PRODUCTION HANDBOOK NEW YORK FILM ACADEMY. Tel: Fax: East 17th Street New York, NY 10003

Transcription

1 ONE-YEAR PROGRAM FILMMAKING PRODUCTION HANDBOOK NEW YORK FILM ACADEMY 100 East 17th Street New York, NY Tel: Fax:

2 OVERVIEW OF ONE-YEAR PROGRAM FIRST SEMESTER This outline serves as a rough guide to classes, topics, and projects throughout the one-year program (minor variations may exist among individual schedules, depending on the section and semester). Classes include: Director s Craft, Writing, Editing, Production Workshop, Hands-on Camera, Budgeting and Scheduling, Hands-on Lighting, Sound Recording, & Directing Actors. FIRST QUARTER Week 1: Tools of Filmmaking Director s Craft #1, 2 Writing #1 Hands-on Camera #1, 2, 3 Hands-on Lighting #1 Hands-on Camera #4 Hands-on Lighting #2 Production Workshop #1 Crew meeting Pre-production for Mise-en-scène Film Shoot Mise-en-scène Film Week 2: Continuity Director s Craft #3 Writing #2 Editing #1, 2 Production Workshop #2 Directing Actors #1 Screen Mise-en-scène Film/ Critique Crew Meeting Pre-production for the Continuity Film Shoot Continuity Film Week 3: Music & Montage Director s Craft #4 Writing #3 Hands-on Lighting #3, 4 Production Workshop #3 Directing Actors #2 Editing #3 Screen Continuity Film/ Critique Crew Meeting Pre-production for Music Film Shoot Music Film Week 4: Introduction to First Quarter Film Director s Craft #5 Writing # 4 Hands-on Camera #5, 6, 7: Introduction to the digital camera Hands-on Lighting #5 Production Workshop #4 Edit Music Film Screen Music Film/ Critique Editing #4, 5 Budgeting and Scheduling Week 5: Pre-production - First Quarter Film Finalize storyboards, locations, casting, rehearsal One-on-one advisements with faculty Week 6: Production - First Quarter Film Crews shoot for eight days (each director has two shooting days) SECOND QUARTER Week 7-8: Post Production/Digital Filmmaking Director s Craft #6 Writing #5 Directing Actors #3, 4 Production Workshop #5 Sound Recording Editing #6, 7, 8 Editing advisements (Directors edit their films over a two-week period) Screening of First Quarter Film/ Critique PAGE 2

3 FIRST SEMESTER OVERVIEW (CONT D) Week 9: Chekhovian Exercise Director s Craft #7 Directing Actors #5 Writing #6 Production Workshop #6 Prep and shoot Chekhovian Film Week 10-11: POV Project Director s Craft #8, 9 Writing #7, 8 Screen and Critique Chekhovian Films Directing Actors #6, 7 Production Workshop #7, 8 Prep and shoot POV Projects Exploring the Documentary #1, 2, 3 Week 12-13: Pre-production of Semester One Film Director s Craft #10 Directing Actors #8 Exploring the Documentary Format #4, 5 Pre-production for Semester One Film Week 14-15: Production - Semester One Film Shoot Semester One Film. Each Director has 2 days to shoot. Week 15-17: Post-Production Writing #9, 10, 11 Edit Semester One Film Semester Two Overview Screening of Semester One Film/Critique Screening Semester One Film OVERVIEW OF ONE-YEAR PROGRAM SECOND SEMESTER Classes include: Director s Craft, Writing, Editing, Production Workshop, Hands-on Camera, Producing, Lighting, Sync-Sound Recording, Directing Actors, 35mm Panavision Workshop, Cinema Studies, One-on-one Mentor Meetings, Prep and Shoot Thesis Film. THIRD QUARTER Week 1 Director s Craft #11, 12 Introduction to the Arri-SR2 Camera Sync Sound Recording #1 Cinematography #1: Introduction to Advanced Lighting and Grip Package Advanced Production Workshop #1 Cinema Studies #1 PAGE 3

