Terminology Worksheet

Home , 2006 in home video

Published by: Teacher’s Discovery® 2676 Paldan Drive Auburn Hills, MI 48326 www.teachersdiscovery.com

To order English/language arts materials: Teacher’s Discovery® English Division Phone: 1-800-583-6454 2676 Paldan Drive, Suite A Fax: 1-888-395-6686 Auburn Hills, MI 48326

To order social studies materials: Teacher’s Discovery® Social Studies Division Phone: 1-800-543-4180 2676 Paldan Drive, Suite B Fax: 1-888-395-1492 Auburn Hills, MI 48326

To order science materials: Teacher’s Discovery® Science Division Phone: 1-888-977-2436 2676 Paldan Drive, Suite C Fax: 1-888-987-2436 Auburn Hills, MI 48326

To order Spanish, French and German language materials: Teacher’s Discovery® Foreign Language Division Phone: 1-800-832-2437 2741 Paldan Drive Fax: 1-800-287-4509 Auburn Hills, MI 48326

Author: Kevin Walsh

Managing Editor: Nancy W. Cracknell Cover Designer: Nancy W. Cracknell Layout and Graphic Design: Cathleen Berry Contributors: Esther Moreau, Elisabeth Khan, Anthony Ambrogio

These materials are protected by copyright law. For each purchased copy of this work, a limited license is granted allowing reproduction [of activity pages and masters] to one teacher for use with that teacher’s class(es).

Introduction ...... iv Code of Conduct Student Contract ...... v Top 10 Important Tips ...... vi Looking at Genre ...... vi Terminology Worksheet ...... vii Sample Script ...... viii

Unit 1: Angles and Techniques 1 Unit 3: Advertising 29 Warm-Ups Warm-Ups Suspense Film Analysis ...... 2 How to (Not) Place an Ad ...... 30 Montage Analysis ...... 3 Super Bowl Ad Analysis ...... 31 Breaking Down a Sequence ...... 4 Online Ad Analysis ...... 32 Angles and Techniques Quiz ...... 5 PSA Analysis ...... 34 Projects Projects Scary Movie Scene ...... 6 The Modern Silent Movie ...... 36 Musical Montage ...... 8 Has This Ever Happened to You? . . . 38 Crazy Object Dialogue ...... 10 Real Client Ad ...... 40 15-Scene Sequence ...... 12 Public Service Announcement ...... 42

Unit 2: Editing 15 Unit 4: News Gathering 45 Warm-Ups Warm-Ups Sitcom Angles and Cameras ...... 16 TV News Analysis ...... 46 Three-Camera-Shoot Breakdown . . . 17 B-Roll Analysis ...... 47 Two Trailers, One Film ...... 18 Documentary Analysis ...... 48 Online Trailer Analysis ...... 19 Interview Analysis ...... 49 Projects Projects Movie Redub ...... 20 Students-in-the-Hall Question . . . . . 50 Movie Trailer ...... 22 News Report ...... 52 You-in-a-Movie ...... 24 Mini-Biography ...... 54 Multi-Camera Skit ...... 26

INTRODUCTION INTRODUCTION

The Video Direct student workbook accompanies the Video Direct Teacher’s Guide and CD.

This workbook contains the following:

Student Contract

Many of the projects require proper behavior outside of the classroom. You and your parent/guardian must agree to this code of conduct and demonstrate your willingness to take on this responsibility.

Angles and Techniques Quiz

Unit 1 contains a quiz (from the Teacher’s CD-ROM) that tests your understanding of the angles and techniques required for scripting your future projects.

Warm-Ups

These brief, in-class worksheets accompany the video, film, and Internet samples of professional productions provided by your instructor. Each warm-up is designed to focus and advance your skills before you attempt your own projects.

Video Group Projects

Work is done in teams or groups to produce brief projects. Each project begins with creating a script and is graded on the clearly defined grading grid in this workbook. Grades are given for group and individual participation and contribution. ©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook v

Code of Conduct Student Contract

This document must be signed, with each line initialed, before hall or equipment privileges are given.

Complaints from any school personnel will result in loss of privileges and points taken from your class participation grade.

Class Conduct . . . ______1. I promise to be quiet in the hallways! If noise is needed for my video work, I promise to select a location where class will not be disturbed or I will obtain prior permission from the teachers whose classrooms are affected. ______2. I promise to use the required passes and authorizations any time my project takes me out of the classroom, studio, or editing rooms. ______3. My passes will always clearly state where I am going. I promise not to use any classrooms or restricted parts of the building without permission. ______4. I promise not to shoot outside without proper authorization from the school’s main office and my instructor. ______5. I promise to remain on school grounds at all times during class. ______6. I promise to use students from other classes only when 24-hour advance, written permission has been given by their teacher(s).

Equipment Responsibility . . . ______1. I understand that the individual or group using the equipment must sign out ALL equipment. Equipment must be signed back in when returned. ______2. I understand that any equipment loss or damage is the responsibility of the individual or group signing out the equipment. ______3. I understand that equipment misuse results in the loss of equipment privileges by the individual or group signing out the equipment. ______4. I understand that an overnight loan of certain equipment is possible with signed permission by a parent/guardian below.

I have read and understand the above guidelines for conduct in TV/Video Productions. Parent/guardian signature______Date ______Student signature______Date ______

Sign the following to accept responsibility to check out equipment overnight.

I understand that overnight loans of equipment carry the responsibility of repair or replacement should the equipment become damaged or lost. Parent/guardian signature______Date ______Student signature______Date ______vi Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh

Be sure that you have Always use a tripod a proper unless you have2 at least audio signal.1 three reasons not to. Be sure4 that there are no distractions Always avoid Have at least in the background. a white wall as 6one extra Beware of3 strong a background. battery. backlight. 5 Cue the talent With interviews, with a five-second Start9 recording always try to have Record the same scene at least ten 7from at least three countdown. a close-up shot of seconds before the interviewee. different angles. 8 saying “Action!” 10 Looking at Genre Genre means “kind” or “category.” Films fall into multiple categories, meaning genres overlap. Every genre has certain identifiable features. If you know a movie’s genre, you know what to expect from its style, mood, setting, and format.

GENRES OF TYPE animated dramatization live action documentary experimental narrative

GENRES OF FORM action fiction non-fiction adventure film noir parody comedy horror romance crime melodrama science fiction drama musical thriller fantasy mystery Western The above list is by no means all-inclusive. Additionally, some genres can fit into either form or type depending on how they are defined.

Class Discussion As a class, list on the board three identifiable features or characteristics for each genre listed above. Can you list three for each? Is it easier with some genre than others? Do some genre have the same or similar features? What genres are popular today? ©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook vii

Terminology Worksheet

In any industry, it’s vital to have a common language. In film and video production, there are some basic angles and techniques of camerawork, lighting, and sound that allow for clear communication to both the actors and the crew. Consult the glossary at the end of this book for assistance.

XCU: ______

CU: ______

MS: ______

LS:______

XLS: ______

Camera Angles inf: ______

sup: ______

zoom: ______

truck: ______

dolly: ______

pan: ______

tilt: ______

wide: ______Camera Movement

tight: ______

rule of thirds: ______

headroom: ______

noseroom: ______

180° rule: ______

action-through-frame: ______

natural transition devices: ______

Shot Composition mise-en-scene: ______

b-roll: ______

lower thirds: ______

key/main light: ______

fill light: ______

Lighting back light: ______

lapel microphones: ______

shotgun microphones: ______

omnidirectional microphones: ______Sound unidirectional microphones: ______

Sample Script

Each project requires a pre-approved script in order to begin filming. These scripts need to have clear instructions for both the actors and crew members, and must use proper terminology. Your teacher provides copies of the script worksheets. Here’s a sample of what a script for a (silly) news report might look like.

Video Audio

Traffic noises LS of Government Building Reporter: “After many years, the government Camera pans across is finally releasing its most important building . . . information in years.”

