Definitions of main film language areas

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2 Definitions of main film language areas LANGUAGE Refers to: How moving image products use visual and aural composition, movement, sequencing, narrative and thematic structures, and generic expectations to create meaning Page 15 MIA Specification When applying the Language element of the framework to a film, the key questions candidates should be asking themselves would be:! What type of film is this? What genre/category or range of genres does it belong to?! What is the central narrative/story in the film what happens in the plot?! Who are the main characters and what do we know about them?! What can we say about the actors performances, their facial expressions, and their body language?! How is costume and make-up significant in the film? How does it contribute to our understanding of character? What impact do the settings and props have on the story? How can we describe the different lighting techniques in the film? What is significant about the film s cinematography? What types of shots are used? What camera angles and camera movements appear in the film? What types of editing techniques have been used in the film? How have the sequences been put together? How has the story been broken down into scenes? How is sound used in the film? How does the use of music contribute to the mood and pace of the story? What sound effects are used? Does the film include the voice of a narrator? Are there any examples of significant and memorable dialogue? The key content in this area can be broken down into the following areas: Genre Narrative Narration Mise-en-scene Editing Sound

3 GENRE Definition: (from French) type or category To approach film in relation to genre involves treating it not as a unique entity but as a member of a general category or grouping. Key Points: There are two key approaches to genre: the Descriptive approach and the Functional approach. Descriptive approach: the aim of this approach is to classify or organise a large number of films into a small number of groups based on common attributes such as visual style or theme. Functional approach: this approach acknowledges the role genre plays in society: studying film and the viewing of films as a shared, social ritual, with audiences sharing common expectations and experiences. Genres are not fixed entities, but are constantly evolving. Often the boundaries between genres become blurred. In most cases films represent a genre hybrid or a combination of attributes from several different genre backgrounds. NARRATIVE Definition: This concept refers to what happens or is depicted in a film a film s plot or story. It can be defined more precisely as a series of events related to one another in terms of a cause and effect logic or a cause-effect chain of events with a beginning, middle and end Key Points: Types of narrative/story fit into or fall somewhere in between one of the two following categories or styles: - Realist - Formalist The Realist approach to film narrative explores film s ability to reproduce reality and represent stories and events that occur in real life. The Formalist approach to film narrative, focuses instead on film s ability to change reality to transform, manipulate and distort everyday life. There are 3 key stages in a narrative structure: - a state of equilibrium (beginning) - the disruption of this equilibrium by an event (middle) - the successful restoration of equilibrium (end) The cause-effect narrative logic of the story is motivated by the needs and wishes of the characters. The progression from initial equilibrium to the restoration of equilibrium always involves a transformation (usually of the story s main character) The following two elements are therefore also central to a film s narrative: - Character

4 - Characterisation Character in film relates to the people in a film in terms of what they do or fail to do. Characters are therefore seen very much in terms of how they relate to the action of the story and to its cause-effect logic, particularly in popular and mainstream film. They can in fact be seen as a function of the narrative. Characterisation refers to a list of features or traits that make up a character, some of which will be exploited more than others in the development of a story. In general a character s traits will be designed to play a causal role in the narrative, though some characters will be more developed or complex i.e. they will possess a broader range of varying traits and will hold more significance in the story. NARRATION Definition: The mechanism employed in a film, which determines how the narrative/story information is conveyed to the audience. It refers to the film s narrative technique to its method of storytelling. Key Points: The two main types of narration are: - Restricted Narration - Unrestricted/Omniscient Narration. Through Restricted Narration the viewer experiences the narrative from the perspective of only one of the story s characters - this can lead to an increased sense of mystery, for example. Unrestricted/Omniscient Narration shifts from one character to another giving the viewer information from many sources. The viewer experiences the narrative from a panoramic all-seeing viewpoint and knows more than the characters themselves this can increase suspense, for example. There are a number of additional techniques employed to engage audiences in different types of narrative structure, for example flashback sequences and non-linear / nonchronological sequences. MISE-EN-SCENE Definition: (pron. meez-on-sen) (originally from French meaning putting into the scene first applied to the direction of stage plays) Describes both the content of what is filmed and the way in which it has been filmed and signifies the director s control over what appears in the film frame. Key Points: The key aspects of mise-en-scene are - Setting & Props - Costume, Hair and Make-Up - Movement, Positioning and Performance - Lighting and Cinematography - Camera Framing - Camera Movement

