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Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. -
Bob Oei Thesis Final Final
ABSTRACT The Cinematography of Closet Memories Robert Oei, M.A. Advisor: Christopher J. Hansen, M.F.A. The cinematography of a film heavily influences the audience’s mood and their perception of tension. The way a director of photography uses lights and the camera can enhance or destroy the moments of a film a director has built. Keeping this knowledge in mind, the cinematography of Closet Memories uses film noir lighting, a mixture of handheld and smooth camera work, and other techniques to maintain the emotional content of the film’s scenes. The Cinematography of Closet Memories by Robert Oei, B.A. A Thesis Approved by the Department of Communication David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James Kendrick, Ph.D. DeAnna M. Toten Beard Ph.D. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School Copyright © 2013 by Robert Oei All rights reserved TABLE OF CONTENTS Chapter One: Introduction ..................................................................................................1 Chapter Two: Literature Review .........................................................................................6 Chapter Three: Methodology .............................................................................................14 Scene 1 and 2 ........................................................................................................15 -
Scenechronize Notes Go To: Click on the Sign up for Free! Badge
Film Production Management FIL6467 Summer B 2010 Scenechronize Notes Go to: https://www.scenechronize.com/ Click on the Sign Up For Free! badge. Pick Solo Scheduling and Feature. Follow instructions for getting your account set up. Upload My Mother script. It will ask you to fix the first two lines at the top of the first page. Make them both Start of Act. To get started on breaking down the script, click on Scenes in the upper left corner. Add elements by highlighting as per the lecture from Edgar on Tuesday – the box will pop up and guide you. For Cast, click on the + button in the Characters element line – the program has already pulled out the cast names form the script, so you only have to click on the right name. It has done the same thing for Sets. Leave Location blank, we don’t know what they are for this exercise. When you have gone through and broken down every scene in the script, click on Stripboard. Pick Sat and Sun as the days off for your schedule. Start your start production for June 14, 2011. Go through the schedule and check for exterior nights, and page count per day, and logic of what days are next to each other. If you make an assumption about how you are putting the days together, include it on the SCHEDULE ASSUMPTIONS form (follows this memo). When ready to print, click on Reports and then One Liner. Print the one liner, double check it for: • Set name consistency • Pager per day count • Typos • No blank set names or scene action lines. -
“The Art and Craft of the Director” Film Directing Audio Seminar Peter D
“The Art and Craft of the Director” Film Directing Audio Seminar Peter D. Marshall Website: http://actioncutprint.com Blog: http://filmdirectingtips.com Email: [email protected] Peter D. Marshall has worked (and survived) in the Film and Television Industry for over 38 years - as a Film Director, Television Producer, First Assistant Director and Series Creative Consultant. Credits & Awards http://actioncutprint.com/credits1 Updated - March 20, 2012 Copyright (c) 2012 Peter D. Marshall /ActionCutPrint.com All Rights Reserved (1) “The Art and Craft of the Director Audio Seminar” Dear Filmmaker, Thank you for purchasing this 2012 version of "The Art and Craft of the Director Audio Seminar” - a comprehensive, multi-media audio course that demystifies the process of directing and fast tracks your way to becoming a working film and television director. When I first created this course in 2007, I wanted it to be an Online insider's reference guide for filmmakers. Having now updated it five times, I believe this 238 page course (with over 1000 online reference links and videos) will help you to become a successful film director by providing you with the “insider” knowledge I have gained from over 38 years in the film and television business. Although the majority of productions I have worked on were Hollywood feature films, television movies and TV series, the information you will find in this course is easily adaptable to your own low budget independent films - anywhere in the world! All you need to do is take the information in this course - and scale it down for your own productions (short films, small indie films, music videos etc.) I talk a lot about PASSION and TRUTH in this audio course because these are two of the essential ingredients to having a successful directing career. -
Screenplay Format Guide
Screenplay Format Guide Format-wise, anything that makes your script stand out is unwise. This may seem counterintuitive. Anything you do to make your screenplay distinctive is good, right? Depart from the traditional format, though, and you risk having your script prejudged as amateurish. A truly conscientious reader will overlook such superficial matters and focus on content. However, if your work looks unprofessional, it may not be taken seriously. To ensure your script gets a fair read, follow these formatting guidelines: It isn’t necessary to file a copyright with the Library of Congress. Your script is automatically protected under common law. However, it’s a good idea to register it, either with an online service, such as the National Creative Registry (protectrite.com), or with the Writers Guild. This being said, the Industry tends to view registration and copyright notices as the marks of a paranoid amateur. You would be wise to leave them off your script. Use a plain cover. White or pastel card stock, not leatherette. Avoid using screw posts or plastic-comb binding. Bind your script with sturdy, brass fasteners, such as those made by ACCOÒ. The ones Staples sells are too flimsy. Readers hate it when a script falls apart in their hands. You can order professional-quality script supplies online from WritersStore.com. Although scripts are printed on three-hole-punched paper, there’s an unwritten rule that speculative scripts are bound with two fasteners, not three. Why this tends to be common practice is unclear. Perhaps it’s because submissions often get copied by the studio’s story department, and it’s easier (and cheaper) if there are only two brads. -