Bkgd music Tilt Up and Zoom to a small window on the third floor Reporter: “Yes, in this small laboratory lies one of the building. of the most closely guarded government secrets ever kept.”

Reporter: “Up until this week, the existence of Reporter walks in front of saber-toothed parrots was thought to be the building and into MS. stuff of pure fiction, of scary stories told in summer camps.”

Interviewee #1: “It’s the kind of thing I only heard about in summer camp—you know, the saber-toothed parrots of the Asian jungles.” CU of Interviewee #1 Reporter: “Yes, this man was only one of many such people to voice their surprise at today’s news.”

Reporter: “To realize the depth of this CU of New York Post Headlines government cover-up, the recently-revealed reading: “Polly Want a government documents expose a WWII plan Toddler?!” with a picture to infiltrate the Asian jungles to secure a of a saber-toothed parrot. breeding pair of these elusive and disproportionate avians.” ® ©2006, Teacher’s Discovery /Kevin WalshUnit Video Direct Workbook11 ANGLES AND TECHNIQUES

So often it’s not the joke that is funny, but how Life is a tragedy it’s told. With every single cut, close-up, dolly, when“ seen in close-up, or zoom, the cameraperson tells a story, piece by piece. Unless you pay careful attention to but a comedy in each piece, you cannot tell the story effectively. long shot. While watching movie scenes during this ” unit, it’s important to watch every single shot. —Charlie Chaplin Consider why the director chose to put the camera in a location or why he/she used that angle. Have you ever thought about how many edits can go into a minute of footage? What kinds of music are used to heighten a mood? Why an editor chooses to cut the scene at that particular moment? Now is the time to start thinking about these things. Now is the time to observe what others have done. The more you notice, the better your productions will be!

In This Unit

Warm-Ups Points Time • Suspense Film Analysis 10 pts 60 minutes • Montage Analysis 10 pts 60 minutes • Breaking Down a Sequence 10 pts 60 minutes

Angles and Techniques Quiz 25 pts 30 minutes

Projects • Scary Movie Scene 50 pts 180 minutes • Musical Montage 50 pts 180 minutes • Crazy Object Dialogue 50 pts 180 minutes • 15-Scene Sequence 50 pts 180 minutes 2 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh SuspenseIN-CLASS WARM-UP Film Analysis

What am I doing? Analyzing key scenes from classic suspense films. How do I do that? The teacher presents five scenes from films. Find an example of an angle or technique from each film scene that you feel is effective. Any tips for me? If there’s a part of a scene that you really liked or that interests you, ask your teacher to show it again. Pay close attention to where cameras are placed and what they are doing. Use the Terminology and Tips to help you describe what you see.

Movie Key Angle or Why Was This Angle Technique or Technique Effective?

______

What basic ingredients seem to be a part of a great suspense Grading Grid (completed by the teacher) movie scene? Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Bonus 1 2 Total Score /10 pts ©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 3

IN-CLASS WARM-UP:

Montage: A montage is used in film to show a Montage Analysis large period of time in a short amount of space, generally accompanied by music.

What am I doing? Analyzing movie montages. How do I do that? The teacher presents five film montages. In each montage identify one angle or technique you find effective, then rate this montage on how well it works. Any tips for me? Pay attention to transition effects between scenes (for example, slow fades, etc.) and the music used to move time along. Use the Terminology and Tips to help you describe what you see.

Name the film Describe an interesting technical Rate this montage or TV show aspect of this montage 5 being best

______1 2 3 4 5

What kinds of angles and/or techniques are used in montages? Grading Grid (completed by the teacher) Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Describe a montage you’ve seen recently in film or on television. Bonus 1 2 Total Score /10 pts 4 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh BreakingIN-CLASS WARM-UP Down a Sequence

What am I doing? Analyzing sequences of activities in films. How do I do that? The teacher presents five sequences from films. In each sequence find establishing shots (an angle that gives a clear idea of the setting), interesting close-ups, odd angles, then give a brief description of music used. Any tips for me? Use the Terminology and Tips to help you describe what you see.

Film Title Establishing Interesting Close-Ups Odd Angles Music or Lines Shots

______

Based upon what you have seen, what basic rules seem to exist Grading Grid (completed by the teacher) when showing a sequence of activities to the audience? Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Bonus 1 2 Describe a sequence you devise for a daily occurrence in your life. Total Score /10 pts ©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 5 Angles and Techniques Quiz Directions: View the quiz in class (from the CD). Write your answers in the spaces provided.

1. 14.

2. 15.

3. 16.

4. 17. 5. 18. 6. 19. 7.

20. 8.

21. 9. 22.

10. 23.

11. 24.

12. 25.

13. Total Correct ______/25 6 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh Scary Movie Scene Project In France, I'm an OBJECTIVE auteur.“ In England, I'm a Create a 2-minute scene that might be found horror movie director. In in a suspense film. Germany, I'm a filmmaker. DESCRIPTION In the US, I'm a bum.

You’ve seen how the pros use angles or close-ups to make —John Carpenter” a scene suspenseful or scary. You’ve noticed how visual and sound editing techniques can increase tension. Now’s your chance to turn a typical location in your school into a creepy one—even creepier than usual! For example: two students are walking late to class. They glance over their shoulders and notice that a basketball seems to be following them. They glance again, and it’s gone. They begin to run, and at every turn there’s the ball! It is possible that the scene is more funny than scary, but that’s okay. We are working to apply the techniques we’ve seen!

KEY STEPS HINTS 1. Pick a location in the school to serve as a good spot for a suspenseful scene. Ⅲ Move your video to an editing station right away 2. Write a script that tells a brief story of and store the original footage somewhere safe! the conflict. Be sure to include the video Ⅲ information (angles, camera movement, Keep it short! You don’t need to make a whole movie; focus on one scene! etc.) as well as the audio info (dialogue, sound effects, music) Ⅲ Avoid any violence—remember you’re creating suspense! 3. To save time editing, try to shoot the script Ⅲ in order. Don’t forget to vary your angles— Don’t do the “shaky-cam” unless it’s absolutely necessary! Use a tripod! don’t use all long shots or all close-ups. Ⅲ Tape two or more angles of every shot you’re 4. Edit out all the unnecessary parts— going to use. You may need the extras as remember to keep it short and effective. cutaways if there’s a mistake (or random 5. Add any music, sound effects, and visual tripod) in the first shot. effects (for example, black and white) Ⅲ If you have dialogue in the scene, be sure that 6. Complete the self-evaluation on the next you are using the proper microphone (for page and have your teacher grade the project. example: shotgun mic or hidden lapel mic).

Have your script approved here:______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 7 Scary Movie Scene Project Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations (dialogue, Group Self-Score: sound effects, music). 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the focus of the location and how the time frame adds suspense. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider how the variety of angles and techniques, editing, and camerawork added Group Self-Score: to the suspense. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the clarity and interest of the suspense story. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What detail from your project do you feel made the biggest impact? What I noticed . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What ingredients are the most important for successful suspense? What I believe . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 8 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh Musical Montage Project I've always thought OBJECTIVE “my soundtracks do pretty good, because Students will tell a video story that coincides with a chosen song. they're basically professional equivalents DESCRIPTION of a mix tape I'd make Everyone has seen music videos, some are great and some— for you at home. just aren’t that great! Now you can make your own. Pick a song ” that really says something special to you, then use it as the —Quentin Tarantino foundation for a visual story you can share.

