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Maine Film Association 2020 Preproduction Bootcamp Background Resources

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Maine Film Association 2020 Preproduction Bootcamp Background Resources Maine Film Association 2020 Preproduction Bootcamp Background Resources Table of Contents Preproduction Bootcamp Agenda 2 2020 Preproduction Bootcamp Script 3 Preproduction Vocabulary 4 Loglines 6 Logline Prereading 6 Sample Loglines 6 Film Treatments 7 Creating a Dramatic Short Film Treatment 7 Elements of a Strong Film Treatment: 7 Sample Film Treatment 7 Script Breakdown 8 Feature Script Samples 8 Sample Script Breakdown 8 Script Breakdown Color Legend 11 Script Breakdown Sheet Template 12 Shot List Template 14 Cast List Template 15 Shooting Schedule Templates & Samples 16 Stripboard Instructions 16 Stripboard Template 16 Stripboard Sample 17 Stripboard Template Options 17 Sample Short Film Budget 18 Call Sheet Template 21 Additional Helpful Resources 22 Script Writing 22 Script Breakdown 22 Budgeting 22 MFA Preproduction Bootcamp Background Resources 2 2020 Preproduction Bootcamp Agenda Sunday, February 23, 2020 • Maine College of Art 8:30 am Arrive, settle in 9:00 am Crew Call Time: Welcome & Instructions 9:30 am Morning Work Session to: ● Edit script ● Create treatment ● Develop initial pitch 11:00 am First Pitch Session 12:15 pm Working Lunch 12:45 pm Afternoon Orientation 1:15 pm Afternoon Work Session to create: ● Script breakdown ● Shot List ● Production Schedule ● Budget ● Casting call 3:30 pm Final Pitch Session 4:45 pm Q&A & Bootcamp Evaluations 5:00 pm Wrap MFA Preproduction Bootcamp Background Resources 3 2020 Preproduction Bootcamp Script We will be using the following script as the basis for the 2020 Preproduction Bootcamp: It's the Landlord Akira walks in. AKIRA Wasn’t that the door? Aren't you going to get that? CODY Shhhh! Come here. Cody beckons Akira over to a hiding place against the wall. AKIRA What’s going on? Are you hiding? CODY Yeah. Just be quiet. AKIRA Who from? An ex? CODY It’s the landlord. AKIRA The landlord? Why do you need to hide from the landlord? CODY Shhh… We’re behind a litte on rent. AKIRA How is that possible? I paid you my half. CODY I know. I just missed a payment or two. AKIRA You at least have my part, right? Just open the door and pay her some. CODY I… Uh… Yeah, it’s complicated. AKIRA I had a feeling about you as a roommate, but things seemed to be going so good. CODY Yeah, always trust your gut, now shhh! MFA Preproduction Bootcamp Background Resources 4 Preproduction Vocabulary Courtesy of Wikipedia, Vimeo, New York Film Academy, Rice University Film Glossary, Columbia University Film Language Glossary, No Film School, Storyboard Class, PremiumBeat.com Basic Film Shots: Close Up: A detailed view of a person or object, usually without much context provided. ​ Tight Shot/Tight Framing: Usually in close shots. The mise-en-scène is so carefully balanced and ​ harmonized that the subject photographed has little or no freedom of movement. Medium Shot: A relatively close shot, revealing a moderate amount of detail. A medium shot of a figure ​ generally includes the body from the knees or waist up. Over-the-shoulder Shot: A medium shot, useful in dialogue scenes, in which one actor is ​ photographed head-on from over the shoulder of another actor. Blocking a Scene: Blocking a scene is simply “working out the details of an actor's moves in relation to the ​ camera.” You can also think of blocking as the choreography of a dance or a ballet: all the elements on the set (actors, extras, vehicles, crew, equipment) should move in perfect harmony with each other. Call Sheet: The daily call sheet is a filmmaking term for the schedule crafted by the assistant director, using the ​ director's shot list. It is issued to the cast and crew of a film production to inform them of where and when they should report for a particular day of filming. Casting Call: In the performing arts industry such as theatre, film, or television, a casting (or casting call) is a ​ pre-production process for selecting a certain type of actor, dancer, singer, or extra for a particular role or part in a script, screenplay, or teleplay. Cold reading: Theatrical cold reading is reading aloud from a script or other text with little or no rehearsal, ​ practice or study in advance. Sometimes also referred to as sight reading, it is a technique used by actors and other performers in theatre, television, and film performance fields. Film treatment: A film treatment (or simply treatment) is a piece of prose, typically the step between scene ​ cards (index cards) and the first draft of a screenplay for a motion picture, television program, or radio play. Logline: A log line or logline is a brief (usually one-sentence) summary of a television program, film, or book ​ that states the central conflict of the story, often providing both a synopsis of the story's plot, and an emotional "hook" to stimulate interest. A one-sentence program summary in TV Guide is a log line. Production budget: A film production budget determines