4 SECOND SEMESTER OVERVIEW (CONT D) Week 2 Director s Craft #13 Directing Actors #9 Producing #1 Editing #9 Cinematography #2 Sync Sound Recording #2 Advanced Production Workshop #2 Cinema Studies #2 Week 3 Director s Craft #14 Producing #2 Hands-on Camera #10: Introduction to the HD Camera Hands-on Lighting #6: Lighting for HD Sync Sound Recording #3 Directing Actors #10 Cinema Studies #3 Week 4 35mm Panavision Workshop Advanced Production Workshop #3 Producing #3 Week 5 Director s Craft #15 Cinematography #3 Screen 35 mm Workshop footage Directing Actors #11, 12 Producing #4 Cinema Studies #4 Week 6 Visual Style Directing Actors #13, 14 Cinematography #4 Producing #5 Cinema Studies #5 Week 7 Pre-Production Production Book approval Week 8 Advanced Production Workshop #4 Week 9-10 Screening and Critique Advanced Production Workshop Pre-production begins FOURTH QUARTER Week Crew production meetings Each director shoots thesis project for a five-day shooting period Each director works as a crewmember on at least five thesis films Week 25 Edit your Thesis Film Building your reel Week 26 Edit your Thesis Film Editing #10, 11, 12 Introduction to Second Year: Feature Filmmaking (for students enrolled in the 2-year program) Life After NYFA Week Editing your Thesis Film Rough Cut Screening Submission of Thesis Life After NYFA Students meet one-on-one with instructors for individual critique Graduation Screening PAGE 4

5 PROJECT DESCRIPTION *In order to be screened, all film projects must have PRODUCED AT THE NEW YORK FILM ACADEMY in their closing credits. PROJECT #1: MISE-EN-SCENE Each student will make a short film of 30 seconds to two minutes in a single shot (instructors may allow for some variation). Students are required to shoot the project on the tripod, and concentrate on the choreography of actors through the foreground, mid-ground, and background of the frame. Camera can move as a pan, tilt, or dolly; however, handheld is discouraged unless the instructor grants permission. Pay close attention to your choice of lenses, distances, and angles. Design and rehearse the shot, carefully. All students will use 1-2 rolls of black and white reversal stock. You will edit the film, then screen it in class. Students will work in crews of three or four. You may use your crew as actors, or you may bring in actors from other NYFA programs or from outside the school. This project teaches how the relationship between the subject and the camera creates drama. You will design the shot in order to produce a scene that has a beginning, middle and an end. PROJECT #2: CONTINUITY Shoot a dramatic scene to create a feeling of continuous action. The scene unfolds utilizing 6-8 shots (instructors may allow for some variation). Students must place the camera, block the actors, and order shots in order to create a clear understanding of space and the physical relationships of actors in it, as well as to maintain an illusion of a continuous flow of time. Recommended shooting time: 4 hours Shots: 6-8 (more are allowed only with permission of directing instructor) Suggested running time: 1-3 min. Editing time: Two 4-hour slots Recommended shooting time: 3 hours Suggested running time: 30 sec. - 1 min. Editing time: one 4-hour slot You will shoot 2-3 rolls of reversal stock, then edit and screen your film. Do not shoot without thoroughly planning the following elements: Script Location Scouting Storyboard Floor Plan Script Breakdown Production Schedule PROJECT #3: MUSIC AND MONTAGE FILM The Music/Montage film emphasizes the use of the techniques of non-linear filmmaking in the creation of a dramatic, visual experience. Montage can be used to great effect in the compression of time, and to create visual collisions and unexpected continuations between shots. Students integrate the shots with music, sound effects, or voiceover, but shoot MOS (without sound). Images are cut to work in concert with, or in counterpoint to, the post-production soundtrack, and experiment with rhythm and pacing. This project may take a variety of forms. These could include: a drama embellished by strategic jumps and a music track; a music video; even an experimental film. Students will shoot 3-5 rolls of reversal film stock, then edit the project and screen in class. Recommended shooting time: 5 hours Shots: Suggested running time: 1-3 min. Editing time: Three 4-hour slots PAGE 5