KEY STEPS: HINTS 1. As a group, pick a song that either tells a story OR lends itself to creative interpretation. Ⅲ Store your footage someplace safe (even after you’ve loaded it to an editing station). 2. Write a script that breaks down the song Ⅲ Pick songs that are school appropriate—don’t into its main sections (lyrics, tempo changes, waste time bleeping out words! instrumental parts, etc.) then beside each Ⅲ For extra effect, have your scenes run the section of audio, detail what the viewer will opposite of your score! see (for example, CU of eyeball, LS of Ⅲ beach). Remember that even the most normal activities can seem interesting with good music and 3. Get script approval. interesting angles! Ⅲ When you’re taping, give yourself plenty of angle 4. Videotape the scenes in the order of your variety. Notice that in most professional music script, if at all possible, to save editing time videos and commercials the average scene lasts later. three seconds or less. 5. At the editing station, load your music, Ⅲ Fade out of the song if you don’t have enough then add the scenes to fit the music. footage—don’t keep replaying the same scenes to fill up space; you’ll bore the viewer! 6. Complete the self-evaluation on the next Ⅲ Try special effects either in the camera or at the page and have your teacher grade the editing station—but not too much. Let your script project. tell the story.

Have your script approved here:______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 9 Musical Montage Project Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations dividing the Group Self-Score: song into sections (lyrics, tempo changes, instruments, etc.). 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider how the scene was planned and supported the song. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider how the variety of angles and techniques, editing, and camerawork Group Self-Score: coïncided with the score. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the interpretation of the song. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: Now that you have made a music video, what things will you look for next time What I noticed . . . you watch one? Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What ingredients make a music video effective? Use this experience to detail What I believe . . . your explanation. Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 10 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh Crazy Object Dialogue Project Scriptwriting is OBJECTIVE the“ toughest part of the Use interesting angles and clever 2-minute script writing to whole racket, the least make it appear that two objects are having a conversation. understood and the DESCRIPTION least noticed.” Test your creativity, sense of humor, and your technical skills —Frank Capra as you make two everyday objects hold a conversation.

KEY STEPS HINTS 1. Pick two objects to hold a conversation.

2. Write the script with the complete dialogue Ⅲ Store your footage someplace safe (even after AND the specific angles needed. you’ve loaded it to an editing station). 3. Get script approval. Ⅲ Record all the same angles together. (For example, all the stapler’s lines for his close-ups can be 4. Shoot the video footage from the variety of recorded at the same time.) angles specified in the script. (Note: If Ⅲ Sometimes the funniest line is no line at all. A long editing equipment will not allow voice- silent reaction shot to a bad joke or confusing overs, then be sure to record the story evokes more laughter than anything else. corresponding audio with each angle.) Ⅲ Try to use at least five shots each of all these 5. Edit the various scenes together in order. angles: superior, inferior, close-up, long-shot, etc. 6. Add any titles, sound effects, or music.

Have your script approved here:______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 11 Crazy Object Dialogue Project Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations (identifying Group Self-Score: the different speaking parts). 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the planning, clarity, and creativity present. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider the variety of angles and techniques and the quality of the editing Group Self-Score: and voice-overs. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the objects in conversation and how the camerawork supports the dialogue. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What made the outcome of this project work? What would have made it What I noticed . . . work better? Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What have you learned about shooting a conversation for humor that will help What I believe . . . in the future? Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 12 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh 15-Scene Sequence Project Cinema is a OBJECTIVE matter“ of what's Create a 2-minute video that shows any activity—from at least in the frame fifteen different camera positions. and what's out.

DESCRIPTION —Martin Scorsese” Each of our days is made up of hundreds of activities; each activity can be seen from hundreds of angles. All you have to do is videotape fifteen of those angles.

KEY STEPS HINTS 1. Decide upon an activity that would be easy to tape in the school. Ⅲ Remember that even the most everyday activity 2. Script the activity in chronological order can be interesting if shown the right way! using at least fifteen different camera positions and angles. Ⅲ Don’t have the same type of angle back-to-back (for example, first a MS of front of person then MS 3. Get script approval. of back of person). 4. Videotape the scenes in the order of the Ⅲ Don’t forget about extreme close-ups! script (if possible). Be creative with your camera angles during the shoot. Ⅲ Add music to make the scenes flow better. 5. Load the video on an editing station to tighten the whole sequence and not allow any one angle to run too long. 6. Add titles, sound effects and music.

Have your script approved here:______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 13 15-Scene Sequence Project Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations (if there Group Self-Score: are any). 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the planning, clarity, and creativity present. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider the variety of angles and techniques, editing, camerawork, and the Group Self-Score: logical order of the scenes. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the clarity and logical order of the story. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What angle or technique from this project was the most important? Give details. What I noticed . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What is the most important advice when shooting a sequence? What I believe . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 14 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh

How to Win Best Picture At the 1977 Academy Awards, Woody Allen beat out George Lucas’ Star Wars and Steven Spielberg’s Close Encounters of the Third Kind with his romantic comedy, Annie Hall. The film also won Best Actress and Best Screenplay. Ironically, the film did NOT win an Oscar for its best feature—its editing.

The film was originally going to move in chronological order and not include flashbacks, cartoons, and characters talking directly to the audience or to one another between flashbacks. But Allen and his editors thought that the editing made the film better, and they were right.

Famous films like Pulp Fiction, The Sixth Sense, The Usual Suspects, The Others, and Fight Club rely heavily upon their editing to carry most of their dramatic punch. ® ©2006, Teacher’s Discovery /Kevin WalshUnit Video Direct Workbook 215 EDITING

When is a take long enough? Should you use I would rather that close-up? Would it look better in slow not“ make a film than motion? Should it have a soundtrack? What kind of sound effects can be added? Should make one where I don't more scenes be shot? What will make it better? have final cut. These are just a few of the questions an editor ” must face. After the script has been written and —David Lynch the scenes have been shot, the editor puts it all together in a convincing and entertaining package. In this unit, you’ll be spending time at the editing station with movies and trailers, recreating scenes and learning how to dub-over an actor or two! And, as you see done every day on talk shows, game shows, soap operas, and sitcoms, you’ll try your hand at live-edit, directing three cameras at the same time!

In This Unit

Warm-Ups Points Time • Sitcom Angles & Cameras 10 pts 60 minutes • Three-Camera-Shoot Breakdown 10 pts 60 minutes • Two Trailers, One Film 10 pts 60 minutes • Online Trailer Analysis 10 pts 60 minutes

Projects • Movie Redub 50 pts 180 minutes • Movie Trailer 50 pts 180 minutes • You-in-a-Movie 50 pts 180 minutes • Multi-Camera Skit 50 pts 180 minutes 16 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh SitcomIN-CLASS WARM-UP Angles and Cameras

What am I doing? Analyzing how a sitcom uses its three cameras. How do I do that? The teacher shows a few minutes of a situation comedy three times. Sketch the set and the location of the three cameras, write down the key lines or actions in the scene that cue the director to switch cameras. Any tips for me? Watch the scene, imagining yourself as the director. Say to yourself or aloud which camera is “live” with each cut. Use the Terminology and Tips. 1. Make a quick sketch of the set, including where the cameras are probably placed.

2. Now, using some key lines of dialogue, indicate which camera is being used and what type of shot it is.

Camera 1, 2, or 3? Angle Key Dialogue or Action Cues

Grading Grid (completed by the teacher) Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Bonus 1 2 Total Score /10 pts ©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 17 3-Camera-ShootIN-CLASS WARM-UP Breakdown

What am I doing? Analyzing how each camera in a three-camera location is responsible for different duties. How do I do that? The teacher shows one or more three-camera productions (talk show, game show, sitcom, etc.). After giving a brief description of the scene, describe what each camera is focusing on. Any tips for me? It helps to make a sketch of the set, as you did in the previous Warm-Up. Use the Terminology and Tips.

Brief Description Camera #1 Camera #2 Camera #3 Example: Seinfeld episode Kramer’s entrance LS of apartment— George and Jerry (Jerry’s apartment) centered on doorway as Kramer enters

______

Grading Grid What is probably the most challenging obstacle in using three (completed by the teacher) cameras at once? Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Bonus 1 2 Total Score /10 pts 18 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh TwoIN-CLASS WARM-UP Trailers, One Film

What am I doing? Analyzing and comparing two trailers for the same film. How do I do that? The teacher shows two trailers for the same film. On the chart below, note the differences between the two trailers. Any tips for me? Keep in mind that producers market films so they appeal to various audiences. Pay attention to which details specifically make a trailer different.

