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Film Production Option Handbook

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Film Production Option Handbook 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 Materials contained in the document are for educational purposes and copy protected. Page 1 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 Materials contained in the document are for educational purposes and copy protected. Page 2 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? Materials contained in the document are for educational purposes and copy protected. Page 3 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.
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