Film Production Option Handbook

Department of Cinema and Television Arts

FILM PRODUCTION OPTION HANDBOOK FALL 2018

Contributors: Nate Thomas Michael Hoggan Temma Willey Donald Petrie Fred Ginsburg Mark Woods Karen Carpenter Joel Krantz Paul Petschek Michael Bryant Eric Edson

(Some of the materials contained in this document are copy protected.) Updated August 23, 2018

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Film Production Option Handbook

This instructional material has been assembled to further assist students in all film production courses: it augments assigned text readings and supplements information in class lectures for project assignments. The information has value for CTVA 250, 355 and 452 production classes as well as skill set courses including: Producing, Cinematography, Editing, Production Sound and Post-Production Sound.

TABLE OF CONTENTS

Table of Contents: p. 2 Preface: p. 3 The Film Study Contract: p. 6 Section 1: General Information p. 7 Arri Resource Center Regulations p. 8 CSUN On-Campus Filming Regulations & Contract: p. 12 Student Code of Conduct Contract: p. 16 Section 2: Story and Script p. 18 Section 3: Producing and Production Forms p. 34 Department Safety Guidelines: p. 38 Production Forms: p. 55 CTVA INSURANCE FORM: p. 55 Audition form: p. 58 Budget Estimates Form: p. 59 Production Expense Summary form: p. 60 Script Breakdown form: p. 61 Shooting Schedule Work Sheet: p. 62 Prop Master Breakdown Sheet: p. 63 Script Supervisor Continu8ity Log: p. 64 Producer’s Daily Report: p. 65 Script Supervisor Notes for Editors: p. 66 Camera Log: p. 67 Sound Log: p. 68 Informed Consent/Hold Harmless form: p. 69 Talent Release form: p. 70 Student Certification form: p. 71 Location Agreement: p. 72 Call Sheet: p. 73 Composer Agreement form: p. 74 Location Scouting Check List p. 75 Section 4: Directing and Acting p. 75 Section 5: Cinematography p. 95 Section 6: Editing and Post-Production p. 107 Section 7: Production Sound Recording p. 124 Section 8: Post-Production, Sound Design and Mixing p. 156

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Film Production Option Handbook

PREFACE

FILM PRODUCTION DISTINCTION: The study of film production is informed by over a century of practice and its capacity to make different products. For the person tasked to produce a film - for any purpose - that person must understand both language and process which is what students in our program can expect. Whether making films following the studio model or as independent filmmakers, having a grip on how to make in interesting product – affordably – is central for success. In almost any instance, to produce film content that satisfies audience expectations, that content must be: 1) well worth watching and 2) made affordably.

The invention of film and film cameras started with a limit to how much raw stock a camera could hold and shoot at any one time. However, the camera was light and portable providing flexible options for where and how it could be used. These two capacities prescribed the parameters for how a film production team would learn to operate. Right from the start filmmakers learned that they could get the best performance from an actor or camera because they could 1) repeat shots over and over, 2) shoot different angles for dramatic effect, 3) they could get the best look with a “single camera” lighting approach and … most important, 4) that costs would be greatly reduced if they shot the script out of order. Thus the “non-linear” – “single camera” production model of “filmmaking” was born. Also at play was the preference for content that favored good storytelling. The most important facet in the evolution of the film production model was that a finished film could not exist unless it was edited together. Therefore, as the production team worked, it was obliged to keep the needs of editing in mind. The editing of a film is for this reason non-linear editing, requiring an editor to manage a cacophony of images and sounds; carefully bringing them into order, shaping and molding them into a powerful story. The language of filmmaking grew out of this paradigm.

Historically, film production created products not only for the cinema, but films for education, documentaries and to particularly to help fill television’s ravines broadcast programming appetite, with such film products as Movies for Television (MOWs), narrative episodic TV, and Web-a-sodes, television commercials and of course short subject student films We must include commercials, promotional / trailers and music videos in the mix.

By way of contrast, from its beginnings, Television’s studio / video productions had very different advantages from that of film. The invention of electronic video signals allowed for immediate broadcast to an audience anxiously waiting and there was no limit to how long the camera could shoot. However, it came with heavy awkward cameras, tethered by electrical cords. Television broadcasters soon discovered that they could make a better product if they used multiple cameras and switched live between them as a program was shot and broadcast. The opportunity for unlimited image capture and its immediate viewing helped frame the live linear production model used by television broadcasters.

Television broadcasters were challenged in ways much different than film: 1) Of particular note, on the viewing side of a broadcast was the potential for a diverse audience having their TV sets running 24 hours a day, creating high demand for a variety of content. 2) Further, there was a good chance that this highly diverse viewing audience, would be distracted - doing other things while the TV was playing. 3) There is a competition factor in that television broadcasters compete in real time for viewer attention with other broadcast entities; including cable TV, and now the Internet: Netflix, Amazon Prime etc.

TV’s production model has produced such diverse television program formats / content as news, soap operas, sit coms, talk shows, variety shows, children’s shows, reality TV, and sports programs, all designed to be competitive, economically smart and ready for the appearance of a live broadcast; advantaged as less-expensive projects, producing entertainment content faster and cheaper.

INFLUENCE OF TECHNOLOGY: Digital cameras and sound recording equipment are favored in both production models which has added convenience to both production processes. The terms film and video can now be understood as literal or figurative. What matters to production process is not the tools used for image capture, but rather what the production’s opportunity to shoot offers / requires. Is it a one chance, one shot, live/linear chance to shoot or not?

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Film Production Option Handbook

FILM PRODUCTION CHALLENGE: Student learning outcomes in film production classes are designed to help students learn how to manage two fundamental tasks: 1. Can you make a plan to shoot a good film in a way you can afford within the limits of time and money available? 2. Can you execute that plan - on time and on budget, meeting delivery requirements and dates?

FIVE STAGES OF FILMMAKING: The full scope of the filmmaking process involves five stages that begin with the birth of an idea and culminates with exhibition. 1. Development – the birth of an idea to the acknowledgement of its worth, indicated with a “green light” indication by an investor, studio (or instructor). A shooting script is typically required by the end of the development period. 2. Pre-production – the planning for a film’s production includes an articulated vision indicated with a ”shot list” developed into a budget based on research by the various departments. 3. Production – the actual production of shots inspired by the script: the execution of the plan. In a non-linear fashion, scenes are shot out of order as the most efficient way to get the job done on time and on budget. 4. Post-production – the editing together, finishing and delivery of the project: creatively telling the story through meaningful edits and meeting the deliverable requirements. 5. Exhibition – The exhibition space for a film project made for the cinema, television or internet is usually the first consideration that prioritizes format requirements. There can be more than one deliverable requirement because most film projects will likely be exhibited in multiple venues. With this five step paradigm, the CTVA film production option emphasizes the pre-production, production and post-production stages in which a “film” is actually made.

BEGINNING A PROJECT: In beginning a project, there are three fundamental choices that affect the workflow of the film project, each of which have time and cost implications: 1. How will the project be shot? 2. How will it be edited? 3. How will it be exhibited? Today there are enough options in each choice that one must understand choice ramifications / consequences. The quality of a film is based on the questions asked. So -- ask questions!

GROUP ORGANIZATION FOR PRODUCTION CLASSES: The film production classes are typically divided into production groups with five or six team “partners,” each of whom take responsibility for one of the important roles in producing the assignment: Producer, Writer, Director, Cinematographer, Editor, and Sound Recordist. (This last role is not applicable in the CTVA 250 classes as they are non-sound sync courses.) Each of these roles requires achieving some mastery of basic tasks required for each role in production. In a group setting, where each member of the group contributes money towards financing the project means that each member is also an equal partner with equal say on the end product. This “partnership” arrangement is about fairness in the learning environment and suggests that no one student should have ultimate “control” over another student’s learning opportunities. The goal by the end the semester is to produce a short film that an audience will understand and appreciate. To make a good film is achieved when the team simply considers what the audience needs to best follow and care about in the story.

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Film Production Option Handbook

Each of the roles played on the production team have skills to learn AND opportunities for creative expression. The information in this handbook focuses more on the task part of each role. The role descriptions also function as metrics for grading on how well each student performs. Given the importance of each role, students will need to do research for their assignments in order to do well and benefit from the class experience.

PRODUCTION ROLE DESCRIPTIONS FOR 250/355 FILM CLASS PROJECTS:

PRODUCER: The producer is primarily responsible for managing schedules and budget. This requires the use of proper forms and working with the group in all decisions related to proper preparation. The producer organizes each shooting day based off the “shot list”: determining shooting order. The producer has oversight responsibility for all equipment and personnel safety. The producer manages all communications with cast, crew and professors. (See more details on page 34)

WRITER: The writer is not necessarily responsible for coming up with the story rather he or she is the person tasked to put the group’s story idea in proper script format by the required date: to make sure the script is at the proper length and that each scene is numbered. In addition to typing the script the writer needs to provide a paragraph describing the dramatic goals of the narrative which is shared with cast and crew and the class. (What the film is about.)

DIRECTOR: The first task of a director is to interpret the script and create a “shot list”. Also describe the dramatic goals of the overall film and the goals of each scene for the benefit of cast and crew. The “shot list” represents “the vision.” The second important task is to help actors perform their roles. He or she needs to make sure the performers are ready before arriving on the set.

CINEMATOGRAPHER: Assess all location requirements and limitations regarding light. Based off the “shot list,” coordinate with the producer and director in creating a cinematic look for the film and a plan for shooting the “shot list.” The roll of the cinematographer requires some mastery of a camera and lighting equipment: anticipating what equipment is needed in each scene in order to shoot it on time and on budget. Know how to light quickly.

EDITOR: The editor will set up the project in the AVID and organize the metadata appropriately as instructed. The editor will edit the show to meet format and time regulations and achieve the dramatic goals of the narrative. The editor will correct sound quality issues, add in appropriate sound effects and music as the drama may require.

PRODUCTION SOUND MIXER: (For the advanced classes) Go to each location and assess sound conditions. This role requires some mastery of the sound recording equipment assigned to the class. The task is to capture and record pristine quality production dialogue, as well as both reference and room tone. Also, the sound mixer helps in finding or creating sound effects appropriate for the project and provides them to the editor.

[The 452 Senior Project class, the production roles are expanded to include the assignments of 1st A. D., Script Supervisor, Production Designer, etc. See the Senior Thesis Guidelines document for additional information.]

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Film Production Option Handbook

THE FILM STUDY CONTRACT

Study in film production is about learning how to integrate the arts of literature and theatrical performance with the visual and audio arts which are brought together through editing. This dynamic production process operates within a social context with hierarchies and protocols that is collaborative, sometimes competitive. Eighty five percent of filmmaking is business, performing skill sets guided by time tables and limited resources, making it more business than art. The remaining 15% of the process is about those precious opportunities for creative expression. The intersections where creative opportunity has a place are: 1) discovering the idea before it is typed into a script, 2) when the script is translated into a shot list, 3) when the shot list is translated into actual images, 4) moments of performance with the camera and/or actor during production 5) when the individual shots are transformed into an edited montage and 6) finally, when the sound scape is created, edited and mixed.

The collaborative nature of the filmmaking enterprise requires the facility for perceptive judgement, critical thought, problem solving, reflective insight, and imagination in the use of sight and sound senses to intentionally engage and impact an audience. This capacity forms the educational context for defining curriculum in film production classes and if a student hopes to find a job after graduation that student needs to not only be able to understand production methodology but also how to use it creatively as they are required by the industry. This understanding is at the very heart of student success in the film study program and in enabling students on their journeys towards making their great films.

Given the limited resources of the CTVA Film Option program, including course offerings and semester limitations it is incumbent on students to fully commit to the program. The Portfolio process is intended to help identify those students who would most benefit from the program experience. Because of these two issues, limited resources and competition for acceptance it is expected that students accepted into the program will attend all classes and are able to participate in all class assignments. Once accepted into the program a student may not take a break from study; and agrees to matriculate through the prescribed course work. A student will not be able to remain in the program if they take the time to study abroad, or take a full time job that forbids class attendance or performing class assignments.

I understand and agree to this condition for acceptance into the Film Production Option.

______, 20____ Print student name Student signature Date ______Student I.D. Number

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Film Production Option Handbook

SECTION 1:

GENERAL INFORMATION

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I. “THE FIRST RULE” IN FILMMAKING IS: SAFETY FIRST

Under no circumstances is it permissible to film or record scenes which put yourself, your cast, your crew or the public in harm’s way. (See “Safety Guidelines” pp. 38 - 54)

II. MZ 191 – CTVA - ARRI RESOURCE CENTER (Equipment Room): Operating Hours: Monday thru Friday, 11:00 am to 7:00 pm (Hours subject to change) Phone: (818) 677-3802 Email: [email protected]

The ARRI Resource Center (ARC) facilitates equipment used in production courses. Equipment is designated by class, and only that equipment will be issued regardless of proficiency with other equipment. All equipment issued by the ARC can only be used for assigned course work. Any use of equipment for projects outside of class assignments will result in immediate termination of privileges and potential academic penalties. To minimize liability of one student, it is advised (especially with larger checkouts) to have the designated positioned crew member, handle the checkout for their Dept. For example, the DP of the group should be in charge of the Camera checkout, the sound person, the sound checkout and so on. Any violation of the following ARC procedure, will result termination of privileges and possible academic penalties. CHECKOUT GUIDELINES EQUIPMENT DROP OFF – 11:00 AM UNTIL 2:30 PM EQUIPMENT PICK-UP – 3:00 PM UNTIL 6:30 PM

WEBCHECKOUT RESERVATION INSTRUCTIONS

All students are responsible for generating and managing their own equipment reservations via our online patron portal. The patron portal can be accessed at any time at: http://webcheckout.csun.edu/webcheckout/patron/patronportal.html Note: Any student attempting to access the patron portal from a network other than CSUN-WiFi, will have to download a VPN. A free download and instructions are available at: www.csun.edu/it/vpn

To gain access to the patron portal, students must first submit a signed ARC Checkout & Procedure form, as well as submit an Equipment Checkout Information form (available here). Once these forms are submitted, you will processed and sent a confirmation email (usually within 24-48 hours). You will then be able to access the portal and make reservations. NOTE: This Process is to be repeated every semester you are enrolled in a production course and plan on checking out equipment.

Logins for the patron portal will be your student ID number. Passwords will be created by you. Please note them when completing the Equipment Checkout Information form.

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Film Production Option Handbook

Webcheckout will only let you draft reservations based on the allotted Pick up and Return times. IE if you’re trying to create a reservation that has a pick up before 3:00pm, or a return after 2:30 the system will not let you continue.

Webcheckout is designed to eliminate overlapping reservations. As such, if there are 2 existing reservations at the same time, you will need to adjust either (or both) your pick up time and return time. For example, if you are making a reservation for a microphone to be picked up at 3:30, and there are 2 previously generated reservations with a pickup time of 3:30, you will need to adjust your time by a minimum of 20 minutes.

Please note, larger checkouts will require longer process of checking out and returning. Please be mindful of this when generating pickup and return times. For example, if you have a trucks worth of equipment and a 6:30 pick up, you will NOT have enough time to complete the checkout.

Please note, the ARC will experience high volume circulation as the semester progresses. PLEASE ALLOW YOURSELF AND CREW SUFFICIENT TIME FOR CHECKOUTS AND RETURNS.

KNOW WHAT YOU NEED BEFORE YOU ARRIVE TO RESERVE EQUIPMENT If necessary, meet with your production crew prior to requesting equipment.

CHECKOUT PROCEEDURES • Any and all equipment reservations are the responsibility of the student. • Any and all equipment reservations are to be made online, via the patron portal. Reservations for rooms are still to be made via the posting on the room’s door. • Equipment reservations must be made at least 2 hours in advance and no more than 2 weeks in advanced. • Students are only allowed one reservation, at a time (without prior notification). • The Student that creates the reservation is responsible for both PICK UP & RETURN. Students picking up or returning equipment not on the reservation/checkout, will be turned away. EQUIPMENT RETURNED LATE WILL RESULT IN TERMINATION OF ARC PRIVILEGES • No Partial Returns will be accepted (without prior notification). You will be turned away. • The student is responsible for returning all equipment in the manner it was received. Equipment returned out of case, taken apart, not properly wrapped etc, will need to be properly stored prior to ARC staff checking it in. • Any equipment returned or picked up outside the rental contract time (without prior notification) will be turned away. • Equipment Drop-ins: Picking up equipment with no reservation IS NOT ALLOWED.

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• The student is responsible for noting all damaged, missing, non operational equipment PRIOR to leaving the building. Once the rental contract is signed, it is now the responsibility of that student. • Please allow an ample amount of time for your pick up and return. All equipment must be inspected by the student on the rental contract, prior to leaving the building. Additionally, students are not free from their rental contract obligation until all returning gear has been inspected and cleared by ARC Staff. • The student listed on the rental contract is financially responsible for all equipment. Equipment missing items, lost, stolen, or broken is the responsibility of the student on the rental contract. The student will also be responsible for prompt replacement or repair, of any equipment. The student will not be allowed to complete any reservations or checkouts until the matter of replacement/repair is resolved. The student is additionally subject to academic penalties, if the repair/replacement goes unresolved.

LOADING/UNLOADING EQUIPMENT IN/OUT:  A loading pass (Available at the Lindley/Nordhoff or Prairie/Darby information Booth) is required for all loading and unloading of equipment behind Manzanita Hall and must be displayed at all times.  An appropriate vehicle is required for all transport. If the transport of the equipment is deemed unsafe, you will not be able to complete the checkout.  The loading pass is for 30 minutes. The transport vehicle will need to move at the end of the cycle or it will be subject to fines and may be towed. NEVER LEAVE EQUIPMENT IN THE TRANSPORT VEHICLE, REGARDLESS IF IT IS OUT OF VIEW OR LOCKED.

MUSIC AND SOUND EFFECTS CDs: The music and sound effects library is available for HOURLY use only. There students must leave a CSUN ID in order to check out any CD. There is ABSOLUTELY NO OVERNIGHT CHECKOUT of music or sound effects. CTVA students also have access to an online sound effects library as well as an online music library. Ask the sound skill students, or Professors Krantz and Ginsburg, for the current log-in information (changes every semester or two).

YOU BREAK IT YOU PAY FOR IT BE SURE IT WORKS WHEN YOU CHECK IT OUT AND RETURN IT.

______

III. MZ 170 -- FILM STAGE USE:

Use of the CTVA Film Stage is reserved for 355 and 452 students only and is conditioned on the following regardless whether it is for class participation or shooting an assigned project:

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Film Production Option Handbook

1. RESERVATIONS: Other than class time, the stage must be reserved through George Johnson two weeks in advance. 2. COURTESY RULE: Leave the stage better than you found it. (Take a “before” picture) You must return it back in proper order for classes the next day. 4. Return all stage sets, equipment and props to their proper locations. 5. No food or liquids - water excepted in class. 6. No set building, props construction or painting on the stage. 7. No gaffer or duct tape to be used on the floor as markers for camera and/or actors. You may use paper tape for that purpose but those paper marks must be taken up when finished. 8. Stage props are fragile so careful. You break it, you replace it.

Violation of these rules will result in the loss of the privilege of using the stage in the future and could affect your grade.

IV Department of Cinema and Television Arts - On-Campus Location Permit for CSUN Student Academic Project form:

(See form on next 3 pages.)

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Department of Cinema and Television Arts

On-Campus Location Permit for CSUN Student Academic Project (Sept 2016)

Student media productions are required to obtain approval for interior and exterior locations on the CSUN campus. In addition, student productions are not permitted to interfere with official CSUN activities at any time.

This permit is to be kept by the student. The permit must be completed, approved and available during all production activity related to these locations. A copy of the signed and approved permit must also be submitted to the CTVA office (MZ 195) so that it may be kept on file.

PROJECT TITLE: ______

LOG LINE/DESCRIPTION: ______

______

______

Estimated Number of Cast and Crew: ______

LOCATIONS APPROVED:

DURATION TIME (INCL. PREP SPECIFIC LOCATION(S) DATE OF SHOOT TIME) APPROVAL SIGNATURE 1) 2) 3) 4)

This form is to verify that ______, is currently a student at California State University Northridge in the Department of Cinema and Television Arts. I, the supervising Professor, have reviewed the script and plans for this assignment and approve this project as being practical and appropriate for shooting on campus.

______Professor’s Name (Print) Telephone # Signature

Thank you for your cooperation in helping our students complete their film/video project. Please feel free to contact the supervising Professor or the Department of Cinema and Arts for additional information.

______CTVA Advisor Signature/Name (sign and print, please)

Film Option Television Option Prof. Nate Thomas, Ext.3162 Prof. Quinn Saunders, Ext.7066 Prof. Michael Hoggan, Ext.2849 Prof. Thelma Vickroy, Ext.6361 Prof. Karen Dee Carpenter, Ext.7811 Prof. Alessandro Jacchia, Ext. 7945

Revised August 2017 (MORE)

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If there are any notable activities regarding health and/or safety associated with this project, please indicate here and please submit a copy of this form to CSUN Police Services:

______

______

______

______

Informed Consent/Waiver and Release Form Signed: ______

Note: CTVA Courses required to use this form are: CTVA 250, 260, 340, 341, 355 Note: CSUN Insurance is only available to students in CTVA 341, 355, 441, 442, 443, 452 and 453.

Reservations must be made at least a week in advance of production.

CAMPUS CONTACTS FOR RESERVING SPACE USE:

Location Contact Name Extension

All CTVA Spaces George Johnson 7674 (Interior and Exterior of Manzanita Hall)

Aronstam Library (Communication Studies) Kathryn Sorrells 2853

Nordhoff Hall (general) Natalie Papazyan 3086/2246

Nordhoff Hall (Theaters) Kat Carrido 3086/2246

Cypress Hall (Music) Nicole Hovland 3187

Journalism Linda Brown 3135

Art and Design Center Ed Alfano 2242

Department of Police Services Christina Villalobos 7922

All other CSUN locations, interior and exterior, Kristina de los Santos 6572 Including all classrooms or Genelyn Arante (University Licensing)

Revised August 2017

(More)

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CSUN RULES AND REGULATIONS FOR ON CAMPUS FILMING: Students must adhere to the following and all other campus rules, regulations and guidelines for filming on the campus of California State University, Northridge.

A. ALCOHOL & ILLEGAL DRUGS: Use of Alcohol and, or illegal drugs is prohibited on the campus of California State University, Northridge.

B. CLEAN UP: Students shall furnish all labor, materials and equipment to maintain an orderly, sanitary and clean operation. Students must leave all areas clean at the conclusion of any activity related to the film project. This includes the proper disposal of all trash and the removal of any posters, banners, etc., from all campus locations. Failure to comply with this provision will result in fee assessments.

C. CONSTRUCTION: No new construction or modification to existing facilities will be permitted on University property without prior approval.

D. DIVERSITY: California State University, Northridge is committed to creating and maintaining a working and learning environment free from discrimination and harassment. Discrimination and harassment based upon race, religion, color, disability, sex, sexual orientation, national origin, ancestry, or age violate both personal integrity and professional responsibility and will not be tolerated by the University.

E. EJECTMENT: The University reserves the right to eject, or cause to be ejected from its campus, any person, or persons, whose conduct creates a dangerous condition or violates any of the campus rules, regulations or guidelines. Neither the University; the State of California; the Trustees of the California State University, nor the officers, employees of each of them shall be liable to any student, or student project, for damages sustained as a result of such ejectment.

F. EMERGENCIES: All emergencies must be reported to the University Police Department by calling (818) 677-2111.

G. EQUIPMENT AGREEMENTS: Students are responsible to ensure that all property under their care, custody and control is adequately protected and or insured per the requirements of the CTVA program and rental or lease agreement(s). The University shall assume no liability for adhering to the terms and conditions of any agreement entered into by student(s) on behalf of the film related activity without prior acknowledgement.

H. FOOD OR DRINKS: No food or drinks, other than bottled water, are permitted inside lecture halls, classrooms, auditoriums, or any area not authorized as a food facility. Use of individual barbecues before, during, or after the film project activity is prohibited.

I. GREEN SPACE RESTRICTIONS: Student may not set up tents, booths, drive stakes or dig holes in lawns. No wood burning, or open fires are allowed on the University Campus.

J. HAZARDOUS MATERIALS: Students shall not bring nor permit to be brought onto the University Campus, any hazardous or potentially hazardous materials. Any exception request must be directed to the University’s Office of Environmental Health, Safety & Risk Management at (818) 677-2401.

K. MAINTAIN ORDER: Students are required to protect all property from damage and provide a safe environment for all persons under student’s direction and control. Student shall not permit a breach of peace or any act, which may endanger life, limb, health or property due to occasion of this filming event.

L. NOISE: No amplified music, loud equipment, construction, or explosions of any kind, may be used without written permission of CTVA Advisor and Police Services. Volume levels must adhere to the decibel level established by the Los Angeles Municipal Code, Chapter XI Noise Regulations (http://www.nonoise.org/lawlib/cities/losangel.htm).

M. NUDITY: Projects that include any element of nudity will require CTVA Advisor approval.

N. PARKING PERMITS: Campus Parking permits are required at all times (24 hours, 7 days a week) in order to park on the campus of California State University, Northridge. Students are responsible to notify their cast and crew about this requirement. Vehicles in violation of the campus parking policy will be cited and may be towed at the owner’s expense. Fire Lanes must remain clear at all times.

O. PERMITS: Students shall consult with CTVA Advisor to determine the need for any permit or other form of Federal, State, City, County or other clearance, including, but not limited to, “FIRE”. Copies of such permits are to be submitted to CTVA Advisor no fewer than five (5) campus business days prior to filming. Students shall be responsible for any fees, charges, or other costs associated with any permit or clearance.

P. POLICE OFFICERS: The University or CTVA Advisor may require that a University Police Officer be on hand at certain locations during student’s filming. All locations will be surveyed by the CTVA Advisor to determine if a University Police Officer is necessary. Depending on nature of the filming, fees may apply for this service.

Revised August 2017

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Q. SIGNS, FLYERS, ETC.: The posting of signs and flyers related to the film project placed on public property (i.e. telephone or utility poles, posts, street signs or trees) is strictly prohibited in accordance with the City of Los Angeles Handbill Ordinance 168321. All signs or flyers on the campus related to the film project must be approved by the Matador Involvement Center (677- 5111). All signs and flyers must be removed immediately upon conclusion of the film project activity. Failure to comply with this requirement will result is fees charged back to the student for all costs associated with the removal of signage.

R. SMOKING: Smoking is prohibited on all University property.

S. SPACE RESERVATIONS: Students are responsible for properly reserving campus space prior to commencement of the film related activity. (See attached list of contacts for space reservation).

T. STUNTS & SPECIAL EFFECTS: Projects that include a stunt and/or special effect element will require CTVA Advisor approval.

U. WEAPONS/FIREARMS: No firearms or weapons of any kind, including toy replicas, shall be brought onto the University campus without approval from the University’s Department of Public Safety. Contact the University’s Department of Public Safety (818) 677-2111 for further information.

Student Agreement: I have read, understand and agree to abide by the above stated rules, regulations and guidelines for filming on the campus of California State University, Northridge.

Print Name: ______Student ID Number: ______

Signature: ______E-mail/Phone number: ______

(End of contract form – Revision date August 2017)

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Department of Cinema and Television Arts

STUDENT CODE OF CONDUCT

Expected Behavior for Film Option Students:

In the spirit of students getting the full benefit of the film option learning experience and for that learning experience to be remembered fondly, we sincerely need your unwavering support with the following:

1. As a matter of policy in the CTVA Film Production Option program as endorsed a set of social standards which, for the sake of peace and safety that all students are expected to follow rules and regulations in this book including talent, actors and guests in the classroom, studio or on location:

 Willingly follow all directions, instruction or orders given by the class Professor or CTVA Engineering Staff.  Willingly follow all directions, instructions or orders given by the assigned Producer of the prescribed student project  Willingly work in a collaborative manner with class production assignments  Willingly fulfill all necessary duties, responsibilities and obligations of your assigned production position

2. It is the policy of the CTVA Film Production Option that all rules and regulations specified in the California Occupation Code (CAL OSHA) are adhered to by all students while working on CSUN- CTVA student film productions, either on the CSUN property or on locations off campus. Some of the safety code includes:

 All off campus productions and all on campus productions must be approved and permits must be obtained before any production begins.  All rules stated in this book under the heading Department Safety Guidelines, shall be observed, without exception.

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STUDENT CODE OF CONDUCT AGREEMENT

[The following contract language is taken from the CSUN Student Code of Conduct as stated in CSUN Catalog: http://www.csun.edu/catalog/policies/student-conduct-code/ ]

The personal behavior and ethical conduct of each student of California State University, Northridge impacts, positively or negatively, on the climate and reputation of the entire institution. Thus it is imperative that each student act at all times with integrity and respect. The University assumes that all students will conduct themselves as mature, responsible, and law- abiding citizens who will comply with University policies and regulations.

Any student may be expelled, suspended, placed on probation or given a lesser sanction for the causes listed below.

• Obstruction or disruption, on or off campus property, of the educational process, administrative process, or other campus function. • Engaging in activities prohibited by the Television Option Regulations

Those persons who do not comply with CTVA Television Option Regulations and the California State University, Northridge Code of Conduct may be removed from the CTVA classroom, Television Studio or off campus production location and will thereafter be prohibited from entering classroom, studio or production location, will be immediately dismissed from the course, and will receive a grade of F.

Be it known that I have received a copy and have read and understand the Film Option Regulations / California State University Northridge Code of Conduct and agree to abide by its provisions. I have also read the course syllabus and agree to abide by its terms.

______Print Name Student ID Number

______Signature Date

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SECTION 2

STORY AND SCRIPT

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As of January 5, 2017 STORY AND SCRIPT [The script is a story translated for the business of production.]

For centuries, in every society, story has been an important part in everyday life because stories are necessary for survival. A story has proven to be the best method for teaching, persuading and inspiring each generation on how they might best navigate a complex life; to see possible solutions, to stimulate imagination, find inspiration and hopefully, a more interesting meaningful life. This is what great stories do! Today, modern research on the science of the brain has shown that people not only remember stories far better than data, they are measurably affected by them.

The 30,000 + year-old storytelling tradition involves a unique triad relationship between, 1) a story, 2) a storyteller and 3) an audience, out of which it is arguable that the audience is most important. This is explained by the fact that if people really like the story they are listening to, they will talk about it as it was their own, thus helping the story live on into eternity. If they don’t like it, then, sadly, the story (film) will die. In either case both the writer and the audience are looking for a great story. ______

The art of writing and the art of performance are different talents. However, both the stories’ writer and its teller labor in the service of helping an audience embrace the stories’ values and are affected by its power. The quest for finding “great stories” has developed interesting theories on what that means, out of which, principles leading to a powerful narrative have evolved. In this regard, perhaps the most useful question for today’s student filmmaker in creating a great film is: “Why would anyone care about this story?” This important question assumes that the measure of a stories’ success is based on how embraceable, impactful and enduring it can be for an audience: THE primary objective for making a film. To meet these goals requires imagination, insight into human nature and a capacity to play with ideas. [Ideas can be messy, sometimes scary and hard work to bring to life.] ______

Creating a story for a short film has the fundamental challenge that longer film formats don’t: THERE IS NOT ENOUGH SCREEN TIME TO FULLY DEVELOP CHARACTERS AND PLOT. Right from the start, the story must be succinct and powerful at the same time. The short story, like its big brother, needs a beginning, middle and end: an interesting character with a serious problem, struggling for a solution.

