Film Sessions

Skills Evidence Focus for Sessions

  • SESSION 6 TEAM FOCUS: Create the pre-prodcution elements for a seven scene film (under 4 minutes) building tension and release through vision and sound implementing all Bruce Block Visual Story elements. Use the Arch Plot Diagram as a guide for each scene read What is Arch Plot and Classic Design? by Ingrid Sundberg. Complete one scene to demonstrate workflow of each person for feedback (Rough cut sample scene, in Premiere Pro, due Wed, March 18, All other work due Friday, March 20)
  • SESSION 5 TEAM FOCUS: Create a dialog-based film with tension and release demonstrated (and justified) through each person's role: under 2 minutes with a ADR.(Presentation due Wed, Feb. 19, All other work due Friday, Feb. 21)
  • SESSION 4 TEAM FOCUS: Create a black and white, silent film: under 2 minutes with a soundtrack. The Artist example. (Presentation due Wed, Jan. 23, All other work due Friday, Jan. 25)
  • SESSION 3 TEAM FOCUS: Complete Chocolate! Script film emphasizing "seeing thought" including an ESTABLISHING SHOT, DELIBERATE BLOCKING (Space, shapes and lines), ACTOR MOVEMENT some CLOSE IN Shot Reverse Shot and building or releasing tension with every beat and consistent ROOM TONE for the whole film (All work due Friday, Dec. 13)
  • SESSION 2 TEAM FOCUS: Complete a 1 minute or less filmmed dialog with tight Shot Reverse Shot and building or releasing tension with every beat (All work due Friday, Nov. 15)
  • SESSION 1 TEAM FOCUS: Complete a 1 minute film (All work due Friday, Oct. 18)

Roles

All Members

  • Create a SCRUM BOARD with Trello.com (overview)
    • Name project your team members first names and session #
      • Example: Sam Terra Jacob Session 3
    • Share your project with Mr. Le Duc, sleduc@osd.wednet.edu
  • Create a BURN DOWN CHART on paper for the Scrum Master update everday

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Director

  1. MAKE DECISONS - Have evidence of decisions you make
  2. IDENTIFY BEATS - Have evidence of beats in script and if they are raising tension or releasing it
  3. BASIC STORYBOARD (folded paper with sketches) the script from the cinematographer-created SHOT LIST and Have basic evidence of BLOCKING choices
  4. VISUAL STORY STRUCTURE (MOVEMENT) with COMMENTARY and ADVANCED STORYBOARD (linked below) of the script from the cinematographer-created SHOT LIST and have evidence of BLOCKING choices
  5. Use STRONG and WEAK actor movements to reveal actor mental state
  6. Use Eye Tracing and control the VISUAL STORY STRUCTURE (MOVEMENT) from affinty to contrast, increasing intensity through six scenes with the climax in scene six and releasing it in scene seven

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Screenwriter

  1. BEGINNING, MIDDLE , and END - Have all three in a one page screenplay written and identified on script.
  2. WRITE FOR RHYTHM (short lines, consisten rhythm through out script) - Highlight this in close up screenshots of script
  3. MODIFY/REWRITE SCRIPT FOR MORE TENSION - Have evidence of script revision to increase tension
  4. VISUAL STORY STRUCTURE (TONE) with COMMENTARY and ADVANCED STORYBOARD (linked below) of the script from the cinematographer-created SHOT LIST and have evidence of BLOCKING choices
  5. Use screenwriting beats that end in THEREFORE or BUT not and then to raise tension
  6. Control the VISUAL STORY STRUCTURE (TONE) from affinty to contrast, increasing intensity through six scenes with the climax in scene six and releasing it in scene seven by using efficient action lines, making the last line the point of the scene, and using subplot characters to better define the hero in your story

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Cinematographer

  1. INTENTIONAL LIGHTING - Have your scenes light with the lighting equipment we have
  2. INTENTIONAL FOCUS - Have evidence of you using a 50mm lens (shallow depth of field)
  3. Have evidence of a SHOT LIST and your camera placement on set for CAMERA POSITION, ANGLE and MOTION
  4. VISUAL STORY STRUCTURE (SPACE) with COMMENTARY and ADVANCED STORYBOARD (linked below) of the script from the SHOT LIST and have evidence of CAMERA POSITION, ANGLE and MOTION choices
  5. Use CAMERA MOTION and have justification for movement
  6. Control the VISUAL STORY STRUCTURE (SPACE) from affinty to contrast, increasing intensity through six scenes with the climax in scene six and releasing it in scene seven

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Sound Designer

  1. USE THREE AUDIO SOURCES - Have evidence as close up screenshot of at least two sound sources in your team file organization
    1. Learn to use the Zoom H4N audio deck, XLR cable, and a shotgun mic
    2. Use the Canon T3i built in microphone
    3. Use your cell phone and built in mic or Lavalier mic
  2. RECORD ROOM TONE - Have a sample of the background for the editors, play sample at presentation
  3. SOUND EFFECTS / FOLEY - Have a evidence of sound FX/ Foley library and use a close up screenshot of sound files in Premiere Pro Timeline window
  4. VISUAL STORY STRUCTURE (RHYTHM) with COMMENTARY and ADVANCED STORYBOARD (linked below) of wardobe, props, setting, etc. color choices
  5. Record ADR for film and place ALL atmospheric sounds in in post production, do not use ANY production sound
    • Research ADR workflow and plan accordingly
  6. Control volume levels of all sound elements to be placed appropriately in the mix (distance visual element is quiter than a close up element) and the VISUAL STORY STRUCTURE (RHYTHM) from affinty to contrast, increasing intensity through six scenes with the climax in scene six and releasing it in scene seven

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Editor

  1. ORGANIZE SHOTS, AUDIO, TIMELINE (in Premiere Pro) and SYNCED AUDIO/VIDEO - Have evidence of your team file organization (labeling, folder structure, notes, etc.)
  2. EDIT TO A RHYTHM - Have evidence of research of this process and close up screenshot of editing window to show editing rhythm
  3. USE J CUT and/or L CUT - Have evidence of either one as a screenshot on that exact moment in the film (please identify image in slideshow as J-cut or L-cut example)
  4. VISUAL STORY STRUCTURE (COLOR) with COMMENTARY and ADVANCED STORYBOARD (linked below) of the script from the SHOT LIST and have evidence of EDITING choices
  5. EDIT ON THE BLINKS - Have evidence how you edited before the actors blinked
  6. Control the VISUAL STORY STRUCTURE (COLOR) from affinty to contrast, increasing intensity through six scenes with the climax in scene six and releasing it in scene seven, also pick a color palette

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