Trailer #1 Trailer #2

To what audience do you think this trailer is designed to appeal? ______

Describe any graphics that were used. ______

Is there a narrator? If so, describe him/her. ______

Describe the sound effects and/or music. ______

Best moment of editing

______

Why do you think the producers of this film decided to make Grading Grid (completed by the teacher) these two different trailers? Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Bonus 1 2 Total Score /10 pts ©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 19 OnlineIN-CLASS WARM-UP Trailer Analysis

What am I doing? Analyzing a number of movie trailers to learn how a trailer is constructed. How do I do that? The teacher presents five trailers. Using the chart, break down each trailer. Then, use the questions to help make your own trailer. Any tips for me? As an experiment, try to watch five trailers of similar genre (for example, five comedy or action films) to see if you notice patterns for that genre’s marketing.

# of Scene Target Rate It Best (or Worst) Film Title Changes in 10 sec Audience 5 Being Best Feature

______1 2 3 4 5 ______

What common characteristics do these trailers have?

Name a favorite movie and list three moments you would include when making a trailer for it. Film Title: Moment 1: Moment 2: Moment 3: Name a film that, in your opinion, was misrepresented by its trailer.

Grading Grid (completed by the teacher) Why might film producers choose to represent a film in a Level of Completion 1 2 3 4 5 contrary way? Response Quality 1 2 3 4 5 Bonus 1 2 Total Score /10 pts 20 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh Movie Redub Project You can't do it OBJECTIVE that“ way; you'll spoil Replace 2 minutes of key dialogue from a movie scene to change the anticlimax. its meaning. —Michael Curtiz” DESCRIPTION (film director, to a writer)

This exercise is designed to test your audio-editing skills (as well as your celebrity impersonations!). Take a brief scene from a movie and replace the original dialogue with your own.

KEY STEPS HINTS 1. Select a 2-minute scene from a movie or television show that can be copied to an editing station (or recorder with a dubbing Ⅲ The challenge is to have the meaning of the redone device). scene far removed from the original. In other words, challenge yourself by having two boxers 2. After watching the scene carefully many discuss a PTA meeting. times, write a script for new audio that will Ⅲ Try as carefully as you can to synchronize your replace some or all of the existing lines. voice-overs with the actors’ mouths; it’s much Include the actual lines in the script, then funnier! include the new lines.) Ⅲ Keep it short and sweet! Avoid those painfully long 3. Get script approval. pauses that seem like you have nothing to say! Ⅲ Remember to add ambient sounds or music. 4. Load the original footage on the editing device, then record the new audio. The challenge will be to pace the lines so they actually lip-sync as much as possible with the original actors’ mouths.

Have your script approved here:______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 21 Movie Redub Project Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations detailing Group Self-Score: the lines of dialogue. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the planning, clarity, and creativity present. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider the editing efficiency and voice-over quality. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the creativity, clarity, and logical order of the story. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What was the toughest part of making this redub? Use an example. What I noticed . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What is the most difficult part of writing new lines for an existing scene? What I believe . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 22 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh Movie Trailer Project I never went OBJECTIVE to “film school; I went Create your own 60-second trailer for a favorite film. to films.” DESCRIPTION —Quentin Tarantino

Have you ever seen a trailer (or preview) that was better than the actual movie? One of the most important jobs in Hollywood is the trailer editor’s job, since they have to sell the film even before the film is done shooting. Here’s your chance to create your own highlight of your favorite (or least favorite!) film.

KEY STEPS HINTS 1. Pick a film that at least one member of the group knows very well. Ⅲ Movies recorded off television might be easier to 2. In script form, describe all the key scenes edit. Many store-bought films have copy to be used in their order. Be sure to include protection. any titles, music, effects, and narration that Ⅲ Try totally misrepresenting the film (for example,as Pride and Prejudice will also be included. Shrek as a tragedy or a macho flick). 3. Get script approval. Ⅲ Keep your scenes quick and focused—avoid scenes 4. Gather the scenes from the film onto the over 15 seconds long. In actual trailers, there is a editing station. scene change approximately every three seconds. 5. Edit the scenes in the order desired. Be sure that the running time is not over three minutes. 6. Insert music, voice-overs, and titles.

Have your script approved here:______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 23 Movie Trailer Project Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations detailing Group Self-Score: special effects, voice-overs, and titles. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the planning, clarity, and creativity present. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider the editing efficiency, voice-over quality, and titles. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the creativity, clarity, and persuasive quality of the trailer. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What will you observe when watching trailers in the future? What I noticed . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What makes a trailer effective? Use this experience as an example. What I believe . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 24 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh You-in-a-Movie: The Cutaway Project Even if I set out OBJECTIVE to“ make a film about a Recreate a movie’s scene, editing yourselves into the film. fillet of sole, it would be about me. DESCRIPTION —Federico Fellini” There’s a long shot (LS) of a room full of people, the camera angle switches to a close-up (CU) of one person—that’s a Cutaway. You’ll create your own version of a film’s cutaway to make it look like you’re in the film.

KEY STEPS HINTS 1. Pick a movie scene that offers a cutaway (see above). Ⅲ Store your footage someplace safe (even after 2. After watching the scene carefully, write a you’ve loaded it to an editing station). script that recreates one of the cutaways Ⅲ Pick film scenes that can be recreatedNapoleon in a used in the scene (for example, a close-up setting readily available (for example, )— of one person sitting at the dining room Dynamite, or Ferris Bueller’s Day Off table). unless you have access to a greenscreen and you might be able to put yourself into the scene. 3. Get script approval. Ⅲ If your actors have lines, be sure to use a proper 4. Shoot the scene using the same angles and microphone (for example, a hidden lapel or lighting techniques use in the original shotgun microhone). movie Ⅲ While any scenes shot with video won’t look the same as film, some effects done at the editing 5. Load the new scene and the old scene, then station help to counter video’s sharpness (for edit them together. example, adding a slight filter or using black and white).

Have your script approved here:______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 25 You-in-a-Movie: The Cutaway Project Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations detailing Group Self-Score: selected scene and the scenes to be re-shot. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the planning, clarity, and creativity present. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider the quality of the editing, camerawork, and sound. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the creativity and how smoothly the students interpreted the original and Group Self-Score: reshot footage. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What will you notice about editing and cut-away scenes when you watch What I noticed . . . movies in the future? Use this experience as an example. Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What was it like recreating a scene? Use one angle that was re-shot for this What I believe . . . project as an example. Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 26 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh Multi-Camera Skit: A Live-Edit Project In feature films the“ director is God; in documentary films OBJECTIVE God is the director. Produce a 2-minute skit that can be edited live, switching between ” three different cameras. —Alfred Hitchcock

DESCRIPTION

If you’ve seen a sitcom, a game show, a talk show, or a sports telecast, then you’ve seen a live multi-camera edit. Each camera is responsible for a part of the whole (for example, the camera behind third base covers first base, etc.). The challenge of this assignment is for your camera operators to know their jobs and your director to know when to cut to them.

KEY STEPS HINTS 1. Find a script for a five-minute skit.

2. Break the script down into specific angles Ⅲ Many skits (such as sitcom scripts) can be found AND specific cameras. (For example, for free on the Internet. Camera #1 on the far left will be responsible Ⅲ A game show or talk show can also be used for for getting a close-up of someone sitting on this assignment. the right side of the room.) Ⅲ Give each camera operator a list of shots they 3. Get script approval. must cover. Ⅲ The director must be ready to switch to the “safe” 4. Rehearse the skit in the studio. (The actors, camera, generally the center camera responsible the camera operators, and the director will for a wider shot of the scene. need this rehearsal time!) Ⅲ Test all the microphones to be sure audio levels 5. Try to shoot the skit completely through are consistent. A shotgun mic or hidden lapel mics from beginning to end. If there is time, work best. re-shoot the scene. 6. Load completed takes on an editing station and fine-tune. Add music, titles, sound effects (even a laugh track).