As the story idea is being molded into shape, its writer constantly critiques its dramatic form against its overall capacity to affect an audience, consistently refining it to achieve that lofty potential: assessing the “big picture” objective and narrative “details” at the same time. As the script is brought to its prescribed page count and reviewed by the class for response to its dramatic power (and do-ability), the writer continues refining its plot, characters and dramatic values, for clarity and emotional impact while at the same time typing the script into proper

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Film Production Option Handbook format for the benefit of the film production team. There are practical considerations for the do- ability question as it should be affordable to make after all!

TIPS FOR A SHORT SUBJECT FILM STORY AND SCRIPT

1. In most instances, a good story is about an interesting character in a very difficult situation. What make the character interesting? What is the difficult situation? 2. The first thing to consider is the central theme of the story. Why do you want to tell this story? And why would an audience want to see it? 3. From the outset, the audience needs to get to know and empathize with the protagonist – hopefully within the first thirty [:30] seconds of the film. 4. Given the limited time constraint of the short film, suggests that the story starts with the main character headed towards a goal and immediately confronted by an unexpected obstacle creating a conflict, (an inciting incident) thus kicking the story into action right away. 5. A simple short film story “formula” might look something like this: “We see an interesting and/or likeable character with a worthwhile goal. Something happens to interrupt the character, which then forces her or him to make a choice. To make that choice meaningful, problems develops within the character as he/she moves towards resolving the conflict” After all, life questions are motivated by unsolicited trials and tests.

CLASS PROJECT ASSESSMENT METRIC

For project assessment, the CTVA Film Option program uses the following metric: (good for both script and a finished film) 1. First, the story setting must inform an audience as to where they are in ‘the stories’ time and space, (including its genre), so that they know how to understand the story. 2. Right away, the story must introduce an engaging character with whom an audience will be empathetic, one who is credible and believable. The character should have shared values with the audience; a three dimensional, one-of-a-kind person having worthwhile goals, and not just a caricature. 3. This character needs to be challenged - have a serious conflict, out of which he or she must make a difficult choice. After all, this is why the story is written! What an audience tends to care about most is the impending success or failure of the protagonist with his or her choice. The more difficulty this choice is the more powerful the story. 4. Based on the choice, there is a rise to action and resolution. 5. It is a good thing if the ending is not predictable. Remember, the story is for the audience benefit, it needs to give them something of value they might not get otherwise: it must be embraceable and enduring.

Perhaps an interesting way to assess the merit of a script might be by asking: “Will an audience be willing to pay $50.00 to see this film?” If the answer is no, then obviously there is exciting creative work yet to be done to mold it into a great film?

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ELEMENTS OF A STORY

The following is a short list of traditional dramatic elements that are important in a stories creation and are briefly listed to help you create a meaningful story.

I. CHARACTER: An audience is engaged in a film through empathy with its characters. Empathy is the understanding that an audience has for a character’s feelings and the situation he or she is in and is the concern that comes out of that understanding. Characterization is the sum of all observable traits and qualities which can be social, psychological, or physical in nature. The true nature of a character is defined by the choices that he or she makes and the subsequent actions taken during the course of the story. Characters must be believable, doing believable things in a believable world. Creating an interesting character is in understanding where he or she comes from, what he or she wants and why, and what will that cost. Characters can find identity from an assortment of general architypes such as VILLIANS, HEROS, MAIDENS, MOTHERS, ETC. Within these characterizations are subsets of character behavior such as, factitiousness, sloppiness, motherly, sexy, prudish…etc. which help offer credibility and depth to the characters, help make them feel real and unique. The most interesting characters are compelled to do something; they are (willingly or unwillingly) motivated to act and are defined by how they respond to the conflict.

Character Traits and Qualities: SOCIAL - Religious beliefs PHYSICAL - Gender PSYCHOLOGICAL - Temperament Economic class Age Intelligence Ethnicity Race Psyche Political views Physique Moral Values ______

CHARACTER TRAITS – A GRID OF EXTREMES Created by Gary Goldsmith

1. Reserved ------to ------Flamboyant 2. Dresses poorly ------to ------Dresses well 3. Uneducated ------to ------Educated 4. Can’t solve problems ------to ------Problem solver 5. Unimaginative ------to ------Imaginative 6. Low socio-economic class ------to ------Upper class 7. Lives dispassionately ------to ------Passionate 8. Feels inferior ------to ------Arrogant 9. Even tempered ------to ------Unpredictable 10. Lacks courage ------to ------Courageous 11. Disorganized ------to ------Orderly 12. Non-conformist ------to ------Conformist 13. Low energy level ------to ------High energy 14. Clumsy ------to ------Graceful 15. Asexual ______Heterosexual______Bisexual ______Gay______

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“CHARACTER CATEGORIES” By Professor Eric Edson

HERO (AKA Protagonist) The person whose pursuit of a goal, created by urgent high stakes, drives the story forward. All other characters either help or oppose the Hero. ADVESARY (AKA Antagonist, Shadow, Nemesis, Shape-Shifter) The main opposition character in a position of great power over the Hero, who provides the primary story conflict who should be as compelling as the protagonist. LOVE INTEREST Provides sexual tension and sexual pursuit along with emotional confrontation that forces the Hero toward character growth, bringing both joy and pain to the Hero. SIDEKICK Fights alongside the Hero, challenges Hero motivation, forces Hero’s inner conflict to the surface, and often provides comic relief for the Hero’s journey. MENTOR Conveys to the Hero wisdom, expertise, training, and some important or life-saving gift – and often dies. GATE GUARDIAN (AKA Threshold Guardian) First opposes the Hero and forces her/him to prove their worthiness, then becomes the Hero/s ally. ALLY CHARACTERS Comparison Ally Starts at the same socio-economic and emotional level as the Hero then stays there so that later on, Hero growth can clearly be seen by comparison.

Comic Ally Possesses attitude and skewed world that makes them inherently funny without jokes. Helper-Follower Ally Offers talents, skills, or assistance that the Hero cannot provide on their own. Hopeful Savior Ally An outsider who rushes to rescue the Hero, then dies just before saving him/her. Endangered Innocent Ally That person (or group) put at risk by the plot, so must be retrieved and saved. Cheerleader Ally Functions as a Greek Chorus and stands in for the audience to offer encouragement and good wishes to the Hero. OPPOSITION CHARACTERS Adversary Agent A significant character who works for and takes orders from the Adversary. Independent Troublemaker An enemy of the Hero who is not associated with the Adversary and provides another arena in which the Hero can be tested.

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Other Character Descriptions:

FLAT CHARACTERS are characterized by just one or two traits (2 dimensional) ROUND CHARACTERS are more complex and multi-sided. (3 dimensional) STOCK CHARACTERS are the kind that remain constant from story to story, i.e. “strong-silent type,” “sex-symbol,” “coward,” etc., they do not change. DEVELOPING CHARACTERS “grow” within the life of the story, an essential marker for a protagonist. INTERESTING CHARACTERS are unique and have worthwhile goals: Including both the protagonist and antagonist. BORIG CHARACTERS teach filmmaking at CSUN!

______

II. SITUATION:

We mentioned at the start of this section that “In most instances, a good story is about an interesting character in a difficult situation.” A situation is that moment when things change. This change becomes an event and as film is a medium for events, important events, dramatic events, events that can escalate in their intensity as dramatic action progresses. If the situation is easy then we do not have a strong story. When change is difficult, it is of more interest to the viewer. When a protagonist, in a crisis has a hard choice to make, it defines his or her character. How this situation plays out is our story. To create that fresh, powerful story on film requires understanding to the following story elements.

1. STORY THEME: The THEME of a story is its controlling idea or its central insights. Theme, as the central and dominating idea in a literary work, is generally something about the human condition. The theme of a fable is either its moral, or the writer’s point of view on the subject. The theme of a parable is its teaching point. The theme of a piece of fiction is its view about life and how people behave. In fiction, the theme is not intended to teach or preach. In fact, it is not presented directly at all. It is extracted from the characters, action, and setting that make up the story. For the theme to resonate with an audience, is for it to communicate on a common ground (shared communal values) with the audience. Although the particulars of an audience’s real life experience may be different from the details of the story, the general underlying truths behind it may be just the connection that the audience, the story and the performer are seeking in the story. A subject is not a theme: a subject is some dimension of the human condition examined by the work; a theme is a statement, direct or implied, about the subject. One of the popular themes has to do with identity, “who am I.” This approach investigates how or where a character finds or affirms one’s identity, or integrity, particularly in a crisis. Theme differs from THESIS or MESSAGE in that the thesis one sets forth a premise, an idea or an opinion and then goes on to prove or disprove it through the narrative. Discovering your THEME will help you focus your story. Your theme should be interestingly proven as it is illustrated throughout the whole story, not just bluntly stated. (Common Themes in Literature are listed at the end of this section.)

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Expressing the Theme

Connect the audience with the theme. Do not over express your theme or become preachy as that will likely alienate the audience. If you are unsure of your theme, start with your phrase, “This story is about (finding, discovering, etc. …”, put it into a verb because it is active, and begin to think about how you are going to get this idea across, and how to show the process of the theme in action, throughout the entire story. You can use dialogue as a point of reference, however, to express your theme all though action is far more interesting. Define the point of conflict, what are the opposing forces and what are their goals? If you are not sure how you want your character to transform, ask yourself, where is my character now in the plot line in relation to the conflict, and where is he/she in terms of how is she/he going to move from one state to the other?

2. PLOT: In literature, plot refers to an arranged sequence of events inside a story intended to achieve an effect through the principle of cause and effect. These series of carefully devised and interrelated actions progress through a struggle of opposing forces to a climax or denouement. When recounted by itself, it bears about the same relationship to a story that a map does to a journey. A plot is different than a story. English novelist E. M. Forester illustrated this by saying: ”The king died and then the queen died,” is a plot. “The king died and the queen died of grief,” is the story. Plot is what happens in chronological order while story is the unique sequence of discourse designed by the author. Within the conflict of a plot is a PROTAGONIST, (the principal and central character the audience needs in order to best follow the story. The central character causing the conflict is the ANTAGONIST; the principal opponent, or foil for the main character, the force that works against the main character: the more powerful the Antagonist the stronger the drama.

A. PLOT TYPES: (There are 7 plot types forming the basis of most stories.) The Quest Comedy Tragedy Resurrection Rags to Riches Journey and Return Overcoming the adversary

B. GENRE: Genre is a type or category of story. Your resources should help determine the genre you choose as some are more expensive to produce than others. Common genre types are: Action Western Drama Romance Crime Romantic comedy Comedy Family Musical War Horror Fantasy Sci-Fi

a. FICTION: both characters and action are all made up: invented. It is the most flexible type of story. Be aware of copyright issues!

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b. NON-FICTION: Real/true – both people and events

c. GENRE FORMATS: Animation Documentary Short film Music video Feature film Commercial/Promotional Corporate/Industrial

C. STORY STRUCTURE: Story is the WHAT, structure is the HOW.

The THREE ACT organization is often the standard - but not always. There could be more or less than three acts. However, the audience has come to expect stories told in a certain way with a set-up, middle, and a payoff. The basic 3 act structure is commonly described as having a Beginning Middle and End. In this paradigm, act one establishes the characters and a situation which involves conflict. Act two complicates this conflict and is usually resolved in the end of act three. The basic model for a story looks something like this: 1. Set-up 4. Turning point 2. Inciting Incident 5. Point of no return and 3. Conflict 6. Resolution

The THREE ACT organization for story structure popular for feature films looks like this: (Eric Edson: Story Solution, Michael Wiese Productions, 2011) ACT 1: takes place in the first 30 minutes.  This is the set-up that explains: who, what, when, where, and why.  It defines characters, setting, place/environment  By the end of the act something happens, a problem (incident incident) is established and the character(s) can’t turn back. ACT 2: takes place between the 30 and 90 minute marks.  This act deals with the overcoming of the problem  At the midpoint of the act (and the story) is the turning point where the story heads in a different direction  The characters MUST shift and deal with the problem  The problem (or journey) gets worse.  The “point of no return” finishes act 2 ACT 3: takes place in the last 30 minutes of the film.  The problem is resolved in this section  The threat is at its peak when things are the most dire, when there is the most peril, most at odds.  The character(s) must employ their best skills and abilities to prevail.  They must be close to failing thus creating a CRISIS

At the beginning of a movie usually there is what is called a HOOK - a moment which is designed to introduce the film, its hero/heroine and “hook” the audience interest so that they don’t walk out on the theater. The INCITING INCIDENT is the point in the plot that begins the conflict. It is the event that catalyzes the protagonist to go into motion

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and to take action. The CLIMAX is when the main conflict of the story is resolved and usually comes toward the end. Also at the end of the film, a secondary conflict in the story is resolved in the DENOUEMENT or CODA, [i.e. in the RAIDERS OF THE LOST ARK, Indiana Jones and Marion are united as a couple at last.] (See Story Structure Options at end of this section)

D. CONFLICT: The main conflict can on one of five forms: Character vs. Character Character vs. Nature Character vs. Self Character vs. Fate Character cs. Society

E. STORY AND SUBPLOTS: Have an act 1 break and act 2 break for your subplots as well as your main plot. Each subplot has its own plot arc with a beginning, middle and end. There are generally 4-6 subplots in a movie, each consisting of 4-6 scenes each. In a short film this is obviously not possible but such subplot elements can be implied through the actions of the characters. In short films, there is not time for subplots for this reason.

F. SETUPS AND PAYOFFS: Make sure you have a payoff for each setup in the story, meaning that if you give the audience any expectation, you have the obligation to deliver on it one way or another or else the audience may be disappointed. Since each story has its own set of rules (and morals) that frame it; a good thing to remember in the stories beginning is that it needs to be set up so that the audience is cued on how to understand those rules and point-of- view in order to fully appreciate the stories context, and more importantly, so that they are willing to accept all that happens as being credible in the stories unique context.

G. WRAP UP: The wrap up completes all unfinished business in a story. At the end of a story, not only is the unfinished business wrapped up, it is done so in the framework of its story type.

3. POINT OF VIEW: In literature point-of-view (POV) can be about a stories a position in time and space, the reference from which the story is told. It can also represent the mental images that reveal the author’s attitude through POV. Another point-of-view is about, “Who is telling the story?”

Another way to consider point-of-view is about how the audience experiences the story. There would be the difference between the POV of who tells the story and the POV of those listening to a story.

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4. STYLE: Style describes the tone and technique of the writer, the form of a stories expression, and the story teller might tell the story. ______

STORY SECTION APPENDIX [OTHER USEFUL TIPS TO HELP YOU GET STARTED]

AN APPROACH TO STORY WRITING:

It is uncommon for students film production classes to have a good story and script ready in time the production assignment. In a fifteen-week schedule where 4 weeks are needed for editing, one or two weekends are needed for principle photography plus pick up days, leaving 4 important weeks for preproduction preparation, suggesting that a shooting script should be ready by the end of week three. Thus, within three weeks, a story must be created and drafted into a shooting script: NOT MUCH TIME! Of course, everything a production crew does is framed by the requirements of the shooting script whose sole purpose is to tell that great story in a way it can be shot. The means that from the outset, a class of twenty something strangers need to come up with a script in an unreasonably short time. They do somehow manage to come up with a script, but usually not a great one.

Therefore, help to resolve this dilemma, the challenge is in finding smart ways to inspire story ideas early and how to translate them into script form. For the purpose of engaging the class in idea sharing seems to help get to a script sooner and tends to advance the students problem-solving skills.

I. WHERE STORIES MIGHT ORIGINATE FROM: [This section leans into the inspiration that could spark a stories creation. Where DO story ideas come from and HOW are they made into great scripts and then great films?]

A. INSPIRATION FROM LIFE: This source would include both personal and communal experience. For some students, this is easy because their lives have been dramatically challenging. For others who have lived a more protected lifes, finding a powerful story for a great film based on their life experience is not so easy.

The challenge for personal stories is in their ability to connect with others and the writer’s ability to see the story by itself, separate from their experience: to see the story and experience as separate events. A good artist, in any discipline, must see their work objectively, to see it as their readers or audience will.

B. IMIGANIATION AT PLAY: A story could be stitched together individually or with others by tossing out unrelated ideas, playing with them, batting them about, finding it through idea fragments. This stitchery approach could start with “character building” or “situation building.”

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1. CHARACTER: Choosing to start a story by first building a fascinating character would begin by imagining an “interesting” character type, one with enduring characteristics and draft together a complete character profile. All humans are one of a kind so this character should be constructed much the same. This character should not only be interesting and believable, but more important, have the power to be enduring to an audience. The more unique the character, the more interesting, the more ordinary character the more boring. 2. SITUATION: Choosing to create a story idea, starting with a “situation” requires a similar approach to that of “building a character,” the more dynamic the situation the more compelling it will be to an audience.

C. INSPIRATION FROM LITERATURE: This method for story creation can include the classics, movies, art, music, etc. Be careful of copyright if you go down this road. To emulate an artist you admire is actually a compliment to them. Reinterpreting what one sees and hears from these important sources is how stories and art grow and evolve.

D. PERHAPS START HERE: Take advantage of normal human behavior as you see it. Most characters have daily agendas and goals in order to get through the day. The drama in ordinary lives begins when these routines are interrupted by unexpected conflict. Therefore, when an “interesting character” with a worthwhile goal is interrupted (surprised) by an unexpected action to which he or she must make a hard choice, the story is on its way. The power and dynamic of a story will be in how enduring the character is and how threatening and difficult the conflict. II. COMMON THEMES IN LITERATURE A. The Individual in Nature 1. Nature is at war with each of us and proves our vulnerability. 2. People are out of place in Nature and need technology to survive. 3. People are destroying nature and themselves with uncontrolled technology. B. The Individual in Society 1. Society and a person's inner nature are always at war. 2. Social influences determine a person's final destiny. 3. Social influences can only complete inclinations formed by Nature. 4. A person's identity is determined by place in society. 5. Despite the pressure to be among people, an individual is essentially alone and frightened. C. An Individual's Relation to the Gods. 1. The God(s) are benevolent and will reward human beings for overcoming evil and temptation. 2. The gods mock the individual and torture him or her for presuming to be great. 3. The gods are jealous of and constantly thwart human aspiration to power and knowledge. 4. The gods are indifferent toward human beings and let them run their undetermined course. 5. There are no gods in whom people can place their faith and they yearn for meaning in the universe.

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D. Human Relations. 1. Marriage is a perpetual comedy bound to fail. 2. Marriage is a relationship in which each partner is supported and enabled to grow. 3. An old man marrying a young woman is destined to be a betray. 4. Parents should not sacrifice all for a better life for their children. 5. There are few friends who will make extreme sacrifices. E. Growth and Initiation. 1. A boy and a girl must go through a special trial or series of trials before maturing. 2. Manhood or womanhood is often established by an abrupt, random crisis, sometimes at an unusually early age. 3. Aspects of childhood are retained in all of us, sometimes hindering growth, sometimes providing the only joy in later life. 4. A person grows only in so far as he or she must face a crisis of confidence or identity. F. Time 1. Enjoy life now, for the present moment, because we all die too soon. 2. By the time we understand life, there is too little left to live. G. Death 1. Death is part of living, giving life its final meaning. 2. Death is the ultimate absurd joke on life. 3. There is no death, only a different plane or mode of life without physical decay. 4. Without love, death often appears to be the only alternative to life. H. Alienation 1. An individual is isolated from fellow human beings and foolishly tries to bridge the gaps. 2. Through alienation comes self-knowledge. 3. Modern culture is defective because it doesn't provide group ties which in primitive cultures make alienation virtually impossible. ______

III. STORY STRUCTURE OPTIONS: Plots and subplots A. The “A” Story: The description of the characters and the events that are the most important. At the end the most important story is wrapped up last and the least important is finished first. B. The “B” Story(s): Those sub-plots that interweave with the “A” Story.  There are usually 4 to 6 sub-plots in a movie  Each sub plot is made up of 4 or 6 scenes  They are self-contained miniature stories,  They do have their own act breaks: so in the subplots there needs to be distinction between each of their beginnings, middles and ends.  They support the main (A Story) C. When inter-relating the “A” and “B” stories, it is a good idea to contrast emotions, to vary the emotional intensity to pull the audience into and along with the story.

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D. If you are going to have a pay-off then you must have a set-up. Likewise, if you set something up then you pay it off or lose it from the story. If the audience is expecting something and you don’t deliver then they won’t like your film. E. PLOT TWIST: Filmmaking is a “question and answer” process, a dialogue with the audience. The plot twist needs to work in context with answering a question in an unexpected way. F. STORY WRAP UP: Make it short and sweet. It is the poignant moment after the resolve when the important story elements are enthusiastically brought together. G. WRITING RULES: T.S. Elliot said “It’s not wise to violate rules until you know how to observe them” Rules are the guiding principles that help the writer navigate to a good story. The rules have had centuries of trial and error to figured out how they work best and what kind of stories are of interest to the most people. ______

IV. TIPS FOR THE SUCCESSFUL SHORT SUBJECT STORY AND SCRIPT

A. “Build the plot around a single, clear dramatic action, which arises from a single, clear conflict.” (Dan Gurskis) B. “Limit the time frame of the action. Consider a deadline by which something must be accomplished or the conflict must be resolved.” (Dan Gurskis) C. Limit the number of characters. D. Make it visual. E. From the outset, do we get to know and like the protagonist within the first thirty [:30] seconds of the film? It is essential that the audience finds empathy for the protagonist right away. F. In a short-story, because of the sheer brevity of the plot, the first choice (goal) is sometimes made prior to the fade-in. The film then opens with the consequence of the choice. But then the main character confronts an obstacle, the inciting incident, thus kicking the story into action right away. G. The short film story formula might look something like this: “We see an interesting and/or likeable character with a worthwhile goal. Something happens to interrupt the character, which then forces her or him to make a choice: another way to think of it, problems develops within the character as he/she moves towards the goal.” After all, life questions are motivated by unsolicited trials and tests. H. STORY TYPES OVERVIEW: the first thing to decide is the central theme for the story. Why do you want to tell this story? And then, what is the value of this story to an audience? In this regard, it is vitally important that there are shared life values between the story and the audience; because of the power of resonance. It is also of importance that the story transcends the personal. What makes the story different? What are you bringing to this subject that an audience has not already yet seen? ______

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V. STORY CRITIQUE: GUIDING QUESTIONS TO MAKE YOUR GREAT SHORT FILM

1. Questions related to technical information: A. What is the requirement for the final length of the film? B. How much license will each member have to affect the story? C. What are the time limitations to write, shoot and edit the project? D. What are the financial assets or limitation available to make the project?

2. Questions related to the stories thematic concepts: A. What is the genre for this story: does the script follow the rules or norms of this genre? B. What is the writer’s premise for the story (subject matter)? C. What is the intended impact of the story on the audience? How is the audience to think and feel?

3. Questions related to drama/conflict: A. What is the major situation/conflict in which the characters find themselves? B. What are the major forces in conflict; how critical are they? C. Does the script have a clearly defined narrative/plot line? What are the plot needs/motivations? D. Could a reordering of sequences make the plot clearer or would such an effort change the plot? E. Would more exposition in the script help clarify the plot or would it cause the story to slow down? F. Does the plot have momentum from scene to scene or is it sluggish with unnecessary details or redundant information? G. As the story progresses, are its turning points from scene to scene (and act to act) sufficient to propel the story? H. As the story progresses is it predictable or does it have exciting twists and surprises? I. When we finally reach the decisive climax, does the story end too abruptly or does it seem to linger on too long? (Too anticlimactic)

4. Questions related to character(s): The core of every interesting personality lies in the person’s conflicts and unfinished business. A. Through which character does the audience best follow the story? B. How do other characters see the Hero and the problem? C. How dynamic is the resolution to the major character’s unfulfilled desires?

Final Thought: In filmmaking there is a relationship between the writer and the picture editor in that they both ask these same questions. As the film is being molded into shape, the editor critiques it against those dramatic elements and adjusts the film to make it great. As the project is brought to time and then previewed by the class for its response, the filmmakers carefully refine the plot, characters and the dramatic effect of the film,

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refining for clarity and emotional impact producing that great film. Interesting enough, in the end of the process, the film represents “the final rewrite.”

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VI. THE SCRIPT’S “BIBLE”: (according to Wikipedia) A “bible” for screenwriters is a reference document used for information on a series of' characters, settings, and other elements. Show bibles come in two forms:  The first types are updated as a series progresses, and are expanded with information on the characters after the information has been established on screen, and often go into extensive detail about the character's histories.[1] The Frasier show bible, for example, was "scrupulously maintained", and anything established on air — "the name of Frasier's mother, Niles' favorite professor, Martin's favorite bar...even a list of Maris' [dozens of] food allergies" — was reflected in the bible.[1] The bible then serves as a resource for writers to keep everything with the series consistent.[1]  The second types are used as sales documents to pitch a new series to a television network or television studio and help them, as well as any new writers who might join the writing staff, understand the series.[1] These types of bibles discuss the histories of the main characters as well as the fictional universe the series is set in and include a mention of future plotlines in the form of a brief outline of each season.

VI. SCRIPT FORMATTING A. On average, one page of a script represents one minute of screen time. This is not true for action scenes, but it is a fair average that helps predict production needs. B. When assigning scene numbers the general rule is that a number is added to a scene when: 1. There is a change in location 2. There is a change in time of day 3. There is a change in state of mind of a character (flashback, flash forward or there is an altered state of consciousness in a character.

This is because the production team must change their filming approach. Scene numbers are important to planning of budgets and time to shoot.

BIBLEOGRAPHY

Dan Gurskis, The Short Screenplay: Your Short Film from Concept to Production, Cengage Technology, Mason Ohio, 2007, ISBN-13: 978-1-59863-338-2 Edson, Eric, The Story Solution, Michael Wiese Productions, 2011, ISBN 978-1-61593-084-5 Seger, Linda. Making A Good Script Great, 3rd Edition, Hollywood, Samuel French, 2010, ISBN 978-1-93547-01-2 Seger, Linda. Creating Unforgettable Characters, Hollywood, Samuel French, 1990, ISBN 978-0- 805011715

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Joseph Campbell, The Hero with a Thousand Faces, New York; Pantheon Books, 3rd Edition, 2008, ISBN-13: 978-1577315933 Egri, Lajos. The Art of Dramatic Writing, New York, Simon and Schuster, 2009, ISBN-13: 978- 9562915861 Field, Syd., Screenplay: The Foundations of Screenwriting New York, The Bantam Doubleday Dell, 2005, ISBN-13: 978-0-385-33903-2 Michael Rabiger, Developing Story Ideas: Finding Ideas You have Not Had Yet, 2nd Editing, Focal Press, 2013 p. 25 Chapter 4 Roberta Marie Munroe, How NOT to Make a Short Film: Secrets from a Sundance Programmer, Hyperion, New York, 2009, ISBN 978-1-4013-0954-1

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SECTION 3

PRODUCING AND PRODUCTION FORMS

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PRODUCING AND PRODUCTION SECTION

A production assignment always starts with 3 questions: 1) “Can you make a plan to shoot the project, on time and on budget?” 2) “Can you execute that plan on time and on budget and 3) meet delivery requirements?”

In the production experience, the Producer is the great protector against Murphy’s Laws (See: http://www.murphys-laws.com/ )

THE PRODUCER: OVERVIEW: In film production classes, the Producer is the primary leader of the team because she or he is the person in charge of the budget, securing locations (in concert with the Director and Cinematographer), and setting up the shooting schedule (in concert with the Director). He or she makes sure all props and equipment are procured for the days of shooting and that if permits are required that they are pulled with the Film L.A. Inc. (film commission) http://www.filmla.com/ and or campus representatives. He or she must make sure everyone on the team is consistently informed of the schedule before the days of shooting or any other activity that involves the group and particularly if there are any changes in the planning. The producer’s organizational notebook should have sections for the following:

I. Management of TIME and SCHEDULES. In the requirements for preproduction, production and post-production activities simply ask: “Who wants what when?” A. Create/establish a paper/hard copy calendar with all due dates. B. Taking the “shot list,” organize the shooting schedule for the day of shooting. C. In a normal shooting situation, you should achieve bout 20 camera set-ups a day. Each day consists of a maximum of 12 hours, 10 hours is for shooting. This means an hour is for setting up at the location and an hour to take down and watching red of the tail lights leave. If you make a location move during the day, that move will likely cost you a minimum of 3 hours. D. The shooting ratio is estimated at 10 to 1 for any way you shoot.

II. Management of the BUDGET A. Collect money from teammates (owners) and set up income and expense forms. B. Set up an account at a bank or credit union that allows for your easy access to pay bills C. To start the budgeting activity, after doing a script break down, propose a preliminary budget for each department using the budget forms (use the paper form, not electronic.) D. Each department then takes the preliminary budget and research to solidify the real costs and send this information back to the producer. E. The hard task is to bring the cost in line with the actual money in hand. F. This step involves finding more affordable alternatives to high costs (imagination and faculty advise very helpful to inevitable compromises)

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G. Once a working budget is approved, make copies for team members before production starts for their reference. H. Have team mates do research regarding potential expenses in their assignment I. Coordinate with team to establish a budget. J. You are the responsible party to pay bills using the team money – so pay bills on time. K. In the end, publish a full accounting of all income and expenses to you team mates and the professor.

III. “Game Day” - Management the ACTIVITY OF THE SET A. Under no circumstances is it permissible to shoot a scene in a way that puts yourself, your cast, your crew or the public in harm’s way. B. There is a good spirit of cooperation and good will when everyone feels important and appreciated. Be a good cheer leader. C. Create a cast and crew contact list. D. On the day before shooting, send out “call sheets” including information of the shots to be captured on that day and the order of shooting. E. If there are any changes, inform all personnel in a timely manner. F. Aside from the 1st A.D., the next important ally is the Script Supervisor who keeps the “lined script” which is the record for what is shot on the set.

IV. Management of EQUIPMENT, MATERIALS and CONTRACTS A. Secure appropriate contracts and agreements: (coordinate with cinematographer and production sound) 1) Talent release forms 2) ALL insurance forms 2 weeks prior to shooting 3) Location agreements (on and off campus) 4) LA Film Shooting Permits (or other jurisdictional permits as may be required) B. Be sure all equipment works before it is checked out. C. Be sure all equipment is safe and secure during production by establishing a secure “staging area”. D. Be sure all equipment is returned properly

V. Management of DELIVERY obligations: Ask: “Who wants what when?” A. What are the specific delivery requirements (coordinate with the editors) B. How is the project to be exhibited? C. Do you plan to go to festivals after the class is over? ______

The 7 “P”s of Production: by Jack Horger A.C.E.

Proper Prior Planning Prevents Piss Poor Performances

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PREPRODUCTION PROCESS: THE most important task of a producer is in making sure ALL PARTIES are prepared before the shoot dates, (before “game day”). The Preproduction of a project has four (4) stages:

2. DISCOVERY: Breaking down the “locked” script. Identify all elements of the script requires to tell its story: cast, locations, props, special effects. Include needed items NOT mentioned in the script. Begin the “shot list” – imagine those shots deemed to be necessary to tell the story. The “shot list” is what all departments plan for/with.

3. RESEARCH: All departments locate needed elements and cost them out and ascertain availability.

4. NEGOTIATING: Shop around to get the best deal and secure all elements. Finalize “shot list.”

4. REPORTING: “The Production Meeting”. Prior to shooting, ALL PARTIES sit and report all their preparedness.

REMEMBER - - YOUR FILM PROJECT CHALLENGE:

1. Can you make a plan to shoot a good film you can afford within the limits of time and money available?

2. Can you execute that plan - on time and on budget?

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SAFETY GUIDELINES

FOR CSUN STUDENT FILM PRODUCTIONS and CAMPUS HAZARDOUS SHOOTING CONDITIONS POLICY

Developed by the Film Production Faculty Department of Cinema and Television Arts

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PREFACE

UNDER NO CIRCUMSTANCES IS IT PERMISSIBLE TO FILM OR TAPE SCENES WHICH PUT YOURSELF, YOUR CAST, YOUR CREW OR THE PUBLIC IN HARM'S WAY.