5 Each of the above aspects must be considered in relation to its significance and function with regards to characterisation and narrative. SETTING AND PROPS - Settings used in films are rarely just backgrounds. The way of setting a film is far more significant than the setting of a theatre and is much more detailed. Settings can be integral in the creation of atmosphere and also in the building of character and narrative in a film. - Prop is a term given to objects in the setting of a film (originally referring to the properties of the characters), which not only contribute to the creation of characterisation and atmosphere but also form an integral part in the action of the film. Props can often play a very significant role in the cause-effect logic of a film s narrative. - Key Areas to look out for: Control of Setting: Studio vs. Location Realism vs. Formalism (e.g. historical accuracy vs. expressionism) Use of Colour Use of Symbolism COSTUME AND MAKE-UP - Costume and make-up play a large part in mise-en-scene because, for example, they can be an instant indicator to us of a character s personality, social status and job. They can tell us about the period a film is set in and the culture it is centred around. - Key Areas to look out for: Realism vs. Formalism Use of Colour Use of Symbolism MOVEMENT, POSITIONING AND PERFORMANCE - The positioning and movement of characters within a frame holds great significance for both characterisation and narrative. A filmmaker can successfully draw an audience s attention to an important character merely through placing them in the foreground of the frame. Likewise placing a moving body in a stationary background or vice versa has the same effect. Positioning can also be used to indicate relationships between people; for example, creating physical distance between two characters in a frame can reflect emotional distance that they might be experiencing at that point in the film. - Performance in film includes an actor s facial expressions and body language. With film s ability to create a close-up of an actor s face, for example, there is a wide and subtle range of emotions and feelings that can be conveyed and expressed through the medium by means of performance. Eyes give particularly important signals when trying to read someone s expression. Likewise movement and the way in which actors hold and move their bodies indicates how they are thinking and feeling. - Key Areas to look out for: Scene Blocking Positioning and Movement of Characters within a frame Styles of Performance Facial Expression and Body Language / Point of View / Eye line and direction of gaze LIGHTING & CINEMATOGRAPHY - Cinematography literally means lighting in movement. It is often referred to as painting or writing with light. The Cinematographer on a film, otherwise known as the Director of Photography or DP, has a wide range of options when it comes to selecting how the film will be shot how the look of the film will be determined. The use of tonality, speed of motion and perspective are included in these options, as is lighting. - Lighting is central to cinematography and can have a number of functions in a film s narrative; for example, it can highlight a number or important characters or objects within a frame by drawing the audience s attention to them with the use of a bright light source. It can also create a range of atmospheric qualities in a scene, which can contribute to both characterisation and setting.

6 - Key Areas to look out for: Realism vs. Formalism Cinematography: Tonality, Speed of Motion, Perspective Use of Colour Lighting Technique: Style / Positioning / Quality CAMERA FRAMING* (*See Picture Composition and Shot Type documents in the Resource section for further detail and illustrations) Camera framing refers to three key areas: - Shot Type - Camera Positioning - Camera Angle Shot Type - types of shot refer to the positioning and distance between the camera and its subject. The main types of shot include: - Long shot - Medium shot - Medium close-up - Close-up - Shot extremes include extreme close-up and extreme long shot Camera Positioning - In addition to considering framing in terms of shot type, it is also important to consider shots in relation to their point of view and perspective within the scene. Where is the camera positioned within the scene? Camera Angle A final, important consideration in relation to camera framing is shot angle. Camera angle can play an important part in a film s narration strategy (providing an omniscient bird s eye view of events, for example). It can also contribute to characterisation (in increasing a sense of dominance or inferiority, for example). The two main types of angle are High Angle Low Angle CAMERA MOVEMENT The main types of camera movement that are used in film are: Panning Tilting Crane Tracking Zooming Rolling Panning a panning shot is where the camera moves slowly across from side to side from a fixed axis. Tilting a tilt shot is where the camera moves up and down from a fixed axis. Crane a crane shot is where the camera, mounted on crane, moves around at a distance above ground level. Tracking a tracking shot is where the camera follows the action, moving along tracks laid for that purpose, often pulling backwards from a scene. Zooming a zoom shot is similar to a tracking shot in that it is possible to zoom in (giving the impression of moving forwards) and out (giving the impression of moving backwards).

7 In the zoom, however the camera itself remains still and so the effect is a little different. A zoom enlarges or decreases the size of its subject. This can increase or decrease the subject s degree of importance, for example. Rolling a rolling shot is where the camera moves diagonally, making the image askew (often used to suggest that a character is ill or drugged). EDITING Definition: On its most basic level, editing can be defined as the joining together of individual shots into visual sequences. Key Points: The main editing technique to evolve in the field of narrative or story-based film is Continuity Editing. The basic purpose of Continuity Editing is to arrange shots so as to tell a story coherently and clearly. The key dimensions of control in editing are: Space, Time and Rhythm. The techniques of Continuity Editing are used to create a synthetic unity of space and time from a fragmentation of separate shots this functions to ensure audience orientation and engagement in the film s narrative.! The key techniques to Continuity Editing are: - the 180 Degree Rule / Axis of Action - the Eyeline Match - Point of view Cutting - the Match on Action - Directional Continuity 180 Degree Rule / Axis of Action the objective of continuity editing is to create a unity of space which is identical to that created by renaissance painting and nineteenth century theatre. The spectator/audience in both cases is positioned on the same side of the scene or action. In theatre, the action takes place in a space consisting of three walls. The audience always occupies the invisible fourth wall. The assumption in film is that shots will be filmed and cut together so as to position the film audience always on the same side of the story action occupying the position of the invisible fourth wall. This creates an imaginary 180 degree axis of action which becomes the vector of movements, character positions and glances in a scene and which ideally the camera should not stray across. Eyeline Match in the eyeline match, a character in one-shot glances at something offscreen (out of the frame) and a cut reveals the object the character is looking at. The line of the character s glance has therefore matched the two shots together, creating coherence and spatial orientation. Point of view cutting - this is a variant of the eyeline match. The structure is the same: a character looks off screen cut to the object the character is looking at. However, what distinguishes point of view cutting is that the object is shown from the character s optical vantage point i.e. through the character s eyes. (So if the character is drunk, for example, this might mean that the shot is deliberately out of focus with the camera moving from side to side a rolling shot).