MMDSW501 SCRIPT WRITING a Screenplay, Or Script, Is a Written
MMDSW501 SCRIPT WRITING A screenplay, or script, is a written work by screenwriters for a film, television program or video game. These screenplays can be original works or adaptations from existing pieces of writing. In them, the movement, actions, expression and dialogues of the characters are also narrated. The script the actors use during filming is primarily dialogue with minimal stage direction. This is similar to the 'spec scripts' given to agents and producers to generate interest in the work. The primary focus here is on telling the story, the word and actions that convey the message. What sound effects or lighting effects that are important to the actor's performance are noted. But, anything not directly impacting the performance are generally left out. The screenplay is the extra layer with everything that was left out of the script. It may very well be the 'shooting script' in most cases, which is less of an actor's tool and more of a director's tool. The screenplay includes those aspects of filming that are outside the actor's purview, things like camera angles and cut or fade instructions, effects that the audience will see but have no effect on the actor's performance while on set. The script, or screenplay, outlines all of the elements (audio, visual, behavior, and dialogue) that are required to tell a story through movies or TV. A script is almost never the work of a single person. Instead, it will go through revisions and rewrites, and ultimately will be interpreted by the producers, directors, and actors. -
The Screenplay 2
CHAPTER The Screenplay 2 A screenplay is the literary expression of the story, characters, actions, locations, and tone of your fi lm written in a specialized dramatic script format. Whether you write the script yourself or work with someone else’s material, it’s important to remember that the screenplay is not the fi nal product. It is an intermediate step in the production of a fi lm and serves many functions in all stages of the project’s development. It is often said that the screenplay is the blueprint for the entire process of making a fi lm, in the same way that a rendering of a house serves as the blueprint for the construction of a house. In many ways this is true; however, unlike an architectural blueprint, a screenplay should remain a rather more fl exible document throughout the process. It’s important to keep in mind that screenplays evolve. They should be revised and rewritten, at every stage of a fi lm’s pro- gression, as new ideas or circumstances emerge. ■ STAGES OF SCRIPT DEVELOPMENT There are a number of stages in the evolution of a screenplay, and each stage usually requires various drafts. Each stage has a specifi c purpose as you proceed, step-by-step, from a general outline of your story to a script that contains the full dimensions of your fi lm, including locations, actions, dialogue, sounds, movements, etc. This process of working and reworking your fi lm’s story material, adding, cutting, or refi ning details along the way, is called script development. -
Entertainment Studies Enroll at Uclaextension.Edu Or Call (800) 825-9971
88 Entertainment Studies Enroll at uclaextension.edu or call (800) 825-9971 (CBS), The District (CBS), Diagnosis Murder (CBS), Another World (NBC), and recurred on Without A Trace Sneak Preview (CBS) for the first 4 seasons. Visit entertainment.uclaextension.edu/sneak-preview ENTERTAINMENT for weekly movie information. Acting for the Camera I X 410.3 Theater 4 units Sneak Preview: Contemporary Films Participants learn to get comfortable in front of the and Filmmakers lens. Exercises begin with on-camera interviews so STUDIES 804.2 Film & Television 2 CEU that students can view their screen images in play- Join us for an exclusive preview of new movies before back. Instruction focuses on understanding technical their public release. Enjoy provocative commentary and and emotional adjustments required for working in 88 Sneak Preview in-depth discussions with invited guests after each front of the camera, in a relaxed and truthful way, and developing intimacy with the camera. Topics include 88 Acting screening. Recent films and speakers have included: Whiplash with director Damien Chazelle and actor Miles the difference between frame sizes and learning to hit 90 Cinematography Teller; Birdman with Fox Searchlight Pictures’ Claudia marks. Participants hone their acting techniques through scene-study guidelines and sensory and 91 Development Lewis; The Theory of Everything with actors Eddie Redmayne and Felicity Jones; The Imitation Game with moment-to-moment exercises, as well as monologue 91 Directing producers Ido Ostrowsky, Nina Grossman and Teddy work. Some exercises are performed on camera with emphasis on close-ups, simple scenes, and basic 93 Post-Production Schwarzman; Black and White with director Mike Binder and actor/producer Kevin Costner; Red Army with direc- camera moves. -
Read Book Scheduling and Budgeting Your Film 2Nd Edition