What follows are just a few of the situations and conditions which are considered hazardous and therefore require special discussion with the faculty.

All possible situations cannot be mentioned here. Your common sense and general alertness will, of necessity, be your guide. The ultimate responsibility for safety lies with you and your fellow crew members. Protect one another.

If you have questions regarding this policy (or any other aspect of your production) please contact the instructor of your class or the film production option head.

"When it comes to safety, the margin for error is zero percent. We are in the business of creating the illusion of risk and jeopardy -while knowing the safety factor is one hundred percent." Jan Van Wyck, Producer Conspiracy Theory

NO SHOT IS EVER WORTH INJURY OR DEATH

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INDUSTRY WIDE LABOR-MANAGEMENT SAFETY COMMITTEE GENERAL CODE OF SAFE PRACTICES FOR PRODUCTION

1. GENERAL RULES

Familiarize yourself with emergency procedures for each location. You are responsible for knowing how to react in an emergency situation. Contact a faculty member or staff person if you do not know emergency procedures. Be prepared.

At a minimum, a four-foot perimeter should be kept clear around the interior of the soundstage walls. Make sure all exit doors are unobstructed, unlocked and capable of being opened from the inside.

Good housekeeping should be maintained at all times. Walkways and work areas are to be kept clear of materials, trash, equipment and debris, before during and after production.

All decorative set materials should be flame retardant or made of non-combustible materials if such materials will be exposed to hot lamps, fire effects or other ignition sources.

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Obey all "No Smoking" signs. Observe designated smoking areas and always extinguish cigarettes in the appropriate containers (butt cans).

Fire equipment (hydrants, extinguishers, sprinklers, hoses, etc.) must be accessible at all times. Always be aware of personnel working above and below you. All overhead equipment fixtures and props should be properly secured.

All cables should be neatly routed. Cables in walkways and traffic areas should be covered with mats and/or cable crossovers.

Pranks and other types of horseplay are unacceptable. Distracting crew members could result in accidents and injuries.

Report accidents immediately to your professor and the CTVA office. Follow instructions given to you when referred for medical treatment for any injury and retain documentation. All injuries must be reported on the date of occurrence.

Wear appropriate clothing and any required personal protective equipment (PPE). A shirt and proper footwear should be worn at all times. Safety glasses or hearing protection must be worn when operating equipment or performing work where eye or ear damage could potentially occur.

Be aware of general location safety concerns, including extreme temperature conditions, physical surroundings, indigenous critters and nasty plants.

Every crew must have their own Fire Extinguisher, First Aid Kit, and know the location of the nearest Emergency Room. Fresh, bottled WATER in plentiful quantity must be available on set. If shooting in a remote area (desert, forest), make sure that cell phones ACTUALLY WORK or else meet with the local authorities (park ranger, sheriff, fire dept.) and arrange for the use of a portable radio to communicate with them in the event of an emergency. Know how to deal with snake bite or scorpion sting.

2. LIFTING & MOVING OBJECTS

Lifting loads improperly can cause back injuries.

Make sure you get the appropriate assistance when lifting or moving heavy or awkward objects. Avoid lifting such objects whenever possible by using carts, dollies and other mechanical devices or GET HELP.

Before sifting any load, check for slivers, jagged edges, burrs, rough or slippery surfaces and protruding nails.

Check your intended path for obstructions.

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3. COMMON FALL RISKS Fail Protection Use appropriate fall protection equipment whenever you are working greater than 30 inches above the floor, ground or other working area, when standard guardrails or other equivalent protection is not available.

Unprotected work areas such as platforms, sets, walkways, cliffs, floor openings, shafts and rooftops require the use of approved fall protection measures. These measures include but are not limited to guardrails, barriers, safety net systems and/or the use of personal fall arrest systems.

Fall arrest equipment is always required when working in the permanent grid and truss system (perms) outside the catwalks and handrails on a soundstage. DO NOT use fall protection equipment without proper training and instruction. Only use appropriate anchorage points.

Temporary stair railings and guardrails are required around elevated surfaces, pits, holes or other unprotected openings. Ensure proper lighting in such areas and post signs as necessary.

Scaffolds Only use scaffolds with the appropriate guardrails, mid-rails and toe-boards. DO NOT remove guardrails; contact the scaffold "competent person" if they need to be removed to perform special work. REPORT any missing guardrails at once. DO NOT climb across braces.

Ladders Inspect all ladders before each use for broken or missing rungs, steps, split side rails or other defects. NEVER place ladders in doorways unless protected by barricades or guards.

NEVER stand on the top two rungs of a ladder. USE only approved ladders or steps. Check the labels for compliance. ALWAYS USE both hands while climbing.

4. CHEMICALS AND FLAMMABLE MATERIALS

Store all flammable liquids in approved safety containers or cabinets. Paint, chemicals, and other materials should not accumulate on stage floors, under platforms or in other work areas.

You should know and follow proper handling and storage procedures for all combustible or flammable materials. Ensure that there is proper ventilation and wear appropriate personal protective equipment (PPE).

5. HAND TOOLS AND RELATED EQUIPMENT

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Use the right tool for the job. Do not use tools or equipment for which you have not been properly trained and qualified. See a faculty member or staff person if you are unfamiliar with the equipment, have any questions or feel that you need additional training.

Ensure that all equipment is in proper working order and that all protective guards are in place and used. Do NOT attempt to alter, modify, displace, or remove any existing safety equipment.

Saw guards, safety switches and other safety mechanisms are installed for your protection. Tag ("Do Not Use") and report any damaged or malfunctioning equipment.

Wear appropriate personal protective equipment (PPE) and be aware of flying debris.

6. ENVIRONMENTAL CONCERNS

All hazardous waste generated by the company, including paint, must be disposed of properly. Be aware of hazards associated with lead paint and asbestos. If encountered, immediately report it to the producer.

Be aware of biological hazards such as human or animal waste, mold, fungus, bacteria, body fluids, blood borne pathogens, used needles, vermin, insects and other potentially infectious materials. Production personnel shall not enter confined spaces (manholes, underground vaults, chambers, silos, etc.) until the oxygen and gas levels have been checked and confirmed to be within acceptable levels.

Certain situations may require permits and/or licenses, for example, when the production will be using artificial smoke, large dust effects, creating excessive noise or when working around endangered plant or animal life.

AIRCRAFT FIXED-WING AIRCRAFT

Filming in and around airplanes -even when they are not moving -presents unique challenges and difficulties for the professional- and especially, for the student filmmaker.

Aircraft Hull and Liability Insurance usually excludes use for "commercial" use (which includes motion pictures). Be aware that the CSUN does not and will not provide such insurance.

Most airports require Property Liability above the University's limit of one million dollars. Thus, filming on airport property or around parked aircraft can be cost prohibitive, as well as hazardous to your cast, crew and spectators.

Safety around aircraft becomes an even bigger issue since insurance coverage is demanding. Aircraft on the ground, parked and non-operating is one issue. Filming operating aircraft either

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Film Production Option Handbook on the ground or in the air is another. In both cases the use of such aircraft will require the approval of the airport and perhaps the Federal Aviation Administration and/or its local General Aviation District Office (GADO).

Many aircraft owners and privately owned airports will be happy to have you film their facilities in order to get a piece of film with their property on it. Many who offer their services are unaware of the rules, regulations and insurance requirements. Until some disaster occurs. Then the airport owner, aircraft owner and filmmaker are all held liable and punishable under local, state and federal law.

Working around, near or with moving or stationary aircraft can be a high risk activity for cast and crew. ANY PROPOSED USE OF AIRCRAFT must be discussed in detail with your instructor and the Film Production Option Head, well in advance of filming so that an acceptable safety plan can be developed.

HELICOPTERS

Helicopters are not permitted on any student film in any way for any purpose - ever -whether operational or non-operational. There are never any exceptions to this policy.

DRONES

Drones are not permitted on any student film in any way for any purpose - ever -whether operational or non-operational. There are never any exceptions to this policy. [CSUN has a specific permission policy for anyone using (UVAs) Unmanned Aerial Vehicle.

ANIMALS

All productions made in the California State University, Northridge Department of Cinema and Television Arts must follow the American Humane Association Guidelines for the protection of animals in films.

A copy of the guidelines can be obtained from that organization.

No wild or exotic animals (including reptiles) may be used in a student film without prior, written permission from the Film Production Option Head and the faculty member responsible for the student project.

No animal stunts or potentially dangerous animal action shall be permitted in a student film without prior, written permission from the Film Production Option Head and the faculty member responsible for the student project.

Animals are unpredictable, if animals are used in filming, the Animal Handler should meet with cast and crew and inform them of the safety procedures in effect and answer any questions. Safety

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Do not feed, pet or play with any animal without the permission and direct supervision of its trainer. Defer to the animal trainers at all times.

When working with exotic animals, the set should be closed and notices posted to that effect, including a note on the call sheet.

BOATS AND WATER

If working on or near water, a cast or crew member should make the production aware if he or she has a fear of working around water or cannot swim.

All cast and crew members working on or near water should wear life vests or other water safety gear when appropriate.

When using watercraft, be aware of load and rider capacity limits. Only required personnel should be on the watercraft; all others should remain on land.

Safety lines, nets, watch safety personnel and/or divers should be used when filming in rivers or other bodies of water where potentially hazardous conditions could exist (e.g., swift currents, thick underwater plant life, or rocks).

Know as much as you can about the body of water you're working on or in, including its natural hazards and animal life.

ELECTRICITY

Never take electricity, electrical appliances or lighting units for granted. Take the time to respect the use of electricity by following these guidelines.

Before leaving the CTVA Equipment Room with electrical equipment examine all cables for breaks or cuts in the insulation. The same examination should be made of cables on the stages prior to connecting power. Do not use damaged cables.

Do not let your body become grounded. Many factors can put you at risk of becoming grounded. If you are grounded, it means you have the potential of becoming part of the electrical circuit and thus, open to having electricity pass through your body. This can be fatal!

The following is a partial list of the serious risks on both interior and exterior locations:  wet feet  wet hands  wet or damp floor or ground  wet lamps

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 wet cables  touching two lamps at the same time -even when conditions are dry  faulty circuits at your location  faulty wiring of your lighting equipment, appliances or cable  insulation breaks or cuts in the cable  touching electrical equipment and a grounded object any place where water is present

Only a licensed electrician can "tie-in" to power and disconnect power at a location. This is the HAZARDOUS SHOOTING CONDITIONS policy. CSUN prohibits students from "tieing-in" to electrical mains.

Know where the circuit breakers are at your location and DO NOT OVERLOAD any circuit.

When selecting a location, it is required that you first use a CSUN recommended testing device to check the proper grounding of ordinary three- prong household outlets. A location which shows an electrical fault as indicated by the testing device must be rejected.

Carry, as part of your equipment, an extension cable which has a GROUND FAULT CIRCUIT INTERRUPTER (GFCI).

Older location structures which have only the two-prong type outlets must be avoided. If your location uses the old screw-in fuses, do not shoot there. Consult with faculty or staff to examine alternatives in these latter instances.

NEVER USE ALUMINUM LADDERS or any METAL support such as kitchen stepstools when working with electricity. Tape down electrical cables if you must lay them across doorways. If rubber matting is available, use it over cables and tape the matting down.

Wet feet and wet hands make you into a better conductor of electricity than the best grounded circuit. Feet and hands must be dry when doing any kind of work involving electricity.

NEVER TOUCH TWO LIGHTS AT THE SAME TIME

Do not reach for an electrical appliance that has fallen into water. Unplug the device immediately.

Always hold the cable connector or plug when disconnecting a cable. Never pull from the cable.

Examine all electrical equipment for signs of wear. Watch out for breaks or openings in any cable, any plug or any place where the cable attaches to a lamp.

Uncoil electrical cables before they are used. Cables must not remain coiled while they are connected to power.

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Keep all exits where you shoot clear of equipment and cables. Escape routes must be understood by the cast and crew.

If rain is imminent, stop and disconnect power before you and your equipment get wet. Do not charge auto batteries or use jumper cables without following the manufacturer's recommendation. Do not use auto batteries to run cameras.

FIRE

The use of fire -that is any open flame -constitutes a particularly hazardous situation on any film set. Candles, fireplaces, campfires, cigarette lighters and the like are potentially disastrous effects and extreme care must be taken to avoid endangering yourself and/or your cast and crew. • If you are shooting in a local location (LA County or City), the Film Permit Office may require the presence of a professional Hire Safety Officer ( in fact, probably will) if an open flame is used. If you are filming in a "High Fire Hazard" area you will not be allowed to use an open flame. • Designate a crew member as "Student Safety Officer". They will assume primary responsibility for seeing that the open flame is kept under control. • Make sure that an adequate number of proper fire extinguishers are at hand. • Test the extinguishers before igniting any open flame to insure that they are in working condition. • Filming requires control. Fireplaces and campfires are usually fed by propane tanks which enable complete shut down between takes as well as regulation of flame height during the shot. Fire pans and flume bars can be rented at special effects houses. If you have not been trained in the safe use of such devices it may be necessary to have a qualified professional present to operate them.

In special situations the CTVA Department may require the presence of a qualified Special Effects Supervisor and/or the University Safety Officer (or his representative) on your set when fire is used. • Consider that the illusion of fire can be created with a lighting effect. • Be careful with loose clothing around open flame. Untreated fabric can ignite quickly and cause severe injury.

GLASS

The use of locations, sets, set dressing or props which involve the handling or working in close proximity to, glass objects or architectural/structural glass creates a potentially hazardous situation for cast, crew and spectators.

It is advised that all architectural and/or structural glass be checked carefully to assure that it is approved safety glass.

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All glass doors and panels and other large areas of glass at or near ground level- or at entryways should be marked with large, white tape "X's" to enhance their visibility.

Cabinet or showcase glass, glass tables, glass decorative panes or partitions, lamps or hanging glass fixtures, glass sculptures, glass picture frames, glass or china dishes and other hand-held glass objects need special consideration, Consider removing them and replacing them with plastic or "candy-glass" objects.

GUNS

The use of firearms with operating parts, or any type of explosive weapons, in any CSUN student film is prohibited. Even non-firing guns can create a hazardous situation if they are perceived as a "threat" by others.

Under special circumstances a rubber, fiberglass or plastic replica WITHOUT operating parts may be used with the permission of the professor and Film Production Option Head. • You will need a "Rental Weapon Authorization Letter" from the Film Production Option Head which the prop houses will want to see before they rent a prop gun to you. • Rent non-firing weapons only from approved prop houses such as Independent Studio Services. • Transportation of all prop guns should be in unidentifiable containers in the trunk of your vehicle. Carry a copy of the Authorization Letter on your person.

Be aware; it is a felon to transport any weapon on to the CSUN campus without written authorization. The use of weapon(s) including non-firing ones will always require a Filming Permit from either the City or the County of Los Angeles. You must note the use of a prop weapon on the permit application. A "courtesy phone call" to the local police jurisdiction notifying them of what you are doing, where and when and the film permit number, is advisable if a personal visit is not possible. Make certain the neighbors surrounding the location are aware of the use of prop weapons in your filming. Posting signs "Student Filming in Progress" may be required.

The dangers of using firearms - even non-firing replicas - is illustrated by this newspaper article: Sunday, October 29, 2000 LAPD Officer's Gunfire Kids Actor at Party Shooting: Halloween reveler at mansion pointed what turned out to be a fake pistol at patrolman, who feared for his life, police say. By RICHARD WINTON and SUE FOX, Times Staff Writers

A Los Angeles police officer responding to a loud Halloween costume party at a Benedict Canyon mansion early Saturday morning shot and killed an actor, who authorities said pointed what turned out to be a fake handgun at him. Anthony Dwain Lee, 39, of Van Nuys, who appeared in the movie "Liar, Liar" and on such television shows as "ER" and "NYPD Blue," was shot at multiple times by Officer Tarries Hopper, who fired from outside through a window, authorities said.

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Scores of costumed party-goers, many of them actors and other entertainment industry professionals were inside the mansion--known to some as "the Castle" for its extravagant design, spires and stained-glass windows--when the shooting occurred about 1 a.m.

"He was a Buddhist. He hated violence. It is amazing he died this way," said Mitch Hale, a writer friend whose play "Buffalo Soldier" starred Lee and earned him a local acting award. "He was an incredibly gifted actor and person. It's devastating.... Why did they shoot someone at a Halloween party?" Police said Hopper and Officer Natalie Humphreys were attempting to locate the owner of the home in the 9700 block of Yoakum Drive after neighbors complained about the noise. The officers were walking along an exterior walkway at the rear of the house when Hopper looked into a small room that appeared to contain three people, police said, "When one of the individuals observed the officers, he suddenly produced what appeared to be a handgun and pointed it directly at Officer Hopper," Officer Charlotte Broughton said. "Officer Hopper, in fear for his life, fired several rounds from his service pistol, wounding the suspect."

It was not clear whether the victim knew that Hopper was a real police officer. One guest said some party-goers were dressed as police officers. Upon examination, Broughton said, the alleged weapon was determined to be "a replica semi-automatic pistol, dark in color." Lee, who was identified by the county coroner's office, died at the scene. "This is a tragedy," said Broughton. "It's a very unfortunate incident.'

The shooting is being investigated by the LAPD's Robbery-Homicide Division and a team from the district attorney's office. Hopper, 27, has been with the department three years, while Humphreys, 25, joined the force two years ago, police said. Erik Quisling, 29, a party-goer, said a friend of his, who is a nurse, tried to revive Lee. "He was wedged up against the bed on his side," Quisling added.

Quisling said he was standing in the doorway of the bedroom where Lee was shot. He said he did not witness the moments before the shooting or the shooting itself. He also said he did not hear police officers give a warning, although there was music blaring at the time.

"I heard this 'pop pop,' saw the holes in the glass, smelled the smoke, and then there was this guy on the floor totally dead," he said. "The cop shot from outside through a window to inside the house and kills this guy four feet from me. One minute he was talking; the next minute he was dead."

Quisling said the small room looked out onto a dimly lit grotto with a small pool. The officers, he said, were standing in a paved area by the pool.

At the time of the shooting, Quisling said, many people had left by shuttle because the party was moving to an artist's studio. The mansion is on a narrow canyon road, home to an eclectic array of houses.

Another party-goer, Robert Hull, 28, who works in movie production, said he did not see the shooting because he was in an adjacent hallway. "It was a shock that an officer would shoot at such a party," he said.

"This was an exclusive party with security," he said. "Some of these people are making six figures, and this officer saw a toy gun at a Halloween costume party and opened fire."

Victim Turned Life Around, Friend Says

Hale, 44, who had known the victim for 15 years, said Lee usually wore a devil mask costume with a hood and

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carried a replica gun to Halloween parties. Hale was not at the party. Authorities did not say whether the victim was in costume at the time of the shooting. Lee's costume and gun, Hale said, were "a symbol of the past he had left behind him," As a youth in Northern California, Lee had followed the gangster life before becoming a stage actor-, first in Ashland, Ore., then Seattle and eventually Los Angeles, Hale said, "He was dressed as a devil, not a gangster," he said. "How could this happen?"

Hale said his friend was committed to peace and had even persuaded him to become a Buddhist. Kirsten Blackburn, Hale's wife, said the Lee she knew would never point a gun at anyone. She said his friends are planning a candlelight vigil in front of the LAPD's West Los Angeles station. "We are going to try for Monday night. We're going to invite everyone who knew and loved Anthony," she said. "We're devastated, and we're not alone by any means."

Lee's former girlfriend, Annie Esty, 44, who lived across the hall from him, described the actor as a compassionate, reflective person whose apartment was filled with books on acting and directing. As she talked, she leafed through old pictures and newspaper clippings of him and was comforted by another friend, Mary Lin. "His biggest fear was getting killed by cops, because he's a tall black man. He said that before," recalled Lin, of Burbank.

The light was still on at Lee's apartment late Saturday, Lin said that when she walked into the apartment complex and "saw the light coming out, I just felt his presence. It was everywhere, a positive feeling, like him saying, ‘I’m still here.' "

The Los Angeles Times

MOTOR VEHICLES

The California State University, Northridge insurance policy does not insure vehicles of any kind. You must provide your own insurance for any vehicle in your production, either on camera picture cars or production transport.

Also, a towed generator while it is at your location, immobile and providing electrical power to your set, MAY BE insured. Once again, while being towed (moving, therefore a vehicle) it would not be covered.

Shooting on ANY public street, thoroughfare, road, highway or freeway; or NEAR ENOUGH to any such roadway so as to present a "distraction and/or disturbance" is prohibited by local, State and/or Federal law without the proper permits and safety procedures.

The complexity and potential danger of filming moving vehicles -even on a professional level – requires extensive planning, costly special equipment, considerable training and experience and a commitment to safety at all times.

Filming moving vehicles in a student film is permitted only with faculty approval.

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CAR MOUNTS ARE NOT PERMITTED. This applies to lights as well as cameras. Shots inside a moving car may only be filmed "hand-held" and only with faculty approval.

TOW SHOTS ARE NOT PERMITTED. The use of an insert car or another vehicle to tow a picture car is not allowed in any student film.

FILMMAKERS ARE REQUIRED TO OBSERVE ALL STATE, LOCAL AND FEDERAL VEHICLE CODES at all times.

When using any automotive vehicle whether on-camera or as a production vehicle SEAT BELTS WILL BE USED AT ALL TIMES.

FILMMAKERS ARE NOT EMPOWERED TO DIRECT OR CONTROL TRAFFIC IN ANY WAY. The law prohibits controlling or limiting the natural flow of pedestrian or vehicular traffic on a public thoroughfare. Budget for adequate police assistance if necessary.

FILM STUDENT CRITICAL AFTER TRAFFIC ACCIDENT By Margo McCall Staff Writer

LITI'LEROCK- A Los Angeles film student was struck by a dump truck Monday afternoon after venturing on to Palmdale Boulevard to stop traffic to allow filming. Jonathan Rosen, 27, was reported in critical condition at Antelope Valley Hospital Medical Center with a broken leg, pelvis and foot and internal injuries, a hospital spokeswoman said Monday night. California Highway Patrol officer Charles Galliard said the group from Los Angeles based American Film Institute did not have a permit to film.

For that reason he said, the CHP will seek prosecution of the school through the district attorney's office for the students’ not obtaining permits and providing road signs and appropriate traffic control devices including a uniformed officer. A school official did not return a phone call Monday afternoon. The Los Angeles County Department of. Public Works provides permits for film crews at a cost of $200 to $300, said Harry Anderson, who works in the permits division. Anderson confirmed that the students did not have a permit to film. "To my knowledge they didn't," he said.

Gilliand said a group of ten people was standing on the shoulder of the highway when Rosen stepped out to stop the traffic so they could film a student produced project. Normally, groups planning to film in the Antelope Valley talk to members of the Antelope Valley Film Association, which tells crews to alert local authorities of their presence.

"This group had not come to us for any assistance for scouting and or equipment or any of the normal things," said Stephanie Abrahamson, the association's film liaison. "But that doesn't mean their intentions were bad. They might not have known there was a film commission here," she said. Abrahamson said that crews that deal with the Association normally have permits.

As the Antelope Valley's popularity as a location has increased, so have film crews' involvements with traffic accidents.

From the ANTELOPE VALLEY PRESS- April 20, 1993

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STUNTS

Physical action requiring an actor to fight, fall, jump, run and, in general, perform in an athletic manner and/or in hazardous situations may require the services of a stunt player to double the actor.

Inexperienced actors will often assure directors that they are capable of performing their own stunts. They are not. Stunts, safely performed, require training, experience and natural ability.

A stunt coordinator is a stunt player who assumes the responsibility for supervising the entire stunt work and all stunt players in a picture.

There are several associations of stunt players listed in LA 411 such as International Stunt Association, Stunts Unlimited, United Stuntwomen's Association and Stuntmen's Association of Motion Pictures.

Stunt players are actors. The members of the above associations are also members of the Screen Actors Guild. The agreement between film schools and SAG also covers stunt players.

In addition to assuring the safe performance of physical action, the stunt player and/or coordinator can help the director in placing camera and staging the action to achieve the most effective visual impact. Depending upon the nature of the action in your script, the CTVA Department may require the presence of a stunt coordinator and/or stunt player for the filming of potentially dangerous action.

Keep in mind that many common activities, which may be simple tasks for someone familiar with the tool, toy, appliance or device, can be dangerous to someone unfamiliar with its proper and safe operation. Some examples: bicycles, skateboards, a manual transmission, motor scooters and motorcycles.

All stunts and special effects should be reviewed by all participants prior to execution to help ensure that they are performed in the safest manner possible.

Before filming a stunt or special effect, the involved parties should all perform an on-site dry run or walk-through. A safety meeting should be held and documented.

SPECIAL EFFECTS

Special effects involving pyrotechnics, explosives and/or fire are not allowed in CSUN student films.

Be aware that the use of atmosphere smoke has become highly regulated and limited by a variety of regulatory agencies.

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SPECIAL EQUIPMENT

The use of any special equipment (i.e. dollies with jib arms, scissor lifts, condors, cranes and generators) for which the CTVA Department HAS NOT PROVIDED specific training in the proper and safe use -is prohibited.

If there is agreement that the student will be allowed to use the special equipment then the following must happen:

• The student must arrange with the vendor to be trained in the use of the special equipment.

• The student must obtain from the vendor a letter (on company letterhead) to the effect that the student has been satisfactorily trained in the use of the equipment.

• If other members of the film crew are to use and/or operate the special equipment they must receive the training and be named on the letter.

Be aware that property insurance for such equipment may exceed the level provided for your class. Arranging for additional insurance will require the approval of the Instructor as well as the Film Production Option Head.

THE LENGTH OF THE WORKDAY

Brent's Rule Brent Hershman was a 35-year-old camera assistant on New Line Cinema's "Pleasantville". He died in a single car accident on the Century Freeway at 1:30am on March 6, 1997 after working a succession of 18 and 19 hour days.

Brent's death inspired a campaign for more humane working conditions- especially for "below-- the-line" employees on motion picture sets. A petition calling for a limit on the number of hours worked in a single day gained the signatures of more than 10,000 industry professionals.

As a result of that effort IA Local 600, International Photographers Guild; The International Alliance of Theatrical and Stage Employees (IATSE); the Directors Guild of America (DGA) and the Screen Actors Guild (SAG) have joined together to promote BRENT'S RULE, which would limit the hours worked on motion picture sets.

The CTVA 12 Hour Rule The CTVA Department has adopted a modified version of Brent's Rule. Student filmmakers are required to limit the shooting day to 12 hours. The 12 hours begin at "crew call" and end at "wrap".

The Evidence Is Undisputed:

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• Single car accidents are 16 times more likely to occur when the driver is sleepy • Even the greatest exertion of will cannot prevent sleep-deprived drivers from falling asleep in an instant • The capacity to concentrate at the wheel is reduced by more than 30 percent as a result of sleep-deprivation • Studies show that driving sleepy is as dangerous as driving drunk

Common sense and experience indicate that productivity and creativity suffer when cast and crew are exhausted. To promote better working conditions on our sets and to make better films the staff and faculty of the Department of Cinema and Television Arts urge you to follow the rule and limit your shooting day to 12 hours.

IN THE EVENT OF INJURY

Students enrolled in a production course are covered by their Student Health Policy. This is the case whether shooting on or off-campus.

In the case of an emergency call either the Paramedics or, if the injured person is transportable, get them to the nearest medical facility. (The nearest medical facility should be noted on the Call Sheet.)

If you are shooting on campus, the nearest medical facility is the CSUN Student Health Center and for more serious emergencies it is the Northridge Medical Center.

All injuries should be reported to your professor, the Film Production Option Head, and the CSUN Office of Risk Management.

ADDITIONAL REGULATIONS FOLLOW THE LAW.

No "wrap" beer or other alcoholic beverages to conclude a shoot.

Every camera position and every actor position must be studied for potential risks.

If you transport equipment in cars or trucks, seek advice on how to do it. Overhanging of exterior mounted equipment in or on vehicles is not only risky -it is prohibited.

Ask for instruction on how to lift and carry heavy equipment.

Wear work gloves.

Rubber soled shoes are recommended.

DO NOT USE CAMERA OR LIGHTING CASES IN PLACE OF LADDERS.

The rule for tightening and loosening mechanical things: "Righty tighty" and "Lefty loosey”.

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It is necessary to have a fire extinguisher on all sets -interiors, exteriors, on stage and on location.

Use professional earplugs when loud sounds are part of the scene.

Use an appropriate face mask for dust or smoke as the situation dictates.

Use safety goggles for eye protection.

Use sheets of clear Plexiglas to protect the camera and camera crew from flying debris. Make sure you know where the nearest hospital is relative to your location.

Have a First Aid kit with you at all times.

It is advisable that you (or someone on your crew) know First Aid and CPR (Cardiopulmonary Resuscitation).

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CTVA INSURANCE REQUEST FORM & PROCEDURES

To: All CTVA Production Students, Faculty and Staff From: David Rincon, Dept. of Cinema and Television Arts ([email protected])

Insurance requests are available for all of your production requirement through the CTVA website. The Insurance Requests Form MUST be filled out completely and submitted to David Rincon (MZ 191) or [email protected] at least TWO WEEKS ahead of your shooting date, NO EXCEPTIONS.

Liability Insurance  All cities, office buildings, parks, malls, restaurants, rental houses, etc., require a liability insurance policy certification (proof of insurance) of $1,000,000 or more before you are allowed to shoot on their property.  We must have the details, i.e., contact person, dates of shoot, etc. provided on this form.  We must know if they want to be named “additional insured” or if they only want proof of insurance. Some of these certificates may already be available in CTVA files (such as City of L.A., County of L.A., Parks Dept., City of Glendale, Santa Monica, and Pasadena). Property Insurance  Property insurance coverage is also available for theft/damage/loss of equipment (property) to be rented. WE MUST HAVE A LIST OF THE EQUIPMENT TO BE COVERED, the serial numbers (if possible), the dollar amount of the replacement value of equipment, and any other requirements the vendor may have, detailed on the company’s letterhead. All Insurance  You are responsible for any cash deposits required and any deductible amounts, and for obtaining your own permit(s). There is a $1,000.00 deductible for any equipment loss or damage. You generally cannot get any permits without insurance, and the INSURANCE PROCESSING TAKES TWO WEEKS.  Please FILL IN EVERY BLANK ON THE CTVA INSURANCE REQUEST FORM. If there are any questions, please contact David Rincon at (818) 677-3802 or you can send him a fax at (818) 677-3623. You may also contact Risk Management at (818) 677-2401.

**PLEASE NOTE: The student making the request on the Insurance Request Form will be the name that will be used on all reservation, correspondences, etc. Please include the vendor’s or location’s phone number, fax number, and a contact person.

All certificates are emailed to the student and to David Rincon by the Risk Management office. Once everything has been obtained, please check with David Rincon and make sure that everything is in order at least one week, and again two days, before the actual day of shooting. If you have any questions that cannot be answered by David Rincon or your instructor, you may call Risk Management (818-677-6830).