8 Match on Action in the match on action cut, the cut from one shot to another occurs when an action is being performed, in which the action is continued from one shot to the next. It is the continuity of the same action across the cut that creates coherence and orientation. Directional Continuity - this relates to the movements of characters/objects across the frame. For example, if a character exits the shot from the right of the screen, he should enter the next shot from the left of the screen, moving in the same direction.! There are different types of editing joins that can be used between shots, each can have their own purpose and function within the narrative: - a fade-out gradually darkens the end of a shot to black - a fade-in accordingly lightens a shot from black - a dissolve briefly superimposes the end of one shot onto the beginning of another - a wipe replaces the first shot with a second shot by means of a boundary line moving across the screen - the most common means of joining two shots together is the cut in filmmaking this involves literally splicing two shots together with tape or cement. The term cut is still used nowadays even when editing is being carried out digitally and doesn t involve physically cutting tape. SOUND Key Points: Sound in film is divided into two main categories: Diagetic Sound and Non-Diagetic sound. Diagetic sound is sound that has a physical origin in the film world (e.g. a character coughing or the radio playing) Non-Diagetic sound is sound that has no direct origin in the film world (e.g. the soundtrack or the voice of a narrator) Sound in film also has three key dimensions: Music, Sound Effects/Noise and Dialogue Music the power of a film s musical soundtrack to manipulate emotions and create atmosphere has always been widely acknowledged. The sales of original and pre-published music for film is now a highly profitable business. Sound Effects sound effects and background noises are integral in giving a sense of reality to the world depicted in a film (e.g. the sound of footsteps, rain falling etc.). They can equally be used to increase mystery, suspense and disorientation for the viewer, in science fiction or horror films for example. Dialogue - both the content (words spoken) and the delivery (performance and mood) of dialogue is important for the development of a film s characterisation and narrative. There are two main types of sound that can be used in a film; parallel and contrapuntal. (also known as synchronous and asynchronous). Parallel Sound parallel sound is logically connected with the image. The sound comes from within the scene or emphasises some aspect of the scene. The mainstream Hollywood style relies heavily on parallel sound with music sound effects and dialogue underlining and supporting the image.

9 Contrapuntal Sound (Counterpoint) contrapuntal sound provides a commentary on the image and may be unconnected with it. The sound may work against the image to create a third meaning, for example. It can also take the form of a character s voice-over. Finally, the overlapping of sound is often used to bind sequences together more smoothly with the use of music, for example, or by cutting to a shot of a second speaker for a response before the first speaker has finished asking the question. AUDIENCE Refers to: How different audience groupings are constituted and how they are identified and targeted by producers; the different ways in which moving image products are consumed; how audience responses can be understood and interpreted. Page 16 MIA Specification When applying the Audience element of the framework to a film, the key questions candidates should be asking themselves would be: Who is the target audience for this film? What types of audience is this film intended for? How does the film address the audience in terms of genre, language, characterisation, narrative, and production style? What type of effects could this film have on its audience? What effect is it trying to have? What would you regard as the dominant interpretation of the film s story / message? What other negotiated interpretations could be made? What oppositional / resistant interpretations might be made and by whom? Under what range of viewing conditions might the audience watch this film? How might these conditions affect the audience s understanding / appreciation of the film? PRODUCTION CONTEXT Production Context refers to: Specificities of, and differences between different moving image media, the different modes of production and circulation of moving images. When applying the Production Context element of the framework to a film, the key questions candidates should be asking themselves would be: Who made this film and what is their background? What other films and types of film have they made? What type of production organisation made this film and how is the organisation characterised in terms of structure; size, location, ownership, personnel, budget?