Have your script approved here:______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 27 Multi-Camera Skit: A Live-Edit Project Group Grading Grid On a scale of 1 to 10 (ten being the highest)… rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations (dialogue, Group Self-Score: sound effects, music). 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the planning, clarity, and creativity present. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider the directing of the various camera angles—their focus and the headroom. Group Self-Score: Consider the microphone placement and sound quality. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the creativity, clarity, and logical sequence of the story interfaced with Group Self-Score: the live editing. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: Upon completion of this project, what do you now wish had been done What I noticed . . . differently? Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: When you watch multi-camera shots in the future, what techniques will you What I believe . . . watch for? Why is technique so important for this type of camerawork? Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 28 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh

The Eternal Mr. Whipple It is the story of a lone man under siege—in a grocery aisle. He battles housewives attacking his precious toilet paper (or—as they say in the ad business—bathroom tissue); they are unable to keep their hands from its softness. And soon, poor Mr. Whipple also falls prey to this primal urge. Thus was born the phrase, “Please don’t squeeze the Charmin!”

It was probably as big a shock to the actor who played Mr. Whipple as it was to the Charmin executives that this little skit would work for decades on television. Even though everyone knew the story and the punch line, the commercial was shot over and over and over. And, more importantly, Charmin is still on the supermarket shelves.

Successful ads need to do one thing, and one thing only—make the customer remember the product. Think of commercials that entertained you, yet left no impression of the product. Did the ad work?

Now that the technical areas of camerawork and A story should have editing have been addressed, it’s time for you to “a beginning, middle, and take on the ultimate test—the thirty-second motion picture. Some of Hollywood’s top end . . . but not necessarily directors got their start directing commercials. in that order. But, unlike motion pictures, commercials have ” a predetermined time limit. One of the biggest —Jean-Luc Godard challenges is to work within this very tight time frame. To tell a story, introduce a product, or address a problem and give a solution—all in half a minute—takes focus, skill, and creativity. After you spend warm-up time examining different ads, you’ll realize that thirty seconds can actually seem like an awful lot of time to fill! You’ll be trying your hand at a silent movie, using a narrator, creating a public service announcement, and, most importantly, working with a real client.

In This Unit

Warm-Ups Points Time • How to (Not) Place an Ad 10 pts 60 minutes • Super Bowl Ad Analysis 10 pts 60 minutes • Online Ad Analysis 10 pts 60 minutes • PSA Analysis 10 pts 60 minutes

Projects • The Modern Silent Movie 50 pts 180 minutes • Has this Ever Happened to You? 50 pts 180 minutes • Real Client Ad 50 pts 180 minutes • Public Service Announcement 50 pts 180 minutes 30 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh HowAT-HOME WARM-UP to (Not) Place an Ad

What am I doing? Analyzing the airtime placement of five commercials. How do I do that? Complete the chart by describing five different commercials and their placement. Be sure that you observe commercials on different days, at different times, and on different stations. Any tips for me? Watch commercials during shows you would not normally watch.

Time Was the Ad Station Viewed TV Show Product Advertised Well Placed?

______

Give an example of an ad that was placed incorrectly, and explain Grading Grid (completed by the teacher) how the advertisers misjudged their intended audience. Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Bonus 1 2 Total Score /10 pts ©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 31 SuperIN-CLASS WARM-UP Bowl Ad Analysis

What am I doing? Analyzing five commercials from the lucrative Super Bowl advertising slot. How do I do that? The teacher presents at least five commercials from a Super Bowl Broadcast. Complete the chart as you watch the ads. Count the number of times the camera cuts (edits). Speculate on the intended audience. What is the ad’s tone? What’s the best or worst part of the commercial (see example)? Any tips for me? View Super Bowl ads at the following websites: http://sports.aol.com/nfl/superbowlads video.google.com/superbowl.html

Product # ofIntended Advertised edits Audience Tone Best or Worst Part Example: Pepsi They recreated old film and video styles 45 Teens Nostalgic (Britney Spears) (Beach movies, B&W Supremes video)

______

Grading Grid What common techniques and/or angles are often used in high- (completed by the teacher) budget commercials? Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Bonus 1 2 Total Score /10 pts 32 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh OnAT-HOMEl ineWARM-UP Ad Analysis

What am I doing? Analyzing an online source for commercials. How do I do that? Go to one of the websites below to view online commercials: http://www.ifilm.com http://www.thinkbox.tv/server.php?show=nav.1 Complete the chart and note how the site is designed and what common characteristics you’ve noticed in the five ads. Any tips for me? Refer to the Terminology and Tips definitions before Unit 1.

Choose five ads to analyze.

Ad Details Best Part of Ad Best Angle Used What’s clever here? Example: 2000 Snickers Deadpan expression Straight-on “At least one choice election ad with donkey of the anchorman Medium Shot is easy…Snickers.” and elephant on who seems harassed (with a glow) on a man shoulders of a voter. by the cartoons. in a voting booth.

______

Ad Details Best Part of Ad Best Angle Used What’s clever here?

______

Give a brief description of how the website is organized (what categories they use, etc.).

What characteristics do your choices above seem to have in common?

Grading Grid (completed by the teacher) Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Bonus 1 2 Total Score /10 pts 34 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh PSIN-CLASSA WARM-UP Analysis

What am I doing? Analyzing five public service announcements (PSAs). How will I do that? The teacher presents five PSAs. Complete the chart as you watch them (follow the example) and respond to the statements to help prepare you for your own PSA production. Any tips for me? An excellent website for PSAs is www.adcouncil.org.

PSA Target Don’t do drugs teens funny Message ______Audience ______Tone ______Brief description Strongest Moment CU of the egg as the brain, then its cracking Watching the violence of an egg burning is and frying to show drugs’ effects a clear message to kids about the dangers ______of______drugs. Rate it–5 being best 1 2 3 4 5

PSA Target Message ______Audience ______Tone ______Brief description Strongest Moment

______Rate it–5 being best 1 2 3 4 5

PSA Target Message ______Audience ______Tone ______Brief description Strongest Moment

______Rate it–5 being best 1 2 3 4 5

PSA Target Message ______Audience ______Tone ______Brief description Strongest Moment

______Rate it–5 being best 1 2 3 4 5

PSA Target Message ______Audience ______Tone ______Brief description Strongest Moment

______Rate it–5 being best 1 2 3 4 5

After viewing the PSAs, what do you consider to be the ingredients (tone, camerawork, soundtrack, narrator, etc.) for making a PSA that is really effective?

List five topics in your school and community that you believe warrant a PSA.

Grading Grid (completed by the teacher) Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Bonus 1 2 Total Score /10 pts 36 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh The Modern Silent Movie: The words `Kiss Kiss Non-Verbal Ad Project “Bang Bang,' which I saw on an Italian movie poster, are perhaps the OBJECTIVE briefest statement Create a 30-second commercial that has no spoken words. imaginable on the basic appeal of movies. DESCRIPTION ” Commercials are meant to persuade. As an extra challenge, --Pauline Kael see if you can be persuasive without using any spoken words.

KEY STEPS HINTS 1. Choose a product (real or invented) as a subject for a 30-second commercial. Ⅲ Store your footage someplace safe (even after 2. Write a script that clearly presents the you’ve loaded it to an editing station). product (and the need for that product). Ⅲ Remember that the final project should not exceed It must have no spoken words. It must 30 seconds. include a title or close-up of the product’s Ⅲ While you can’t have any spoken words, you can label. use titles! 3. Be sure that the script’s video uses proper camera angles and techniques. The script’s audio must include any music and sound effects required. 4. Get script approval. 5. Shoot the script in order (if possible). This will save time editing. 6. Edit the scenes together and add any titles, music, or sound effects necessary.

Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations (music and Group Self-Score: sound effects). 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the planning, clarity, and creativity present. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider the editing, various camera angles, and techniques. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the creativity and clarity with which the ad communicates without words. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What part of your advertisement was stronger because it used non-verbal What I noticed . . . communication? What part would you do differently to bring more strength to Teacher Score: the message? 1 2 3 4 5 Response: Bonus: 1 2 3 4 5 Question: What was the biggest challenge to communicating non-verbally? Refer to this What I believe . . . project for an example. Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 38 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh Has This Ever Happened to You? I've discovered Voice-Over Ad Project “I've got this preoccupation with OBJECTIVE ordinary people pursued Use an off-camera narrator in a 30-second advertisement for a by large forces. product that improves students’ lives. —Steven Spielberg” DESCRIPTION

This exercise challenges you to create an effective voice-over for a commercial.

KEY STEPS HINTS 1. Create a product that would improve the quality of students’ lives. Ⅲ The voice-over can still be achieved with the 2. Write a script for a 30-second ad that narrator speaking off-camera (near the camera features a voice-over narrator focusing the if there is no external microphone!). viewer on the product’s merits. Ⅲ If the students are struggling for ideas, a good 3. Be sure your script’s video uses proper brainstorming question is “What drives you crazy about [crowded hallways, the cafeteria, grumpy camera angles and techniques. teachers, etc.]?” 4. In addition to the narrator’s lines, the Ⅲ Record your “announcer” voice a number of times script’s audio should include actors’ lines, at varying styles and tempo. sound effects, and music. Ⅲ Be sure that other audio doesn’t drown out the 5. Get script approval. voice-over. 6. Shoot the script in order (if possible). 7. Edit the scenes together and add any titles, music or sound effects necessary.

Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations (music and Group Self-Score: sound effects), and detailing of the announcer’s lines. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the planning, clarity, and creativity present. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider the variety of angles and techniques, editing, sound and voice-over, and Group Self-Score: camerawork. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the creativity, clarity, and the persuasiveness of the announcer. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What worked and/or did not work by having the announcer off-camera? What I noticed . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What is distinct about having an off-camera announcer? Where might you find What I believe . . . this outside of commercials? Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 40 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh Real Client Ad Project You call this a script? OBJECTIVE “Give me a couple of Make a 30-second commercial for a client who needs an ad $5,000-a-week writers for a company or organization. and I'll write it myself. DESCRIPTION ” This project challenges you to create a commercial that not only —Joe Pasternak, producer pleases you but that someone else likes as well. One of the more difficult aspects of advertising is pleasing the client before effectively selling the product.

KEY STEPS HINTS 1. Find a client, such as a school activity advisor, a coach, or the manager of a local business. Ⅲ Be prepared for the client to not agree with you! Ⅲ Leave yourself plenty of time for revisions to 2. Interview the client to discover a need that either the script or the video footage. might be addressed in the ad. Ⅲ If the client does like the ad, perhaps the 3. Present the client with the script (or a commercial can run on the local cable or school storyboard) for the 30-second ad. channels. 4. Get script approval from both the client and the teacher. 5. Shoot the ad, making sure that the need for the client’s product is clear. 6. Edit a preliminary version of the ad and play it for the client, who may recommend changes.

Have your script approved here:______(CLIENT’S SIGNATURE) (DATE) Have your script approved here:______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 41 Real Client Ad Project Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations (music and Group Self-Score: sound effects). 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the planning, clarity, and creativity present in the advertising message. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider the variety of angles and techniques, editing, and sound. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the creativity, clarity, and persuasive quality of the advertisement, and if it Group Self-Score: meets the client’s needs. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What obstacles did you encounter in the process of producing this advertisement? What I noticed . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: Having now worked with a client, what have you learned about advertising that What I believe . . . is new to you? Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 42 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh Public Service Announcement A film is never (PSA) Project really“ good unless the camera is an eye in OBJECTIVE the head of a poet.

Create a 30-second video that promotes an idea that benefits —Orson Welles ” the public good.

DESCRIPTION

There are many commercials on TV that do not advertise a product but an idea. These public service announcements (PSAs) have topics that generally apply to health, safety, and general common sense.

KEY STEPS HINTS 1. Choose a subject appropriate for a public service announcement. Ⅲ Pick a topic that is a real concern—not, for 2. Brainstorm the best possible way to example, “Tie your shoes.” communicate the message in 30 seconds. Ⅲ Remember, if you find it boring to make, think 3. Get script approval. of those poor people who have to watch it! Make it creative, concise and clear! 4. Videotape the scenes in the order of the Ⅲ Humor works well in some PSAs but is script (if possible). Remember to be creative inappropriate for others. during the shoot with your camera angles and techniques. 5. At the editing station, add any titles, music, sound effects, and voice-overs necessary.

Have your script approved here:______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 43 Public Service Announcement (PSA) Project Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations (dialogue, Group Self-Score: sound effects, music). 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider how well it conveys the PSA message. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider how the variety of angles and techniques, editing, and camerawork support Group Self-Score: the PSA message. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider whether the PSA was clear and creative and benefited the public good. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What was the most gratifying result of your experience making a PSA? What I noticed . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: Using a PSA you have seen as an example, what makes an effective Public What I believe . . . Service Announcement? Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 44 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh

Newsy or Nosy? Lifestyles of the Rich and Famous was first, followed by MTV’s Cribs. Both programs gave viewers a look at what they’ve always wanted to see—inside the mansions and lives of famous people. And, if you were lucky, you might discover that they’re ordinary people with terrible taste!

Why are we so nosy? Is there a line between journalism and invasion of privacy? Programs like Entertainment Tonight and E’s True Hollywood Story exist at this cross-over between what is news and what is voyeurism.

Lurking in the background of all of these stories is b-roll—the video that is added to assist the audio. It’s everywhere—you just have to start looking for it. And sometimes you’ll find b-roll that’s so bad it’s hilarious, such as the news story detailing the hunt for an escaped convict. While the reporter wrapped up the story with, “. . . and the felon seemed to vanish into the woods,” the b-roll panned across the woods but stopped its camera on a rabbit. Unless the felon was the rabbit, it was a bit confusing! ® ©2006, Teacher’s Discovery /Kevin WalshUnit Video Direct Workbook 445 NEWS GATHERING

Look through your cable listing and you’ll see The length of a film a snapshot of where our interests lie. Examine should“ be directly related how many news channels, sports channels and entertainment channels there are. And in each to the endurance of the of those programs you’ll find the basic structure human bladder. of newsgathering: the reporter, the interview, ” and the b-roll. —Alfred Hitchcock For this unit, you interview everyday people for various purposes—entertainment, news, a biography—and use your camerawork and editing to portray these people in a number of different ways. How will you do it? Do you make them look serious or silly—or somewhere in between?

In This Unit

Warm-Ups Points Time • TV News Analysis 10 pts 60 minutes • Documentary Analysis 10 pts 60 minutes • B-Roll Analysis 10 pts 60 minutes • Interview Analysis 10 pts 60 minutes

AT-HOME WARM-UP TV News Analysis

What am I doing? Analyzing the elements of two television news stories of your choice. How do I do that? As you watch the different news stories, go through the checklist below. Any tips for me? Read the checklist before viewing the news programs. Record the news programs so you can watch them more than once.