Also, for any entity requiring an “additional insured” endorsement to the insurance, the student must submit that request (Attachment “A”) signed by the vendor/location with the initial Insurance request form or to David Rincon to be included as an attachment to the Insurance Request Form submitted to University Risk Management. NOTE: WE DO NOT PROVIDE WORKERS’ COMPENSATION OR VEHICLE COVERAGE. Revised August 2017

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Today’s Date: ______CTVA Arri Resource Center (At least two weeks ahead of date of shoot!) (818) 677-3802 Fax: (818) 677-3623

This request must be made at least two weeks prior to production and turned into David Rincon in MZ 191. A separate sheet must be done for each location even if in the same jurisdiction. All blanks must be filled in. The insurance certificates will be faxed to the vendor contact person indicated below.

(Please Print Clearly) Group Name: ______Student Making Request: ______Phone: ______Dates of Production (Day & Date) From: ______To: ______Name of Building, Park or Vendor: ______Location: Street ______City/County ______Zip ______Phone: ______Ext.: ______Fax: ______

The top portion of attachment “A” must be filled out by production group. If the vendor or location requests to be a certificate holder or named as “additional insured” on the insurance, the bottom portion of attachment “A” must be filled out and signed by vendor or location representative.

Volunteer Informed Consent forms are recommended for “volunteers” participating in the filming activity. Forms are available in the CTVA Equipment Office.

We do not provide Workers’ Compensation or Vehicle Insurance Coverage.

 Liability Coverage: $ 1,000,000 (unless otherwise specified)  For equipment rental a separate list of equipment must be attached with the exact dollar replacement for each item. Include the serial numbers of the property to be covered. Dates of Equipment Use: Pickup ______Return: ______

YOU must do the preparation calling, etc., yourself. We DO NOT furnish permits or get permission for filming. We will provide evidence of insurance only. Insurance is not required for University check-out equipment or to film at most University Locations.

______CLASS: 452 355 341 442 441/443 Class Professor’s Signature (required) 595E (The above signature is mandatory in order to obtain insurance and must be in BLUE ink)

Revised August 2017

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ATTACHMENT “A”

REQUEST TO BE NAMED AS ADDITIONAL INSURED

If there is q request to be named as an “Additional Insured” on CSU Northridge’s (CSUN) General Liability Policy as respects use of premises or loss payee for CSUN’s Student Film Project for the required course work identified below, the bottom portion must be filled out by vendor or location representative.

Insurance Certificates (proof of insurance) are faxed to the vendor/contact person indicated below and CTVA Arri Resource Center. All blanks must be filled in.

(To Be Completed by the Student Group) PRINT CLEARLY

Group Name:______

Course (title/no./semester): ______

Instructor:______

Student Contact: ______Phone: ______

Date of Production (Day & Date) From: ______To: ______

(To Be Completed and Signed by the Party Requesting Endorsement)

Additional Insured Party or Loss Payee Name: ______

______

Contact Person: ______Title: ______

Phone: ______Ext. ______Fax: ______

Signature (required): ______Date: ______

Revised August 2017 RM 8/9/17

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Department of Cinema and Television Arts

AUDITION FORM

You are auditioning for a role in a short film tentatively titled::

______intended as a student film, or as a directing and acting exercise and will run the international film festival circuit. Understand that his is a NON_PAYING< NON_UNION production. Please fill out all the questions listed below.

Name: ______Age: _____ Sex: _____ Ht.: _____ Wt: _____

Address: ______Eye Color: ______Hair color: ______Phone: ______Cell: ______

Email Address: ______

Film/Television Experience: ______

______

1. We are estimating a ____to_____ shooting days in the month of ______20___, mostly weekends. Each day would involve roughly 10 to 12 hours of shooting at various locations in the city of ______. What is your availability?

Saturdays in ______(month) ______

Sundays in ______(month) ______

Weekdays in ______(month) ______2. Are you affiliated with an agency or union? ______

3. Understanding that, due to budget restriction, you will not be paid, why are you interested in participating in this production? ______

______

FOROFFICE USE ONLY About the Film: “______” ______

About the Filmmakers: ______

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Student Production Title: ______

Date: ______Prepared by: ______BASIC BUDGET ESTIMATES: I. Production Expenses: A. Props (rentals/purchases) ______B. Wardrobe (rentals/purchases) ______C. Make-Up & Hairdressing ______D. Special FX (equip/supplies) ______E. Craft services ______F. Location Expense (including scouting, transportation, lodging, meals) etc. ______G. G, Miscellaneous (including insurance, stationery, telephone) ______H. H. Other ______SUBTOTAL ______

II. Film and Laboratory: A. Raw stock/Original film (3 X 400’ rolls or 1200 feet or 33 minutes) ______B. Processing negative (and prep for telecini / cost per foot = .12) ______C. Telecini (30 minutes @ $350 per hour) ______D. Hard Drive (2 TB Drive – clean/unused) ______E. Other (Transcoding $300.00 per media hour) ______SUBTOTAL ______III. Studio & Facilities: A. Camera (rentals/purchases) ______B. Camera Accessories (including tripods, filters, etc.) ______C. Set dressing/Construction ______D. Electrical/Lighting (rental/purchases) ______H. Other ______SUBTOTAL ______

In-House Outside Estimate costs Final costs I. Production Expense ______$ ______II. Film and/or Lab ______$ ______III. Studio & Facilities ______$ ______IV. Contingency ______$ ______TOTALS ______$ ______

APPROVED: ______Date: ______

______Date: ______[Note: For purposes of a student production, you should not have any “above-the-line” costs (script purchase, talent salaries, producer/director salaries, or actor payment etc.); therefore, this budget form represents almost all your “Below-the-line” costs. It is most appropriate to pay for the actor’s transportation.]

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SUMMARY DETAILED PRODUCTION EXPENSES Prod #: Title: Date: Producer: Director: Writer: Director of Photography: Start Date: Scheduled finish date: Finish date:

Acct. Classification Budget Cost Estimate cost Estimate Over or No. to date to complete total costs under budget

01 Story 02 Supervisors 03 Cast 04 Direction Total Above-The-Line Costs

O5 Director’s Staff 06 Camera 07 Set Operations 08 Set Construction Costs 09 Set Design 10 Set Dressing 11 Special Effects 12 Process 13 Miniatures 14 Draperies 15 Props 16 Live Stock — Handlers and Equipment 17 Locations 18 Transportation 19 Lighting 20 Wardrobe 21 Make-Up and Hairdressing 22 Film and Laboratory 23 Telecini and Tapes 24 Sound Recording 25 Sound Royalties 26 Sound Mixing and Scoring 27 Picture Editing 28 Titles and Inserts 29 Music 30 Studio Rentals 31 Tests and Pre-production 32 Studio General Total Below-The-Line Costs Total Direct Cost 40 Contingency 50 General Studio Overhead

TOTAL COSTS

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SCRIPT BREAKDOWN SHEET

Production Title: ______Page ______of ______

Production Company ______Date ______

Director ______Producer ______

Location ______Scene INT/EXT Description Day/ # Pages

Number Night

Cast Extras Stunts Wardrobe Props

Special Efx Vehicles Special Equipment Livestock Hair/Make-Up

NOTES:

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SHOOTING SCHEDULE WORK SHEET Picture Title: ______

Director:______Producer:______

Day/Date Set or Location/ Cast Where Requirements Scene numbers working located

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PROPERTY MASTER BREAKDOWN

PRODUCTION TITLE SHOOTING DATE SET SEQUENCE LOCATION PERIOD SEASON DAY NIGHT TOTAL SCRIPT PAGES

CAST BITS EXTRAS MISCELLANEOUS

SCENE NUMBERS AND PROPS

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Script Supervisor Continuity Log Sheet Production Title: ______Report date: ______Director: ______Scene #: ______Scene title: ______Editor: ______Shoot day: ______Script Supervisor ______

Slate Shot Take Duration Shot Description / Notes Quality

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PRODUCER’S DAILY PRODUCTION REPORT Production Title:______Date; ______Name of set: ______Producer: ______Director; ______Camera: ______

Setups today: ______No. of scenes to shoot: ______Today’s call: ______

Scenes shot today: ______Days in schedule: ______Start time: ______

Total scenes in script: ______Days to date: ______Lunch: ______

Scenes previous shot: ______Days behind: ______Dinner: ______

Total scenes shot: ______Days ahead: ______Time finish: ______

FOOTAGE No of Extras and Rate: Script scenes shot today: Today To Date Total: ______

Net: ______

Due Arrive Dis- Slate No’s Shot Today Cast and Bits on set on set missed

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SCRIPT SUPERVISOR NOTES FOR EDITOR SCRIPT SUPERVISOR: ______DATE: ______

PRODUCTION TITLE: ______Page _____ of _____ Scene # Shot # Time Description

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CAMERA LOG Production:______Date: ______Page: ____

Logs by:______

Director:______Location:______

D.P.: ______Scene:______

Day Night Filters:______Dusk Dawn Effects:______

Weather:______

SHOT # DESCRIPTION F-STOP FOCAL RATING

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SOUND LOG Production: ______Date: ______Page:_____ Logs by: ______Director: ______Sound Mixer:______Boom Operator: ______Recording Device: ______Location: ______Scene:______

Scene # Take # DESCRIPTION MIC TYPE

RATING

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Office of Insurance & Risk Management

Informed Consent Hold Harmless Agreement

I, the undersigned participant, am requesting participation in the CSU, Northridge Student Film project

entitled ______,

Beginning on ______and ending on ______.

Which hereinafter is referred to as the “activity.”

In consideration of my participating in the activity, I hereby waiver all claims of action against the State of California, the Trustees of the California State University, CSU, Northridge, its auxiliary organization, and the officers, directors, employees, students and agents of all them, all of which are collectively hereinafter referred to as the “State,” arising out of my participation in the activity and hereby release, hold harmless, and discharge the State from all liability in connection therewith.

Knowing, understanding, and fully appreciating all possible risk, I hereby expressly, voluntarily, and willingly assume all risk and dangers associated with my participation in this activity. These risks could result in damage to property, personal and/or bodily injury including death.

In addition, I have been advised to obtain personal medical coverage through a medical insurance carrier of my choosing. Furthermore, I agree to use my personal medical insurance as the primary medical coverage payment if accident of injury occurs.

I have read this waiver and release and understand the terms used in it and their legal significance. This waiver and release is freely and voluntarily given with the understanding that right to legal recourse against the State is knowingly given up in return for allowing my participation in the activity.

My signature on this document is intended to be binding on my successors, heirs, representatives, administrators, and assigns.

______

Participant’s Name (print) Date

______Participant’s Signature

______Parent's Name (print) Date

______Parent’s Signature

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Talent Agreement and Release

For the valuable consideration which is hereby acknowledged, I hereby grant the following rights from me (or my minor child’s participation) in the student motion picture entitled: ______at California State University, Northridge.

This motion picture is for academic purposes in the Department of Cinema and Television Arts. The film, however, may be screened at various film festivals and other venues promoting student work.

1. The right to use my name, photograph, likeness, acts, poses, and appearance made in any manner. To record, reproduce, amplify, and simulate my voice and to reproduce, distribute, publish, exhibit, and/or transmit the same by any mechanical or electrical means for any purposes whatsoever in perpetuity.

2. The right to double or “Dub” my voice, acts, poses, and appearances to such extent as may be desired

Name (print): ______

Address: ______

Signed: ______

Date: ______S. S. # ______(Optional)

Witness: ______

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STUDENT CERTIFICATION FORM

To Whom It May Concern

This is to certify that ______is registered in classes here at California State University Northridge, (CSUN), in the Department of Cinema and Television Arts, enrolled in the CTVA______class for the ______semester of 20_____ and is engaged in the production of an authorized film project entitled : “______”. This project is for academic purposes only and not for commercial use.

The following individuals are member of the crew:

Name Position Phone number

______

______

Filming location and street address: ______

______

Date and times of shoot; ______

Description of action: ______

(See attached script)

Number of cast and crew: ______

Print student name: ______Date ______, 20____

Student signature: ______

Print professor name: ______Date ______, 20____

Professor Signature: ______

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LOCATION RELEASE

Date: ______20______

Name of Program: ______

Description of Premises: ______

Address of Premises: ______

Shooting Date(s): ______

Student Representative: ______

I hereby agree that Cinema and Television Arts students of California State University Northridge (CSUN) and all related production equipment may be on and around the identified premises on the shooting date(s) indicated above for the purpose of electronic recording at the premises in connection with the Program. I agree that CSUN students may incorporate such recordings, in whole or in part, into the Program. The foregoing shall include but not be limited to the right to use likenesses of the premises for Program packaging, promotion and publicity purposes.

I represent and warrant that I have the legal right and power to grant the rights set forth above.

Name: ______

Signature: ______

Address: ______

______

______

Phone number: (______) ______

RM 12/26/2016

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CALL SHEET Production title:______Date:______Location: ______Phone No.: ______Call time: ______At: ______Clients: ______Phone No. ______Producer: ______Agent: ______MOS SYNC TAPE 16mm 35mm Day______of ______

Crew Name and phone Time in time out Crew Name and phone Time in time out

Producer 1st AD

Director Best Boy

Prod. Mgr. Key Grip

P. A. No. 2

Script Super Prop Mstr.

Camera Scene Dsgn

2nd Camera Gaffer

2nd AC

SND mixer Driver

Boom Welfare

Make-Up Wardrobe

Talent: Name and Phone Number Scene Location Make-Up Set Call

Numbers Call Time: Time

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Cinema and Television Arts Department – Film Option Program MUSIC COMPOSER AGREEMENT

This agreement is executed on ______20____, between the CTVA student production entitled: ______, represented by student producer: ______(“Producer”), and Music Composer ______. These parties agree to the following:

1. Composer’s Services. Composer shall write, compose, orchestrate, arrange, conduct, perform, record, mix and produce such original musical composition, as the Producer may require for inclusion in the film. Composer shall render services hereunder on a non- exclusive, priority basis commencing on such date as Producer shall designate for the film continuing through the date that all Delivery Requirement in Paragraph 2 below have been satisfied.

2. Delivery Requirements. Composer shall complete the recording and mixing of the Music, and obtain Producer’s final approval of same, so that Composer shall deliver the recorded Music to Producer in time for preparation and dubbing, on or before the date: ______, 20______, in such form and the Producer may require, on format: ______. Collectively, the foregoing materials shall be referred to as “Delivery Materials.” Time of delivery is of the essence of this Agreement.

3. Grant of Rights. The Composer shall own all rights to the music in perpetuity and gives permission for the Producer to use the music composed for this film project without compensation for as long as the film is exhibited in any exhibition format.

4. Credit. Provided that the Music or a substantial part thereof is incorporated in the final mix of that film as exhibited, the Composer shall receive screen credit which shall read as: ______.

5. Indemnification. Composer shall at all time defend, indemnify, save and hold harmless Producer from and against all claims, losses or judgements arising out of or in connection with any breach by Composer.

6. The Producer agrees to allow the Composer to collect all performance royalties pursuant to the Composer's membership in a performance rights organization. The Producer is not liable for any payments of said royalties. Such royalties are paid by the exhibitor as license fees to the performing rights organization.

December 2, 2016

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SECTION 4

DIRECTING AND ACTING

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THE “JOB” OF DIRECTING

The tasks for directing a class assignment require performing specific tasks. The two most primary tasks of the director are, 1) creating a “shot list” and 2) directing actors. Part of the class learning experience is to learn how to work collaboratively in a group setting. Listening to each other is very good!

I. INTERPRET the script: A. Discover the script’s story strengths and challenges, especially for its potential in filming. In so doing, determine the dramatic values in the story and the important markers in each scene. B. Determine what images might best tell the story in each scene (memorable shots) C. Account for editing requirements:

II. Define a VISION for recording the story on film. (This task is called PREVISUALIZATION.) In drama everything is active; nothing is passive, though it may seem so. Drama is action thus the director’s first focus is in finding appropriate images to express action that best illustrates the drama in each situation. This vision for the drama is expressed in the “shot list” which, in turn, becomes the plan for shooting that vision. A. Three methods used in pre-visualization that support the “shot list”: 1) storyboards, 2) overhead drawings, and 3) descriptive paragraph. B. To achieve a meaningful “shot list,” first describe what images are needed to best tell the story. Is the enough time and resources to shoot those shots? C. Work with the D.P. and Producer to establish a manageable/shoot-able list. D. Rehearse: block the actions of actors and camera for each event that might best capture the drama in the moment during rehearsals prior to the production dates.

III. Provide the D.P. (Director of Photography) with SHOOTABLE information. A. Shot list. B. Storyboards C. Set requirements. D. Shot and action complexities. E. The dramatic P.O.V. or tone for the film. F. Compositional attitudes that support the drama.

IV. Provide the Editor with CUTTABLE film. Shoot as much coverage as time and money will allow to give the editor good choices to cut with. A. Complimentary coverage, reaction shots and point-of-view shots. B. Adequate (plenty of) coverage with a variety of camera angles. C. Matching action. D. Matching energy. E. Credible performances. F. Clean entrances and exits. G. Observing the rules of viewer orientation.

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5. Providing the Actor with PLAYABLE ACTION (with honest and respectful feedback.) (Remember, that during production the director is the audience for the actor.) A. Working with the actor to find a dynamic, believable character. 1. Develop of a character’s back-story. 2. Consider with the actor the motivation for actions and reactions. 3. Describe intended lighting and mood. 4. Describe the intent for framing and composition. B. Choreograph camera movement and acting business prior to the day of shooting. 1. Setting marks. 2. Match action and energy between camera set ups. 3. Clean speech in each take. 4. Playable “tasks” vs. playing “results”. 5. Finding beats and reactions times to support spontaneous behavior. 6. Keeping it fresh.

6. PEOPLE SKILLS: The nature of the director’s job requires working with several talented people all at one time. The production talent including the cinematographer, the production designer, the actors, the costume designer and the other specialist in production will require someone who will keep them in tune with the stories theme. This challenge works best using the following virtues: A. Respectfully Honesty B. Courtesy C. Appreciate everyone D. Trust the talents of others

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QUESTIONS TO ASK WHILE DIRECTING by Donald Petrie M.F.A., D.G.A.

Please note that every question’s answer should be followed up by the question, “Why?” And most often, the answer to the WHY should be… that it better tells THE STORY.

QUESTIONS TO START THE TASK:

Plot Development: How does each scene forward the development of the plot?

Character Development: Does the scene further develop the characters? A scene should contain one at least or the other…If it doesn’t, it will likely end up on the cutting room floor. (A well-written scene contains both Plot and Character Development.)

What do I want/need to say with this scene? (plot / character) What do I want/need to get across to the audience? (plot / character) Do I need any dialogue changes and or cuts? What is the tone I am going for? And is the tone consistent?

Where am I in the story? …In relation to the whole movie? …In relation to the Timeline? [i.e.: Day One or Night Three or Spring or Fall etc.] …In relation to each character arc? …In relation to the scenes before and after?

What are my CUT TO options? WHY? Are there Time Transitions? If so, how to accomplish?

BLOCKING / STAGING: How can the blocking enhance what I want to say in the scene? How can my blocking effect how the editor may or must EDIT a scene? (Sometimes, either by accident or by plan, we give the editor no choice in how to edit the scene by the staging and coverage the editor is given. IE. Shooting the scene "in one".) Can the blocking give me more OPTIONS in the editing room? Is there any special physical behavior?

What PHYSICAL action do I want/need to take place? Why? How can I best convey that action? [Camera/Lighting/Coverage/Lenses]

What EMOTIONAL action do I want/need to take place? Why?

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How can I best convey that emotion? Not just with your actors but with Camera/Lighting/Coverage/Lenses/Music Why?

MOTIVATION: Why does the character do what he/she does? [ If you intend to give an actor direction you must be prepared to back it up with your reasons why.]

PRODUCTION DESIGN - LOCATION - WARDROBE - PROPS - MAKEUP - SPECIAL EFX. - SOUND: Do I need any of these elements to help me enhance what I want to say in the scene?

CAMERA: How can I use the camera to enhance what I want to say in the scene? How can I use the camera to convey emotions? Why?

CAMERA MOVEMENT: How can I use movement to enhance what I want to say in the scene? …Moving or static? …Motivated or unmotivated? …Long lenses or short? …Light or dark? …Still or shaky cam? …Dolly or zoom? …Other? [How can I get MORE out of the shot/options in edit room?] Why?

COVERAGE: How can I use coverage to enhance what I want to say in the scene? …Master shot: Do I have it and when will I need it? …Over’s (over-the-shoulder shots) vs. Single's …Continuity? How will continuity be affected by my coverage? …How much is enough? How much is too much? (Time Management) …Don’t be afraid to do a PICK UP! Why?

COMPOSITION: How can I use composition to enhance what I want to say in the scene? …High or low camera angle? …Wide or tight shot? …Angles: Up, down or level? Dutched? …Long side or short side? Why?

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EYE LINES: How can I use eye lines to enhance what I want to say in the scene? …Close or far? …Split looks? …High or low? …Point of view? Whose? How must I establish this? …Over’s or singles? Why?

COLOR: How can I use color to enhance what I want to say in the scene? Bright? Dark? Saturated? Desaturated? Restrained? Monochrome? Why?

SOUND: How can I use sound to enhance what I want to say in the scene? Is my location quiet? Are there sounds that the actor’s would be hearing? Actor’s natural vocal level vs. what the scene needs with a full sound mix. Why?

PACE/ENERGY: How can I use pace to enhance what I want to say in the scene? General Rule: If the pace feels right, you are probably too slow. If it feels a little fast…you are probably about right. Do NOT plan to “pick up the pace” in the editing room! Why?

STUNTS - EXTRAS (Background actors/Atmosphere) - PHYSICAL LIMITATIONS: How can I use any of these to help me enhance what I want to say in the scene? Why?

MUSIC: How can I use MUSIC to enhance what I want to say in the scene? Is there any source music in the scene? Do you need to use playback? Is there a music attitude in your head that informs the scene? If so what is the “click” or “pace” of that music? Why?

PRODUCTION TIME: / TIME MANAGEMENT How can I use my production time to best advantage? …How much TIME have I got?

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…Shot list - is it too long or too shot? …Will you have enough coverage or too much? …Multiple directions? (Do you want to play a scene more ways than one and choose in the editing room?) … Double up vs. performance? (You have multiple scenes that take place in the same location. Do you shoot all scenes in one direction and then turn around and complete them? (could be faster) OR go back and forth with the camera? (could be slower) And how does this affect your actors?) …Simple or difficult? (Multiple simple shots may take less time than and all in one shot (called a “one’er”) …Do the inserts now or later? Why?

ORDER OF SHOOTING: How can I use my shooting order to best advantage? …Master shot then coverage? (Generally your widest shot takes the most time - and your "performance" shots are your close ups… You don't want your actors to give their best performance on the wide shot…) …Which actor first? …Stunts? …Exhaustion? (After lunch dip in energy?) …Performance issues? …Lighting issues: daylight - night light - day for night or night for day, etc.? …Budget issues? Why?

And THEN…after all is said and done…

Can I do it better?

SAFETY - + - AT ALL COST!

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CONTINUITY (See: Shooting with Editing in Mind under the Editing Section) At the heart of the success of a motion picture is the illusion of continued action of a drama. The repeatable process for shooting a shot or a series of shots requires that the filmmakers must maintain a sense of continuity. During the pre-production stage, it is the director who is to make sure the plan for shooting accommodates issues of continuity. During the shoot it is the script supervisor who keeps track of this most important task. Shooting quick still shots is often employed to help remember the status of these continuity elements. These (7) seven continuity categories listed below should be thought of as general classifications rather than rigid. 1. Historical: This category is concerned about what the audience will see in scene and the accuracy of those visual elements to the story’s time and place. The Production Designer in particular and the Cinematographer in general need to be sure that the elements in each frame are appropriate to the time period of the story. 2. Props, costume and makeup: Naturally these three elements are important to the above setting of a scene but are more of a concern in matching between shots. Where a prop is located in a scene, the condition of a costume or the actor’s make up through a scene’s evolution, must match. 3. Action: Anything that moves in the frame, whether it is an actor or the camera, must be choreographed to match in action in each shot. This means consistency in direction as well as energy or speed of the action. 4. Performance: This classification is particularly difficult when shooting a scene over a long period of time and/or when a scene is shot from a multitude of camera angles. Consistency in performance tone and emotion are difficult and need moderating in order to match for the edit. 5. Spatial: This category is important to the audience because of its need to know where they are in the film’s space. The 180 degree rule (Axis of Action or Perineum Rule), for instance, helps the audience know what is on the right and what is on the left of camera. In shooting complimentary camera angles, the sightlines of actors need to match. 6. Lighting: The characteristics of light temperature, density and direction must be consistent with the story or film time of each scene, no matter how long it takes to shoot. 7. Sound: Both the quality and volume of sound needs to match between shots, the quality being the more difficult because pointing the mic in a different direction may pick up different ambience.

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CASTING

There are several schools of thought on acting which filmmakers have to accommodate. The five most interesting and influential theories on acting are those of Constantine Stanislavski, Antonin Artaud, Bertolt Brecht, Peter Brook and Jerzy Grotowski. The five theories are in many ways vastly different, but in other ways strive for the same goal. All five theories ask the actor to do more than just communicate the text of the play or screenplay to an audience. Stanislavski’s theory produced a “realistic” actor; Antonin Artaud conceived a “physical” actor. Bertolt Brecht trained his actor to be a “storyteller.” Peter Brook’s theories produced a “naked” actor, and Jerzy Grotowski imagined the “total” actor. Although each theory calls upon the actor to practice techniques in which many elements are similar, the results are quite varied. The two primary acting approaches encountered in film school projects are method acting and the more formal acting for the stage. The method actor seems to always be in search of the character in the moment, while the stage actor is more formal and consistent in approach. The method actor is less consistent between takes, making editing more challenging while the stage actor repeats performances with more consistency; however, such performances can become mechanical.

THE CASTING CALL: 1. Does the actor “look” the character? 2. Does the actor “perform” (intuitive behave) like the character? 3. Does the actor “sound” like the character? 4. How much experience has that actor had on the stage or in front of a camera? During the casting call, an impromptu reading of the script is often required of a performer when he or she is being considered for a part even if it is not a major part. In the short perusal of the script, the player must comprehend what the scene and the characters are all about, and figure out a portrayal that reveals the essence of the role. A competent performer can create a generalized character that may not be quite the same interpretation as he or she would develop after a full grasp of the screenplay, but will still give an indication of the performer’s abilities.

THE SCREEN TEST: The screen test is usually a three to ten minute filmed sequence in which actors are tested not only for their ability to perform the prescribed roles, but also to see how they actually look on the screen. By virtue of their physical characteristics, some actors photograph differently than they look in person. The performer should make every effort to approach the screen test with a complete understanding of the character in all ramifications in every sequence in the script.

PREPARING FOR THE PART: In the making of a film the actor has three important relationships to consider; first the actor’s relationship with the character, second with the director and finally with the editor. Finding the Character In this task the actor is to grasp a sense of the character as well as intent of the story. Upon gaining some understanding of the character, the actor then needs to become that character when the camera rolls. The actor must understand what precedes what in the story

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Film Production Option Handbook and, what the intent of each scene is. Upon finding these dramatic values, the actor would then consider ways to give physical form to the meanings. The actor must find a way to feel and live the role. The conceptual elements from which the actor draws in creating a role for the screen are essentially these:

1. Awareness: Awareness of the character’s potential physicality. This knowledge comes from the habit of observing the mannerisms of people of every age and walk of life. 2. Sensory, memory and emotional recall: Acting means being able to respond to dramatic circumstances and conflicts in ways appropriate to the character in a given situation. 3. Character Motivation: This is the value which determines every move and thought. It has been said that “Screen actors don’t act, they react.” The basic motivation of a character is usually found in terms of two questions: What does the character want? What is he or she afraid of? 4. Selectivity: Out of many possibilities, the selective choice of character traits that relate to the story and the theme is central to defining a unique one-of-kind character. The expression of an emotion must be selected in the form of the character’s reaction, not the player’s own personal response to the given situation. 5. Change in the Character (character arc): People change as a consequence of what happens to them in their struggles throughout life. They make mistakes, they learn; life is different because of this. Although conflict is at the heart of drama, it is change that gives conflict meaning. 6. Character Behaviors: Behaviors vary with every character. Some are quick in mind and body; some are quick in mind, slow in body; others are permutations and in-betweens. Whatever the choice, the behavior will have rhythmic consequences for the performance. These reflexes affect the pacing important to character development. 7. Dialogue: Great dialogue is crucial for the theater, where exposition and characterization are deeply embedded in words. But in film it is the image that gives favor to words, adding depth of their true meaning. To the editor, it is the emotion hiding underneath the dialogue that is of interest. Related to variations of interpretation of dialogue is the concept of acting against the spoken words. If the lines are strong and meaning clear, the player may decide to introduce other elements to give the role deeper dimensions. For example, consider how inflection may change the meaning of the ubiquitous statement “I love you.” I love you (even if nobody else does). I love you (honest I do). I love you (not somebody else). I love you? (That is news to me). I love you? (I like you, but love --come on). I love you? (Anybody but you!).

The same three-word statement has ranged the gamut of meanings from tenderness to insult, solely through emphasis and inflection. Each of these variations would in turn be changed or modified according to the object of love: a spouse, a lover, a parent, a child, a dog. With each change of object, there are changes of meanings and nuances almost without end. Moreover, a gesture of the head, hand, and/or body, will in turn add or subtract dimensions of meaning. The

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Film Production Option Handbook dictum that great dialogue makes great actors is less true in cinema than live theater, where a player may say very little, yet say everything.

Again with the ever-popular phrase “I love you,” the line may be said through a yawn, while crunching on granola, above the roar of a washing machine, while squeezing someone in an interesting place, as well as over a candlelight dinner, giving it shades of meaning not inherent in the words. However, players must be actually aware that words are not always meanings in cinema, and may indeed, mean the opposite of what is intended; and that what is intended is more often revealed through behavior.

The Rehearsal Rehearsing for film is different than that of the theatre, because the goal is not for a perfect rehearsal but for a perfect take. Ultimately the actor performs to the camera, that solitary mechanical device that ruthlessly captures the honesty of what it sees. Aside from the performance of the character’s dramatic needs in each scene and each take in the scene, the actor has to pay attention to camera placement and movement, and to the special lighting requirements and the relationships these create as the scene progresses through the shot. Because of the many technical requirements of film acting, it is incumbent of the actor to approach the mark already settled into the emotion required for the role in that scene. When both the camera and the actor are moving, the actor’s relationship to the camera becomes more technically demanding. The actor has the responsibility of practicing movements to conform to the mobility of the camera, and the cinematographer has the responsibility of making it appear that the camera is in fact leading the actor.

Assuming the actor is prepared before coming to the set, the first task of the rehearsal is in the readings. The following guidelines would be expected from the director during the rehearsals: 1. Interpretation shadings of the character for the benefit of depth and emotion of the scene at each point in the story. 2. The nature of the action in human behaviors that are made within the frame area. 3. The plan for the location of the camera, the framing size with an explanation. 4. How the scene will be lit to frame the character and set mood.

By informing the actor how he or she is being treated in the camera, and how he is being lit helps them understand the expected tone of the performance. Armed with this information, the director helps the actor perform to the camera for effect.