10 What kind of economic environment was the film made in? Was it for profit? Was it advertising/sponsorship supported / revenue led? How has the history of the genre, the medium and the production organisation impacted on the content of the film? What opportunities and constraints has technology presented in the making of the film? The key content in this area can be broken down into the following areas: Industrial Processes Industrial Structures INDUSTRIAL PROCESSES Key Points There are three key industrial processes to consider in relation to film and cinema in this section: - Production - Distribution - Exhibition Production this area relates to the nature of the medium and the conditions and industrial context in which moving image products have been created in that medium what interests lie behind their production? How are they being financed? Distribution this area relates to the types of channels, and systems through which the moving image products have been disseminated and promoted to their audience/s. How are these controlled and how are these financed? Exhibition this area relates to the varying contexts within which the film products are consumed by audience/s. These can range from the different types of traditional film theatres/cinemas to the modern domestic arena of television sets video/dvd players and the Internet. How are these controlled and financed? Who owns them? Who controls what is shown on them? INDUSTRIAL STRUCTURES Key Points There are three key industrial structures to consider, when looking at the evolution of film and cinema: - Hollywood Studio System - Independent Film Producers - European and National film Industries other than Hollywood Hollywood Studio System: - In the 1920s the Studio System evolved- and the Big Five, the majors were born: Twentieth Century Fox / MGM / Paramount / Warner Brothers / RKO - Key characteristics of this system included: vertical integration powerful economic muscle with control by each studio over production, distribution and exhibition, profit-driven decision-making, a factory line system of production, a block-buster mentality and repetition of success formulas in the form of sequels which led to a prevalence of genre film

11 output eg. musical / western. The marketability of actors as stars also gave birth to an enduring star system, contributing to Hollywood s evolving mythical status. - By the 1930s, American cinema had achieved a dominant position on screens across the world. - In the 1940 s and 50 s a series of consent decrees were issued in an attempt to break down the monopolistic vertical integration of the studio system, forcing the Big Five to sell off their theatre chains. This shifted the power structure of the studio system to distribution, and by the late 1950s, almost two thirds of production was actually being undertaken by independent companies. The majors nonetheless secured their position of power in this new system as crucial sources of co-financing and distribution for the independents and continued also to produce their own films, albeit on a reduced scale. - In the 1960s a trend developed in studio take-overs by business conglomerates with interests in a diverse range of entertainment inc. leisure, sport, music and television. The studios represented a glamorous investment opportunity with significant assets (inc. real estate). In this new industrial structure, television, and also home video in the 80 s, both at first regarded as potential rivals to cinema box office profits, were now exploited as new distribution and exhibition opportunities and outlets for film, offering an increase in foreign market potential, additional profit and a longer shelf-life for films. - By 1980s/90s the trend towards diversification had increased even further. Studios still had very recognisable brand names but these communications and leisure empires now branched out to have investment and control in everything from news broadcasting and television to video games, theme parks & children s toys. There was also an increase in mutually profitable commercial tie-ins eg. with fast-food companies such as McDonalds. The Studios had now evolved into multi-media conglomerates and communications empires. Independent Film Production - Independent film companies in America evolved most significantly during the 1950 s in response to the shift in the studio power structure. Independent producers were able to make films more cheaply than the major studios. They also offered greater creative freedom, though they were often co-financed by one of the studios and also depended on studios to get their films distributed so this was at times a quite limited freedom. - By the 1960 s a strong underground avant-garde tradition was building in America and traditional cinematic style was being challenged by young directors, many emerging from the tradition of television, such as Arthur Penn and Sidney Lumet. During the 1970 s directors such as Martin Scorcese and Francis Ford Coppola sought to further subvert the commercialism of Hollywood and produce films with a more personalised vision. (Conversely, George Lucas and Steven Spielberg created the blockbuster mass audience event movie as we now know it.) - Independent companies, such as Roger Corman s New World, began to increase in number in the climate that evolved in the 70 s and 80 s, building on a growing exploitation and low-budget video and film culture. - Independent film production continues to influence and subvert conventional big-budget Hollywood block-buster production today. Some of the independent productions do in fact become unexpected sleeper hits and bring in millions at the box office, a well-known example being The Blair Witch Project. European and National Cinemas other than Hollywood - From the 1920s onwards, European national cinemas have had to contend with the overpowering flow of product from the American studio factories. Nonetheless, national cinemas across the world have contributed significantly to the evolution of cinema language and have been often as influential on Hollywood as Hollywood has been on them. Key national cinema movements to take into consideration could include: s German Expressionism with its distinctive set designs and lighting, and Soviet Cinema with its influence on expressive montage.

12 s Italian Neo-Realism and its emphasis on evoking the experience of real life as opposed to entertainment s French New Wave which consciously engaged viewers on the basis of a shared sense of film culture and conventions, personalising generic forms and deliberately ignoring established norms. - Another important element to consider in relation to national cinemas other than Hollywood, is the degree to which talent from these cinemas has been exported to Hollywood and absorbed by it. Known as the brain drain this refers to actors, directors and cinematographers who left their countries to move to Hollywood eg. Fritz Lang, F W Murnau, Greta Garbo, Alfred Hitchcock, Arnold Schwarzenegger etc. REPRESENTATION Refers to: The relationship between moving image products and reality; the different levels of realism that are intended in different kinds of products. How social groups, events and ideas are represented; how bias, stereotyping and persuasive messages can be built into moving image products. When applying the Representation element of the framework to a film, for example, the key questions candidates should be asking themselves would be: Who made the film? When was the film made? Where was the film made? Why was the film made? What is its purpose? What are its social, political & cultural origins? Who benefits from the film? Who does not benefit? What type of film is this? Is it realist or formalist? Is the film historical or fictitious? Do events that take place in the film represent or claim to represent historical events that have taken place in real life? If so, how accurate are they? What is the tone of the film? Is it satirical? What iconography is employed in the film? Are there any identifiable stereotypes in the film? What social groups can we identify in the film? Are they represented in a favourable or unfavourable light? From what point of view does the audience see the events that take place in the film? Which character/s perspective does it gain of the events portrayed?

