Macbeth Video

Total Page:16

File Type:pdf, Size:1020Kb

Macbeth Video Macbeth Video Your task in this assignment is to work cooperatively with a group of your peers to visually interpret an act or a couple of key scenes from William Shakespeare’s Macbeth. Follow the steps below and refer to the calendar for guidance on daily activities, due dates, etc. 1. Form groups (4-8 per group … you choose as long as everybody’s included). 2. Brainstorm different themes, motifs, or voices you might like to use in your production. You may change the setting and dialogue in any way, but you must stay true to the plot. Whether he's a mafia don or the president of the United States, the basic gist of the scene(s) and the overall tone and themes of the story must be intact. 3. Choose a scene or two that you might want to do. Come to a consensus as a group about what’s manageable and will be fun. 4. Brainstorm a chronology of the key sequences/events in the scene. 5. Discuss tasks within the groups: storyboard artists, camera handles, actors, script writers, costume/set designers/creators, set technicians, etc. 6. Referring back to the text, start the process of storyboarding the key events in the scene, writing scripts, and developing costumes, etc. 7. Rehearse, refine scripts, refine storyboards … 8. Get SB’s and scripts okayed then start filming (MUST HAVE PASS AT ALL TIMES / CHS LOCATION NOTED ON BOARD) MONDAY 01/04 TUESDAY 01/05 WEDNESDAY 01/06 THURSDAY 01/07 FRIDAY 01/08 • Intro to storyboarding, etc. • Form video groups; • Assign duties and roles, • Work time for storyboards, • Career brainstorm scenes begin storyboarding and scripts, rehearsal, prop screenplay writing. construction, costuming, etc. • Storyboards and scripts due Monday MONDAY 01/11 TUESDAY 01/12 WEDNESDAY 01/13 THURSDAY 01/14 FRIDAY 01/15 • Storyboards and scripts • Storyboards and scripts • Pinnacle Studio 9 • Filming • Imagine Tomorrow checked checked introduction. • Download “dailies” and edit • Rehearse and begin filming • Rehearse and begin filming • Filming • Make arrangements … • GROUP MUST STAY ON • GROUP MUST STAY ON • Download “dailies” and edit THE SAME MACHINE FOR THE SAME MACHINE FOR • Make arrangements for extra THE ENTIRE PROJECT. THE ENTIRE PROJECT. editing time with Mr. Greene. MONDAY 01/18 TUESDAY 01/19 WEDNESDAY 01/20 THURSDAY 01/21 FRIDAY 01/22 • NO SCHOOL • Filming • Filming • Filming • Imagine Tomorrow • Download “dailies” and edit • Download “dailies” and edit • Download “dailies” and edit • Make arrangements … • START ADDING MUSIC • START ADDING MUSIC • Make arrangements … • Make arrangements … MONDAY 01/25 TUESDAY 01/26 WEDNESDAY 01/27 THURSDAY 01/28 FRIDAY 01/29 • Final Editing • FINALS • FINALS • FINALS • NO SCHOOL • RENDERING of video. This • Hail, Macbeth! Festival: takes time and must be done watch videos AND before you leave from school nominate/vote on Macbeth for the day UNLESS other Oscars arrangements have been made. • Save your video in the Greene share folder as an .AVI film. To complete this assignment successfully, each person in the group will need to work cooperatively with the other group members and at their various jobs. Use the following chart to help guide you through the processing of identifying major responsibilities. STORYBOARD SCRIPT ARTISTS WRITERS duties duties deadlines deadlines CAMERA COSTUME DESIGN HANDLES AND CREATION duties duties deadlines deadlines SET ACTORS TECHNICIANS duties duties deadlines deadlines Macbeth Video Rubric Members: _____________________________________________________________________________________ ______________________________________________________________________________________________ Letter Grade: ____________ Comments: __________________________________________________________ ______________________________________________________________________________________________ ______________________________________________________________________________________________ CATEGORY Excellent “A” Good “B” Developing “C” Poor “D-F” • Content and task are • Attention to content and task • Attention to content and task • No attention to content and paramount in video. Purpose is apparent in video. is lacking. Purpose difficult task in production of video. easily distinguished. Purpose apparent. to understand. Purpose is completely lost. • Tone, theme, and plot of the • Tone, theme, and plot of the • Tone, theme, and plot of the • Tone, theme, and plot of the original are easily and readily original are distinguishable. original are somewhat original are lost completely or distinguished. • Message and intent distinguishable; gaps of to such a degree that they • Message and intent clearly communicated; elements understanding reflected. are nearly completely Content communicated; elements work mostly support message • Message and intent is obscured. well within the production and/or task obscured by the elements • Message and/or intent is 45% • Humor used appropriately. • Humor mostly used • Questionable use of humor. completely buried within • Language is appropriate. appropriately. • Language is questionable or elements of