Unlike the stage where the actor has an audience to immediately react to, in film the actor does not have the same benefit. This important difference needs to be accounted for. One solution is to emphasize interaction with the other players, or another is to focus on the dramatic situation. The most logical “audience” for the actor to react to is the director. In doing so, the actor must trust in the reactions of the director to help deliver those performance gems which are critical to the story. Due to the fact that the camera captures the performance and that the actor would favor the camera for this reason; directors have most often positioned themselves near the camera. With the advent of videotaping this is becoming less the norm. The director

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Film Production Option Handbook is often off in some far corner observing the performance on a monitor. Because the director’s value as the immediate audience for the actor, it is important for the actor to respond to the director’s feedback, however that occurs. (This interaction is something of an art form in human relations.) The second activity in the rehearsal is the blocking of the action. The placement and activity of the players will be the guide for the cinematographer to light the scene. It will also be the first indicator to the actor for understanding how the character will function within these limitations. The input of ideas will vary from director to director and actor to actor. The responsibility of the actor or actress is to find some non-restrictive way to express the meaning of the scene so it can be properly photographed and edited. The performer’s movements must be blocked in relation to the camera and locked into the memory. Since each scene is shot out of sequence and there is usually a time spread between takes, the actor must work hard to continually match the actions. There are aids available in the records of the Script Supervisor, video playback (if it is available) and the memory of the director. Usually, marks will be placed on the floor to indicate exact spots for the actor to be on during the various beats in the scene. There are a few technical performance tasks beyond the emoting of character such as: 1. Clean entrances and exits 2. Clean speech, so that the dialogue does not overlap that of the other characters 3. Blending in when not featured in the scene Improvised acting before the camera enjoyed a worldwide flash of popularity during the 1960’s under the influence of the French New Wave filmmakers, because it supposedly enhanced the sense of realism. This was an extreme extension of method acting. This approach fell into disuse because it proved difficult for audiences to relate the performances or the continuity of the film as a whole; moreover, to edit the film footage with such varying performances into a smooth narrative tempo was troublesome because of the frequent lack of matching actions and other continuity issues.

“What Ever Thou Art, Act Well Thy Part”

The Path from Actor to Character

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Preparing for the craft

1. Study the craft and train in techniques of voice, body, and emotional control. 2. Study human behavior. 3. Study character and characterization. People are complex and The actor, as a unpredictable, so how do we find the character? “real person”

Preparing for the role - going beyond the words 1. Discover the back story. 2. Find the character’s motivations

3. Listening to the other character (s) in order to better interact with freshness. 4. Connect with something in the script. 5. What is the problem the character is trying to solve, what does the character need? 6. Relate the facts of the script to personal experience.

7. Mental preparations: a) memorize the lines, b) find the beats, c) Choices (Interpretations) on discover the subtext, d) define the character’s intentions, e) make becoming a credible, adjustments, f) see images with emotional meaning, g) make associations. Believable character: a real person in a story. Performing the part 1. Relying on the director for: objective feedback. 2. Keep each and every performance fresh. 3. Use performable tasks to tell the story. Get performable direction. 4. Must DO something to BE somebody. 5. The freedom to be authentic. 6. The Circle of Concentration: • Concentration to LISTENING to the other or character • Make playable choices. • Physical life - put more attention on other actors than on self. 7. Keep the part FRESH by asking QUESTIONS.

or

or or

Illustration by Michael Hoggan A.C.E., March 2003.

QUOTES from DIRECTING ACTORS by JUDITH WESTON

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…the first principle of creativity…is bounty. …know more than you need to know.

Self-consciousness is a great problem for an actor, because it means that he is uncomfortable about being watched. Self-conscious acting is fussy, strained, thin, and actorish; it lacks texture and spontaneity. When an actor is self-conscious, he may start to push or indicate. Indicating or telegraphing or playing a result occurs when the actor pretends to have feelings, reaction, and attitudes in order to show the audience the feelings, reactions, and attitudes he has decided are right for the character. Indicating shows up as a “false note.” It is important for directors to understand how wildly frightening acting can be, how vulnerable you are when you’re up there, how painful it is to hear criticism, how easy it is to doubt oneself. The actor’s face, body, voice, thoughts, and feelings are exposed. His thirst for a core, existential reassurance and validation is nearly inexhaustible. He looks to the director for this. Honest praise is as necessary to him as water. And so is forthright, accurate, and constructive criticism. Good direction, that is, playable direction, generates behavior in the actor, so it is active and dynamic rather than static, sensory rather than intellectual, and objective and specific rather than subjective and general. Good direction, that is, playable direction, generates behavior in the actor, so it is active and dynamic rather than static, sensory rather than intellectual, and objective and specific rather than subjective and general.

1. The actor’s job is to find his performance and to adjust if asked to make it believable – truthful behavior. 2. The director’s job is to tell a story.

THE DIRECTOR’S VISION Most people while reading a script watch a miniature movie version of it projected on the inside of their foreheads. They see with their mind’s eye the face of the character (usually that of a particular A-list actor), they hear in their heads the lines read with a certain inflection, they project specific facial expressions and movements. No matter how many times they read the script, they see the same expressions, inflections and movements. They call this their “vision” of the script, and they consider the time spent in such fantasy their “creative preparation.” Then they get down to the “real work” of making budgets and deciding on lenses. “Why is this so bad? Because it limits you to the images of the script that fit onto a flat, four-cornered movie screen. It’s like insisting that the earth is flat and that people (characters) who walk off the edge just disappear. It causes you to look at a line and say to yourself, “How can this be made dramatic?” or “How can this be made funny?” rather than “What clues does this give me to what the movie is about and what the characters are doing to solve their predicaments?” It causes you to make your artistic choices based on what you know about other movies rather than on what you know about life. It denies any life to the characters beyond the four edges of the script’s pages.” This leads to directing the actors with what is known as “result” direction… Result- oriented direction attempts to shape the actor’s performance by describing the result you are

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Film Production Option Handbook after, how you want it to end up looking or sounding. Specific, playable direction is the better alternative.

Examples of Result Direction: 1. “Can you make it more quirky?” a) Describes an effect or result. I.e. Funny, dangerous, epic quality… b) The actor-director relationship dissolves into a guessing game, because the direction is so vague.

2. “Can you take it down?” or, “Can you give it more energy?” a) Too vague or too general. What is the director really asking for and how much?

3. “Don’t say, ‘You always do that.’ It should be, ‘You always do that.’” a) The actor not understanding the meaning can inflect as the directors asks but at the risk of missing the meaning. b) The meaning of the line, not the inflection, or result, is what the director should be communicating to the actor.

4. “I think [the character] is disappointed.” a) Telling the actor what the character feels or what the character’s state of mind is i.e. Angry, disappointed, worried, annoyed, excited, in love, frightened, resentful is not actually playable direction. b) A playable choice must be choose-able, and we can’t choose our feelings. We don’t get to decide how to feel c) Whenever they try to have feelings because they think the character should have them, or because the director tells them that the character should have them, there is a danger of their acting becoming indulgent and actorish.

5. “When she tells you that she doesn’t have the money, you get angry.” a) In real life we don’t plan our reactions, they take us by surprise. b) In the script these surprises or reactions are the emotional transitions of the movie. c) Getting to the emotional transitions of a role cleanly, economically, believably and fully is the actor’s most difficult task.

6. “When the scene starts he is worried because she is late. He is relieved when she arrives, but then disappointed because she hasn’t got the money, and then he becomes suspicious that she might be holding out on him.” a) Mapping the emotional terrain. b) In fact, people in real life talk about each other like this too. It’s called gossip. Now gossip in real life can be harmless and fun, but it is not productive, and it can be harmful. Gossiping about character- -i.e., mapping their emotional terrain, or explaining their psychology- -is likewise, at best, an uncreative waste of time. c) The through - line is the way that actor believably connects to the character’s emotional reality. One of the keys actors use to connect to their character’s

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through line is a sense of objective, or simple intention….what the character wants from the other character, and the intention is what he is doing to get it.

7. “This is how I see the character…” a) In the same way that we don’t get to decide how to feel, we don’t get to decide how or what to be. b) Although people cannot change who they are, they can change what they do…they can pay attention to detail. c) The actor and director need to break down their ideas about the character into a series of playable tasks. This takes insight and knowledge of human behavior, and it takes time.

8. “Can you play him aggressive, but pleasant?” People are complex but they cannot be two emotional things at one time.

9. “He’s a punk.” Or, “She’s self-destructive.” Or, “He’s a nebbish.” Or, “She’s a castrator,” or, “He’s stupid.” a) Judgment is the most dangerous consequence of deciding “what the character is like. b) Just place the character in the experience, in a situation, and allow him to have needs and make choices- -and not judge him. The audience gets to make the judgments, to decide who is weak, strong, ambitions, lazy, etc. c) The director should approach each character as if he were going to play that character himself; he allows himself to believe in each character’s reality. When he speaks to each actor, he takes the side of that character; he allows each actor to prepare a fully realized character, allows the character to honestly conflict with each other, and trusts the script.

10. “Let’s give [this character] a hostile edge.” a) This process leads to formula acting or “playing attitude.” b) “Playing attitude” is showing something rather than doing something. c) The first thing a director should learn, and the first-last-and-always thing he should look for from his actors, is whether they are listening; that is, whether they are genuinely affecting each other in the moment, or whether they are just saying lines at each other, overlaying their words and movements with a predetermined, canned attitude or unction. The way to create an exciting and unpredictable performance is not by playing attitude, but by 1) getting under the character’s skins and 2) into their sub world, and 3) by setting up an atmosphere of creative trust and freedom where the actors can engage and play off each other. d) Characters must listen to other characters.

INSTEAD OF ADJECTIVES, USE

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VERBS, FACTS, IMAGES, EVENTS AND PHYSICAL TASKS

ADJECTIVES: Avoid using adjectives and explanations. Adjectives are static; they describe someone else’s impression of the character. In order to create an alive, believable characterization, the actor needs insight into how the character experiences life, in language that is experiential, not descriptive. Adjectives are subjective, interpretive, and therefore not ideal communication tools….You can easily get off on the wrong foot with an actor by critiquing his performance using adjectives, for example by telling him, “No, not like that. Play it sexy.” What if the actor thinks he already was playing it sexy? If so, he will have one of two reactions. Either he will start to doubt himself, thinking, “I’m not sexy enough for this role. The director doesn’t think I’m sexy.” Or he will make mental note about you: “What’s wrong with this guy? He doesn’t know sexy when he sees it. “ Adjectives are generalizations. They serve our social needs to summarize, to intellectualize emotion, to categorize experience. They are a shortcut, a social necessity, a step removed from primary experience. Primary experience is the experience of our five senses, what we see, hear, smell, taste, and touch. The actor needs to access exactly such primary experience, so instruction that summarize or intellectualize primary experience lead the actor away for the tools of his trade….besides they are too logical, too dead-on. They are not creative. Good direction, that is , playable direction, generates behavior in the actor, so it is active and dynamic rather than static, sensory rather than intellectual, and objective and specific rather than subjective and general.

VERBS: Use verbs over adjectives because actions speak louder than words. Verbs describe what someone is doing, so they are active rather than static; they describe experience rather than a conclusion about experience….The great thing about verbs is that they focus the actor’s attentions on their scene partner. This allows the actors to affect each other and thus to create the emotional events of the scene. 1. Use a verb instead of an emotion. When people do things to each other something happens, hence action verbs create an emotion. The audience is not drawn to a story by what an actor is feeling, but rather by what the character does with the feeling… 2. Use a verb instead of an attitude. A critical point: When the actor is playing an attitude, his concentration is on himself; there is a tiny voice running in his mind, a subtext, thus: “Am I being sexy enough?” Or, “Is this enough anger?” When his concentration is on himself, his acting becomes self- conscious and stagy. 3. Use a verb instead of ”take it down” or “give it more energy.”

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These phrases are overused and are vague in that they don’t indicate the degree of energy. Verbs like punish, or warn or complain are degrees of the action to be mean to the other character, they are playable indicators. 4. Use a verb instead of describing, “what the character is like” of “how I see the character.” We are what we do…”If a man is standing on his head in the middle of the road, nobody asks if he’s the type!” Actors sometimes resist this idea. You’ll hear them say; “My character would never manipulate- -she’s too nice.” Or, “My character wouldn’t flirt- -he’s uptight about his sexuality.” News flash: Uptight people flirt! Nice people manipulate! Proud people beg! Shy people brag! People are complex… Don’t waste time wrestling over what the character’s personality is; just do it. 5. Use a verb instead of a judgment. Instead of denouncing a character as manipulative, give some thought to the specific behavior of a manipulative person. Perhaps she cajoles, begs, goads, and finally punishes. 6. Use a verb instead of a line reading. When demonstrating a line for the actor it should not be to indicate how the inflections ought to be but rather the intention of the speech.

FACTS Directors and actors all too often underestimate the power of acts. They have a tendency to want to embellish them with explanations. Explanations weaken facts because explanations are subjective, interpretative; facts are objective. The power of an explanation rests with the persuasive abilities of the explainer. Facts speak for themselves, and often they are more eloquent than explanations. There are two kinds of facts that are useful to directors and actors: facts that are in the script, that is, factual backstory and the events of the script; and facts that are not in the script, that is, imaginative backstory choices. 1. Use facts instead of psychologizing. Saying that a character “can’t express his feelings” is an example of a psychological explanation. Even if it is true, it is not playable. A more helpful place to start our explorations into this character would be to note as a fact. “He doesn’t express his feelings.” 2. Don’t’ embellish the facts with explanations. Adding the embellishment waters down the direction. The situation itself is more vivid and evocative than its embellishment. 3. Use facts instead of “what the character is like. Facts are a great weapon in script analysis. The great thing about facts is that, as the saying goes, you can’t argue with ‘em. If you have a disagreement with an actor, go over the facts of the scene together. You may be able to find out how the actor arrived at his choice, and then be able to discuss the problem more fruitfully. 4. Use fact instead of a judgment. Instead of describing a character as “a bitch,” you might invent a backstory fact, say that “she poured paint on the windshield of her ex-lover’s car.” Instead of saying, “He’s a

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likeable guy,” you might say, “After he asks a question, he listens to the answer,” or “He looks you right in the eye,” since those are factual statements of behavior that many people find likable. It takes more thought, more imagination, to think up facts that describe a character. 5. Use facts instead of attitudes. People see the line “I already told you that,” and they immediately hear in their mind an attitude and tone of exasperation. You shouldn’t jump to that conclusion. What you should get from that line is factual information: there has been a previous conversation between these two characters. Period.

From there, you may ask questions: How many previous conversations? What was actually said? Under what conditions? Did character B, who was told the information and yet is asking about it again, not believe character A? Or not listen? Was she distracted by some other secret concern? Facts and questions will begin to create a set of given circumstances that generate behavior that implies a point of view. Fresher, more vivid performances will result. Imaginative backstory facts are sometimes called adjustments. An imaginative adjustment can be used to add a layer or a twist to the inner life and imagined given circumstances of the character. In this case it might be phrased as a “what if?” Let’s take an example a scene in which his boss tells an employee that he has been terminated. Let’s say that the boss only appears in this scene. You could add texture to a sketchy characterization of the boss by asking the question, “What if her own father had been fired from his job when she was a child?”

IMAGES Images (as well as facts) are the tools of the storyteller. A successful storyteller is one who can make images come alive, who by adding sensory detail can make us feel as if we are actually there where the story is happening. Images in this context are the experiences of all our five senses, what we see, hear, smell, taste, and touch. A successful storyteller is one who can make images come alive, who by adding sensory detail can make us feel as if we are actually there where the story is happening.

6. Use images instead of asking for emotions. Sensory memories are powerful evokers of emotion and subtext. The memory of the smell of baking bread can whisk us back to the kitchen of our youth; a phrase from an old song can return us to the delicate yearnings of a long-ago love; reading the news can make us weep or rage if we allow ourselves to see and touch the misery we are reading about. [“I wish I were dead.” (Have your ever seen a dead body?} 7. Use images instead of explanations. Access to images of important personal events is one of the actor’s most important tools. Summoning the images associated with those important events much more closely approximated the working of these events on actual human psyches than explaining their effects. 8. Use images as imaginative adjustments.

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A way to use an adjustment if you want the actor to play the character with more “cheer” might be to suggest that she take the adjustment that everything the character opposite her is saying is really good news.

In addition to the “what if?” imaginative backstory adjustments described under “Facts” above, an adjustment can be a junior image, a brief metaphor, a quick fix. If often takes the form as if. For example, a love scene: you might ask the actors to play it as if it is a business deal. Or you might ask actor to play a business meeting as if it is a children’s play sword fight. Or you might speak to the actors separately and ask one of them to make an adjustment as if the other character has bad breath. A quick imaginative adjustment of this type can bring spark to a scene that is playing too dead-on.

EVENTS Every scene has a central event. …Creating the events of the script importing to the director for two reasons: 1. …the events of a script tell its story…The events must unfold emotionally and filmically so that they are at once surprising and inevitable. …(done) so that the audience remains…in the state of anticipation of what happens next. 2. …the events of the movie also tell us what the movie is about…

We don’t want to indicate the event; we want to make it happen in the here and now and let the audience in on it.

PHYSICAL TASKS The thrust of all these alternative to result direction has been to look for ways to ask the actor to do something rather than to ask him to be something…And the simplest thing you could as an actor to do would be a physical task….A physical task takes the actor’s concentration off the lines, because he lets the line come out of the physical task. Concentration on the lines- -on remembering them or on delivering them the “right” way- - makes a performance still, rehearsed-looking. Concentration on an imaginative task, such as a verb, fact, or image, takes the actor off the lines and into a created reality. Verbs are an emotional and imaginative extension of physical tasks. The more physical the verb is the better. When an actor asks you a question, even if he asks you for an adjective, answer with a fact, a verb, an image, an event, or a physical task, or a question. The very best way to direct is not by giving direction at all, but by asking questions. …actors need to find the characters themselves, to make them their own.

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SECTION 5

CINEMATOGRAPHY

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CINEMATOGRAPHY CINEMATIC…DESCRIPTIONS: Photography is “writing in light.” Cinematography is “writing in movement.” David Bordwell, FILM ART “A shot does not exist until light and dark patterns are inscribed on a strip of film.” Before there was such a thing as a “director” there was first the cinematographer. Whatever image ends up on the screen it is the cinematographer who gets the praise or the blame for how it looks.

THE “BUSINESS” OF THE CINEMATOGRAPHY Determine the aesthetic approach with the director that best illuminates the story Go to each location and note in a Location Folder the limitations/needs for shooting. Choosing the proper camera package to serve the story Choosing the proper film stock to serve the story Choosing the proper lighting package to serve the story Selecting a good crew Have appropriate electrical capacity to power the needed light for each scene Have the capacity to control the light in a scene Plan the light schemes for each scene in order to make the shots planned for the day (Control the time it takes to light each shot)

THE “ART” OF CINEMATOGRAPHY: Overarching Goal of the Aesthetic Plan: 1. Supporting the story, its characters and their conflicts with good imagery 2. Imagining what the point-of-view from which this story might be told with the camera? 3. Be consistent in in form and technique in supporting the stories genre. 4. Use imagery to enhance the stories premise, to help create impact the film is intended to have on an audience. Tools of the Cinematic Artist: 1. Technical mastery of the camera, lenses and camera movement: Exposure – f-Stop (consistency) Filters Special Visual Effects Camera Speeds Types of film stocks Dolly Cranes 2. Creative mastery of light and image. An image is not just description, it goes beyond that, images have value to the tone of the story; they enhance the story and suggest a deeper meaning. Some images can be used as metaphors to give deeper meaning to the story. Images evoke emotions, “what are the emotions that you want the audience to feel?” The Range of Tonalities Aspect ratio Composition aesthetics and continuity Special Visual Effects The Mobile Frame and Zoom Lens Scene coverage with editing in mind Angle, Level, Height and Distance of Framing

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CINEMATOGRAPHER / DIRECTOR COLLABORATION: Pre-visualization techniques: 1. Research the script for its important visual meanings making notations 2. Scouting locations – that support those “visual meanings” 3. Demonstrating your ideas to others on how you intend to use locations and sets Include master shots AND proper coverage Describe how camera equipment will be used Describe how you intent to light each scene to achieve dramatic effect. Know prop and set requirements/limitations

______

A CHECK LIST FOR THE VISUALS OF A FILM:

What do I want to achieve or accomplish with each image in the shot list? (Itemize as necessary)

Mood of the Film:______

Moods for each scene: ______

Light direction and shadow: ______

Light sensitivity (light – soft – hard - diffused: ______

Film stock: ______

Exposure range for each scene: ______

Story continuity issues: ______

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Generic Motion Picture Camera Threading Diagram and the list of Camera Components:

1. Feed spool

2. Sprocket roller

3. Sprocket keeper 4. Aperture plate 5. Aperture gate 6. Pressure plate 7. Shutter 8. Pull-down claw 9. Take-up spool

“Losing the loop”

means the film is out

of balance and becomes too taut between one of the

rollers and the pressure plate.

.

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DAILIES EVALUATION METRIC

DATE: ______, 20______SHOOT#: Test roll______, Group Film______MEDIUM: 16MM STUDENT or GROUP: ______GROUP: ______

1. Uniqueness and creative interpretation of lighting as suggested in the scenario.

2. Appropriate exposure for each shot. Is there consistency between shots?

3. Appropriate focus for each shot. Is there consistency between shots?

4. Appropriate uniqueness of composition and framing of any and all subjects in the shot.

5. Ability of shots to cut together editorially; they do not need to be shot in order.

CAMERA: Point value: 1-5 -- 5 = Best Composition ( ) Image Size/Framing ( ) Lens Selection/Focal length ( ) Angle/Position ______( ) Exposure ( ) Depth of Field Control ______( ) Camera Movement ( ) Operating ( ) Filters - Color/Diffusion ______( ) Technical Problems ( )

Lighting: Type - Hard, Soft, Combo, Existing ( ) Sources ( ) Modeling ( ) Contrast Ratio ______( ) Background/Window Control ______( ) Color Temperature (Use of control) ( ) Mood/Effects ______( )

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CAMERA BAG (DITTY BAG)

There are some essential tools that camera and grip personal need on hand to help keep the set running on time and on budget. Each group collectively should have the contents of the camera bag; however, some of you may well want to develop your own personal camera bag in addition to the one you use as a group.

An American Cinematographers Manual Kodak Film Stock Handbook Orange sticks Air spray can Camera brush made of fairly stiff hair (not camel) Lens brush made of extra-soft hair (like camel) Black camera tape White Camera tape Gaffers Tape Grease pencils, marker pens, ball point pens and pencils Camera report forms Scissors Spare cores Spare day-light load spools 50 foot cloth measuring tape Small flashlight Plyers Crescent wrench Screw driver set Soft gloves

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CAMERA CHECKLIST

( ) Do you have a camera core or daylight spool for take-up? ( ) Core adapter? ( ) Are battery belts, packs charged? ( ) Is camera wound (Bolex)? ( ) Is film gate clear of obstructions? ( ) Is diopter adjusted to camera operators eye? ( ) Is buckle trip reset (Arri S)? ( ) Is tripod secure and leveled? ( ) Are guide rollers in “run” position (Arri S, Bolex)? ( ) Is magazine secure? (Arri S, Auricon) ( ) Is take-up belt secured to pulley on magazine? (Auricon) ( ) Camera door secure? ( ) Film counter reset? ( ) Power cable attached? (Arri S, Auricon) ( ) Correct camera speed? ( ) Camera body taped with camera tape? ( ) Condition of battery in light meter? (Luna-Pro) ( ) Is viewfinder tube in “down” position? (Auricon) ( ) Correct filter? ( ) Sync-pulse cable attached? (sync sound only) ( ) Camera properly blimped? (sync sound only) ( ) Is ASA correct on light meter? ( ) F-Stop setting on lens correct? ( ) Focused on subject?

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Sekonic L-398A Studio Deluxe III

Quick Guide

Set ISO Turn inner dial until desired ISO appears next to ISP mark in window.

Measure Press MEASURE button. Meter needle will move on footcandle scale. Release. Needle will stop in position over footcandle scale. Turn DIAL RING so that same value from footcandle scale aligns with SCALE MARK (black triangle). Read f-stop/shutter speed combinations from outer ring of dial and set camera accordingly. NOTE. If needle moves past far right of scale, insert HIGH SLIDE into top of meter, and set footcandle value on dial by “H” MARK.

Compare Readings Take measurement and rotate MEMORY POINTER to rest over needle. Take second reading and compare.

EV After following measure directors above, refer to EV window for EV value of reading

CINE speeds After following measure directions above, refer to CINE: scale above shutter speeds.

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Camera Crew:

Cinematographer (D.P.): composes shots, plans camera movements, and decides how to light scenes. Camera Operator: operates the camera in support of the D.P.s plan Camera Assistant (1st A.C.): loads the camera and operates the clapper Gaffer: sets the lights as prescribed by the D.P. Electricians: works as support for the Gaffer Best Boy (2nd Electric): works as support for the Gaffer Key Grip: sets the equipment in support for the D.P. and Gaffer Grip: works in support of the Key Grip’s assignments

Protocol Sequence of Commands for Shooting a Shot: After a shot is lit, staged and rehearsed - all ready to shoot: the follow traditional sequence of commands is called out by the 1st A.D.:

First A.D.: Calls out, “Ready on the set” Calls out, “Roll sound”

Sound Recorder: After starting the recorder the recordist acknowledges back: “Sound Rolling”

First A.D.: Calls out, “Roll camera”

Camera operator: After starting the camera operator acknowledges back: “Camera Rolling”

First A.D.: Calls out, “Mark it”

The clapstick holder responds, “Marker” and gently claps the slate.

First A.D.: [If there are extras involved in the scene, the 1st calls out: “Background action”]

Director: Calls out, “Action”

When the director has determined the scene is complete says: “Cut”

Camera and sound technicians stop their recording and check their equipment to be sure they captured properly.

If the scene is deemed “good” then director says so or repeats the shot. If it has achieved its purpose the crew moves to the next camera setup.

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CAMERA RESOURCES The language of cinema is much about the language of camera use. It starts with a single frame which involves the aesthetics of composing interesting shapes and forms. Since cinema is pictures in motion, “the shot” is a description of the footage of a single continuous action. The setup for “the shot” is that basic task of a film’s production. “The shot” should have purpose in the service of story. It should accommodate dramatic goals, provide necessary information and help create atmosphere to inform and inspire an audience. The planning for shots requires planning for several continuity concerns which the script supervision, director, cinematographer and editor account for. Therefore, shooting “the shot” is shooting with editing in mind.

THE MENU OF CAMERA RESOURCES How can one use the camera to cover the action? There must be consistent logic (a formal approach) to how a camera is used that fits the film’s dramatic context. 1. PROXEMICS: The distance from the camera to subject. A. The long shot B. The medium shot C. The close up shot 2. CAMERA ANGLES or POSITIONS: The position of the camera in relation to subject. A. Low-angle shot B. High angle shot C. Eye-level shot D. Bird’s-eye view E. Oblique shot (Dutch Angle) F. Point-of-view shot 3. CAMERA MOVEMENT A. Pans and tilts B. Dollies C. Cranes D. Handheld E. Special rigs 4. FOCUS EFFECTS A. Deep focus B. Shallow focus C. Shifting focus 5. LENS PERSPECTIVE AND CHARACTERISTICS A. Wide angle B. Normal C. Telephoto D. Zoom

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LIGHTING CHALLENGES: If you have too much light in a scene and want to reduce it, what are your options? 1. Move the light back 2. Flood out the light 3. Use modifying material in front of the light 4. Change the wattage of the lamp 5. Bounce the light 6. Use a neutral density filter 7. Focus the light so the subject if off center.

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Courtesy of Larry Parker – Mole-Richardson Company

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SECTION 6

EDITING AND THE STORY

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EDITING AND THE STORY OVERVIEW:  The motion picture editor is part of a 27,000 year old story telling tradition of putting images up on a wall to tell a story.  In all social interactions, everything of meaning is generally conveyed through the narrative of a story.  The more complex our world becomes the more we need stories to help understand it and navigate its complexities. This explains why stories are important and what audiences expect.  Everything about a narrative is understood in an edited context.  For any story to work, it needs to be framed in a context. An audience must not only understand the dramatic context but will understand it well enough that author does not have to explain everything.  In our contemporary world, storytelling in cinema and television drama is expensive and competitive. Capturing and holding an audience attention is the task.  The task of the storyteller (editor) is to tell a story that an audience wants and needs, not just tell the story for personal attention. Stories are for the audience and if they are good, if the story speaks to the audience, they will embrace it and consider it their own.  For the story to have such power it must achieve three objectives. It must be BELIEVABLE, it must be EMBRACEABLE, and it needs to be MEMORABLE to the viewing audience. That is, it must make sense to the audience, they need to be able to care about it in some way and it needs to have enough power to haunt their memory so that they are compelled to talk about it.

These facts underline the importance of the editor’s role as one of the principal contributors to the meaningful creation a film.

EDITORIAL JOB DESCRIPTIONS: There are two fundamental skill sets required in the editing process: 1. The MANAGEMENT or BUSINESS skills, including all media and workflow management. This is the role of an Assistant Editor 2. The editing or piecing together the story is about the ART OF EDITING: the roll of the Picture Editor - - MANIPULATING THE MEDIA.

I. “MANAGEMENT or BUSINESS” TASKS: The left brain in full blossom.

A. WHERE TO START? The management responsibilities for the business of the post production process begin by asking similar questions stated at the top of this document.

1. HOW IS IT TO BE SHOT? On what medium will the images be recorded: their aspect ratio and frame rate? 2. HOW IS IT TO BE EDITED? There are two parts to this segment: 1) the system edited on and 2) the creative / political process. The art of editing the dailies (their creative manipulation) is done in collaboration between, editors, director et.al.

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3. HOW WILL IT BE EXHIBITED? What are the various distribution format requirements for delivery?

The answer to these questions determines the path for the management of the work flow.

B. ORGANIZATION and PROCESS: 1. Editing Room Organization: The editing room is a space that will at irregular times have to accommodate several people as the film is brought to completion. Collaboration is part of the editing process. a. A critical component that is often overlooked is how the editing environment is conceived: the room size, the room set-up, and the demands that the room will have to meet. b. Proper amount of furniture – editing is a fastidious process so have equipment that supports people sitting for periods of time. c. Adequate ventilation – computers and people don’t work well in hot sweltering environments. d. Elbow room – have enough real-estate in the room so that the others are sitting in each other’s laps.

2. Project Work Flow Organization: All parts of the post-production process has a schedule and process that must be adhered to, otherwise delivery dates are missed and the high risk of additional cost goes up. Calendar in the due dates and remind all concerned parties. a. Editor’s Cut due date b. Director’s Cut due date c. Lock – ALL agree that there will be NO MORE picture changes d. Music and Effects spotting e. Mix dates f. Lab Conforming dates g. Delivery date.

3. Technical Support: Good technical support is essential and a healthy relationship with these people vitally important. Things do go wrong and that usually happens when we are out of time and money.

4. Vender and Lab Support and Coordination: Much of the workflow above requires engagement with other businesses and craftspeople. Connecting early to confirm the requirements specs for each is essential. Waiting to the last minute to know what is supposed to happen is disastrous.

5. Setting up the Project Correctly: a. It is all in the metadata. If it is not done correctly in the first place it WILL cost more in time and money later. b. Double checking with two sets of eyes makes Murphey nervous. c. It’s the metadata stupid!

(See Jan Popiden’s work flow sheet)

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II. “THE ART OF EDITING” / “Manipulating the Media”:

OVERVIEW: The creative process of motion picture editing has several components worth mentioning to best understand the evolution of the film’s form through editing. Editing is not as easy as it is often assumed. Films (stories) are made for other to see, they are made for audiences who will in turn take ownership of their viewing experience and if they like it, it becomes theirs. Films work because of persistence of vision, that unique human phenomenon, part of the visual system that gives an individual the ability to interpret the surrounding environment while blinking or turning the head: images lingering momentarily in memory.