6 PROJECT #4: FIRST QUARTER FILM Write a short script of 5 pages or under. You may choose from any genre, including: Narrative, Documentary, Music Film, and Experimental. Scout your locations and create a shot list, storyboard, and floor plan. Cast your film and rehearse the scenes. (You may want to shoot video of your actors during audition and rehearsals there is a significant difference between a live casting call and watching your actors on tape.) You have one week of pre-production and advisements. Create a production book with tabbed dividers that include: your script, shooting schedule, storyboard and/or shot list, cast, list of props, etc.. You have two full days to shoot your film. Students shoot MOS on either 16 mm reversal film stock or on digital. Students edit for one week, using voice over, music, sound effects and/or ambient sound. Rough/fine cuts of your film will be screened. FILMS OVER 5 MINUTES MAY NOT BE SCREENED! REMEMBER, LESS IS OFTEN MORE! The quality of a film is never solely determined by the amount of money spent. There is no substitute for creativity, ingenuity, resourcefulness and above all, pre-production. Recommended shooting time: 2 days Suggested running time: 3-5 min. Editing time: By appointment. Students must sign up at editing room desk. PROJECT #5: CHEKHOVIAN FILM Each student directs a brief page of dialogue (provided by the instructor) that has no written physical action. The director creates the characters, the situation, and the back-story of the scene, taking extra care to map out the actors objectives. In the process, students discover how these elements create meaning and intention in dialogue. The Chekhovian project promotes an understanding of text versus subtext in the service of drama. Recommended shooting time: 4 hours Suggested running time: 1-3 min. Editing time: Two 4-hour slots PROJECT #6: POV FILM Point of View (POV) is one of the foundation concepts of narrative filmmaking. POV may be established through shot selection, composition, and editing cuts. POV techniques help to establish the protagonist of a scene, allowing the director to create emotional moments for the protagonist with clear risks and stakes. Recommended shooting time: 5 hours Suggested running time: 1-4 min. Editing time: Three 4-hour slots By manipulating Point of View through a careful control of shot selection, composition, and editing, students are challenged to control the audience s empathy. Students shoot a one or two-page scene involving two characters. Each scene will be selected from the screenplays of produced films provided by the instructor. The instructor will assign the character whose Point of View each student will direct. PAGE 6

7 PROJECT #7: FIRST SEMESTER FILM This project draws from visual and dramatic lessons learned throughout the first semester courses. Each student will make a short film shot on either 16 mm or on digital video of up to seven minutes long. You may choose either a narrative or documentary format. This project provides an opportunity for students to apply and practice lessons learned in their second quarter classes (especially on the writing of dialogue, directing actors, and production techniques). Film with dialogue presents a new range of creative opportunities for your projects. However, many filmmakers abandon visual storytelling when they are presented with the opportunity to direct a sound film. An effective balance of dialogue scenes and visual storytelling is the artistic goal for this assignment. Students must create a definitive shot list, storyboard, and floor plan. Locations should be scouted carefully. Cast your film and rehearse the action. You have one week of pre-production and advisements. Allow extra time to direct your actors on the set. This project provides an excellent opportunity to refine your direction before the thesis film ensues. Remember that directing sync sound is more time-consuming than shooting MOS. PROJECTS OVER SEVEN MINUTES MAY NOT BE SCREENED! * Filmmaking students are encouraged to collaborate with students in other NYFA programs for the mutual benefit of all. NYFA Cinematography students are available to work as DPs for a select number of 1-year Filmmaking final films. Likewise, students in NYFA s Producing and Writing programs may also work with 1-Year Filmmaking students in the production of their work. Recommended shooting time: 2 days Suggested running time: 3-7 min. Editing time: By appointment. Students must sign up at editing room desk. PROJECT #8: THESIS FILM The final project of the first year can be shot on any of the film or video formats introduced during the program 16mm film, 35mm film, 24P digital video, or HD digital video. This project will require ample preparation and pre-production. Faculty approval of student pre-production books is required before a student can check out the equipment. The project can be any genre. Each student is responsible for all aspects of his or her film, including: script development, casting, rehearsals, shot list, food and transportation arrangements, film stock purchases and all other necessary pre-production and production tasks. Students are required to create crews from within their section (classmates should strive fill the main technical crew positions of DP*, AC, Gaffer, Grip). However, you may supplement their crews, if so desired, with supporting positions (PA, PM, AD) with any individuals you deem qualified. * As in the first-semester film project, filmmaking students are encouraged to collaborate with students in other NYFA programs. NYFA Cinematography students may work as DPs for Thesis films. Likewise, students in NYFA s Producing program may work as thesis film producers, and NYFA Screenwriting students may write the thesis scripts. All individuals from outside NYFA who handle more elaborate NYFA equipment (for example, the Panavision 35 mm camera) will be required to prove their knowledge of the equipment to the equipment room personnel. Arrangements for these sessions must be made in advance directly with the equipment room supervisor. In addition, all students who shoot with the Panavision 35 mm camera must provide a Union AC, and give the AC s credentials to the equipment room supervisor before the shoot. To successfully complete the program, students are required to direct their own thesis projects and crew on an additional five. Remember, what you offer in terms of assistance to your classmates on their projects is what you can expect in return on your own shoot. In other words, if you work hard for someone, you can expect them to work hard for you. Recommended shooting time: 5 days *plus one day to check out and one day to check in Suggested running time: Up to 15 min., including titles. Editing time: By appointment. Students must sign up at editing room desk. PAGE 7