the production • Bloopers, if used at all, no • Language is appropriate. partly inappropriate. • Inappropriate use of humor. longer than 30 seconds of total • Bloopers, if used at all, no • Bloopers, if used at all, no • Language is inappropriate. video, but still within allotted longer than 1 minute of total longer than 90 seconds of • Bloopers, if used at all, time. video, but still within allotted total video, but still within longer than 90 seconds, time. time. probably outside allotted time for total video. • Pre-shoot techniques • Evidence of pre-shoot • Evidence of pre-shoot • No evidence of pre-shoot effectively employed: scripts, techniques in production: techniques such as use of techniques effectively storyboards, rehearsals, etc. scripts, storyboards, scripts, storyboards, employed: scripts, • Met all production deadlines. rehearsals, etc. rehearsals, etc. is lacking storyboards, rehearsals, etc. • Polished video with clear • Met most production • Met some production • Met few if any production sequencing and attention to deadlines. deadlines. deadlines. editing • Sequencing and editing • Sequencing and use of • No evidence of sequencing • Clear variety of shot types: evident editing somewhat unclear or or editing Organization long, medium, close-up • Some variety of shot types: lacking • No variety of shot types OR 20% • Thoughtful and meaningful use long, medium, close-up • Little variety of shot types: strict reliance upon one type: of camera angles: high, • Some thought and use of long, medium, close-up long, medium, close-up straight-on, low camera angles: high, • Little attention given to use • No thought given to use of • Production is within allotted straight-on, low of camera angles: high, camera angles: high, time of 3-6 minutes • Production is within allotted straight-on, low straight-on, low time of 3-6 minutes by no • Production falls outside of • Production falls outside of more than 1 minute on either allotted time of 3-6 minutes allotted time of 3-6 minutes side. by more than one minute, but by more than 2 minutes. not more than 2. • All group members are active in • The majority of the group is • Most team members • Focus of the presentation is presentation. active in the presentation. participated in some aspect on one group member or is • Presentation time balanced • Presentation time mostly of the presentation. heavily reliant on one person. Collaborative equally between members balanced between members; • Little balance of presentation • The workload was not • The presentation workload was some do more than others time divided equally and few team Involvement obviously divided and shared • It appears that most team • Discrepancies in balance of members contributed their 15% equally by all members of the members contributed their workload apparent share. team. fair share of work to the • Below average use of class • Poor use of class time • Excellent use of class time presentation time • Good use of class time • Music, voice over, and effects • Music, voice over, and • Music, voice over, and • No use of music, voice over, are perfectly matched to effects demonstrate some effects lack attention to or effects to enhance video; purpose and content attention to purpose and purpose and content total lack of attention to Audio • Volume of music, voice over, content • Volume of music, voice over, content and task 10% effects is effectively balanced • Effort demonstrated to and effects is difficult to hear • Volume levels completely with soundtrack balance volume of music, and distinguish between lacking balance; much of voice over, and effects with parts and their function audio track is inaudible or soundtrack distorted • Well balanced use of titles to • Some use of titles to • Little effective use of titles to • No use of titles to organize organize video; appropriate to organize video; mostly organize video video task and content appropriate to task • Length of title clips, if present Titles • Length of clip is proportional to • Length of clip is mostly at all, either too short to be 5% text on title suitable for purpose of read or are unnecessarily • Text is easily readable and reading long pertinent to the content • Text is readable and related • Text size or font is too small to content or illegible to be easily read • Completely appropriate • Transitions help flow of video • Transitions mostly absent or • No transitions in project transition use; provides for from scene to scene. used largely in a distracting although video could have smooth flow between scenes Perhaps some use of or inappropriate manner been enhanced by their use. Transitions without distracting viewer from “distracting” or inappropriate • Do not match purpose and • Transitions used solely for content transitions used content. Transitions used the sake of using them; no 5% • Fits purpose perfectly. • Fits purpose. Sound use of seemingly for the sake of apparent link to content or Excellent use of dissolves, common transitions such as using them; difficult to task direct cuts, and fades dissolves, direct cuts, and establish link to content or fades task .