how much money will be spent on the entire film ​ project. It involves the identification and estimation of cost items for each phase of filmmaking (development, pre-production, production, post-production and distribution). Production schedule: The production schedule is a project plan of how the production budget will be spent ​ over a given timescale, for every phase of a business project. Script breakdown: A script breakdown is an important filmmaking process that allows you to identify all the ​ script elements needed to prep, schedule, and budget a film production. A breakdown happens at a scene level. MFA Preproduction Bootcamp Background Resources 5 Shot List: A shot list is a full log of all the shots you want to include in your film; essentially it is a checklist filled ​ with minute details that will give your film a sense of direction and efficiency. ... Scene Number + Shot Number help to break down a scene into a certain number of shots. Pan Shot: A pan shot or panning shot is when you turn the camera on a fixed head. It is a technique ​ where you follow a moving subject, and you can shoot this with a slower shutter speed to create a feeling of speed or action. Push In Shot: A push in shot is sometimes also referred to as a zoom in shot. The camera physically ​ moves towards the subject in the film, getting closer to them and tightening in on the subject and the scene. This can also be done with certain lenses instead of moving the camera. Push Out Shot: A push out shot is also called a pull back shot or a zoom out shot. The camera ​ physically moves back, or a special lens does, from the subject. The push out is used to reveal a larger picture for the audience. Truck Shot: A tracking, or trucking, shot is one in which a camera is mounted on some kind of ​ conveyance (car, ship, airplane, etc.) and films while moving through space. Tracking refers to the practice in studio filmmaking of filming from a wagon set on specially placed lengths of railroad tracks. Tilting: Tilting is a cinematographic technique in which the camera stays in a fixed position but rotates ​ up/down in a vertical plane. Tilting the camera results in a motion similar to someone raising or lowering their head to look up or down. Shooting Schedule: A shooting schedule is a project plan of each day's shooting for a film production. It is ​ normally created and managed by the assistant director, who reports to the production manager managing the production schedule. Both schedules represent a timeline stating where and when production resources are used. Stripboard: A traditional production board, stripboard, or production strip is a filmmaking term for a cardboard ​ or wooden chart displaying color-coded strips of paper, each containing information about a scene in the film's shooting script. MFA Preproduction Bootcamp Background Resources 6 Loglines Logline Prereading How to Write a Logline that Sells, Writers Store ​ Sample Loglines THE GODFATHER: The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son. FOREST GUMP: Forrest Gump, while not intelligent, has accidentally been present at many historic moments, but his true love, Jenny Curran, eludes him. REAR WINDOW: A wheelchair bound photographer spies on his neighbours from his apartment window and becomes convinced one of them has committed murder. APOCALYPSE NOW: During the U.S.-Vietnam War, Captain Willard is sent on a dangerous mission into Cambodia to assassinate a renegade colonel who has set himself up as a god among a local tribe. AMERICAN BEAUTY: Lester Burnham, a depressed suburban father in a mid-life crisis, decides to turn his hectic life around after becoming infatuated with his daughter's attractive friend. WILD STRAWBERRIES: After living a life marked by coldness, an aging professor is forced to confront the emptiness of his existence. MFA Preproduction Bootcamp Background Resources 7 Film Treatments Creating a Dramatic Short Film Treatment This two-page document should read like a short story and be written in the third person, present tense. It should present the entire story including the ending. Do not write in screenplay form. While it should read like a short story, keep in mind that it is not a short story. It is a film. Write down only what the audience will see and hear. Elements of a Strong Film Treatment: ● A clear beginning, middle and end. ● The treatment should have a clear theme – a premise that creates the structure of the narrative or a theme that emerges from the story’s resolution. ● The main idea should be clear – what is the story about? ● Who is the main character and what does he/she want? What is his/her goal? What are the impediments or obstacles to that goal (dramatic conflict)? ● What are the stakes? What action does the character take? ● How is the conflict resolved? ● How does the character change? What is different at the end of the film? Sample Film Treatment A Short Film Treatment/Synopsis: The Lunch Date A well-attired and seemingly elegant white matron arrives at Grand Central Station after shopping in New York City.
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