8 ONE-YEAR FILMMAKING PROGRAM EQUIPMENT DISTRIBUTION GUIDELINES 1st Semester Cameras & Accessories Arriflex-S 16mm Camera Basic AC Kit (White/Black Gaff Tape, Lens Tissue & Cleaner, Slate, ND6 Filter, Tape Measure) Lighting Lowel VIP Light Kit (2 VIP Lights, 1 Pro Light, 3 Matthews Basic Light Stands, Black Wrap, CTO, CTB, Diffusion, Pigeon Plate, Gel Frame, Stinger, Cube Tap, Baby CClamp, Gaff Gloves, Duvetyne) Mole Richarson Nook Light Impact Flexfill Sekonic L-308S Light Meter Sound Azden SGM 1X Shotgun Microphone Sennheiser HD202 Headphones Manfrotto Boom Pole XLR Cables Tripods Bogen 501 Tripod Libec T58 Tripod 2nd Semester (All One Year Filmmaking 1st Semester Equipment) Cameras & Accessories Arriflex SRII Canon 5D Mark II 4K Resolution Production Camera Zeiss Superspeed Lenses Advanced AC Kit (Basic AC Kit contents plus: Filter Kit, Grey Card, Canned Air, Orange Stick) Lighting Sekonic L-758DR Light Meter Mole Richardson Baby Kit Mole Richardson Inky Tweenie Kit Mole Richardson 2K Light Kino Flo 2x4 Bank Light Kit Matthews Century Stands Flag Kits Scrim Kits Quad Box Grip Appleboxes Maffers Clamps Cardellini Clamps C-Clamps Duck Bills Offset Arm Sand Bags Dollys Skateboard Dolly Losmandy Spider Dolly Matthews Door Way Dolly Rubber Track Tripods Bogen 516 Tripod Quarter Apple Hi-Hat Sound Fostex FR2 Sound Recorder/ Roland R-44 Tascam Sound Recorder Wendt Audio Mixer Sennheisser Wireless Lavaliers Sanken Shotgun Microphone Audio Technica Microphone PAGE 8

9 SAMPLE STUDENT PRODUCTION BUDGET FILM STOCK AND PROCESSING WEEK PROJECT FORMAT ITEM ESTIMATED COST ALL ALL GB HARD DRIVE (you can obtain a HD from us with a refundable deposit or bring your own)* *as of 9/13/13 - policy may change after 1st quarter $0 - $ QUARTER ONE Week 1 Mise-En-Scène Film 16mm Roll Black and White Reversal Film Stock ($19.50/roll), plus processing and film-to-video transfer ($27.00/roll) $46.50 Week 2 Continuity Film 16mm Roll Black and White Reversal Film Stock, plus processing and film-to-video transfer $ $ Week 3 Music Film 16mm Roll Black and White Reversal Film Stock, plus processing and film-to-video transfer $ $ Week 4-6 1st Quarter Film (students have a choice of shooting either 16mm or digital) 16mm or digital If 16mm: rolls Black and White Reversal Film stock; plus processing and video transfer. Or... If Digital: 1 8gb memory card $ $20.00 Total Film/Digital/ Processing Costs: First Quarter * $299 - $ QUARTER TWO Week 7-11 Chekhovian and POV Project Digital 8gb memory card $0 (if purchased quarter 1) - $20 Week Semester One Film 16mm or Digital If 16mm: rolls Black and White Reversal Film stock; plus processing and video transfer. If Digital: 1 8gb memory card (if none were previously purchased) $465 - $ $0 - $20 Total Film/Digital/ Processing Costs: Second Quarter * $0 - $ QUARTER THREE Week 1-10 Five Production Workshop Projects 16mm (negative), digital, 35mm Class projects: school provides film/memory cards $0 Total Film/Digital/ Processing Costs: Third Quarter * $0 QUARTER FOUR Week One-year Thesis Film ** 16mm (negative), digital, or 35mm Student s choice of format and length: 16mm (approx.): rolls x $145/roll; processing/ telecine $200/roll Digital: additional 8gb memory card = $20 35mm: students should discuss with instructor regarding budget $0 - $3,000 Total Film/Digital/ Processing Costs: Fourth Quarter * Total Film/Digital/ Processing Costs: Entire Year * $0 - $3,000 $299 - $6,000 * NOTE: This budget DOES NOT include any expenses the student may have to pay for location, transportation, food, costume, props, etc.. It is entirely possible to shoot all student projects with school equipment. If you chose to supplement our equipment package with additional equipment, you are responsible for the rental costs. The figures in this budget are estimates, only! ** The budget for all projects will vary from student to student depending on the complexity of the production and format chosen. On average, Students have spent anywhere from $1,000 - $3,000 on their one-year thesis films. PAGE 9