GOALS AND RULES: Goals: 1. Get the audience attention, hold it is such a way so that when you are done telling the story they are so moved that all they will react with a, “Wow!” 2. Put on the screen what the audience needs to best follow the story in a meaningful way. 3. In a typical narrative construction of a film, it is in the interest of a good film/story that none of the cinematic elements call attention to themselves, they are invisible.

Rules: 1. Anything done that holds the audience’s attention is GOOD; anything that distracts audience engagement is BAD. 2. The audience should be cued so that they know what to expect or anticipate. 3. All actions must be motivated 4. The audience should always know where they are in the film’s story space, 5. 180 degree rule exists to help the audience know what is on the left or right of a scene: to keep right and left orientation intact. 6. Complimentary coverage shots are for the benefit of smooth edits, to avoid abrupt composition changes 7. Each cut should not be self-conscious or noticeable 8. The pace of the cuts - in telling the story - should not be too short (too slow and boring) or too fast or “cutty” (so as to be confusing). This rule is difficult to apply and usually is achieved through discovery in the refinement stages. 9. There is the “intellectual reading time” and an “emotional reading time” of a film. They are not the same. 10. Focusing the audience attention on specific narrative values, involves prudent shot selections, the unique ordering of shots and their durations. 11. Shifting the juxtaposition of shots will either offer additional meanings or change the meaning all together 12. All cuts should make actions in the story seem “normal” in a film’s particular genre. 13. Meaning can be enhanced by expanding, reducing or freezing TIME. 14. Don’t be ambiguous; make sure the scene conveys a point-of-view of “who” is telling the story and whether it is objective or subjective in nature. 15. If a point-of-view changes, create a cuing device to inform the audience.

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WORKFLOW FOR BUILDING “A CUT”: STEPS TO EDITING A FILM: After the footage is organized in the editing system the journey begins. 1. View the dailies (the picture and sound shot the day prior.) 2. Make note of memorable looks, actions, performances, frame compositions, etc. 3. Cut the film together following the script narrative. [The Rough Cut or First Assembly] 4. View and assess this cut considering the following: 9. Is the story understandable and exciting? 10. Is the length of the cut close to format requirements? 11. What would make the film more compelling? 12. In this edited form, are all the “best” parts there? 5. Re-cut the show or hone its parts, add in supporting sounds (diegetic sounds and temp music) [see: Editor’s Cut] 6. Work with the director to refine the film and make it even more BELIEVABLE, MORE EMBRACEABLE, and MORE MEMORABLE by the viewing audience. [The Director’s Cut] 7. Work with the Studio/Producers in refining the cut to meet exhibition requirements etc. [The Producer’s/Studio Cut] 8. PICTURE LOCK: When all parties have agreed, or when the person with the rite of “final cut” has agreed that no more changes in the picture are necessary the picture is considered “locked.” A film being locked means that all parties agree that no more changes will be made to the picture. If changes are made after this point it could cost the company extra money because of contracts agreements with the composer and the sound designers. 9. THE SPOTTING SESSION: Spot the film with the composer and sound designer for proper sounds and their placement: but also discuss the creative use of sounds to enhance the power of the film. This meeting involves the key filmmakers: the director, producer, and editors along with the composer and sound designer going through the film together and deciding what to do with each scene’s sound potentials. 10. Composer and Sound Editors begin work to prepare the film for the sound mixing, guided by a schedule to deliver their work to the sound mixing stage by a certain date. 11. At the same time an EDL (and other needed original picture elements) are sent to the lab for compositing. 12. Lab rebuilds the project for highest quality, color times, adds titling and optical effects and produces a finished product. 13. Film is exhibited 14. Filmmakers prepare their “Oscar” speeches.

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What an “Editor’s Cut” Requires: The first step is the task of putting the film together in a manner that supports the integrity of the story; an edit that gives favor to the best parts of the drama, the performances of actors and image capture. It addresses all issues that define what the film is about: to breathe life into the plastic to that the film speaks with freshness and vitality. This action works best when intuition and point- of-view from the editor are allowed expression. Typically, the editor will rough the cuts together to see how they might best play. With assessment and reflection the cut will be refined to make the film most meaningful to an audience. The first audience for the editor is the director. The cut presented to the director is usually referred to as the “Editor’s Cut.” The EDITOR’S CUT is expected to be complete with temp titles, music and sound effects artfully built into the cut so that when others see it they will have the best opportunity to see how the film plays (or not). Once the editor’s cut is finished, the collaborative work begins with the DIRECTOR to refine the film starting with the director. The director is the first audience to react to the cut film. This partnership will have the most influence on the film’s final form and power. This director/editor team will explore how to make the film even MORE BELIEVEABLE, MORE EMBRACEABLE, and MORE MEMORABLE to the viewing audience. This is achieved by exploring character development and bringing intensity to conflicts that motivate character(s) into action and by bringing specific focus to the unique elements of the drama, enhancing its character and form. Once the director and editor have completed the “Director’s Cut”, their partnership will nurture and defend the integrity of the project through the “Producer’s Cuts”, the “Studio Cuts” etc.

THE CREATIVE ACT OF AN EDIT:

IN ALMOST EVERY DECISION, CREATIVE OR OTHERWISE, THE BRAINS IS ENGAGE IN SEVERAL COGNITIVE PROCESSES - AT THE SAME TIME. Each time an edit is made there is a series/sequence of cognitive actions or functions that effect those decisions. Such cognitive functions take place in different parts of the brain. We can describe those functions with questions:

i. What the film is all about and how does each edit have impact on meaning? The basic rule in deciding WHEN to edit is to simply ask what the audience should be seeing at each moment to best follow the story? ii. How do I the editor feel about it? The most important ruler here is to trust your first instinct. Editing is about developing moments in the story, making the characters and situations credible and embraceable. iii. What will others want or expect? We do films for other. They want to see our film for a reason; therefore we must understand that motivation. iv. Technically: How to make the cut work effectively? v. How much money and time is available to make decisions these decisions and complete the project?

How perception works:

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Life moves too fast and is too complex for humans to see it all, hear it all and remember it all. The human psyche must quickly reduce all the noise, consolidate visual and audio data and at the same time make some sense of it all: we interpret reality. This process is unending, sometimes confusing, often leading to misunderstanding. The term used is perception.

By use of our senses, aided by memory we develop a capacity to perceive, to act on the perceptions and gain wisdom and insight thereafter: a required capacity for the survival of the species. Seeing is something that happens to us. Perception is something we do to the world.

Perception requires action and is not passive. This means that the mind and the senses are constantly active and engaged in assessment of all stimuli. There is value in immediate recognition and appreciation of what one sees and hears leading to insight, intuition, discernment and creativity.

Principles of perception that matter in the cinematic arts: Framing help shape our perception, frames of reference inform on how to perceive its contents. Some frames are not physical, they are contextual, and they provide a frame of reference We mistakenly believe that other people perceive as we do and they don’t! Education helps us see more, our lack of knowledge prevents us from seeing differences. Language shapes perceptions, cultures see things differently. Proximity and Closure: one habit is to group experience into categories and label them. Rule of Nearness or Proximity: We judge things that are close has having more in common than with similar objects that are not near, even though they may be the same. Rule of Closure: We look for shapes we recognize and if parts are missing we fill in what’s needed. Closure is another illustration that to perceive is to create The Law of Closure explains that we see what we expect instead of what is really there. We see clusters of personality traits we believe go together. Perception Filtering: All our perceptions pass through our built in censoring system. Psychologists call this a perceptual filter. Here and now perception in which you remove as much filtering as possible. This type of seeing is rare, it makes no judgments, and it not influenced by bias. It might be the level at which artists struggle to perceive. Time: We look forward only into space. When it comes to “time” we seem to have our sensors in the back of our heads, we see time only backwards. We live life forward but can only understand it only backwards. We can’t see where we are until we are not there anymore.

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SHOOTING WITH EDITING IN MIND THE RULES IN HOLLYWOOD NARRATIVE PRODUCTION (… protecting the editor with choices.)

There are no absolute rules about relating the way a film is shot to problems of cutting. Even the guide lines below can sometimes be ignored to good effect. If, like Godard, your objective is to remind the audience that they are watching a cinematic representation of 'reality', then breaking the convention is part of your stock in trade. Most of the guidelines that follow, aim to assist the objective of suspending disbelief in your audience in the face of working in a two-dimensional medium that establishes its own language.

Continuity: All aspects of continuity have very wide implications for the editor; it is no accident that the function of watching continuity during production has long been established as an important and specific task. Traditionally assigned to a Script Supervisor, this job is a necessary protection for the director in controlling all aspects of staging a scene. It is well known that the consistency of appearance, clothing, props, and makeup and so on of actors is the concern of this job, but the best continuity persons will do much more. Lighting, details in designing the set, matching shot compositions and action, complementary coverage, consistency of dialogue: indeed everything to ensure that all available shots are indeed usable by the editor, should be the responsibility of this person. Inconsistencies that find their way on to the film must be noted on the continuity sheets as must the reasons for preferred takes and why others are faulty.

The line: [AKA: The 180 Degree Rule, The Axis of Action Rule, The Perineum Rule] This is the mother of all cinematic conventions. Every camera position establishes a relationship with an actor with a set and consequently every shot and everything must retain a left-to-right relationship. Once a line is established your alternative camera positions lie within a 180 degree arc. Avoiding crossing the line seems to give the inexperienced film-maker his/her worst problems. And it is extremely frustrating in the cutting room to be presented with shots which, although valid in themselves, cannot be intercut with the rest of the shots for that sequence. It is possible to establish a new line, but this can only be done by moving the camera across the line during the shot, or by the subject crossing the line during the shot. An analysis of most good dramatic films will reveal the positive use of moving to a new line for dramatic emphasis - an effect akin to that experienced in reality when someone moves their position in relation to us sufficiently to require us to decide either to accept or resist the need to turn round in order to face them again.

Eye-lines: This is closely related to the problem of line. A simple shot of two or more characters establishes the 'eye-lines' or direction of look between them. These physical relationships must be maintained in every shot for the same scene. In essence this means respecting the line that is established by the camera position. It is wrong to assume that if a close-up of one character is being taken from exactly in front, the eye-line principle need not concern you. Looking straight at camera will only be appropriate if it's known that the person being looked at is placed square on to the subject of the shot. As with line, movement of the camera or the subject during a shot can vary the eye-line - and again, dramatic emphasis can be gained, once the eye-lines have been established, by a character looking 'the wrong way'.

Direction of Movement:

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Consistency is needed both within the frame and in and out of it. Most simply, if a person or object exits right of frame, they should enter left and vice versa. All movement should retain that continuity. There is one exception: if a character exits frame towards the camera and we wish to cut to a reverse angle of the character seen from behind, he must be seen to re-enter the frame from the same side. This is because the character's movement has broken the line and the reverse angle is on a new line.

Pace or Energy of Movement: This is much more difficult to remember to match. We have all seen the Western where the posse is riding hell-for-leather in a wide panning shot, and on the cut to a medium head-on tracking shot it seems to have slowed to a sedate trot. All movement needs matching both to be convincing and to allow flexibility in cutting. Walking shots seem to be the hardest movement to match, and it is easy to delude yourself into believing that if the legs are not visible the pace does not matter. But with any action that is going to be cut on, even the turn of a head or the flick of a finger, the pace must be matched in shooting. One of the most obvious mismatches is the cut from the exterior to the interior of a moving vehicle. In this and other cases, the problem often stems from the difficulty encountered by the camera operator in filming close movement. It is best, if possible, to shoot the awkward close shot first and to match the speed that has been achieved when covering the same action wider. There is a similar problem with sound: actors often raise the volume and increase the speed of dialogue when being shot in close-up. I can only surmise that this phenomenon is a reaction to a feeling of intimidation at the proximity of the camera. It can have an alarming effect on the usefulness of cover in a sequence. Strangely enough, it can also be an indication that the scene is best handled wider and the close-ups rejected.

Composition, Angle and Distance: Unless there is reason to go for a shock effect or to emphasize the significance of a person or object, it Is usually important to vary angle as well as distance in alternative shots. Kurosawa is fond of cutting in on the same camera angle for effect, for example at the dramatic climax of Sanjuro (1962) and as the villagers approach the water-mill in The Seven Samurai. However, in normal cutting, continuity has to be matched so carefully and the position of the subject in the frame is so critical that it is safest to move at least 30' from the line of other shots for your alternative, especially if the shot is of a single person. The zoom lens has tended to make directors lazy as it enables the size of the subject in the frame to be changed without the camera being moved. A slow zoom-in on the focus of attention in a frame, either static or moving, can of course be very effective, but the temptation to use the beginning and end of the zoom as separate shots should normally be avoided.

Ample Coverage: The expectation of the editor is to show the audience what they need to see to best follow the story. This task can only happen if there are shots to choose from, shots that have captured the important dramatics elements of each scene. “Camera cutting” is editing on the set, a big mistake. No one can know of certainty how a film will look until after it is actually edited. The responsibility of the production crew is to shoot all they can, limited only by time and money. Good films come from good editing and good editing comes from good choices.

Set discipline: There is a very particular discipline needed when shooting on a set or in circumstances which allow you to position the camera to gain a wider perspective than is realistic in a confined space. On location in a room where the windows and doors are impracticable as extensions to the shooting area, all shooting must be contained within the space. The problem in the studio where walls can be 'floated' is

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Film Production Option Handbook that your audience easily loses belief in the artifice presented to them. I have been given rushes where a character is seated on a sofa against one wall of a room and found I had to use as the reverse angle a shot obviously taken from six feet behind the sofa! Wide-angle lenses, used to contain all the action in a confined space, can also give a false impression. Whatever you do, it is imperative not to think that solving the problems of 'conventional coverage' is a protection against failure or, worse, a guarantee of success. The mediocre film often demonstrates a foolhardy belief that efficient application of the mechanics of shooting is a substitute for having a clear conception of what you want to show and how to show it. It is also true that an unconventional shooting method still has to find answers to the above problems. The film that is shot in long takes must confront the questions of rhythm and pace, focus of interest and the other factors affecting the use of the camera; and some substitute will have to be found for the language of individual close-ups, medium shots and long shots.

THE LANGUAGE OF EDITING: Giving the material form and refining its meaning

In The Parade's Gone By Brownlow wrote: 'Editing is directing the film for the second time. To gauge the psychological moment - to know exactly where to cut - requires the same intuitive skill as that needed by a director.' Every film presents the editor with an imprecise agenda. Without experience it is natural to conclude that a well-cut film only requires the editor to put the pieces together in the right order. In fact, no editor believes that his task is simply to find the one perfect conjunction that is just waiting to be discovered. If this were so cutting would be analogous to jigsaw solving. The difference between editing a film and assembling a jigsaw is that with a film nothing is completely predetermined. The film-maker may claim that the film already exists in his head, and that it is also on paper in the script, but the film that emerges from the cutting room has never existed before, neither in someone's head nor on paper. It is only through the editing process that the material is translated into the form that can communicate its narrative and meaning to the audience. To understand the language of editing requires us to define in what ways it involves 'directing the film for the second time'. In that way we can unearth what Brownlow calls 'the hidden power' of the editor.

SHOT SELECTION The way films are conceived and shot assumes the function of editing. This is especially true in the selection of what is to be shot, a process that leaves levels of decision-making to be refined in the cutting. In dramatic films this provides the editor with different kinds of choices.  The first is the choice between several attempts at the same shot. Every time two or more takes are shot on the same slate selection in the editing is being allowed for. This implies both the desire to obtain the most effective version of the action for a particular shot and the realization that the choice of take may depend on which one dovetails best into other shots which cover the same segment of the script.  Secondly, it is normal to shoot the same action in more than one set-up: the resulting changes of angle and sizes of shot allow a further level of selection in the cutting.  Thirdly, this kind of shooting leaves open the question of when to cut and what to cut to.

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STRUCTURING OF SHOTS (SEQUENCING) To be able to understand the way in which editor select shots, you must first understand the structuring of a scene and also the placing of each scene in the overall film. To be able to structure a scene effectively you must understand its function. It is the misunderstanding of function that leads to the most superficial use of editing technique. If the writing and/or shooting of a film is meant to convey more than just the words and actions of its characters, then the cutting must be used to serve those aspects of the drama that lie beneath the surface. If you edit merely to ensure that the dialogue is heard and the actions seen then the structuring will be only something mechanical. We must also be aware of the way in which cuts work at the junctions between scenes. Much will depend upon the way the director has ensured that the shots that are meant to open and close each adjacent scene can be matched in the cutting. The success of sequencing will be affected by the composition and, of course, by the control of pace and rhythm.

THE DYNAMIC AXIS Already in the way a scene is staged - in the way character and camera movement are controlled - the director is seeking to use physical space to support the emotional content of the scene by balance and emphasis. Editing should respect and reinforce these intentions. As each scene evolves the editor must be aware of changes in the dominant line of dramatic tension, or what I like to call the dynamic axis. This is not simply a matter of analyzing the flow of a scene and deciding who is center stage at any point; any such obvious dominance must be taken in conjunction with the point of the scene and its purpose in the overall drama. To take a simple example, if a fight occurs between two characters it may be that the effect on a third party not directly involved in the fight is more important in the film than the actual conflict. The reactions of this third party could be the element that the cutting needs to emphasize. Even here, you have to be careful not to overemphasize by cutting: for instance, the director may have carefully staged the action to focus on reactions of the third party while still including the other two characters in the shot. Understanding this dynamic axis in a scene will always give the editor the right clues in deciding what to cut to and when.

MOTIVATION All cuts should be motivated. Again it must be emphasized that this is not something mechanical. Just because there is movement that could be followed or emphasized by a cut is not necessarily enough reason for the cut. The dramatic focus of a scene and the point of view that has been established are often far more important than the details of the action. Staying wide can sometimes serve the tension far better than cutting in close, and the cut to a close-up may provide undue emphasis on the insignificant.

POINT OF FOCUS: The editor must be aware that at each moment in a shot the audience's attention is focused on a particular area of the frame. Often a cut that is sufficiently motivated is prevented from working properly by the switch of attention on the cut. If the eye has to adjust its focus ' in an unexpected way the moment of the cut will be a dead spot and will dislocate the flow of the scene.

PARALLEL ACTION Scenes that are meant to be cut in parallel are often conceived without due attention being given to the pacing and balance. Such intercutting will seldom work unless the material has been pre conceived for that purpose, especially since the normal function of parallel action is to lead to a denouement which brings together the separate dramatic threads.

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RHYTHM AND PACING As we construct a scene the aim must be to provide the right pacing and to establish or emphasize the inherent rhythm. In both dramatic and documentary films the events being shown have a natural rhythm. It is important to be able to use this rhythm to motivate the cutting. Of all the elements, which must be considered for effective use of the editing process, the use of and control of rhythm and pace are finally what will determine the contribution, that cutting makes to your film. Kurosawa had in mind a particular piece of music when conceiving one sequence of Red Beard (1964). According to Donald Ritchie in The Films of Akira Kurosawa (1965), when Kurosawa had cut the sequence together, he put on a recording of the Haydn, the second movement, and played it along with the film to see what the effect was. Well, the effect was just fine, but what really surprised me was that I had cut the sequence so that it came to an end precisely at the end of the Haydn. Somewhere in the back of my head some kind of clock kept count.' Of course, the material had the potential to work effectively but it was the editing that confirmed the inherent rhythm and pace. In his article, Montage inon beau souci (1956), Godard stated: 'If direction is a look, montage is a heartbeat. To foresee is the characteristic of both, but what one seeks to foresee in space the other seeks in time.' When he wrote this Godard had only made two short films, but foreseeing in time is indeed the prime function of editing. Everything we do in cutting is in some sense a manipulation of time. We speed it up, slow it down, repeat it, truncate it, stop it, go forwards and backwards in it, and remove the need for it to get us from one place to another or indeed from one camera setup to another. We even combine the same time in more than one place by parallel cutting. We use our perceptions of time to cheat time. Ultimately it is our ability to control the rhythm and pace in cutting that makes it possible to play with time in this way, but because we have this power as editors it is also possible to lose control. For no shot is neutral, both its content and its form already contain the elements, which contribute to the innate rhythm that reacts upon any Juxtaposition, we create. If you make one significant change in a sequence, even if it seems to be well cut, the result will always have a rippling effect on the feeling of the rest of the sequence, and it is unlikely that you will get away with making just that one adjustment.

BALANCE AND EMPHASIS The real contribution of editing is to provide support to the inherent drama through balance and emphasis. The balance in a scene is a delicate matter which must be retained with every cut, and if we use emphasis correctly it will help this balance. For instance, each time you, cut to a closer shot it is imperative that the shift in visual emphasis supports the dramatic balance at that point.

REASONS FOR CUTTING:

Creative editing is always a matter of balance and emphasis, a delicate structuring of dramatic elements intended for impact, and while a cut is never right or wrong in an absolute sense, we can determine how works or does not work in relation to the rest of a film.

A. Positive reasons for an edit: the elements of dramatic development

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The best edit is one based on positive reasons. An awareness of the general factors just discussed structuring, balance and emphasis, the dynamic axis, rhythm and pacing, etc. - is the essential starting point in understanding these principles. But it is only by analyzing the elements of dramatic development in the scene under consideration that you will be able to arrive at meaningful solutions.

To best use dramatic principles in the edit consider the following questions: 1. What is the function of the scene? 2. How does the scene fit into the overall film? 3. Is the audience to identify with a particular character or are they merely observers? 4. Should a particular character dominate; will that dominance shift during the scene? 5. Is the dialogue needed to understand the narrative or is it mere embroidery? 6. Is there a necessary eloquence or power in the silences? 7. How does the movement of camera and/or characters contribute to the scene? 8. Should the scene be viewed wide or are close shots more essential? 9. If we cut in close will it preclude cutting wide again? 10. Are there significant details that must be seen? 11. Does a reaction need to be explained? 12. Does a moment in the scene demand a shock cut to point up a dramatic beat? 13. Does the scene have a natural climax? 14. What elements, apart from the characters, are important to the scene? 15. Apart from the dialogue, what other sounds have significance?

B. Overcoming problems by cutting (common fixes): Although the hundred and one bad reasons for cutting do not teach us positive lessons about editing, the remedies for such shortcomings can produce positive results: 1. Uneven performance: The best delivery and characterization is sometimes spread out in sections over more than one take. This can be improved by inserting reaction shots or by cutting to a different angle so that the best parts can each be used. 2. Fluffs: If a word or short phrase contains a 'fluff' or wrong emphases in an otherwise reasonable take, it is often possible to replace the offending sound with the same words from another take or shot covering the same dialogue. 3. Lack of reaction: Where a facial expression is 'dead' or there action shot does not even exist, look elsewhere in the scene for similar reactions which may not be needed in their proper place. It may even be possible to snatch the required few seconds from before the clapper board or after the director shouts 'Cut'. This is one good reason for retaining all properly framed and exposed picture when synching up. 4. Mismatched action: Sometimes an essential action cut will not work either because the change of angle is strange or because of considerable discrepancy in pace. In this case try cutting before the action or, if the sequence depends on rhythm for its effectiveness, you can sometimes use the movement of another character to match that in the outgoing shot. Indeed, it is always too easy to fall into the trap of trying to make a direct cut work when the best answer is to insert an alternative that does not depend on matching action or pace. 5. Discrepancies in pacing: You must remain aware of whether the overall pace suits the mood of a scene. Where it seems too slow it may be necessary to overlap the dialogue or intercut more. Where the pace is too fast make use of the silences by inserting pauses contained in complementary shots.

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6. Unconvincing action: If action is unconvincing when cut together, the reactions of a third party with sound laid over often compensates (e.g. with a badly staged or performed fight scene). This does assume, of course, that the director has had the foresight to shoot such reactions. 7. Lack of static before or after movement: Tracks and pans occasionally lack a satisfactory hold on the beginning or the end. Mixing from or to a relevant static shot can be an effective substitute or even improve the structure of the scene. Given even pace it is also effective to mix one movement into another, although this is hard when the movement continues in the same direction. A track or pan mixing to a zoom can often provide dramatic concentration. 8. Problems of matching sound and picture: In dialogue scenes the best cutting point is often not available without offsetting the junction on the soundtrack. [Pre-lap or post-lap the cut] A. First, what seems to be the best place in the dialogue may not provide a convincing picture cut? In this case there are two solutions. You can either overlap the dialogue if this is appropriate to the mood of the scene, so that a good visual cut is created, or it may be possible to remove a phrase from the dialogue to achieve a similar result. B. Second, where the dialogue already overlaps it may be necessary to continue the track from one of the two shots over the cut to retain the sense of the dialogue and still achieve an effective picture cut. C. Other unsatisfactory juxtapositions can be improved by making use of hard sounds, such as door slams or gunshots, to bridge or signal the cut. 9. Unconvincing dialogue: The scripted words are never sacrosanct and it is important to remain aware that dramatic flow can often be helped by removing phrases or even whole sentences. Again this is facilitated by inserting a reaction or just ending a scene sooner. 10. Junctions between scenes: These are perhaps the most vital cutting points: always be prepared to acknowledge that a scene is overstaying its welcome or that it can start later. Once a scene has served its purpose it is criminal to hold on to it. However, the very essence of a particular sequence can be contained in the pause at the end, and in any case remember that the initial impact of each subsequent scene is dynamically affected by the last moments of the scene that precedes it. .

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Film Project - End Credit Protocol [Note: 452 Senior Thesis is different – see Senior Thesis Guidelines]

I. No possessive credit by the director, i.e., A Jack Smith Film or A Film by Jack Smith II. The only “credit” up front will be the title of the film III. Then when credits have been built as a sequence they must be approved. [See the following templates for the proper order.]

End Credit SINGLE CARD Template WORK SHEET As of Nov 30, 2015

Principal Cast: Character A: ______Character B: ______Character C: ______Character D: ______

Director: ______Writer: ______Producer: ______Cinematographer: ______Editor: ______Composer: ______Sound Mixer: ______

Supporting Cast (as appropriate) Character name: ______Character name: ______

Crew: (as appropriate) Assistant Director: ______Camera Operators: ______Script Supervisor: ______Boom Operator: ______Cable: ______Best Boy Electric: ______Electrician: ______Key Grip: ______Grips: ______Gaffers: ______Art Decorator: ______Wardrobe Supervisor: ______Key Makeup Artist: ______Key Hair Designer: ______Location Manager: ______

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Assistant Editors: ______Craft Services: ______Still Photographer: ______

PRODUCTION ADVISORS: (As appropriate) Professor Michael Hoggan A.C.E. Professor Joel Krantz Professor Jan Popiden Professor Fred Ginsburg, C.A.S Professor Karen Dee Carpenter )

CTVA FACULTY: (As appropriate) [make three columns] Professor Jon Stahl (Chair) Professor Jared Rappaport Professor Francis Gateward Professor Tim Halloran

CTVA STAFF: (As appropriate) [make three columns] Michael Bryant Joseph Schwartz, ACSR, ACMT William Wilson George Johnson Kathleen McWilliams Cheri Aguayo Olivia Gonzales Tom Weems

PROFESSIONAL APPRECIATION: (As appropriate)

Eastman Kodak (when applicable) FotoKem Grant – Perry Suppa, Rico Hernandez (when applicable) Panavision ______(when applicable) Wooden Nickel ______(when applicable) HTV Illuminate ______(when applicable)

CSUN President, Dianne Harrison CSUN Provost, Li Yi Mike Curb College of Arts, Media, and Communication: Interim Dean Dan Hosken, CSUN Risk Management: Kristin Morris, Cyndi Paul, Jody Van Leuven CSUN Associated Students: David Crandall

SPECIAL THANKS (Family, friends, contributors, Kickstarter Donors)

______

Music Song Credits placed here if needed and appropriate.

Student Produced Department of Cinema and Television Arts California State University, Northridge Faculty Advisor: ______© 2017 All Rights Reserved

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This motion picture is protected under laws of the United States and other countries. Any unauthorized exhibition, distribution or reproduction of this motion picture or video tape of any part thereof (including the soundtrack) may result in civil and criminal penalties. This motion picture is registered with the IFTA © anti-piracy program. The events, characters and firms depicted in this motion picture are fictitious. Any similarity to actual persons, living or dead, or to actual firms is purely coincidental.

THE “BUGS” (As applicable)

[Any business that is applicable to your specific film.]

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SECTION 7

PRODUCTION SOUND RECORDING

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PRODUCTION SOUND RECORDING

PRODUCTION SOUND RECORDING GOALS: I. To acquire crisp, clean, dialogue on the set. Once you are assured of clarity, pay attention to perspective, sync sound effects, background sound effects, wild lines & protection tracks, wild sound effects, and (extremely important) usable room tone/ambiance filler.

II. Make sure that you have verified with the Post Production Supervisor (in writing) that you are recording with the correct and specified settings. For example, bit & sample rate (24 bit / 48k), Timecode frame rate (23.976, 24, 29.97non-drop 29.97 drop, 30 non-drop), file format (mono, 2-track, 4-track, 8+2 track, mono file envelope, poly file, WAV or BWF). These setting selections are CRITICAL; you must verify that you are using the right ones! Never guess; never assume.

THE BUSINESS OF CAPTURING SOUND: In order for you to successfully achieve your aesthetic objectives you will need a work plan, one that is well articulated ahead of time. [Fred Ginsberg list]

I. Prepare a suitable equipment list and proposed budget. Your budget should include all rented gear. The CSUN provided sound package for the 355 class is:

Hyper cardioid microphone (aka “short shotgun”) Cables and boom pole Marantz PMD660 Recorder or H4N Zoom Recorder https://www.youtube.com/watch?v=xtqO2DV1kk8 https://www.youtube.com/watch?v=dnJ1Bab9Pao&list=PLX6vtd1joudmn1knDCGAgPYH j567kOpUr

II. ADDITIONAL EQUIPMENT Consider any acoustic issues that you are likely to encounter, and prepare solutions. For example, you may need extra sound blankets and carpet padding to soften room echo; or foam pads to prevent hard surfaced tabletops or lecterns from becoming reflective. Lots of batteries!

III. Prep your equipment package, personally, and at least a day in advance. Make sure that you allow yourself at least half a working day in advance to prep your equipment, so that in the event that something in your package is incorrect or defective, you (or the rental house) will have sufficient time remaining in the business day to remedy the problem. Plug in and test every piece of gear to insure that it works correctly, interfaces with the other equipment in your package, and that you are familiar with its operation.

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IV. Recruit a crew. A. Production Sound Mixer B. Boom Operator C. Utility Sound Technician

V. When you arrive on the set, prepare the sound cart. Park yourself on the edge of the set, near the Director, so you can see the action and, if necessary, hand gesture to the Director.

VI. Record “Room Tone” on the first take of each major setup or location. Room Tone needs to be recorded with the same microphone setup as dialogue: same mic, same angle, same volume setting, and same background noise. It represents what the actual set sounds like on the tracks during a pause in the dialogue. It is used as “patching putty” when the Editors need to delete a few frames of bad sound. You should also try to squeeze in a few seconds of room tone after announcing the scene/take and before calling out “Speed”; as well as at the end of a take right after the Director has called for “Cut” but before actually stopping the recorder.

VII. Always strive for the best microphone placement. Negotiate with the Camera Operator to establish a headroom area that is conducive to good visual composition but not detrimental to good boom placement.

VIII. Confirm your shot identifications with all parties on the set.

IX. Production sound effects (aka PFX) are important. Record sync sound effects only when they do not overlap nor interfere with dialogue. Record wild sound effects and wild background tracks for the Editors to use later on.

X. Only turn in a copy of your production audio. Never give the Production Company the only copy of the Production audio for dailies. Always transfer the files to your computer, so that you maintain a copy of all of the audio in case of media loss, or for checking an older take if requested by the Director or Script.