13 What opinions, ideas and beliefs does the film express? What is the central ideology behind the film? Who is the audience invited to identify with? How are the main characters represented? What type of language is used in the film? What kind of dialogue is used? Is their any use of symbolism and iconography in the film; cultural, religious political or otherwise?

14 TEACHING PRACTICE MAKING MOVIES INTRODUCTION The initial introduction of the Conceptual Framework should ideally focus exclusively on the area of Film and Cinema. This will offer candidates the opportunity to develop an understanding of all four-framework areas and will coincidentally also establish a common grounding for all candidates in preparation for their eventual Examination. At this initial stage, candidates should ideally be given the opportunity to study at least four complete narrative moving image products and a range of clips taken from others. They should also be engaged in a range of discussion and task-based activities to help them build a familiarity with the framework s underlying concepts and subject content. Task-based activities and discussions in the classroom could include: Showing part of a film scene and asking candidates to write, storyboard or perform their own version of the ending. Interviewing film characters; asking candidates to play the part of characters in a film as they are being interviewed about their lives thereby developing understanding of characterisation and performance. Asking candidates to play the role of the director of a film seen by the whole class and to be interviewed by the class about their directorial decisions. Playing a scene with no sound and asking candidates what they think the scene is about with regards to mood / atmosphere / genre / character Playing sound with no visuals and asking candidates what they think the scene is about with regards to mood / atmosphere / genre / character & appearance Asking candidates to create a poster for a film, choosing images and Tag line carefully. Organising a debate about representation issues in a film including opposing viewpoints Picking a well known story (e.g. fairytale) and dividing students up into groups, each group being allocated a different genre who are then asked to discuss how they would each film the story inc ref to music / mise-en-scene / lighting / iconography / setting etc. Comparing outcomes at the end. In parallel with the undertaking of a range of critical, written and discursive exercises based on the framework s subject matter, candidates should also gain the opportunity to experiment with relevant production techniques through task-based practical exercises. Candidates use of techniques in these exercises should underpin their attempts to explore and understand the nature of the different moving image genres and products they are encountering. This should also provide candidates with a valuable introduction to some of the creative and practical considerations involved in the production process, which will be crucial for their completion of the coursework unit. However, types of production exercises organised by teachers at this early stage do not necessarily have to include work shot by candidates themselves. Exercises based on editing or otherwise amending found material could be equally valuable. Practical Exercises might include: telling a story in four still Polaroid or digital stills photographs; adding alternative sound tracks to a 40-second visual sequence; storyboarding and animating a short sequence such as a walk or head turn; cutting a dialogue to a specified shorter length, including cutaways as necessary; constructing a parallel montage sequence (using either provided or original material); editing together a range of found material into a short sequence and adding a voice over commentary; re-editing a 2 or 3 minute movie trailer for use as a 30 second TV trailer. cutting together found footage and graphics with a new musical score. Trying to match the images to the speed, mood and feel of the track.

15 PRODUCTION FRAMEWORK: CONTENT In the creation of their own moving image products, candidates will be introduced to a Production Framework, which will familiarise them with the key elements involved in the creative process. This Production Framework will cover the following areas: Pre-Production Production Post-Production Below is a summary of the framework content broken down into the three key areas. PRE-PRODUCTION Pre-Production is the first stage in the production process and refers to both creative and practical considerations. The key creative elements which candidates should negotiate when embarking on the preproduction of a film would be: The Idea The Treatment / Synopsis The Script / Screenplay The Storyboard The Shot List The key practical elements which candidates should negotiate when undertaking the preproduction of a film would be: Production Roles Shooting Schedules Shooting Lists Production Inventories THE IDEA What is an idea? Where does it come from? The world is brimming with potential ideas, which can be sparked by a chance encounter, a thought, an experience, a memory, even by the sight of a colour or an object. The idea might then need to be developed into a storyline or perhaps a basic storyline will come to mind and need to be fleshed out with interesting characters and settings. No matter what form an initial idea takes, somewhere between the original idea and the script, the idea will need to take form. Key Points: The basis for a script could be divided into 5 major components:! Storyline! Characters! Underlying Idea! Images! Dialogue Each of these elements can to begin to take form at different stages in the writing process. Some students tend to think in terms of a character and may begin with a character they ve formed in their imagination. Others might begin with a story or a plot line. Sourcing Ideas: It is productive to be surrounded with stimuli of all kinds to help kick-start the creative process:

16 Potential Sources for ideas could include:! Newspapers / films / books / music! Friends / family / school / community! Concepts / beliefs / philosophies! Personal experiences / life events Potential ways of sourcing and collating ideas in the classroom could include:! Group discussions / activities! Brainstorming Ordering Ideas:! Index Cards: Writing ideas down as the process evolves is very useful when trying to bring them into some kind of order. Index cards are colourful, chaotic and fluid all of which is conducive to the beginning of the creative process. Each colour can represent a different element of the script and can be organised and re-organised very flexibly.! Photo/Drawing Boards: Photo and drawing boards using visual stimuli and colour can complement the written ideas and help to contribute atmosphere and texture to the story s development. These can take the form of scrapbooks and wall displays.! Journals / Diaries Writing a character s journal or diary can help bring more insight into their motivations and personality. These can be written in the first person as the character or in the third person as an account by an imaginary friend or member of the character s family.! Tape / Video Diary These both represent a good way of recording potential lines of dialogue as they come to mind. In terms of the video diary, there is also room for exploring character traits in terms of mannerisms and body language. Recording voice on tape is also a more accessible way to make an immediate note of ideas when there is little time to write or if it is inconvenient to do so. THE TREATMENT / SYNOPSIS* Definition: (*See Synopsis document in the Resource section for greater detail) There are many different opinions in the industry on what constitutes a treatment. For the purposes of the specification, it will be defined as a brief one to two page document whose primary objective is to outline what will happen in a film to give its plot or story. Key Points:! A treatment will include an initial story pitch one or two sentences which sum up the entire film.! A treatment will include the main events and the key characters appearing in the story.! It may also choose to elaborate on these areas giving character backgrounds, describing settings / locations, commenting on style and atmosphere.! For short films, this document would not exceed one to two pages in length. THE SCRIPT / SCREENPLAY* Definition: (*See Script document in the Resource section for greater detail) A film s script or screenplay represents the complete template of a film. Key Points:! A screenplay must contain all the story s action and dialogue as spoken by its characters.

17 ! A screenplay should not include camera directions or instructions regarding framing or composition unless these are essential to the story itself. Likewise, any direct reference to setting, props or costume should only be included to enhance the story or sense of character in the film.! Any significant references to props, costume, sounds, special effects, character names and any setting/location characteristics should be capitalised for easy reference.! Using the conventional screenplay format one page of script will usually represent one minute of screen time. THE STORYBOARD* Definition: (*See Storyboard documents in the Resource section for greater detail and illustrations) Following the completion of the screenplay, the visualisation process begins. Drawing a storyboard is one of the ways in which this process can be carried out and culminated, though it is not compulsory. A storyboard can be defined as a record of the visualisation process a visual diary of the film on paper. At this point it may be useful to look at the Picture Composition document in the resource section. Key Points:! The Storyboard will tell the story of the film shot by shot in pictures demonstrating the mise-en-scene of the film particularly framing and camera movement.! The Storyboard will include and demonstrate key camera directions / technical and effects requirements.! Storyboards may include dialogue at key points or where the dialogue itself is particularly significant.! During the process of visualising the film as it will appear, screenplays are often edited and re-edited to fit the vision of the director. There are many tools and techniques that can be used to aid the visualisation process. These could include:! Use of Photoboards mapping the story with photos, for example.! Use of Video cameras experimenting with depth, framing, movement.! Animatics using the camera with stand-in actors or models of buildings etc. to block out shots and experiment with various editing decisions. THE SHOTLIST* Definition: (*See Shotlist document in the Resource section for greater detail) As with a storyboard, the shot list tells the visual story of the film, shot by shot, but in a textual format. (For a breakdown of the different shot types, see Shot Size document in the Resource section.) Key Points:! Unlike a storyboard, the shot list is a compulsory part of the pre-production process and is used to form the basis of the entire shooting schedule.! The shot list must include dialogue references (with marked in and out points). In cases where scripts are not too dialogue-heavy, it may in fact include all of the dialogue.! All shots must be numbered chronologically, scene by scene, from the opening titles to the closing sequence.