SCHEDULING AND BUDGETING YOUR FILM 2ND EDITION PDF, EPUB, EBOOK Paula Landry | 9781315454849 | | | | | Scheduling and Budgeting Your Film 2nd edition PDF Book Editors are paid union rates, they may also have own desired daily working rates. He said one thing:. What if you need to wear multiple hats and take the more DIY approach? Site Map. Discover how your favourite films make it to your local cinema or television screen, through the film distribution process. In addition to setting up a production company, breaking down the script, and putting together the budget and schedule, no line producer definition would be complete without the responsibility of bringing on a casting director. Susan Daigle Some producers would suggest paying everyone the same rate by obtaining more money now that a bankable star is attached. It's tomorrow you have to worry about. Author Paula Landry includes full examples of breakdown forms, organizing resources, distribution expenses, and hidden costs, and discusses how t Scheduling and Budgeting Your Film: A Panic-Free Guide explains the fundamentals of line producing in an easy-to-understand style, and the tips and techniques apply no matter what kind of scheduling or budgeting software you use. You can reach out to HODs through their agents. What does this mean? Benjamin rated it really liked it Sep 19, Speaking of production, one of the most important contributions a line producer will make is determining the union status of a project. A big difference in line producer vs. Always look for anything that affects the departments during production. If you are clueless on how to determine a shooting schedule you could always hire a line producer to help you. -
The Director's Method in Contemporary Visual Effects Film
The Director’s Method in Contemporary Visual Effects Film: The Influence of Digital Effects on Film Directing Gianluca Balla PhD University of York Theatre, Film and Television September 2016 Abstract The director’ s method – meant as the organisation of the filmmaking process – is usually characterised by common procedures such as work on the script, shot design and the actors’ performance. For films involving a large-scale use of digital effects, directors consistently approach such procedures with a particular attitude dictated by the digital pipeline, the step-by- step technical procedure through which computer-generated images are created. In light of this, the use of digital effects might influence the director’s method. This thesis aims to define what is considered to be a consensual methodological approach to direct films with no or few digital effects and then compares this approach to when such effects are conspicuously involved. This analysis is conducted through interviews with working directors, visual effects companies and practitioners, and integrated with the current literature. The frame of the research is represented by a large spectrum of contemporary films produced in western countries and which involve digital effects at different scales and complexity but always in interaction with live-action. The research focuses on commercial films and excludes computer-animated and experimental films. The research is intended to address an area in production studies which is overlooked. In fact, although the existent literature examines both digital effects and film directing as distinct elements, there is to date no detailed analysis on the influence that the former has on the latter. -
TABLE of CONTENTS Installation
11.1 TABLE OF CONTENTS Installation ......................................................................................................................................... 1 Launching / Activating / Registering Final Draft ........................................................................................................ 1 Opening and Activating Final Draft .............................................................................................................................. 1 Deactivation ................................................................................................................................................................................ 2 Frequently-Asked Questions .................................................................................................................................................. 3 What is product activation? ............................................................................................................................................... 3 How do I move my activation to another computer? ....................................................................................... 3 Is product activation the same as product registration? ................................................................................. 3 Do I have to register my copy of Final Draft? What are the benefits of registering? ...................... 3 What is deactivation and when should I do it?..................................................................................................... -
II. Office Information Communications/Music Bldg, Room 428R, 504.865.2720 Office Hours: TUE-THU 12:30-01:30Pm, WED 12:00 Noon-2:00Pm, and by Appointment
COLLEGE OF MUSIC & FINE ARTS LOYOLA UNIVERSITY NEW ORLEANS MUGN-M430-001: Writing/Directing for New Media (2 hrs) I. Instructor Jim Gabour, [email protected] or [email protected] II. Office Information Communications/Music Bldg, Room 428R, 504.865.2720 Office Hours: TUE-THU 12:30-01:30pm, WED 12:00 noon-2:00pm, and by appointment III. Term of current Course 28 AUG 2012 - 13 DEC 2012 IV. Class Meeting Time & Location TR 02:00-03:15pm, Library 113 (Mac Lab) V. Bulletin Description An intensive practical experience in writing & directing in digital filmmaking, video & other new media. VI. Prerequisites Introduction to Digital Filmmaking (MUGN-M415), or permission of instructor. VII. Textbooks and other materials to be purchased by student: (1) Recommended highly, though not required: Directing; Film Techniques and Aesthetics th (3rd Edition – NOT 4 ); Michael Rabiger; Focal Press; ISBN: 978-0-240-80882-6. $22.90. Much cheaper used online. New reprint copies available @ Loyola Bookstore. (2) PEN/PENCILS AND NOTEBOOK are required for some in-class exercises. (3) Min 40 GB External Hard Drive, similar flash drive, or approx 6 DVD-RWs VIII. Course requirements/Types of Assignments Lectures, interactive class demonstrations, guest speakers, multimedia presentation and discussion, assigned reading & projects, quizzes to assess understanding and retention, multiple practical production exercises. All assignments receive grades adding toward semester total. Late completion of assignments is reflected in lower grade. Projects must be completed in time alloted. First half of the semester devoted to writing formats peculiar to the film/video/new-media industry, with practical exercises in execution.