News Story #2 News Story #1 Network or Channel: Network or Channel: Describe the story: Describe the story: Introduction of the story . . . Introduction of the story . . . Ⅺ By anchor Ⅺ By anchor Ⅺ By reporter Ⅺ By reporter Ⅺ Other Ⅺ Other First visual of the story: First visual of the story: Ⅺ Reporter talking Ⅺ Reporter talking Ⅺ Reporter talking over b-roll Ⅺ Reporter talking over b-roll Ⅺ Reporter walks into scene Ⅺ Reporter walks into scene Lower thirds Lower thirds Ⅺ Present the whole time Ⅺ Present the whole time Ⅺ Dissolves in, then out while speaking Ⅺ Dissolves in, then out while speaking Interviews: Interviews: Ⅺ Reporter visible Ⅺ Reporter visible Ⅺ CU of speaker Ⅺ CU of speaker Ⅺ MS of speaker and background Ⅺ MS of speaker and background Ⅺ Other Ⅺ Other Major facts delivered . . . Major facts delivered . . . Ⅺ By reporter on-screen Ⅺ By reporter on-screen Ⅺ As reporter talks over b-roll Ⅺ As reporter talks over b-roll Ⅺ Other Ⅺ Other Wrap-Up: Wrap-Up: Ⅺ Reporter visible Ⅺ Reporter visible Ⅺ Reporter walks onto screen Ⅺ Reporter walks onto screen Ⅺ Reporter speaking live with anchor Ⅺ Reporter speaking live with anchor Ⅺ Other Ⅺ Other

Grading Grid Which of the two stories was stronger? Why? (completed by the teacher) Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Bonus 1 2 Total Score /10 pts ©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 47

IN-CLASS WARM-UP B-Roll Analysis

What am I doing? Analyzing how news programs use b-roll. How will I do that? Pay attention to the audio used during the news report during the b-roll. Write a brief summary of the audio used, then a brief description of the video shown during that audio. See the example. Any tips for me? Refer to the Terminology and Tips definitions for an explanation of b-roll. Watch the reports more than once, focusing on the audio first.

Audio Video Rate it Subject (summarize or quote it) (include angles) 5 being best Example: Action News “This neighborhood knows PAN of run-down reporter describing what crime can be like . . . ” neighborhood with a robbery boarded-up windows ______1 2 3 4 5

______1 2 3 4 5

Grading Grid What kinds of common characteristics does b-roll have? (completed by the teacher) Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 When is the most important time to use b-roll? Bonus 1 2 Total Score /10 pts 48 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh DocumentaryIN-CLASS WARM-UP Analysis

What am I doing? Analyzing the different ingredients that make up documentaries. How do I do that? The teacher shows part of a documentary. As you watch, use the checklist to identify parts common to documentaries. Give brief descriptions of the parts. Any tips for me? The more specific details you notice, the stronger your own Mini- Documentary project.

Introduction Detail If yes, describe it: Ⅺ There is b-roll during the intro. Ⅺ There is an announcer. Ⅺ There is music. Ⅺ There are graphics.

Writing Detail If yes, describe it: Ⅺ The episode is clearly divided into “chapters.” Ⅺ The writing to accompany the b-roll is engaging. Ⅺ There are interesting concluding sentences before any breaks.

Interviews Detail If yes, describe it: Ⅺ The announcer has a lead-in. Ⅺ There is b-roll before we see the interviewee. Ⅺ There is music during the interview. Ⅺ The scene behind the interviewee is interesting.

Miscellaneous Details If yes, describe it: Ⅺ There is interesting music throughout the show. Ⅺ Some sections are in slow-motion (b-roll, etc.). Ⅺ They employ colored filters during some scenes. Ⅺ Re-enactments are used.

Grading Grid Describe three techniques most often used in documentaries to (completed by the teacher) move the story along. Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Bonus 1 2 Total Score /10 pts ©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 49 IIN-CLASSnterview WARM-UP Analysis

What am I doing? Analyzing an interview. How do I do that? The teacher shows a taped interview. As you watch, complete this page, paying attention to the setup of the room as well as the camera angles and microphones used. Any tips for me? See if you can spot where in the interview a cutaway covers a mistake.

Make a quick sketch of the layout of the room, including where the camera(s) and lights are.

In the boxes below, draw a sketch of the three most common angles used during the interview.

Describe the lighting of the room as well as the people.

What kind of microphones were used and why?

Describe a moment when they used a cutaway to the interviewer to probably cover up an edit.

Grading Grid (completed by the teacher) Level of Completion 1 2 3 4 5 Response Quality 1 2 3 4 5 Bonus 1 2 Total Score /10 pts 50 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh Students-In-The-Hall Question Project Shoot a few scenes “out of focus. I want OBJECTIVE to win the foreign film award. Create a 3-minute montage of interview responses to a single question. —Billy Wilder” DESCRIPTION

Ask a hundred people a question, and you’ll get a hundred different answers—and each answer can be edited a hundred different ways. In this assignment, you will create a question for students around the school. Then you’ll take their responses and edit them into an entertaining three-minute piece.

KEY STEPS HINTS 1. Pick a school-appropriate question that evokes an interesting response. Ⅲ Avoid questions that will supply one-word answers. 2. Have the question approved. Ⅲ Find the best time to get many interviews 3. Interview at least seven people, being sure (lunchtime, after school, etc.). to compose your shots of the interviewees Ⅲ Use a hand or lapel microphone and be sure that in a mid-shot (MS) or close-up (CU). the audio levels are appropriate. A loose cord Don’t show the person asking the question! could turn all respondents into mimes! Ⅲ Beware of editing that will misrepresent the 4. On the editing station, assemble the respondents. responses in an entertaining manner, adding music and titles if possible.

The question is: ______

______

Have your question approved here: ______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 51 Students-In-The-Hall Question Project Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider how well composed the question is and whether the script has video Group Self-Score: notations (angles, techniques) and audio notations (dialogue, sound-effects, music) that reflect the shot plan. 12345678910 Teacher Score: Ⅲ Teacher Comments: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the creativity, clarity, and planning of the shot. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider the video editing and sound and the variety of camera angles and Group Self-Score: techniques. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the quality of the presentation, from the question to the editing of the Group Self-Score: responses. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: If you were to approach this assignment again, what would you do differently? What I noticed . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: How might someone be misrepresented in a project like this? What I believe . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 52 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh News Report Project So, where's the OBJECTIVE Cannes“ Film Festival Create a 3-minute “in the field” report on a news topic of being held this year? your choice. --Christina Aguilera” DESCRIPTION

The backbone of any news show is the brief news report. It is an essay delivered by one reporter, presenting an important issue with supporting points (interviews, b-roll). After you’ve found your topic, the next challenge is to present it to your audience in a manner that will make them respond!

KEY STEPS HINTS 1. Identify a news topic (for example, “fast food in school”). Ⅲ Watch local and national news reports for 2. Decide upon the angle you’re taking toward introductions, interviews, narratives, b-roll, and the topic. (for example, “Is it appropriate?) conclusions. 3. Choose at least three people to interview Ⅲ Include lower-thirds! about the topic. Ⅲ Remember to get all sides to the issues in your interviews and narration. 4. Write the script, including the reporter’s Ⅲ Do your introduction and conclusion last, so that questions, introduction, and conclusion to you may refer to details you’ve discovered in the story. gathering your information. 5. Get script approval. Ⅲ Students may want to add music and credits, but most news stories have neither. 6 . Videotape the interviews as well as related b-roll. 7. On the editing station, assemble the introduction, interviews, narrative, b-roll and conclusion. 8. Add lower thirds (the bar at the bottom of the screen which shows the name, title, and topic of the interviewee).

Have your script approved here:______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 53 News Report Project Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations (the division Group Self-Score: of reporter introduction, conclusion, narration, and interview). 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the creativity, clarity, planning, and investigative skills. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider how the camerawork shows adequate headroom and b-roll, audio is clean Group Self-Score: and clear, and the editing moves the interview along. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider the clarity and interest of the news report. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider how the news story informs, offering both sides of the issue. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: What would you change if you were doing this report over? What I noticed . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: Having done this project, what will you notice when watching news stories in What I believe . . . the future? Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 54 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh Mini-Biography Project Too caustic? OBJECTIVE To“ hell with the cost. Create a mini-biography (5 minutes) of a special person in If it's a good picture, your life. we'll make it.

DESCRIPTION —Samuel Goldwyn” Do you know people in your life so uniquely funny, talented or just strange that they deserve a show of their own? Here’s your chance to share them with the rest of the world through interviews, narration, and simply showing them being . . . them!