18 ! The shot list must also contain direct, emboldened/capitalized references to all settings/locations, character names and action props as they appear in the film and each time they appear in the film. PRODUCTION ROLES Definition: Production Roles refers to the roles each candidate will play on each others production. As can be seen from the list of credits at the end of a film, there are extensive numbers of professionals involved in the making of a film. For the purposes of a short production project to be filmed in a classroom/school context, using digital technology, this list can be reduced to the following areas:! Producer! Writer! Director! Director of Photography / Cinematographer! Production Manager! Camera! Sound! Lighting! Costume & Make-Up! Design & Props! Editor! Producer: in the case of all production projects, it is in fact you, the teacher, who will be playing the role of producer. In this case, the role includes giving the different production teams a production briefing, with clear parameters, indicating proposed production length, available budget, equipment and locations/materials. It is also important for the producer to ensure that the productions operate within a set timeframe and do not run over schedule.! Writer / Director / Director of Photography / Production Manager / Editor: under normal circumstances, these roles are very separate, but in the case of each production project and to ensure each individual candidate s ownership of the finished product, these are merged and made the responsibility of each individual when creating their own product. This relegates candidates to the role of technical assistants on each others productions but creators of their own. In the role of Writer each individual will be responsible for providing a synopsis and script for their proposed production. As Director, each candidate will then be expected to translate their script into a shot list and storyboard, outlining exactly how they plan to shoot the story, from what camera angles etc thereby translating their vision of the story onto paper. The candidate will then continue to assume the role of director during the shoot itself and will be responsible for calling the shots and directing the actors. On set, the candidate will continue his/her creative role, by taking on the role of the Director of Photography. In reality, the Director of Photography usually works very closely with the Director and is responsible for the entire look of the film. In this case, candidates will be made responsible for their own composition, framing and lighting, though they will, of course, engage the help of fellow students to assist them technically. As Production Manager, the candidate will also be responsible for planning the production schedule and co-ordinating the logistics of the shoot this will include making available all the necessary equipment, materials, props, costume and make-up. This ultimately incorporates a further two departments responsibilities Costume/Make-Up and Design of Props & Location/Studio Settings. Finally, each candidate will be responsible for taking on the role of Editor. Under normal circumstances, the Director of a film will direct the edit, but an Editor will physically perform the task. In this case, the candidates will be responsible for directing and performing their own post-production.! Camera / Sound / Lighting: In each of these technical areas, it will no doubt be necessary for candidates to engage the assistance of their fellow students. In each case, assistants should be given the responsibility to operate the relevant equipment according to the direction and creative decision-making of the candidate. It is particularly important for at

19 least one assistant to be available to log the shots and number of takes for each shot. As suggested later in this section, this can be done very efficiently using a clapperboard system. Finally, each candidate will need assistance with regards to Costume & Make-Up, Props & Design (particularly with the physical setting up and dressing of locations and studio sets with backdrops/props etc.). It is important that they are made personally responsible for coordinating their own team of assistants and that they ensure that their assistants are clear about the responsibilities they are expected to fulfil (eg. that the Props Assistant will be expected to turn up on time with the provision of relevant props). SHOOTING SCHEDULE* Definition: (*See Shooting Schedule document in the Resource section for greater detail) The shooting schedule is a document used by everyone involved in the production of a film (in this case, the candidate and his/her crew). It must include exact instructions on what scene numbers are being filmed, where and when they are being filmed, what will be needed and which cast and crew are involved. As film is inevitably shot out of sequence, the importance of having a schedule and its daily appendices is therefore immediately increased. Key Points:! The shooting schedule must include exact scene numbers with descriptions of which scenes are going to be filmed in what order, on what date and at what time over the entire shooting period.! The schedule must include main prop, technical and equipment requirements for each day in that period.! The shooting schedule must be supplemented by:! A daily Call Sheet* which gives details of which scenes will be shot on that particular day, who is involved and at what exact time of the day they will be "called to the set. Using the original shooting schedule as a starting point, this is often compiled the night before or even on the morning of the day s shooting to cater for inevitable last minute reshuffling of the schedule. In the case of professional productions, it will also include directions on how to get to and from the set / location/s and weather information (if filming outside).! A daily Shooting List* which will give an exact record of the shots to be filmed on that particular day in order of camera set ups. This may contain very detailed notes (usually made by the Director & Director of Photography) of specific design, lighting and technical requirements for each shot.! A Shot Record Sheet* which can be used to log shots as they happen and will make a note of how many takes were made of each shot and a comment on which takes were good enough to be considered for editing. If it is a particularly complicated shoot, it is possible to instead use a clapper board equivalent (such as a small blackboard) and film the shot and take number clearly written on it before the recording of each take begins. This is vitally important when it comes to the paper edit and post-production stage and can save hours of unnecessary work. (*See Call Sheet, Shooting List and Shot Record Sheet documents in the Resource Chapter for greater detail) PRODUCTION INVENTORIES Key Points: It is important to keep a detailed record of all of the following to ensure a smooth and productive shoot:! Costume and Props: all those to be used in the film (listed with page references in chronological order as they appear and each time they appear) including notes on any