Recommended publications
  • In the Blink of an Eye Why
    Why Do Cuts Work? ell, the fact is that Apocalypse Now, as well as W every other theatrical film (except perhaps Hitchcock's Rope 3 ), is made up of many different pieces of film joined together into a mosaic of im­ ages. The mysterious part of it, though, is that the joining of those pieces-the "cut" in American termi­ nology 4-actually does seem to work, even though it represents a total and instantaneous displacement of one field of vision with another, a displacement that sometimes also entails a jump forward or backward in time as well as space. It works; but it could easily have been otherwise, since nothing in our day-to-day experience seems to prepare us for such a thing. Instead, from the moment we get up in the morning until we close our eyes at night, the visual reality we perceive is a continuous 3 A film composed of only ten shots, each ten minutes long, invis­ ibly joined together, so that the impression is of a complete lack of editing. 4 I was aware, talking to an Australian audience, of the bias inherent in our respective languages. In the States, film is "cut," which puts the emphasis on separation. In Australia (and in Great Britain), film is "joined," with the emphasis on bringing together. 5 6 IN THE BLINK OF AN EYE WHY stream of linked images: In fact, for millions of years­ context: The displacement of tl tens, hundreds of millions of years-life on Earth has motion nor change of context, ; experienced the world this way.
    [Show full text]
  • Runaway Production Problem? the Phenomenon of “Runaway” Film and Television Production from the U.S
    U.S. RUNAWAY FILM AND TELEVISION PRODUCTION STUDY REPORT TABLE OF CONTENTS I. Executive Summary Page 2 II. The U.S. Runaway Film and Television Production Problem – A. Runaway Activity/Trends Page 6 – B. Total Economic Impact Page 11 – C. U.S. Regional Impact Page 15 – D. Direct Labor Impact Page 16 – E. Future Impact Page 17 III. The Causes – A. Production Location Decision Drivers Page 18 – B. Exchange Rates and Factor Costs Page 19 – C. Foreign Tax Incentives Page 20 – D. Total Cost Differences Page 23 – E. Foreign Infrastructure Page 23 – F. The Integrated Approach and Canada Page 24 IV. Study Methodology and Key Terms Page 27 V. About Monitor Company Page 29 1 I. EXECUTIVE SUMMARY “economic” runaways. Note that the study’s scope included theatrical films, films for television, Background television mini-series, and thirty and sixty minute television series. Other types of productions such as In January 1999, the Directors Guild of America commercials, and news and sports programming (DGA) and Screen Actors Guild (SAG) retained were not included. Monitor Company, a leading management consulting firm, to conduct an investigation into What Is The U.S. Runaway Production Problem? the phenomenon of “runaway” film and television production from the U.S. The Guilds (on an The study results show that economic runaway film anecdotal basis) had been noting an accelerating and television productions are a persistent, growing, runaway phenomenon, and the need to create an and very significant issue for the U.S. In 1998, of objective quantitative analysis led to the study being the 1,075 U.S.-developed film and television commissioned.
