story in a rapid or economical way. B) The shots are presented in logical arrangement for the action with a beginning, middle and end point to the sequence. C) MONTAGE: is a series of two or more images that blend into and out of each other in order to create a particular effect.

7. D) It is used to create an emotional environment, a main title sequence, or when representing archive stock footage. E) Both SERIES OF SHOTS: and MONTAGE: are used to avoid multiple scene headings when scenes are deemed too short (often only one shot in length) to conform to the usual formatting rules. EXT. LOCATION #2 - NIGHT On-screen text, such as letters, e-mails, or signs, are formatted 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 dialogue enclosed within double-quote marks. It can be in normal upper and lower case text, OR ALL IN CAPITALS depending on the text it is representing." EXT. LOCATION #1 - NIGHT - 1956, FLASHBACK If you want flashbacks in your script, treat them as separate scenes and format your headings like this. YOUNG CHARACTER #1 If it's important, you can include the specific year or time period. YOUNG CHARACTER #2 If your flashback takes place across a number of consecutive scenes, then specify it as a flashback sequence in the heading. Indicate when the flashback or flashback sequence finishes and begin a new scene. END FLASHBACK. INT. LOCATION #1 - DAY As a rule, scene numbers are not included on a spec film script. They generally only appear on shooting scripts along with camera and technical directions (which should be avoided in a spec script). Don't forget to number all of your pages - page one begins with scene one, not the title page.

8. And keep all your pages together with a simple paper binder in the top left corner. Unfastened pages can become separated 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 THE END centred on the page, preceded by FADE OUT. FADE OUT. only ever appears at the end of a feature-length screenplay, or an act in a television script. If you want to indicate a FADE OUT. and a FADE IN: within the body of the script, then the correct transitional term is FADE TO: as above. However, as mentioned earlier, scene transitions should be avoided in spec scripts where possible. FADE OUT.

THE END