XI. Secure your equipment. Audio gear is always tempting to thieves; they have a lot more outlets for it than professional camera rigs. Never leave the set until you have removed everything of value, such as microphones, headphones, recorders, mixers. Bring tarps to cover your sound cart to minimize temptation (and in case of dust or rain).

XII. Pay attention to safety. The Sound Dept., along with other crew members, may be monitoring the set via high sensitivity microphones and amplified headphones. Be constantly aware of all potential situations that could involve extremely loud sounds, such as gunshots, explosions, crashes, bullhorns, and so on. It only takes one incident to ruin your hearing for life! Make sure your mic cords are secure. One trip and fall could stop the production.

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COMPLICATING SOUND FACTORS/PROBLEMS: 1. Ambience shifts = when the mic changes direction the ambience changes 2. Sound perspectives = sound match in texture and volume relative to its composition 3. Background noise = surf, airports, empty hall ways 4. Camera noise = hum of the camera when shooting 5. Wind noise = if you can fly a kite it is not a good day for sound recording 6. Acoustics = echo space vs flat space / feedback and reverberation 7. Phasing = where two sound signals are out of form and produce a hollow sound

Go to the location (s) ahead of time – during the same time of day production plans to shoot . . . using the recorder and headphones . . . close your eyes and listen. Note sound challenges and notify the production company.

Audio-Technica – A Brief Guide to Microphones: (2004)

Welcome to the Producer's Notebook - Audio-Technica Guide to Microphones. Below, you find a wealth of information on microphone types, pick-up patterns and functionality. For detailed information on Audio-Technica products, log on to www.audiotechnica.com.

What a Microphone Does Like phono cartridges, headphones and loudspeakers, the microphone is a transducer -- in other words, an energy converter. It senses acoustic energy (sound) and translates it into equivalent electrical energy. Amplified and sent to a loudspeaker or headphone, the sound picked up by the microphone transducer should emerge from the speaker transducer with no significant changes.

While there are many ways to convert sound into electrical energy, we'll concentrate on the two most popular methods: dynamic and condenser. These are the types of microphones most often found in recording studios, broadcast and motion picture production, home hi-fi and video recording, and on stages for Iive sound reinforcement.

Dynamic Microphones

Comparison of microphone types to loudspeakers may help you more readily understand their operation. Dynamic microphones can be considered as similar to conventional loudspeakers in most respects. Both have a diaphragm (or cone) with a voice coil (a long coil of wire) attached near the apex. Both have a magnetic system with the coil in its gap. The difference is in how they are used.

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With a speaker, current from the amplifier flows through the coll. The magnetic field created by current flowing through the voice coil interacts with the magnetic field of the speaker's magnet, forcing the coil and its attached cone to move back and forth, producing sound output.

Figure 1 Dynamic Microphone Element

A dynamic microphone operates like a speaker "in reverse.” The diaphragm is moved, changing sound pressure. This moves the coil, which causes current to flow as lines of flux from the magnet are cut. So, instead of putting energy electrical into the coil (as in a speaker) you get energy out of it. In fact, many intercom systems use small speakers with lightweight cones as both speaker and microphone, by simply switching the same transducer from one end of the amplifier to the other! A speaker doesn't make a great microphone, but it’s good enough for that application.

Dynamic microphones are renowned for their ruggedness and reliability. They need no batteries or external power supplies. They are capable of smooth, extended response, or are available with “tailored” response for special applications. Output level is high enough to work directly into most microphone inputs with an excellent signal to noise ratio. They need little or no regular maintenance, and with reasonable care will maintain their performance for many years. Condenser Microphones

Condenser (or capacitor) microphones use a lightweight membrane and a fixed plate that act as opposite sides of a capacitor. Sound pressure against this thin polymer film causes it to move. This movement changes the capacitance of the circuit, creating a changing electrical output. In many respects a condenser microphone functions in the same manner as an electrostatic tweeter, although on a much smaller scale and “in reverse.”

Condenser microphones are preferred for their very uniform frequency response and ability to respond with clarity to transient sounds. The low mass of the membrane diaphragm permits extended high-frequency response, while the nature of the design also ensures outstanding low- frequency pickup. The resulting sound is natural, clean and clear, with excellent transparency and detail.

Two basic types of condenser microphones are currently available. One uses an external power supply to provide the polarizing voltage needed for the capacitive circuit. These externally-

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A more recent development is the electret condenser microphone (Fig'2). In these models, the polarizing voltage is impressed on either the diaphragm or the back plate during manufacture, and this charge remains for the life of the microphone.

Figure 2 Electret condenser Element

The best electret condenser microphones are capable of very high-quality performance, and are used extensively in broadcast, recording and sound reinforcement.

Due in part to their low-mass diaphragms, condenser microphones are inherently lower in handling or mechanical noise than dynamic microphones. For all of its electret condenser designs, Audio-Technica has elected to apply the polarizing voltage, or fixed-charge to the back plate rather than the diaphragm. By doing this, a thinner material may be used for the diaphragm, providing a considerable performance advantage over electret microphones of conventional design. Many Audio-Technica microphone diaphragms, for example, are only 2 microns thick (less than 1/10,000th of an inch)!

Condenser elements have two other design advantages that make them the ideal (or the only) choice for many applications: they weigh much less than dynamic elements and they can be much smaller. These characteristics make them the logical choice for line - or "shotgun" - microphones, lavaliers and miniature microphones of all types.

Attempts at miniaturizing dynamic microphones result in greatly reduced low frequency response, overall loss in acoustic sensitivity, and higher mechanical or handling noise generally OK for speech, but are not seriously considered for music or critical sound reproduction.

One other type sometimes found in recording studios is the ribbon microphone. It is a form of dynamic mic, with a thin metallic ribbon (which serves as both voice coil and diaphragm) suspended between the poles of a magnetic circuit. While it is capable of excellent performance, the ribbon element must be protected against high acoustic pressures or wind, since it is relatively fragile. For this reason, ribbon microphones are rarely seen in sound reinforcement applications or non-studio recording.

Phantom Power for Condenser Microphones

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While the electret condenser microphone doesn't need a power supply to provide polarizing voltage, an FET impedance matching circuit inside the microphone does require some power. This may be supplied by a small low-voltage internal battery or by an external "phantom" supply.

Phantom powering is a technique which delivers a DC voltage to the microphone through the same shielded two-conductor cable that carries the audio from the mic. The phantom power may be supplied either by the mic mixer or from an external supply that is "inserted" into the line between the microphone and mixer input. For phantom power to function, the line between the power supply and the microphone must be balanced to ground, and uninterrupted by such devices as filters or transformers which might pass the audio signal but block DC. Phantom power also requires a continuous ground connection (Pin 1 in the XLR-type connector) from the power supply to the microphone. The supply delivers positive DC voltage equally to both signal- conducting leads, and uses the shield as a return path, or negative. Balanced-output dynamic microphones are not affected by the presence of phantom power, since there is no connection between the shield and either signal lead and, therefore, no circuit for the DC voltage.

Phantom power supplies are available in various output voltages ranging from as low as g volts up to 48 volts. They may be designed to operate from AC line voltages or from internal batteries.

Externally polarized or "discrete" condenser microphones seldom have internal battery power. Instead, a phantom power source is used to provide both the polarizing voltage for the element and to power the impedance converter: this type is sometimes called a "pure condenser."

Other Types of Microphones

There are a number of ways to translate sound into electrical energy. Carbon granules are used as elements in telephones and communications microphones. Some low-cost microphones use crystal or ceramic elements that are Ribbon microphones are often designed to respond to sound from both the front and back, and are sometimes used when a bidirectional pickup-pattern is required - which brings us to the next major microphone classification.

What's the Pattern?

In addition to classifying microphones by their generating elements, they can also be identified by their directional properties, that is, how well they pick up sound from various directions. Most microphones can be placed in one of two main groups: omnidirectional and directional- Omnidirectional microphones are the simplest to design, build and understand. They also serve as a reference against which, each of the others may be compared.

Omnidirectional

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Omnidirectional microphones pick up sound from just about every direction equally. They’ll work about as well pointed away from the subject as pointed toward it, if the distances are equal. However, even the best omni models tend to become directional at higher frequencies, so sound arriving from the back may seem a bit "duller" than sound from the front, although apparently equally "loud."

The physical size of the omnidirectional microphone has a direct bearing on how well the microphone maintains its omnidirectional characteristics at very high frequencies. The body of the microphone simply blocks the shorter high-frequency wavelengths that arrive from the rear. The smaller the microphone body diameter, therefore, the closer the microphone can come to being truly omnidirectional.

Figure 3 Omnidirectional Microphone

Directional

Directional microphones are specially designed to respond best to sound from the front (and rear in the case of bi-directional), while tending to reject sound that arrives from other directions. This effect also varies with frequency, and only the better microphones are able to provide uniform rejection over a wide range of frequencies. This directional ability is usually the result of external openings and internal passages in the microphone that allow sound to reach both sides of the diaphragm in a carefully controlled way. Sound arriving from the front of the microphone will aid diaphragm motion, while sound arriving from the side or rear will cancel diaphragm motion,

The basic directional types include cardioid, sub cardioid, hyper cardioid and bidirectional. Also included under the general heading of directional microphones is the line -- or "shotgun" -- microphone, a more complex design that can provide considerably higher directionality than the four basic directional types.

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Figure 4 Directional (Cardioid) Microphone

Representing Polar Patterns

To help you visualize how a directional microphone works, you will find polar patterns in our literature and spec sheets. These round plots show the relative sensitivity of the microphone (in dB) as it rotates in front of a fixed sound source. You can also think of them as a horizontal "slice" through the pickup patterns illustrated in Figures 3 and 4.

Printed plots of the microphone polar response are usually shown at various frequencies. (For clarity on these web pages, the polar response is shown at 1,000 Hz only.) The most common directional microphones exhibit a heart-shaped polar pattern, and, as a result, are called "cardioid" microphones.

Figure 5 Polar Patterns: Typical Omnidirectional Pattern Typical Directional (Cardioid) Pattern

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Polar patterns should not be taken literally as a "floor plan" of a microphone's response. For instance, in the cardioid pattern illustrated, response is down about 6 dB at 90o off-axis. It may not look like much in the pattern, but if two persons were speaking equidistant from the microphone, one directly on-axis and the other 90o, the person off-axis would sound as if he were twice as far from the microphone as the person at the front. To get equal volume, he would have to move to half the distance from the mic.

A word of caution: these polar patterns are run in an anechoic chamber, which simulates an ideal acoustic environment - one with no walls, ceiling or floor. In the real world, walls and other surfaces will reflect sound quite readily, so that off-axis sound can bounce off a nearby surface and right into the front of the microphone. As a result, you'll rarely enjoy all of the directional capability built into the microphone. Even if cardioid microphones were completely "dead" at the back (which they never are), sounds from the rear, also reflected from nearby surfaces, would still arrive partially from the sides or front. So cardioid microphones can help reduce unwanted sound, but rarely can they eliminate it entirely. Even so, a cardioid microphone can reduce directions noise from off-axis by about two-thirds.

The directional microphone illustrated in Fig. 5 is about 25 dB less sensitive at 180o off-axis, compared to on-axis. This means that by rotating the cardioid microphone 180o, so that it faces directly away from the sound source, the sound will "look" to the microphone as if it had moved EIGHTEEN TIMES further away!

The maximum angle within which the microphone may be expected to offer uniform sensitivity is called its acceptance angle. As can be seen in Fig. 6, each of the directional patterns offers a different acceptance angle. This will often vary with frequency. One of the characteristics of a high-quality microphone is a polar pattern which changes very little when plotted at different frequencies.

Figure 6 Basic Polar Patterns

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Distance Factor

A directional microphone's ability to reject much of the sound that arrives from off-axis provides a greater working distance or “distance factor” than an omni. As Fig' 6 shows, the distance factor (DF) for a cardioid is 1.7 while the omni is 1.0. This means that if an omni is used in a uniformly noisy environment to pick up a desired sound that is 10" away, a cardioid used at 17” from the sound source should provide the same results in terms of the ratio of desired signal to ambient noise. Among other microphone types, the sub-cardioid should do equally well at 12", the hyper cardioid at 20" and the bi-directional at 17”.

If the unwanted noise is arriving from one direction only however, and the microphone can be positioned to place the null (minimum point) of the pattern toward the noise, directional microphones will offer much greater working distances.

Line Microphones

When micing must be done from even greater distances, line or "shotgun” microphones are often the best choice. Line microphones are excellent for use in video and film, in order to pick up sound when the microphone must be located outside the frame, that is, out of the viewing angle of the camera.

The line microphone uses an interference tube in front of the element to ensure much greater cancellation of sound arriving from the sides. Audio-Technica line microphones combine a directional ("gradient") element with the interference tube to increase cancellation at the rear as well.

Figure 7 Line + Gradient Microphone

As a general design rule, the interference tube of a line microphone must be lengthened to narrow the acceptance angle and increase the working distance. While shorter line microphones may not provide as great a working distance as their longer counterparts, their wider acceptance angle is preferred for some applications, because aiming does not need to be precise. Some A- T shotgun mics employ an exclusive design (U. S. Patent No. 4,789,044) that provides the same performance with an interference tube one-third shorter than conventional designs.

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How Do They Sound?

From a distance of two feet or so, in an absolutely "dead" room, a good omni and a good cardioid may sound very similar. But put the pair side-by-side in a “live" room (a large church or auditorium, for instance) and you'll hear an immediate difference. The omni will pick up all of the reverberation and echoes - the sound will be very "live." The cardioid will also pick up some reverberation, but a great deal less, so its sound will not change as much compared to the “dead” room sound. (This is the "Distance Factor" in action.)

If you are in a very noisy environment, and can point the microphone away from the noise, a comparison will show a better ratio of wanted to unwanted sound with the cardioid than with the omni.

Proximity Effect

Now let’s repeat the comparison from above, but this time with the microphones very close to the source (a singer, perhaps). As you get within about two inches, you will notice a rising bass response in most cardioid microphones. This is known as proximity effect a characteristic that is not shared with the omni microphone used for comparison.

Proximity effect can either be a blessing or a course, depending on how it is used. A singer can get deep, earthy sound by singing very close, and then change to a more penetrating sound by singing louder while moving the microphone away. This kind of creative use takes some practice, but is very effective. On the other hand, singing at the same volume (with no special effects desired) and moving the microphone in and out will create problems of tonal balance' apart from changes in overall mic level. Some performers also like to work very close at all times to "beef up" an ordinarily "light" voice.

Figure 8 Influence of Proximity Effect on Directional Microphone Response

Proximity effect can be used effectively to cut feedback in a sound reinforcement situation. If the performer works very close to the mic' and doesn't need the extra bass, an equalizer can be used to turn down the channel's bass response. This makes the microphone less sensitive to feedback at low frequencies, since it is now less sensitive to any low-frequency signal arriving from more than a foot away. (This equalization technique also will help reduce the effect of any handling noise.)

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“Which Pattern is "Best”?

Whether you should select a directional or omnidirectional microphone can depend on the application (recording vs. sound reinforcement), the acoustic conditions, the working distance required and the kind of sound you wish to achieve. Directional microphones can suppress unwanted noise, reduce the effects of reverberation and increase gain-before-feedback. But in good acoustic surroundings, omnidirectional microphones, properly placed, can preserve the “sound” of the recording, and are often preferred for their flatness of response and freedom from proximity effect.

Omnidirectional microphones are normally better at resisting wind noise and mechanical or handling noise than directional microphones. Omnis are also less susceptible to “popping" caused by certain explosive consonants in speech, such as "p," "b" and "t." Serious Recordist will undoubtedly want to have both types of microphones available to be ready for every recording situation.

Important Microphone Characteristics

Impedance:

One important characteristic of a microphone is its output impedance. This is a rneasurement of the AC resistance looking back into the microphone. Generally, microphones can be divided into low (50-1,000 ohms), medium (5,000-15,000 ohms) and high (20,000"+ ohms) impedance. Most Audio-Technica microphones are rated low-impedance. They will work directly into mixer inputs of 150 ohms on up to approximately 4,000 ohms, so they should be ideal for most of the tape recorders and mixers currently available. Of course, some users may want to use a low- impedance Audio-Technica microphone into a high-impedance (50,000 ohms) input, which is why we offer the CP82O1 microphone line matching transformer. It should be located as close to the electronic input as possible, so most of the microphone cable is low-impedance and balanced to ground. Here's why.

There is a limit to how much cable should be used between a high-impedance microphone and its input. Any more than about 20 feet will result in a loss of highs, and loss of output level. But by using low-impedance microphones and cable, microphone cables can be almost any practical length, with no serious losses of any kind.

Balanced Output

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Most Audio-Technica microphones offer balanced output. A balanced output offers real advantages to the serious recordist. Balanced lines are much less susceptible to RFI (Radio Frequency lnterference) and the pickup of the other electrical noise and hum" In a balanced line, the shield of the cable is connected to ground, and the audio signal appears across the two inner wires which are not connected to ground. Because signal currents are flowing in opposite directions at any given moment in the pair of signal wires, noise which is common to both is effectively cancelled out ("common mode rejection"). This cancellation can't occur when only one signal wire plus the shield is used. Of course, it is possible to wire a low-impedance microphone directly to an unbalanced low impedance input, but the noise-cancelling benefit will be lost. This should not be a problem with short cable runs, but if longer cables are used, a balanced input is preferred.

Microphone Phasing:

Microphone phasing is most important when two (or more) be microphones are to used close together, then mixed into a single channel, or when recording in stereo. If they are wired out- of-phase to each other, signal levers and tonal balance will be adversely affected, and can change abruptly with small movements of the sound source or the microphones. In stereo there may be poor imaging, imprecise location of instruments and reduction of bass. The term “out-of-phase" is used to describe a microphone that is wired with its polarity reversed with respect to another. While "out-of-phase" is not a technically correct expression when speaking of what is really polarity reversal, it is in such common usage that we include it here to help you understand the idioms of audio.

Audio-Technica wires its microphones to conform to the most popular industry convention: Positive acoustic pressure on the diaphragm generates a positive voltage on Pin 2 of the 3-pin output connector or on the tip at a 1/4 “plug. Of course, consistent phasing (polarity) must be preserved in all of the cables between the microphone(s) and the electronics.

Figure 9 Wiring of Typical Microphone Connectors

Sensitivity

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Sensitivity ratings for microphones may not be exactly comparable, since different manufacturers may use different rating systems. Typically, the microphone output (in a sound field of specified intensity is stated in dB (decibels) compared to a reference level. Most reference levels are well above the output level of the microphone, so the resulting number (in dB) will be negative. Thus a microphone with a sensitivity rating of -55 dB will provide more signal to the input terminals than one rated at -66 dB. (see Fig. 10.)

Figure 10 “dB re 1V”

Audio-Technica typically rates a microphone's sensitivity in terms of its open circuit output voltage. Stated in dB-relative-to-1-volt, or in actual millivolts (mV), this is the output the microphone will deliver with a stated sound pressure level (SPL) input. A-T uses a reference sound pressure of 1 Pa (Pascal), which equals 94 dB SPL, or 10 dynes/cm2. (A reference of 0'1 Pa equals 74 dB SPL, or 1 dyne/cm2.) In most modern audio equipment, microphone input impedances are substantially greater than the output impedance of the microphone, and thus may be regarded as an open circuit. That makes the open circuit voltage measurement a useful tool in comparing microphone sensitivities.

Although knowing how to read/compare microphone sensitivity (output) is important, the actual sensitivity rating usually is not a major consideration in mic selection. In fact, mic output is one factor considered in the design of a microphone for a particular application. For example, A-T shotgun rnics have higher-than-“normal” output levels because they need to maintain useable output voltage with distant subjects.

It should be noted, however, that when someone says, "The microphone is distorting," most often it is the electronics input (mixer/amplifier/recorder) which is overloading and distorting. (This is more likely to occur with A-T's high-output condenser mics, no Hi-ENERGY neodymium- magnet dynamic mics) lf high-level sound is creating distortion, before blaming the microphone, try inserting an attenuator between the microphone and its input. The Audio-Technica AT8202, designed for use with balanced Lo-Z microphones, offers a selector switch to drop the level 10, 20 or 30 dB, and will usually solve the problem. (Some mixers have a switchable "input pad" to help prevent input overload-)

Two Common Problems

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Feedback

Feedback is a condition in a sound-reinforcement application when picked the sound up by the microphone is amplified, radiated by a speaker, and then picked up again, only to be re-amplified. Eventually the system starts to ring, and keeps howling until the volume is reduced. Feedback occurs when the sound from the loudspeaker arrives at the microphone as loud or louder than the sound arriving directly from the original sound source (talker, singer, etc.).

The right microphone will reduce the problem. A microphone without peaks in its response is best, as feedback will occur most easily at the frequencies where peaks exist. While a good omni might work well in some situations, a cardioid is almost always preferred where a high potential for feedback exists. When the loudspeaker sound comes primarily from a single direction (rather than mainly reflected from all the walls, ceiling, etc.), the null of a cardioid (or other directional pattern) microphone can be aimed to minimize pickup of the loudspeakers sound.

Distance is also q factor. Moving the microphone (or speaker) to lengthen the acoustic path to the loudspeaker can often reduce feedback. Bringing the microphone closer to the intended sound source w!!l also help. And in general the microphone should always be located behind the speakers.

Acoustic Phase lnterference - Multiple Microphones

Acoustic phase interference occurs when the same sound arrives at two or more adjacent microphones at different times. This happens, for example, when two microphones are placed on a lectern as in Fig. 11. Because they are spaced apart, sound from the subject will almost certainly arrive at the two microphones at different times. The curves in Fig. 12 show the effects of the destructive wave interferences this causes when the microphone outputs are mixed together. These response degradations can result in not only poor audio quality, but often feedback problems as well.

Figure 11: Unequal Microphone Distances

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Figure 12 Multiple Microphone Response Curves

An obvious solution to this lectern-mic problem would be to use only one microphone. This not only improves the sound quality, but cuts the lectern microphone budget by approximately 50 percent! (Sometimes a second microphone may be desired as part of a backup or "redundancy" system, such as for press conferences. The two microphones should then be located directly in front of the subject, as close together as practical and only one should be on or "open" at a time.)

Fig. 13 shows another approach to podium rnicing with two microphones. Here the two mics are placed with their capsules as close together as possible, and angled in a "crossfire." This provides a wider overall acceptance angle, allows stereo miking with excellent mono compatibility, and largely avoids the phase-interference problem.

Figure 13: Multi-mic Podium Setup

Whenever two spaced microphones-must be used, the “3:1 is (,3_to_1,) Ratio Rule” is a good guide for placement. Fig. 14 illustrates this rule of thumb. In the illustration, Microphone 1 is one foot from the sound source. The next closest microphone in the system, Microphone 2, should be located three feet or more from Microphone 1. lf the distance between the sound source and Microphone 1 changes to two feet, then the minimum distance between the two microphones should be at least six feet, maintaining the 3:1 ratio.

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Figure 14 The 3:1 Ratio Rule

Acoustic Phase Interference - Single Microphone

Acoustic phase interference may also occur when only a single microphone is in use. This happens when sound is reflected off nearby surface and arrives at the microphone slightly after the direct sound. The adding together of the two signals may give problems similar to those encountered in improper multi-microphone setups. (The phase interference will be most noticeable when the reflected sound arrives at a sound pressure level that is within 9 dB of the direct sound.)

There are several ways to eliminate this problem. First, try putting the microphone closer to the sound source. Second, move the microphone farther from the reflective surface. Third, use a microphone specially configured to be placed extremely close to the reflective plane ( Fig. 15) When using a low-profile directional Audio-Technica boundary or "plate” microphone, for example, microphone capsule is so close to the surface that the direct sound and the reflected sound arrive simultaneously and add together rather than cancel. This technique can prove very helpful on the apron of a stage, , on a table or desk for conference use, or on the altar of a church.

Figure 15 Effects of Reflections

Some Useful Accessories

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SmartMixer Automatic Mixers

During any sound reinforcement event, microphones not in use should be turned down to avoid pickup of undesired ambient noise and to decrease of feedback. In order to accomplish this, systems with traditional mixing boards require and operator who controls the mic levels manually. But some systems must function without an operator either some or all of the time. Audio-Technica SmartMixers solve this problem by automaticity turning up only those microphones that are in use and turning them down between uses. SmartMixers keep the last microphone channel turned on until another channel is activated. This continuous pickup of ambient sound avoids disturbing “holes” or total silences that would otherwise occur.

A SmartMixer may be used as the only mixer in a system, or as a “small event” mixer to control selected inputs when an operator cannot be present. A single SmartMixer controls, and provides phantom power to four microphones- Additional units can be linked together to expand the number of available inputs while retaining automatic operation of all the mics. SmartMixer setup is extremely simple and takes only minutes. Security covers are included to limit access to the controls if desired.

Wireless Microphones

Providing total freedom of movement, Audio-Technica professional wireless microphone systems- set high standards for wireless microphone performance in the most difficult environments. Choose a self-contained handheld microphone/transmitter or one of our, versatile UniPakTM systems offered with headworn, lavalier, boundary, gooseneck and instrument microphones.

Windscreens

Microphone windscreens reduce problems of "popping" from close vocal use. They also help control the wind noise often encountered in outdoor applications and from heating/air condition air movements. The windscreen simply slips over the head of the microphone to completely cover all acoustic openings.

Shock Mounts

Microphone shock mounts help reduce mechanical noise transferred to a microphone through its mounting hardware. This includes the sound of physical contact with the pulpit lectern or microphone stand, or even a foot tapping on a wooden stage.

Phantom Power Supplies

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Audio-Technica offers two phantom power supplies for use with most condenser microphones requiring phantom power: the CP8506 four-channel 48V phantom supply that powers up to four microphones, and the AT8801 single-channel 48V phantom supply.

Line Matching Transformer

The CP8201 line matching transformer permits use of low-impedance microphones with unbalanced high-impedance inputs.

In-line Attenuator

The AT8202 in-line attenuator prevents distortion caused by the overloading of sensitive input stages. (For use only with balanced, low-impedance mics.) UniTools

A variety of electronic in-line microphone accessories called UniTools are available to overcome commonly-encountered sound installation problems. These compact, phantom-powered units can be used to combine channels, add a switch, eliminate feedback, and control background noise, among other useful functions.

Cables

Durable microphone cables from A-T combine the protective properties of conductive vinyl and a-rugged braided shield to ensure maximum rejection of AC hum and RF interference. Their supple, "low memory" material lets them lie flat without unsightly kinks and bends that can create a tripping hazard.

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Hierarchy of Microphone Techniques By Fred Ginsburg

Achieving clear, crisp dialogue and sound effects on a film or video production is no easy task. Production Sound Mixing is a craft that requires a blend of technical expertise and proper tools. The key to good sound gathering is to work from some basic strategies, and then work up from there. Anticipate instead of react. Don't limit yourself capability-wise to what you have been led to expect based on the production meeting. Things often change at the last minute, and producers/directors are notorious for not bothering to inform all of the crew. Be prepared for as many contingencies as possible.

For instance, if the shooting schedule calls for only interior interviews that day, I would still bring along a good exterior shotgun mic and windscreen just in case someone decides that a long "walk & talk" against a scenic city background is visually more interesting than a talking head in a cramped office.

Think in terms of what is known as the Hierarchy of Microphone Techniques. This hierarchy serves as your starting game plan in approaching a scene in terms of microphone selection and utilization.

Here is a summary of the Hierarchy: 1. Overhead boom. 2. Boom from underneath. 3. Boom mics as plant mics. 4. Lavalier mics as plant mics. 5. Lavalier mics as body mics. 6. Lavalier mics, as wireless or radio mics.

Now, let's examine these options in detail.

1) Overhead micing from a fishpole or studio boom is the most favored technique in the feature/TV/commercial industry. It is probably the best choice 90% of the time.

Generally, overhead miking will yield the most natural sounding dialogue with the least amount of mixing and editing effort.

It provides a pleasant blend when there are multiple actors involved. Two, three, even a small group of people interacting can all be recorded from a single mic.

A mic on a fishpole or boom allows for a fair amount of physical activity and movement by the talent. Actors are free to enter and exit a scene, move around, jump around, climb around, etc. There are no trailing mic cables to inhibit their range of motion.

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An overhead mic will pick up sufficient sound effects, footsteps, and hand-prop noise to give the soundtrack a full texture. Because the faces are closer to the mic, dialogue will dominate the track, but other sound effects will still be audible.

Audio perspective is easier to maintain with an overhead mic. On a wide master shot, the mic tends to be higher so that the resulting dialogue seems thinner and more "distant". On close-ups, the mic can be lowered giving the sound much greater presence and "nearness" to the screen.

But what if there are physical obstructions in the set that prevent deploying a microphone from overhead?

That brings us to the next option:

2) Boom micing from underneath. The boom mic can be fishpoled up at the talent from knee, thigh, or waist level with good results. The sound will be slightly bassier than miking from overhead, but still quite usable and acceptable. Note that a mic aimed up at a person tends to pick up more of the chest cavity, thus accounting for the increase in bass.

Personally, I find that it is much more difficult to boom from below, due to the presence of set furniture or the choreography of foreground persons. Camera operators also have to be much more careful, since it is more likely to widen the frame to show more of an actor's torso than to show more empty headroom above. Nevertheless, there will be many shots in which micing from below are the simplest solution.

1. Overhead boom. 2. Boom from underneath. 3. Boom mics as plant mics. 4. Lavalier mics as plant mics. 5. Lavalier mics as body mics. 6. Lavalier mics, as wireless or radio mics.

3) If the overhead microphone does not have to move, does it make any acoustical difference whether the mic is held up by human hands with a fishpole or rigged to a C-stand or clamp?

The definition of a plant mic is any mic fixed in place on a set. It can be a boom mic secured by any imaginative or convenient means over a dialogue mark. Or it can be a boom mic secured in an "underneath" position, such as behind a table or potted tree. Or it can be a miniature lavalier strategically attached or hidden anywhere in the set.

Which type of plant mic you choose depends on the situation you are faced with.

Let's say you are covering dialogue of two actors in a room and a third actor pokes his head into a doorway and delivers a line. Your two key actors are probably being covered by a handheld

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Film Production Option Handbook fishpole. The doorway could be easily miced either by a boom mic positioned above the door arch with a clamp or C-stand. 4) Another choice could be a lavalier as a plant mic, taped to the inside of the door frame.

A telephone booth can be readily miced by hiding a lavalier onto the surface where the caller will be facing.

A desktop can be miked by hiding a lavalier on a pen set or a rolodex. A restaurant table can be miked by sticking a mic into the floral centerpiece. (Okay, cue the "plant" mic puns.)

To mic an automobile, merely attach a lavalier to the sun visor. Determine to which side the actor/driver will be speaking, and cheat the position of the plant mic to accommodate that.

A microphone on the visor is preferable to using a mic on the actor's body. A body mic would give you lots of clothing rustle, seat belt rubbing, and other noise. On the visor, it is completely clean. Being high up in the vehicle, the mic is distant from road noise (gravel striking the underbelly of the car), as well as less susceptible to engine rumble. The padded ceiling of the vehicle reduces sound reflections and echo, and the padding of the visor provides additional isolation.

To cover driver and passenger, put the mic on the visor near the center of the car. If the passenger has a much weaker voice than the driver, place the mic on the center-facing edge of the passenger's visor. Or, if the driver faces forward most of the time, but also has a line or two directed out of his window, cheat the position of the mic to the far left of this visor. If necessary, use two plant mics to cover driver's window, driver front, passenger front, and passenger window. A second or third mic can be used to cover dialogue from the rear seat.