    [Show full text]
  • Press Contacts for the Television Academy: 818-264
    FOR IMMEDIATE RELEASE Post-awards presentation (approximately 7:00PM, PDT) September 11, 2016 WINNERS OF THE 68th CREATIVE ARTS EMMY® AWARDS ANNOUNCED (Los Angeles, Calif. - September 11, 2016) The Television Academy tonight presented the second of 2016 Creative Arts Emmy® Awards ceremonies for programs and individual achievements at the Microsoft Theater in Los Angeles and honored variety, reality and documentary programs, as well as the many talented artists and craftspeople behind the scenes who create television excellence. Executive produced by Bob Bain, this year’s Creative Arts Awards featured an array of notable presenters, among them Derek and Julianne Hough, Heidi Klum, Jane Lynch, Ryan Seacrest, Gloria Steinem and Neil deGrasse Tyson. In recognition of its game-changing impact on the medium, American Idol received the prestigious 2016 Governors Award. The award was accepted by Idol creator Simon Fuller, FOX and FremantleMedia North America. The Governors Award recipient is chosen by the Television Academy’s board of governors and is bestowed upon an individual, organization or project for outstanding cumulative or singular achievement in the television industry. For more information, visit Emmys.com PRESS CONTACTS FOR THE TELEVISION ACADEMY: Jim Yeager breakwhitelight public relations [email protected] 818-264-6812 Stephanie Goodell breakwhitelight public relations [email protected] 818-462-1150 TELEVISION ACADEMY 2016 CREATIVE ARTS EMMY AWARDS – SUNDAY The awards for both ceremonies, as tabulated by the independent
    [Show full text]
  • Snacktime and Enchanted Ink
    SIGGRAPH 2015 Student Work Entry University of Central Florida School of Visual Arts and Design, Character Animation Specialization Project list for Snacktime and Enchanted Ink DIG3433C-0001 Visual Story and Visual Development; Fall, 2013 Instructor Jo Anne Adams Course Description This course is an introduction to the processes and techniques to transform story concepts into a producible 3D visual experience. Emphasis is upon the aesthetic, technical, and conceptual practices of time based image making which will be addressed through lectures, demonstrations, exercises, projects, and readings. Students will understand story and character development, composition, layout, storyboarding, and output using industry-standard software. Students are evaluated based on their contribution to the class discussions, critiques, and their aesthetic, technical, and conceptual development. ProJect List: Assignment Description of the Assignment % of Grade Assignment Date Due Date One: Story treatment: 5% Aug 21 W Sept 11 Write a 2-page typed story treatment using the suggested methods of idea inspiration and based on one of the types of conflicts in your reading. Upload your treatment to the server in our class folder by the end of day on Wednesday, Aug 31. Develop at least three supporting inspirational sketches to sell the story. Turn them in as jpegs in the same folder as your story. The naming convention for this class is lastNameFirstInitial_DIG3433_Story and lastNameFirstInitial_DIG3433_sketchA,B, or C. The class will vote for eight treatments to pursue as 4 person teams Two: Visual Development 5% Sept 11 W Sept 25 Develop preliminary sketches for at least three main story beats per team member. Divide the story into equal parts so the entire story gets a visual treatment.