KEY STEPS HINTS 1. Select a person to feature in a biography.

2. Decide on the attitude toward the subject Ⅲ Conduct the interviews first. These interviews (for example, “Our friend Bill, the laziest provide a good list of b-roll to shoot. (For example, kid in school”). an interview mentions that Bill is so lazy he requires someone else to bring him his lunch tray. 3. Choose people to interview and a Thus, good b-roll includes a grumpy kid carrying preliminary list of b-roll footage. two lunch trays toward Bill.) 4. Get preliminary script approval. Ⅲ Have your narration provide natural transitions between your interviews and your facts. 5. Conduct interviews and videotape Ⅲ Watch programming on The Historyto Channel see solid or supporting footage (b-roll). a show such as A&E’s Biography 6. At the editing station, assemble the examples of narration and b-roll. introduction, interviews, narrative, b-roll and conclusion. 7. Add lower thirds (titles below people on camera).

Have your script approved here:______(INSTRUCTOR’S SIGNATURE) (DATE) Assignment Start Date:______Assignment Due Date:______©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 55 Mini-Biography Project Group Grading Grid On a scale of 1 to 10 (ten being the highest) . . . rate the script mechanics. Script Mechanics Consider the video notations (angles, techniques) and audio notations (identifying Group Self-Score: the interviews, narrator, background music, and sound effects). 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 5 (five being the highest)… rate the script quality. Script Quality Consider the creativity, clarity, and planning. Group Self-Score: 1 2 3 4 5 Ⅲ Teacher Comments: Teacher Score: 1 2 3 4 5 On a scale of 1 to 10 (ten being the highest)… rate the technical skills. Technical Skills Consider how the interviews are composed, the b-roll supports the audio and Group Self-Score: narration, and the editing and music allow the story to flow. 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 On a scale of 1 to 10 (ten being the highest)… rate the overall effect. Overall Effect Consider balance of narrative, interviews, and b-roll over the 5-minute project. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Bonus: Does the work warrant bonus points? Bonus Consider the quality of the camerawork, audio, and/or editing. Group Self-Score: 12345678910 Ⅲ Teacher Comments: Teacher Score: 12345678910 Total Teacher Score /35+ Individual Analysis Question: What was your role in this production? What I did . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: As the project progressed, what part of it surprised you the most? What I noticed . . . Response: Teacher Score: 1 2 3 4 5 Bonus: 1 2 3 4 5 Question: Having done this project, what will you notice when watching biographical What I believe . . . documentaries in the future? Teacher Score: Response: 1 2 3 4 5 Bonus: 1 2 3 4 5 Total Individual Analysis Points /15+ Total Points (total teacher score + total individual analysis points) /50+ 56 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh

What’s a Producer, Anyway? Everyone knows what the director, writer, editor, and actor do. But what does a producer actually do?

When the Best Picture is awarded, it’s the producer who accepts the Oscar, and for good cause. From the moment the project is conceived, the producer is the one who sees it through all the way to the end, including funding, casting, location hunting, and the thousands of loose ends that must be tied together.

By this point, you are quite familiar with all of these loose ends. You already know that the unexpected is just what you should expect. So you need to be ready! ©2006, Teacher’s Discovery®/Kevin Walsh Video Direct Workbook 57 Glossary

180° rule headroom To keep heads facing the right way, the camera The space above the subject’s head. Too much should stay in front of the stage of action. Imagine headroom is a common mistake for beginners who the scene as if it were taking place as a play; the tend to put faces in the dead center of the shot. Too camera should not go backstage—otherwise faces little headroom cuts off the top of the head. Correct and eye-contact during edit will go in the wrong headroom is a small space between the subject’s direction. For example, during a football telecast, head and the top of the screen. the cameras stay on the press-box side of the field to avoid showing the players suddenly reversing inferior shot (or Inf. Shot) direction in the middle of a play. The camera is below the subject. Often an inferior angle is used to make the subject appear stronger action-through-frame or more menacing. The camera remains stationary, letting action move through the shot. key light (or main light) The strongest light in front of the subject, used back light to create depth. Often the key light is not used A high light that is generally used to separate the directly in line with the camera unless no depth subject from its background, creating depth. Back is desired. light is often used for interviewees who choose to remain anonymous. lapel microphone A small “clip-on” microphone often used for news boom anchors and interviews, when it is desirable to hide A pole that places a microphone above the subject the microphone. For solo interviews, this small and out of the camera’s view. microphone can be placed unobtrusively just below b-roll the speaker’s shoulderline. Video footage used as a supplement over a speaker’s lower thirds audio (used often in news and documentaries) The title used below a speaker (used often in news CU and documentaries to identify the speaker, title, Abbreviation for a close-up (for example, a head and topic. shot) LS cutaway Abbreviation for a long shot (for example, a whole- An edit that shows something else happening in body shot). the scene, often a reaction shot (for example, cutting to the interviewer nodding to cover the main light subject picking his nose). See key light. dolly mise-en-scene 1. (verb) The movement of a camera in a sideways This technique makes room for the camera. As motion (often on a tripod that is rolling sideways). in a play, the director doesn’t want anyone’s back 2. (noun) A device that allows a tripod to roll. to the audience, so the subjects are arranged in a non-realistic way that shows as much of everyone fill light as possible. A softer light that eliminates extreme shadows caused by the key light. For example, using only a MS key light on a subject creates a harsh shadow from Abbreviation for a Mid-Shot (for example, a waist- the nose. The fill light softens that shadow. up shot). 58 Video Direct Workbook ©2006, Teacher’s Discovery®/Kevin Walsh

natural transition device tight The use of an object that permits a logical cut to A description for a closer shot. For example, a another camera angle (for example, a character’s director may ask the cameraperson to get a tighter glance makes a natural cut to the thing being shot of a speaker, moving from a Long Shot to glanced at; if an object is thrown, it’s natural to cut Close-Up. to where the object is going/where it’s thrown to). tilt noseroom The vertical movement of the camera’s head, while The space to the left or right of a person’s profile the camera’s stand/tripod remains stationary omnidirectional microphone treatment (or pitch) A microphone designed to gather sound from A summary of a script, often used to sell a project. multiple directions. truck pan The movement of a camera in a forward or The sideways movement of the camera’s head, backward motion (often on a tripod that is rolling) while the camera’s stand/tripod remains stationary. rule of thirds unidirectional microphone Dividing the shot into horizontal or vertical thirds A microphone designed to gather sound from one creates zones. The center zone is the most common direction. zone used by beginners and the least interesting. wide Try to place your subjects in the right, left, top, or A description for a longer shot. For example, a bottom zone—or to use these zones to frame your director may ask the camera person to get a longer subject. shot of a speaker, moving from a Close-Up to a script Mid-Shot. A scene-by-scene description of a project, with a windsock/windscreen clear division between the Video (what the audience A microphone cover used to diffuse strong air sees) and the Audio (what the audience hears). movement that would cause noise or distortion Proper terminology should be used for all camera (used often by Weather Channel reporters during angles and techniques. hurricane season). storyboard A scene-by-scene sketch of a project. Like a script, XCU a storyboard includes proper terminology for An abbreviation for an Extreme Close-Up (for camera angles and techniques. example, of an eyeball). shotgun microphone XLS A microphone best used for gathering distant An abbreviation for Extreme Long Shot (for sounds. Like its namesake, the shotgun mic has example, of a ship on the horizon) a broader pick-up range the further the sound zoom is from its pick-up. It should be used when the 1. (verb) Using the lens to move to a tighter or microphone can’t be in the shot or needs to wider shot of the subject. (Zooming does not pick up many people at once. involve moving the camera; it is not trucking.) superior shot (or Sup. Shot) 2. (noun) a camera lens whose front lens can move The camera is above the subject. Often a superior closer or further from the rear lens, creating a angle is used to make the subject appear weaker or magnification of the subject, or, conversely, causing more vulnerable. the subject to seem to recede in the distance.