Be imaginative in your mic placement, but don't overdo it. Let one mic do as much work as possible; multiple mics in close proximity to each other will interfere with each other, creating echo and a tinny sound.

One caution about planting mics around on the set. They will only be effective if the dialogue is directed in their general direction. A plant mic that is behind someone's head won't be much good. Also, their range is limited; don't expect miracles. This is filmmaking, not surveillance. What works fine for a stake-out may not be acceptable in a professional sound mix.

1. Overhead boom. 2. Boom from underneath. 3. Boom mics as plant mics. 4. Lavalier mics as plant mics. 5. Lavalier mics as body mics. 6. Lavalier mics, as wireless or radio mics

4) Next in our bag of tricks is the lavalier used as a body mic. Lavs tend to have three major problems: perspective, clothing noise, and mobility.

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Perspective is the biggest problem. Dialogue recorded with lavs usually sounds like dialogue recorded with lavs. Talent always sounds like they are close to the camera, even in long shots. If talent turns their heads over one shoulder, their voice drops off. If talent leans over a hard podium or tabletop surface, their dialogue suddenly becomes infused with reverb.

The lav sound is sterile and somewhat free of natural sound effects and ambiance. The result is more authoritative and reporter-ish, less slice-of-life. Depending on the effect you are looking for, this could be a plus or a minus.

For example, an instructor will sound more dominant on a lavalier. But a community relations spokesperson will sound warmer and more natural if miked with an overhead boom.

Perspective can be improved by using some simple cheats. Place the lavaliers further down on the chest or further away from the voice to "open" up the sound. Two people standing close to each other and can be miked off of each other's mics to increase the air space. Be aware that the audio characteristics of lavaliers vary from make and model. Some lavaliers (known as proximity lavs) are more reporter-ish, and others are more natural (known as transparent lavs). Some reject background noise and focus on the individual, and others reach out to include other elements in the scene.

A boom mic on the set can be used to record footsteps and sound effects that the lavs might ignore. Recording just a smidgen of ambient "noise" (open the mic channel just a little bit) will wash out the normal sterility of the lavaliers. Use more "mic bleed" in long shots to thin out the dialogue, and then reduce the mixture for close-ups.

Clothing noise is a major problem with lavaliers. Although we don't have the space in this article to fully explore that area, one simple solution to clothing noise is to avoid the problem by attaching lavaliers to non-traditional sites, such as a hat brim or a clipboard.

When lavs do have to be hidden under clothing, secure the clothing carefully on all sides of the mic head. If the clothes are taped to the mic, then they cannot rub against the mic. Any loose flap of clothing that could strike the mic should be secured with tape or pins. Break the stiff starch near the mic with some water, so that noise does not conduct to the mic. The use of StaticGuard can also help reduce clothing friction.

Mic cables should be connected at the ankle. Never let talent drag the power supply of a lavalier by the thin mic cable that attaches it to the capsule. Instead, secure the power supply to the leg (put it in the sock, or use an ankle strap, or line the ankle with a protective strip of cloth or toilet tissue and then use gaffer tape). Attach the mic cable to the connector at the ankle, during a take. Remember to disconnect immediately during breaks so that talent is free to move off of the set.

Obviously, there will be situations when, it is either not practical or safe for talent to be tethered by a mic cable. 6) Our last resort as a miking solution is to use radio mics.

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Radio mics suffer from all of the limitations of lavaliers, plus those of their own such as electronic failure, radio interference, and bad karma that the scientific types are loathe to admit exist (such as mysterious magnetic black holes). Everything that has ever made your television reception bobble for a moment can interfere with radio mics: appliances, computers, passing trucks, overhead airplanes, CB's, and so on. Radio communications can also be a source of interference: walkie-talkies, mobile radios, repeaters, etc.

Try to use wireless as sparingly as possible. Sometimes, you can start a scene with a wireless, and then go hard-wire after talent has settled into a spot.

Only use fresh batteries, and change them routinely every couple of hours, or sooner!

If you are planning to use radio mics, bring along back-up units for contingency. There may be interference on one channel, or a unit may fail go sour on you, or talent may break a unit accidentally.

Radio mics can get expensive to use, not to mention difficult to mix if there are more than just a couple in use. Try to limit having to deploy them if there are any alternatives.

In conclusion, remember that good sound doesn't just happen. It has to be planned.

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Walkie-Talkies: Only as few as absolutely necessary! By Fred Ginsburg CAS PhD

So how many walkie talkies does it take to screw up a production?

Don't get me wrong. Walkie-talkies have been a staple on film production sets for as long as I can remember. They are efficient and immediate solutions for critical communications between the set, base camp, and extended outposts.

However, they are not toys. They are not status symbols. They are tools.

Like most power tools, they can save you a lot of energy and time; but when mishandled, they are accidents waiting to happen!

Students and novice filmmakers are notorious for wasting their scant production funds on way too many walkie talkies. I have stopped counting how many young producers clog their budgets with requests for more radios & headsets than they even have total crew members. A couple dozen radios is okay for a Hollywood episodic TV show, but not for a small student show.

So why I am so anti-radio? (I am not anti-radio, I am anti excess radio.)

Radios put out a lot of RF and a lot of physical noise. Every time that someone trips the transmit button, up to 5 full watts of RF energy blasts through the set. Those RF blasts, albeit silent in their transmission, can "rattle" the delicate recording circuits of digital equipment — such as cameras, audio and video recorders, wireless mics, lighting boards, and remotes. Sometimes it is an audible glitch; sometimes it can jiggle a menu setting. Depends on the gear, depends on where the radio is, and depends on the gods' sense of humor. One thing is certain, though. It never happens during run throughs.... only on important takes!

Radios also put out actual sound. Squelch tones, static, loudspeaker voice, clicking, whispering/shouting into lip mics. Crew members may or may not be using headsets, but real audio often bleeds out of some ear-sets.

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The more radios that you have on the set — the greater the risk of RF and audio noise interference!

We're not done, yet. There is also a great financial risk.

To begin with, walkie talkies cost money to rent. And they are very expensive to purchase. (Remember, filmmakers are using commercial 5 watt units, not the toy 0.1 watt "family" communicators.)

Why do I stress that you are renting costly units to buy? After all, you are renting, right?

You are renting until you lose them! Walkie talkies tend to get lost or stolen very easily on film sets. Nefarious extras and even crew members think about having their own radios for personal events, or resale on the black market. They figure that no one will miss one or two units (that they add to the units that they have swiped in the past to build up their inventory).

These units do get missed. And rental companies will ding you for "full replacement value, along with accrued rentals until time of payment". Read your contract!

"No matter, we're insured."

Read your contract. Insurance companies are not stupid. They know how common it is for walkies to go missing. One way or another, they are NOT going to pay for your loss.

Walkie talkies usually have very high deductibles, or outright exclusions. "Check the very fine print on page 31 of the policy appended sub-article referring to the attached binder of the non- exclusionary exclusionary secondary terms of the fourth part, which is only published on our password protected website or available for viewing in the lobby of our international based sub- office."

Not only are the “per occurrence” deductibles on walkie talkies high ($1500 to $2500 is not unusual), that deductible applies to EACH walkie talkie that is lost or damaged, not the total number of units that you are putting in a claim for.

Maybe if a boulder rolled down the hill and crushed the camera sound truck containing an entire bank of radios, they "might" be covered as a single occurrence to an extent. But a handful of walkies and headsets reported as lost or damaged -- get your checkbook ready. We're talking several hundred dollars each, not counting the headsets.

Here are excerpts from the Location Sound Corp rental contract, but these rental policies are standard throughout the industry:

9. RENTAL CONTINUATION: In the event of theft or loss, rental fees will continue until settlement of loss.

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10. RULES ON CONTROL OF RENTAL EQUIPMENT: It is our understanding that the person/company renting Location Sound Corporation's equipment will not give it out to others without first obtaining a valid Driver License Number and the person's signature. This especially applies to portable communication equipment such as walkie talkies, cue systems, and cellular phones. Quite often, insurance companies will not pay claims if they can show that the Insured was negligent or did not use effective procedures in controlling the equipment. It is also common practice that when deductibles are in effect, the insurance company will charge the deductible to EACH lost, stolen, or damaged piece of equipment on a policy rather than once for all items lost, stolen, or damaged. This is called multiple deductibles.

12. EQUIPMENT COVERAGE: Standard equipment (except walkie talkies, cellular phones, and accompanying communications equipment) $1,000 DEDUCTIBLE per claim $15,000 MAXIMUM COVERAGE 20% of rental price for term of rental

There are some things that you can do to minimize your potential losses. To begin with, only rent as many radios as you actually need. Every crew member does not need a radio. Every department head does not need a radio. You only need enough communication so that the set can call to someone in control at the base camp, and maybe to a manned outpost or two. Most of the crew are working just a few feet away from each other and do not need radios to talk to each other!

A Director does not need a radio (that’s what the AD is for). A DP does need a radio to talk to the Gaffer (Really? They are that far away?)

But if an Assistant Director is a couple hundred yards away, directing extras and background traffic, then a walkie is certainly justified.

Very often, you can just use cell phones to stay in touch with the outposts, such as PA's driving around on errands.

So figure out exactly WHO really needs a radio and WHY! Maybe you only need one radio on the set (AD), one for the gennie/grip truck, and something at base camp if it is not adjacent to the set.

As your technical advisors, we are not prohibiting you from renting as many walkies as you actually NEED; but we are encouraging you to scrutinize and economize so that you are not wasting money and exposing the “group” to excess financial risk.

When you do give out radios to the crew, make sure that you have a sign out/in log-sheet, AND collect a driver’s license (or credit card) from everyone. Crew members tend to keep a close watch on their equipment when their driver’s license or Amex card is being held hostage. Radios

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Very recently, a student crew did not heed this advice, and only collected "hostages" for around half of their radio inventory. That same day, one radio turned up missing. I was so tempted to laugh in their faces and singsong "I told you so." But the fact is, I did not need to. These young producers learned their first, very expensive lesson. They had to cough up money they did not have in their meager post-production budget.

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SECTION 8

POST-PRODUCTION SOUND DESIGN, EDITING AND MIXING

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POST-PRODUCTION SOUND DESIGN, EDITING, AND MIXING

Post-production sound design, sound editing and sound mixing is a critical aspect of filmmaking. After the production sound is captured on location using high-quality microphones and a professional field recorder (portable audio recording device), the audio and dailies are loaded into a professional picture editing system (such as an Avid Media Composer system). When the picture is locked, or a suitable picture cut is created, the picture cut and sync sound from the dailies is exported and passed on to the post-production sound editor. During the post- production sound design and editing process, the production sound captured on location (primarily dialogue) is combined with the other required sound elements in order to complete the soundtrack for the film. With the exception of the production dialogue, nearly all other sound elements for the film are created and/or replaced during the post-production sound process.

Tools of the Trade

Although there are many different Digital Audio Workstations (DAWs) from a variety of manufacturers that could be used to edit, mix, and output a film mix, currently the industry standard system that is overwhelmingly used by nearly all post-production professional sound editors and mixers is the Avid Pro Tools® software and hardware. In the Department of CTVA, the Film Option has chosen to align itself with and use/teach the industry standard, Avid Pro Tools® software.

Post-Production Sound Workflow

The post-production sound process of filmmaking involves three separate and equally important steps that all occur using the Avid Pro Tools software:

 Sound Design and Sound Editing

 Sound Mixing

 Final Soundtrack Export and Delivery

A discussion of each of these separate processes is discussed in some detail below, although a much more thorough discussion of these steps is provided to all Film Option students whose primary skill area is Sound.

Sound Design and Sound Editing

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Sound Design versus Sound Editing?

While some people use the terms Sound Design and Sound Editing interchangeably, they are technically NOT the same terms. Sound Design implies that a person has a larger role in the film’s soundtrack, creating and being responsible for the overall sound and texture of the entire film’s soundtrack, most times by creating, blending, and combining multiple sounds together in order to create new sounds that don’t normally exist in our natural world. For example, when one of the fathers of modern sound design, Ben Burtt, was hired to create the sounds for the very first Star Wars film in 1977 (Star Wars IV – A New Hope), the sound of the (now iconic) lightsaber did not yet exist. Ben Burtt had to create the sound of the lightsaber from his own imagination, which he did by combining the sound of the interlock motors of an old movie projector with the interference caused by an old television set placed near an unshielded microphone. Using this sound design technique, Ben Burt was able to create the Star Wars light saber sound that we all know and recognize today. Similarly, the very talented and gifted sound designer and mixer Walter Murch created the dense, yet highly refined and skillfully crafted soundtrack for the 1979 Vietnam War film, Apocalypse Now, by blending and combining many tracks of audio into what became the final soundtrack for the film.

In contrast to sound designers, sound editors are usually not creating new sounds from scratch. Instead they are editing, syncing, and mixing pre-existing or pre-recorded sounds into the soundtrack of the film. While this is still a creative process and often a difficult task, it is not as complex as the job of a sound designer, who must create a cohesive soundtrack by combining and creating new sounds that do not exist in our natural world or in a pre-recorded sound effects library. Sound designing is a much more time-intensive endeavor, so having a credit as a sound designer in a film is more prestigious than having a credit as a sound editor.

Responsibilities of a sound designer and/or sound editor include verifying that:

 All tracks are named appropriately using industry standard best practices and all tracks contain only audio clips related to the track name (for example, a production dialogue track called DIA_01 should contain ONLY production dialogue with no sound effects or music on the same track).  All aspects of the film’s story/script that require sound have been properly addressed (where appropriate), using proper POV, and are consistent with the vision and actual intent of the filmmakers.  All background sounds, ambiences, and room tone are continuous and appropriate, using proper and natural sounding transitions with fades, taking into account the camera angle, perspective, and the proper POV.  All sound elements (dialogue, sound effects, and music) used in the film are in sync with the picture.  All dialogue is intelligible and leveled properly, with the correct panning assignment (or speaker position). Note: Most dialogue is panned to the center speaker in surround mixes, or equally panned between the left and right speakers in a stereo mix, unless the story or POV requires the dialogue to come from a different speaker position (for

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example, a scream heard off camera panned to the extreme right speaker position).  All audible pops, clicks, ticks, noises, hums, or other imperfections in any elements of the film soundtrack (especially the production dialogue) have been corrected.  All ADR is using the best and most appropriate record take and is kept on a separate track from the production dialogue.  All music used is synchronized with the picture, edited cleanly, and properly licensed and cleared for the film project. (Note: Diegetic and Non-diegetic Music should be placed on separate tracks.)

During the process of sound design and sound editing, the production sound is combined with the other required sound elements of the film. It is important to note here that any sounds that are added in post-production MUST adhere to the story and support the on-screen characters, actions, events, time, place, mood, film genre, and the overall intentions of the filmmakers. While there are many different post-production sound elements that are added to a film, most all of them fall into one of the following general categories:

 Dialogue: Dialogue in a film soundtrack is primarily the lip-synced spoken dialogue of each character in the film. Dialogue is recorded on location during the original shoot, but can be re-recorded in post-production (as ADR) if necessary.

 ADR: ADR (Automated Dialogue Replacement) is dialogue that is re-recorded using a soundproof studio with the original actor watching picture and attempting to match lip movement (or sync) with his/her original performance as accurately as possible. As an alternative to recording ADR in a controlled studio environment, ADR can also be recorded outdoors, or in any other location that matches the location of the original production dialogue. If the new ADR does not sync perfectly, it can be edited to sync with the picture by sliding and/or changing the speed of the audio. ADR is recorded for many different reasons, such as noise problems (for example, a car or plane sound in the original dialogue recording) record level problems (dialogue too loud or too soft), poor actor performance, incorrect emotion or performance conveyed, mispronunciation of words, replacing curse words for G-rated audiences (like airplane versions of films), or re-dubbing dialogue into other languages for foreign distribution. Since ADR is literally a different actor performance, it is often difficult to make it seamlessly blend with the original production dialogue, although proper editing and equalization (frequency re-balancing) can make the new ADR audio virtually indistinguishable from the production dialogue. Although the option to record and edit ADR is an important part of the post production sound process, the goal of all filmmakers should be to record as little ADR in post- production as possible, since ADR most times lacks the sound quality, emotion, and impact of the original production dialogue. ADR also adds an additional expense to the filmmaker’s budget on professional projects. By following best industry practices for recording production dialogue, combined with proper location scouting (for example, avoiding shooting next to an active airport runway), the need for ADR can be minimized in most films.

 Voice-Over: Voice-Over (in contrast to ADR) is dialogue that is recorded in post-

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production that does not contain visible on-screen lip sync. Voice-Over is often expository in nature, providing the audience with valuable insight and additional background information about the story, characters, or events that are transpiring on-screen, usually using the voice of one of the primary characters in the story. Voice-Over can also be recorded in films to simulate voices on television (for example, a news anchor) radio voices, Internet audio, public address systems, off-camera comments, or phone conversations.

 Wild Lines: Like Voice-Over, Wild Lines contain no on-screen lip sync and are usually additional lines that are improvised by one or more actors in post production, although the lines can be scripted as well. Occasionally wild lines are recorded on set during production, but this is rare. Wild Lines are usually not as prominent as Voice-Over in a film, but they still serve an important role by enhancing and heightening the realism of the story and the film’s overall soundtrack.

 Specific Sound Effects (Hard Effects): Specific sound effects are usually sounds effects that sync with on-screen actions (or implied on-screen or off-screen actions) such as a glass window being broken, a door closing, a car horn beeping, a dog barking, or a series of gunshots. Specific sound effects do not always need to have obvious sync that can be seen in the shot. For example, if a character walks out a door, and slams the door when exiting, but the door slam is not visible on-screen, the (implied) door slam would still be a required specific sound effect for the film.

 Background Sound Effects (Ambience): Background sound effects are the continuous sounds of the spaces or locations that the characters occupy within the story. With the exception of the vacuum of space (which technically has no sound), all locations on our planet Earth have some kind of sound, with some more subtle and quiet than others. For example, if a character is sitting on a covered porch and it is raining, there should be the continuous sound of rain falling and hitting the porch roof. When creating Background Sound Effects in post- production, point of view (POV) must be taken into account. With the example of a character sitting on a covered porch while it is raining, is the covered porch a metal roof, awning, wooden roof, shingled roof, etc.? Once you determine the type of roof, you would then try to find the most appropriate corresponding sound that would allow the audience to experience what it would really be like to be in that specific environment hearing the background sounds from the character’s own POV. Later during the mixing process, the Background Sound Effects would be leveled and panned to precisely match the camera angle and POV of the characters in the story. Another important point to consider is if the same character were to leave the porch (exterior ambience), walk inside of the house, and then close the door, how would the sound of the rain need to change, and what other interior sounds of the house would need to be layered and added with the exterior rain sounds? POV and how Background Sound Effects need to dynamically change to match the environments that are being portrayed on- screen is an important aspect of creating realistic and believable Background Sound Effects for a film soundtrack. When creating Background Sound Effects for a film, a simple question that you can ask yourself is, “If I was really there in the exact same environment,

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what would it sound like and who’s perspective (or POV) is the most appropriate to use?”

What Is Walla? Walla is a special kind of background ambience that is commonly used in film projects, where crowd noises are needed to add realism to a particular scene. For example, if you have two principle characters in a film who are eating at a large busy restaurant, you would need to add the background sound of the people talking and eating at the other tables around the principle characters. The sounds of the many other conversations that are going on simultaneously in the restaurant that can be heard as a kind of constant “background murmur” but the exact words or phrases spoken cannot be easily distinguished or understood is known as walla. The name walla comes from the fact that if you assembled multiple people and asked them all to just keep saying the word “walla” at different times, it would sound a lot like the real kind of walla that we experience in public spaces. Although there are many recordings of walla in different environments that can be utilized in film projects, if you wanted to record your own walla, you could bring a group of 15-20 people (or more) into a recording studio and record them all simultaneously speaking different phrases. You would then have created your own original group walla recording.

In terms of sources for acquiring Specific and Background Sound Effects for your film projects, there are really only two different options:

o Custom Recording Sound Effects Using a Portable Sound Recorder: Using a portable sound recorder, you can record your own live sounds in the field or in a studio. This option will often give you the best and most realistic sounds, since they are customized for your project. But if you don’t have access to a location where the sounds naturally exist, it would be too costly to travel there yourself, other undesired sounds will obscure (or “pollute”) your recording of the desired sounds, or your recording equipment (or skill set) is not professional caliber, then recording customized sounds for your film project might not be the best option. Also, for a period film, let’s say you need exterior city sounds of London, England (circa 1930). It would be impossible to record that precise sound live today (unless you have access to a time machine). Luckily there are thousands of high-quality pre-recorded sounds that you can access as an alternative to recording your own custom sounds, although finding good recordings of sounds for specific locations and periods of time from the past will always be more of a challenge.

o Using Pre-Recorded Sound Effects Libraries: Searching for and acquiring sounds from an existing pre-recorded sound effects library can save you time and money. Today there exists vast libraries of high-quality sound effects stored on Audio CDs, hard drives, and many of them are now searchable and downloadable from the Internet as well. Currently in the Department of CTVA, we have approximately 130 GB of specific and background sound effects stored locally on our post-production sound computer systems, with another approximately 200,000 sound effects available online from http://www.Soundsnap.com.

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Using a combination of your own custom recordings, combined with sound effects recordings from Pre-Recorded Sound Effects Libraries, you can usually meet the demands of most all film projects.

 Foley: Named after Jack Foley, the person who first pioneered the process of recording Foley for some of the first “talkie films” (early films with synchronized dialogue) during the 1930s. Foley is the process of recording live sound effects that are “performed” by a Foley artist in a controlled post-production studio environment while synchronized to picture. Common examples of Foley recording include footsteps and walking on all types of surfaces and with differing shoe types. For example, walking in high heels on a wooden floor would sound very different than walking in sneakers on grass or a sandy surface. If your film has a scene where a character walks up a wooden flight of creaky stairs, a Foley artist would watch the picture and try to sync (as closely as possible) to the actor’s original footsteps walking up the stairs. This would require matching the correct shoe type and using a creaky wood surface. If any sync issues exist in the Foley recording, it can later be corrected by the sound editor. (see Figure 1 below).

Figure 1: Foley artist recording footsteps on creaky wood surface

Other examples of Foley recording include all types of clothing sounds from character movement (rustling and touching), throwing a coat on the floor, closing a zipper, unbuttoning a shirt, buckling a buckle, a character running his fingers through his own hair, scratching an itch, button pressing sounds (for example typing on a cell phone or computer keyboard), cooking sounds like stirring cake batter in a bowl, scraping a bowl with a spoon, slicing/chopping a carrot, cutting, crinkling up, or ripping a piece of paper, sweeping a floor, raking leaves, or weapons handling sounds like cocking the trigger of a gun, pressing a safety lock, or pressing the gun trigger. There are many other examples of Foley, but any time that a Foley artist is recorded making any kinds of sounds with shoes, handheld props, or other sound-making tools or devices while synced to picture, it is known as Foley recording. In today’s modern filmmaking, Foley is still an important part of the craft. Using Foley in a film will often enhance the story and make the on-screen action become much more realistic and believable to an audience. In the professional world, it can be costly to record Foley for a film, since you need to pay for the studio,

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Foley artist, and the audio recording engineer. Despite the costs, it is usually beneficial to budget for and record Foley for most film projects.

 Diegetic Music: The term diegetic literally means “of the story”, so Diegetic Music is music that is part of the story, whose source is visible on the screen or is implied to be present by the action of the film. Examples of Diegetic Music in a film include music playing on a car radio, smartphone, home stereo speakers, a parade with a marching band, or a live band that is visible on screen (or playing from a position just off screen).

 Non-Diegetic Music: As opposed to Diegetic Music, Non-Diegetic Music is not heard by any of the characters in the story, but can still be an integral part of the film soundtrack and is heard by the audience. Examples of Non-Diegetic Music would be original musical scores, such as the orchestral music of composer John Williams for the first Jurassic Park movie, or Bryan Tyler’s original music composed for the movie, Furious 7. In addition to original scored music, any pre-recorded music (such as pop, rock, jazz, hip-hop, country, metal, or any other genre or cover music) that is licensed and added to a film soundtrack (sometimes referred to as “Needle Drop” music) is also Non-Diegetic Music, as long as the characters in the film are not hearing (or implied to be hearing) the music.

Sound Mixing

After all of the sound elements mentioned in the previous section are edited, synced to picture, and approved by the client (typically the director and any other key crew members, such as the producer, cinematographer, picture editor, and composer), the audio soundtrack can be mixed. The post production sound mixer’s actual real title in the credits is the re-recording mixer, because he/she is responsible for re-recording all of the provided sound elements of the film (dialogue, sound effects, and music), into a well-crafted, well balanced final soundtrack, with good intelligibility between all tracks. Typically, film projects are mixed on a dub stage, which is a theater-like environment with the re-recording mixer located in roughly the center of the room (see Fig 2 below).

Figure 2: Warner Brothers Dub Stage on the Warner Brothers Lot (Burbank, CA)

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Sound mixing involves a number of important tasks and decisions including:

Sound Leveling: Setting the proper balance or volume levels between all elements of the soundtrack. Keep in mind that dialogue is typically one of the most important aspects of the film soundtrack, so at the very least, make sure that the dialogue can always be clearly heard over the sound effects and music. Typically music and sound effects compete for prominence in the film, so it is important to create a good balance between these and all other elements of the film’s soundtrack.

Panning Assignments: Choosing the exact speaker position for all elements of the soundtrack. Some elements of the soundtrack such as dialogue will have fixed (static) speaker pan positions, while other sounds will need to dynamically pan or move between the various speaker channels. For example, a car-by appearing from the left edge of the screen and disappearing off of the right edge of the screen would need to pan the car-by sound from the left speaker to the right speaker to match the visual movement of the car across the screen. Birds flying in the air or an airplane moving across the sky would need to have correctly panned sound as well that closely mimics their movement.

Using Digital Audio Plug-In Effects: Some audio elements in the sound mix will need to have creative or corrective use of audio plug-ins applied to them in order to further support or enhance the storyline. For example, digital equalization plug-ins can be used to filter the audio frequencies of a dialog line in order to create “phone futz” (or telephone/cell phone) conversations with the proper POV. Compressor and Limiter plug-ins can be used to control audio levels so that the mix does not distort or become too loud. Reverb plug-ins can be used to create huge echoing caves or canyons, simulating the inside of a car, or the inside of a building, such as a small house, club, large church, cathedral, or a school gymnasium. Digital Delay plug-ins can be used to create repeating dialogue phrases for flashbacks, dream sequences, hallucinations, drug induced realities, etc. Finally, digital audio plug-ins are also be used for corrective applications, such as removing hum, hiss, wind noise, AC Power generator noise, specific problem frequencies, or other undesired sounds from production dialogue.

Verifying Sync: Although the final sync should have been checked and verified by the post- production sound editors, it is still a good idea to check and verify sync during the final sound mix as well.

Audio Track Evaluation: After the sound editorial department has created all of the audio tracks for the mix, the director (in consultation with the re-recording mixer) may decide that it would be better for the film to drastically turn down the volume on one or more tracks during a particular scene, or even to eliminate one or more audio tracks completely from the film. More audio tracks in a film do not necessarily make the film’s sound better, and having too many tracks often has the opposite effect, such as muddying up the soundtrack. For example, if during the final culminating scene in a film, the music and the sound effects both seem to be clashing and competing too much for the audience’s attention, the decision may be made to completely eliminate the sound effects during the scene, allowing the music alone to support and advance

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Film Production Option Handbook the storyline during the scene. Or similarly, a decision might be made to eliminate the music during a particular scene allowing the sound effects to have more prominence (along with the dialogue) to progress the storyline. Often these decisions are difficult to make, because it means eliminating someone’s creative work from the project, but it is important to keep in mind that decisions to eliminate or keep audio in a film should always be based on the question, “What decisions about the sound mix will make the film the best that it can be?” instead of being concerned with hurting someone’s feelings because the audio that they worked so hard on was barely audible in the final mix or was not used at all in the film.

Final Sound Mix Evaluation and Changes: Before the film mix soundtrack is finalized, it is important to have the director, composer, producer, and any other key crew members listen to the entire film from start to finish (with no stopping) to provide final notes and recommend changes to the re-recording mixer. It is best to schedule this final evaluation of the mix after everyone involved has had some time to be away from the project (1-3 days or more is optimal) so that everyone can evaluate the final film mix with a fresh perspective.

After the final mix is played for everyone a few days later, notes and changes are discussed. There may be disagreements about what changes (if any) to make in the soundtrack, but ultimately everyone involved must agree to what the final changes will be, and then have the changes incorporated into the final soundtrack. After all of the above tasks have been completed, one final playback of the soundtrack should occur before the mix is locked and final. After the final mix has been approved by the director and all other key people on the film crew, you are ready to move on to the next and final step, outputting your final stereo or surround mix files for the final delivery format (typically DCP, 16mm or 35mm Film, or Blu-Ray DVD).

Final Soundtrack Export and Delivery

Assuming that you have a final stereo or 5.1 surround mix that has been approved by all of the key film crew members, you are now ready to export your final sound mix in order to complete your film. Before you export your film mix, you need to make sure that you adhere to the delivery specs for your film, which will vary based on the post house that you use and what format you are finishing your film on (DCP, 16mm or 35mm Film, Blu-Ray DVD, or standard DVD). It is important that all film mix files utilize Academy Leader with a standardized 2-pop (or 1 frame long, 1 kHz sine tone beep) located on all speaker channels, exactly 2 seconds before the First Frame of Action (FFOA), and a tail-pop occurring exactly 2 seconds after the Last Frame of Action (LFOA). Below is a summary of the files you would deliver for each finishing format (although these specs can vary depending upon the post house that you use):

Digital Cinema Package (DCP): Deliver 24-bit, 48 kHz WAV files as either stereo-interleaved, or for 5.1 surround mixes, split-stereo (which will create one separate WAV file for each speaker channel in the 5.1 surround sound field).

16mm or 35mm Film: Deliver 24-bit, 48 kHz WAV files as either stereo-interleaved, or for 5.1 surround mixes, split-stereo (which will create one separate WAV file for each speaker channel

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Film Production Option Handbook in the 5.1 surround sound field). Note: If your audio was mixed in surround, you will need to obtain and pay for a Dolby Surround Sound Encoding License in order to encode your surround mix onto the final film print.

Blu-Ray DVD or Standard Definition DVD: Deliver 24-bit, 48 kHz WAV files for 5.1 surround mixes, split-stereo (which will create one separate WAV file for each speaker channel in the 5.1 surround sound field) along with a down mixed Lt-Rt stereo version of your project. A down mixed Lt-Rt mix is simply a 2-channel stereo mix derived by combining all of the speaker channels on the left side of the 5.1 mix into one file (the left total or Lt), and similarly combining all of the speaker channels on the right side of the 5.1 mix into another file (the right total or Rt). Avid Pro Tools has a software plug-in than can easily create Lt-Rt stereo mixes from a 5.1 surround mix.

After the above final soundtrack mix files are created, it is a good idea to QC (quality check) the final files for any imperfections that may exist in your final files. After the QC process is completed, it is recommended that you deliver the final audio mix files on an external hard disk drive (equipped with either USB 3.0, Firewire 800, or Thunderbolt connectors) to the post house, where they will combine and synchronize your mix files with the picture to create the final media for your project. Since most post houses MUST scan all hard drive media files for potential viruses, it is important that the hard disk drive you submit to the post house includes ONLY your sound mix files, with no other unrelated files stored on the hard disk.

THE END

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