    [Show full text]
  • Technical Theatre I
    2nd Nine weeks Fall Calendar 2008 Mr. McGlynn Rm. I-02 Target Outcomes: The student continues demonstration of digital editing skills in the program Power director #7. The student demonstrates skills in Newscast production work and formatting. The student demonstrates skills and understanding in using Pinnacle 12 Green screen technology. The student knows the five basic elements of story and plot structure within a short 10 min. film. The student continues practicing a variety of camera angles and shots in telling a story on film. The student will practice still animation techniques in film editing a 3-5 min. short film. Assignments: 1. Daily production work (Q. grd.) 2. Vocab Chap. #14 (stage and school book) (Q. grd.) 3. Rev. Questions Chap. #14 (stage and school book) (T. grd.) 4. Citizen Kane discussion of Transitions, camera angles, lighting & symbolism (Q. grd.) 5. Storyboard 3-5:00 min. still animation film project 4 students per group (Q. grd.) 6. Still animation project (T. grd.) 7. Storyboard Newscast and make assignments, 10 students per group (Q. grd.) 8. 10 min. Newscast (200 pt. T. grd.) 9. „Storyboard/Script‟ film project, 4 students per group (T. grd.) 10. Film Dailies (three Q. grds.) 11. 10 min. film project 4 per group (Final project 400 pt. T. grd.) 12. Clean up grade (Q. grd.) 13. Final exam “20 question vocabulary Test” (Final exam grd.) 14. Extra credit: Film Archive 10 min. highlight projects outside of your assigned work: (school events) 10/21-22 Watch “Citizen Kane” / handout on camera shots, transitions, lighting. / Ch. #14 Vocab (Q.
    [Show full text]
  • Doron Kipper
    Doron Kipper [email protected] (818) 396-7484 Filmography (More Available Upon Request) Feature Films Ender’s Game 2012 - 2013 FX/Integration Coordinator Profile 2012 On-Set VFX Data Wrangler • Passionate about Filmmaking. Short Films • High standard for quality. • Driven to excel in any job, no Sinners & Saints 2011/RED Epic Key Grip matter how small. Misdirection 2010/35mm Director/Writer/Producer • Follows directions quickly with Four Winds 2010/35mm Script Supervisor attention to detail and efficiency. Onigiri 2010/Super16 Script Supervisor • Wide range of skill sets and Abduction 2009/16mm Cinematographer knowledge in areas of film, Evacua 2008/RED Script Supervisor theatre production, & technology. Brain Found 2008/16mm Cinematographer • Eager & quick to learn new skills. Shoes 2008/16mm Cinematographer/Editor • Confronts obstacles with creative Sweet Cheeks 2007/DV 1st Assistant Director solutions under extreme stress. The Warning 2004/DV Director/Writer/Editor • Works well in a collaborative Media environment. Breaking Ice (Breaking Bad Webisode - Final Season) 2012 DP (HD) • Quality work is more important Disney’s D23 Armchair Archivist - Season 2 2011 Camera/Editor than sleep. Over 40 Additional Theatrical Productions (HD/SD) 2003 -11 Videography/DVD No Good Television Promotional Spot 2010 SpecialFX Specialist Tippi Hedren/Vivica A. Fox Awards Reel (La Femme) 2008 Editor Software Proficiency Antsy McClain and The Troubadours Concert HD 2008 Asst. DP/Camera • Shotgun Big River (MET2) - Promotional Trailer 2008 Editor • Filemaker
    [Show full text]
  • Topic 106 TV Production-Dailies & Previews
    Camera Basics, Principles & Techniques-MCD 401 VU Topic 106 TV Production-Dailies & Previews Dailies, in filmmaking, is the raw, unedited footage shot during the making of a motion picture. They are so called because usually at the end of each day, that day's footage is developed, synced to sound, and printed on film in a batch (and/or telecined onto video tape or disk) for viewing the next day by the director and some members of the film crew. However, the term can be used to refer to any raw footage, regardless of when it is developed or printed. Another way to describe film dailies is "the first positive prints made by the laboratory from the negative photographed on the previous day. In addition, during filming, the director and some actors may view these dailies as an indication of how the filming and the actors' performances are progressing. In some regions such as the UK and Canada, dailies are usually referred to as rushes or daily rushes, referring to the speed at which the prints are developed. Film dailies can refer to the viewing of dailies on film in a theater. In animation, dailies are also called rushes or Sweat Box sessions. Dailies are usually viewed by members of the film crew either early in the morning before filming starts, during the lunch break, or in the evening after filming ends. It is common for several members of the film crew including the director, cinematographer, editor and others to view and discuss the dailies as a group, but some productions opt to distribute multiple copies of the dailies for individual viewing.
