|
|
From the initial idea, try and write some sort of logical script.
Consider:
| = |
What you want to say |
| = |
Write a story with a start, middle and end (ie. Some sort of conclusion) |
| = |
Run the script, ideas and construction past somebody you trust….Get them to sub-edit it….pick up logic problems…contribute alternate ideas….film making is a collaboration…Teamwork helps! |
| = |
Be realistic in your shooting goals…..don’t try to make Star Wars straight away |
| = |
Take your characters on a journey….emotionally they are changed as well as physically (ie. something happens) |
|
Break the script down into a shot list and a storyboard (if you prefer) |
|
|
Consider: |
|
| = |
Coverage…what shots and what angles are needed to tell the story |
| = |
Hire a DVD similar to your idea and see how they covered the action….you don’t have to copy it |
| = |
If you’re shooting a drama or music video, the rules are the same….shoot more footage than you need …..TV and video is a hungry beast….shots don’t play for very long before they become boring and your story stalls |
| = |
Obviously, plan from your script and shot list how many actors you need (if any) and what locations you need to shoot in, what props and wardrobe you might need, location approvals etc |
| = |
The script and shot list will also give you an idea to how many crew you might need (initially friends and family!) to make your movie |
| = |
Plan your camera moves, it could be a pan or a tilt or a tracking shot (supermarket trolleys or wheelchairs are great and cheap!) |
| = |
Plan what music you might need…..the sort of feel you want to give the scene with music (ie. dramatic, laid back or tic tic tic time passing) |
| = |
What’s off screen and unseen can sometimes be more dramatic than actually “seeing”…I’m talking about sound FX. For example, someone in the room with the sound if trains passing tells you that they’re near a railway line……cheaper than having to shoot the train. Sound FX can also build the ambience - jungle, birds, strong wind or dramatic spooky effects. |
| = |
It goes without saying you need to be familiar with the camera and all the other technical aspects of your shoot….your whole film out of focus or with no sound because you forgot to press a button is a fast track to failure. |
| = |
Organization and preparation is everything…..think ahead and think outside the square, be creative and inventive (inventive is a great thing when there is no budget!). Your crew or actors/talent don’t want to stand around while you think of the next shot. Teamwork is what gets movies made |
| = |
Plan your shoot effectively ie. shoot everything you need at the one location before you move to the next one (you don’t want to be going back time and time again and having your crew and yourself hanging around). Shoot locations close to each other…..that’s more time efficient. |
| = |
Rehearse your actors and your camera moves before a take practice makes the whole thing easier |
| = |
Use your shot list or script breakdown as a checklist for everything you need to shoot…… (it’s wonderful to cross off the scenes you’ve already shot from your list!!!) |
The traditional theory goes:
| = |
Shoot a wide shot to tell the story, it gives the geometry of the scene…where everybody is…..shows the audience the context of the scene…..it establishes the action |
| = |
A medium shot tells the story of human interplay, bodies in motion |
| = |
A close-up shows the audience what’s going on in a person’s head…..what emotions are at play….shows the personal detail….but the rules are….there are no rules. |
This coverage allows for
flexible editing and streamlined story telling.
The building blocks of a story. You can’t have too many of these, they give the scene texture….you know, wheels on the road, hands on the steering wheel, hands opening a gate, cocking a rifle etc are all the nuts and bolts of the scene.
An assembly of shots that tell a story visually and give a feel of time passing or a progression ie. a house being built, two lovers getting to know each other or a road journey somewhere. Shoot heaps of these close-up detail and wide shots.
ie. Raw nature, man made environment etc - they give a feel of place and organics, environment time passing etc (ie. waves on beach, clouds, smoking factories, crowded streets, leaves blowing, a storm, sunrise and sunset)
| = |
Work fast and keep your momentum going. It keeps the crew amped and keeps up the energy of the scene |
| = |
Always hold your shots longer than you think you need |
| = |
Be nice to your talent, actors and crew – remember they are all there or you and your movie…..it’s all about teamwork. |
| = |
Sound is as important as the vision. Make sure you can hear all the dialogue….. |
| = |
Don’t shoot (if possible) at super noisy locations ie. on the beach in strong winds, around loud music or let traffic drown out your wonderful script. Shoot quiet and put the sound FX in later. |
All of the above gives you some chance of putting your movie together. The next stage of production which is editing is probably the most important. It’s a time when you can really play with your footage, streamline your story, save your arse (if need be) and have fun….fun is the most important part of the exercise because if you don’t enjoy making your film…..then don’t make it.
Get together with your editor…talk to him/her about your film…view the footage together…go through the script with them…communicate your ideas for the film…..if you don’t know what story you’re telling….how will they?
Have fun and enjoy the process!
These notes were written by Lindsay Frazer
| = |
Don’t be tempted to move the camera all the time, think about every shot having a start, middle and end – you have to edit it altogether later! |
| = |
When you have a script make a shot list or a storyboard, plan out your shots and think about where is the best place to shoot an action from based on your story. |
| = |
Think about what your characters are feeling and ask yourself how the camera can help you to covey this to the audience. |
| = |
Be creative – use low, high angles, don’t always have the camera at eye height! |
| = |
Make sure to level the tripod before each shot so the vertical lines of the buildings and environment will look right. |
| = |
If you are moving the camera, roll the tape before the pan or tilt and continue to record after you have stopped – this will help you in the edit later. |
| = |
Charge your batteries and make sure you have all the camera gear you need before you start shooting – Be prepared! |
| = |
Always check you have white balanced so you don’t end up with funky coloured footage later! |
| = |
Panning should be done slowly, if it is done too fast the image might strobe. |
| = |
Clean your lens before you start shooting. |
| = |
Always make sure you and the camera are safe. |
| = |
Get plenty of rest the night before the event. |
| = |
Have a meeting/s with your team members sometime before the event to discuss all issues regarding story, duties, gear, etc. |
| = |
Because the competition brief is a secret until the event, conceive a loose, but adaptable storyline that you can fashion later. |
| = |
Know your gear. Play with the camera and any accessories beforehand. Read the camera manual to see what tricks it can do. |
| = |
Have a gear checklist. Tick off everything as you pack it. |
| = |
Charge your batteries. |
| = |
If you have a genre idea for your story, then record some music that might fit your film. The 24/7 Youth Film Festival requests either original music or you need copyright clearance for the use of someone else’s. If one of the group is musically inclined, then it is always better to have your own. |
| = |
Take a stopwatch and time your scenes. The film’s duration is limited by the competition (7 minutes) so rehearse and read through everything before you hit the record button. Know how long each scene is meant to take. |
| = |
Storyboards are advisable. In the 24 hour rush you’ll find you lack time to stop and think about framing and shot flow, so it helps to do this earlier, without obsessing over detail of course. |
| = |
Have a designated driver who’s had a good night’s sleep. |
| = |
Make sure you’ve thought of an ending to your story! Nothing is worse than spending 10 hours shooting something that you don’t know how to wind up, and you’re too tired to be creative and conceive something. |
| = |
Gag stories and humour usually works well in short, quick films – and are the most entertaining. Don’t try to make an epic. |
Have fun doing it. It gets tough at times, but ultimately it’s very rewarding.