    [Show full text]
  • Cnpr 376 Intermediate Cinematography Class Schedule
    CNPR 376 INTERMEDIATE CINEMATOGRAPHY CLASS SCHEDULE Fall 2010 Instructor: Angelo Pacifici 9-11:50am Tuesday Kubrick Stage Z-Center [email protected] 310-313-3762 Website: http://web.mac.com/angelodp1/USC/Welcome.html Office Hours – SCA 419 on Monday & Tuesdays by appointment Dailies – Test dailies are in class on Tuesday mornings. Project Dailies are on Tuesday nights from 6pm – 9pm in rm 310 Round 1 – Sept 14th, 21st & 28th Round 2 – Nov 2nd, 9th, & 16th SA: Josh Compton (765)744-3665 [email protected] Fall 2010 pg.1 CNPR 376 - INTERMEDIATE CINEMATOGRAPHY CLASS SCHEDULE Required Book: Voice & Vision: A Creative Approach to Narrative Film and DV Production, Mike Hurbis-Cherrier, Focal Press Week 1 – August 24th Introductions and discussion of class. Syllabus distribution and review. Safety and Ethics of the Movie set. Basic Demonstration of the EX-1 Camera / Data Management Reading Assignment: Voice & Vision: Chapter 8: The Film System / Chapter 12: Basics of Exposure End of first week students will pick up camera packages from PEC. Spend the weekend studying operations manual and practice using camera. For second week class bring in writing no less than 2 questions you have about set up and operation of the camera. Week 2 – August 31st All partnership bring to class all camera packages You and your partner will practice setup and basic operation under supervision of instructor and S.A. Instructions will be given for Camera Test Weekend. Reading Assignment: Voice & Vision: Chapter 10: The Lens / Chapter 11: Camera Support For week 3: a. Each student to bring S x S card with test weekend footage.
    [Show full text]
  • 3. Create a Storyboard and a Shot List
    mini filmmaking guides pre- production 3. CREATE A STORYBOARD AND A SHOT LIST To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) 1. ASSIGN PRODUCTION ROLES 2. SCOUT FOR LOCATIONS 3. CREATE A STORYBOARD AND A SHOT LIST 4. SOURCE COSTUMES, MAKE-UP & PROPS PRODUCTION (5 guides) POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRE PRODUCTION STORYBOARD AND SHOT LIST What is a storyboard? A storyboard is a visual representation of a whole film. It allows filmmakers to plan and see how the finished film will look on screen. It is a series of drawings which either shows each scene from your film or, for more detail, each shot. By planning your shots in advance you can help minimise mistakes. You can identify any shots that might not work and take them out before you pick up the camera. A storyboard not only illustrates the director’s vision for his/her film, it is also a useful tool for the camera operator and editor. It helps them understand exactly how shots should be framed and their correct order. Storyboard structure There are a variety of ways of storyboarding your film: Scene by scene If you want to just draw each scene, you can create an accompanying shot list detailing the camera shots and movements you’ll use. A shot list is useful because it lists the camera shots in order so you can tick them off as you film. This helps ensure that no shots are missed out.
    [Show full text]
  • The Storyboard
    The Storyboard The Advantages of Storyboarding By Kylene Arnold Storyboards are pictures of each shot in a film [as visualized by the filmmaker before actual shooting of the film begins]. They may be as simple as stick figures or as complex as full-color illustrations created by a storyboard artist. However, regardless of their level of complexity, their function remains the same: to develop and communicate the director's vision to other crew members and executives. Some famous directors, such as Alfred Hitchcock, considered them an indispensable part of the pre-production process because of the advantages he gained from this previsualization technique. Refined Vision Storyboards force the director to translate his broad vision for the film into concrete, executable shots. During the storyboarding phase, he can experiment with different camera angles, Page 1 of 4 reorganize scenes or cut them to see how they impact the story. Some directors use storyboards as a reference during production to help them remember all of the shots they planned. They may also use them as a way to communicate their vision to producers or investors. Problem Identification A storyboard can serve as a paper edit of the movie, which allows you to identify weaknesses that may not otherwise be apparent until post-production. For example, when you "see" your film, you may discover that the pacing is slow, that several visually similar scenes are lumped together or that a particular scene is going to require more props, extras or visual effects than you had thought. Because storyboards are a tool that you can show to others, it allows them to help you identify these weaknesses and improve the film before you shoot it.
    [Show full text]
  • Storyboard Background-Information Styles, Tipps and Methods
    Storyboard Background-Information Styles, Tipps and Methods By Saskia Petrenz [email protected] Contents Introduction 3 Mindset of the storyboards artist: Who he is and what he does 4 Storyboard Styles 6 Work-Flow 8 Composition 11 Lighting and Color 12 Tips/Methods 15 Dictionary 17 Questionnaire 18 Sources 19 2 Introduction This paper will give a general overview about storyboards, information about different styles of storyboards and how to use them. The mindset of a storyboard artist and his work-flow will also be explained. Additionally composition and the use of light in storyboards will be explained as well as some handy tips and tricks. At the end a dictionary lists eventually necessary technical terms. What is a storyboard? A storyboard is a suggestion. It gives a possible basic setup for a scene including general camera setups and lighting. It allows advance organization, frame by frame and shot by shot what is going to be happening dur- ing shooting. The function of a storyboard is to indicate and illustrate all shots needed for the final product. It does this by pre-visualizing the written word (screenplay) and its structure. Also any visual effect will be indi- cated in the storyboard, this means that modern Special Effects Films are more demanding on storyboards. A storyboard serves the visual needs of the director of photography and special effects team. The director and director of photography will go over the storyboard to decide on the needed cameras/ lenses/filters/lighting equipment etc. Also the producer, director, cinematographer and production designer will want to see visuals and illustrated SFX (Special Effects) to estimate cost, the set up for shots and decide on cameras, lighting and framing.
    [Show full text]
  • UNIT-II Pre and Post
    UNIT-II Pre and post - production planning - functions, duties and responsibilities of the crew members. Art direction - location - floor management - out-doors and indoors - lighting - management of live shows / live telecast - sports coverage etc. PRE AND POST - PRODUCTION PLANNING The Production Process The production process refers to the stages (phases) required to complete a media product, from the idea to the final master copy. The process can apply to any type of media production including film, video, television and audio recording. The stages in each medium vary; for example, there is obviously no storyboard in an audio recording. However the same general concepts work for any medium. The three main stages of production are: Pre-production: Planning, scripting & storyboarding, etc. Production: The actual shooting/recording. Post-production: Everything between production and creating the final master copy. PRE-PRODUCTION Pre-production is a fairly loose term which refers to the tasks undertaken before production begins. Exactly what is included in this stage depends on the medium and situation. For a small video company, pre-production may refer to everything that happens before shooting begins, for example, meeting with the client, research, storyboarding, location planning, etc. For feature films, pre-production is more specific and only begins when other milestones have been met such as financing, screenplay, casting and major staffing. In this case pre-production includes: Location scouting Prop and wardrobe identification and preparation Special effects identification and preparation Production schedule Set construction Script-locking (semi-finalisation of the script) Script read-through with cast, director and other interested parties STAGES OF PRE-PRODUCTION Finalize a Shooting Script While movies are magical, they don‟t come out of thin air.
    [Show full text]