20 special requirements (e.g. a shirt that has sauce spilled on it as part of the film s action will need several spares on hand for additional takes).! Location & Set Design Requirements: all design and set dressing requirements for each day s shooting. (e.g. using a classroom and making it look like an office will need relevant stationery / background furniture etc)! Equipment Requirements including basic equipment plus additional lighting / sound, leads, extension cables, gaffer tape, tape stock etc. (this is the department that can shut a film down for a day because of a forgotten lead or plug!) PRODUCTION Production is the second stage in the production process and refers to both creative and practical considerations: The key practical elements which candidates should address when embarking on the production shoot would be: Camera & Lighting Set-Up eg. checking the tripod spirit level, adjusting the white balance and focus on the camera, setting up all lights and their gels and securing any loose cabling etc. Sound Set-Up eg. checking sound levels, locating and eradicating any sources of noise disturbance (eg. unplugging phones / removing clocks etc) and ensuring easy boom pole access in the event of scenes with complicated choreography, for example Location/Studio Set-Up & Props eg. meeting design/set dressing requirements and props, ensuring easy access to fire exits and toilets etc. Costume & Make-Up eg. ensuring that actors/actresses are correctly costumed and made-up for a scene in time for filming to avoid delays in the schedule / ensuring that they are in the correct costume for the scene in question (particularly important when filming out of sequence) / ensuring that if the actors/actresses are being made-up and dressed in the same way as a previous day s shooting, that it is exactly the same way (particularly with regards to hair style) otherwise, it will be obvious in the edit that the shots were filmed on different days and there will be no continuity in the scene. Production System The Shoot eg. ensuring that everyone adheres to their roles and responds to the authority of the director, that the necessary actors are on stand-by and that the shoot runs smoothly and professionally / ensuring that there are no health and safety risks (no food/drink/personal belongings on set / making sure that loose cables are secured with gaffer tape on the floor etc.) Calling Shots: The famous call of Lights, Camera, Action! should actually work as follows: The Director will call All quiet on set, please. It is important that everyone responds to the Director and that he/she asserts authority and decisiveness. It is vital for the success of the product that there is focus and concentration on set at all times. The Director will then ensure that everyone, particularly the actors, is aware what part of the script they will be running from eg We will go again from when Jim slams the book on the table so take your first positions. Actors will then take their first positions (with Jim holding the book ready to slam it onto the table. The Director will then consult camera: Camera Rolling? to which the Camera Assistant should respond Camera Rolling, once he/she has pressed record. A Camera Assistant should only start recording once he/she is happy with the focus/framing etc. The Director will then consult sound: Sound Rolling? to which the Sound Assistant should respond Sound Rolling, once he/she has begun recording. Not unlike the Camera Assistant, the Sound Assistant should only start recording

21 once he/she is happy with the sound levels/positioning of the boom mic. in relation to the actor/s etc. The Production Assistant will finally present the clapperboard in view of the camera and either s/he or the Director will call the shot and take number eg. Scene 5, Shot 1, Take 2!. Finally the Director will call Action! at which point, the actors will begin performing (ie. Jim will slam the book on the table). The director should then call Cut!, when the piece of filming is completed. Although resting for a moment, it is important at this point that actors/actresses remain in their positions until it is clear that the Director does not intend to refilm. In general, no one should leave the set until the Director calls for a break. The key creative elements which candidates should address when undertaking the production shoot would be: Camera eg. positioning / angles / POV / composition / movement Sound eg. remembering need for atmos and diagetic sound effects / awareness of any background sound while recording / double-checking levels Lighting eg. creating atmosphere and mood / ensuring key actors are lit properly Mise-En-Scene & Direction eg. set dressing and props visible within the frame / performance and positioning of actors / eyelines Candidates will be able to derive new ideas and knowledge with regards to each of these creative elements from their study of the Conceptual Framework s Language section, in particular. If the shoot is well prepared and organised, this will allow the candidates more space and freedom to think creatively during the shooting process itself and will also give them the additional time needed to experiment with their ideas. POST-PRODUCTION Post-Production is the third and final stage in the production process and refers to the following elements: Paper Edit a list of time-coded shots/take numbers selected from the logged footage which are to be included for consideration at the editing stage. Ideally these shots will be listed in their proposed chronological order of appearance for the final edit. Digitisation the process whereby all the selected footage is transferred, sequence by sequence and shot by shot from the digital video tape in the camera onto the editing computer. This takes place in real time and therefore the importance of a paper edit is crucial to avoid having to waste time digitising unnecessary and unusable footage. Editing the process whereby the footage is cut together in the order of the original storyboard/shotlist. Sound Mixing the process whereby sound is added to the visuals either in the form of sound effects or music from a CD or in the form of voice over or background atmos recorded by candidates with the sound equipment. Titles & Credits - inclusion of opening and closing credits using computer software.

22 PRODUCTION FRAMEWORK: TEACHING PRACTICE STAGE 1: INTRODUCTION In introducing the Production Framework to candidates, the role of the teacher is very much one of a facilitator and advisor. Candidates should be introduced to the production process through a series of hands-on and group exercises. Initial pre-production, production and postproduction exercises should be designed to give candidates the opportunity to learn and experiment with the technologies, techniques and processes involved in the creation of a complete production. Many of the exercises used to introduce the Conceptual Framework can be in fact be re-used and adapted for this. Pre-Production Exercises could include: Pick a word out of a hat write a story about it Storyboard a fairy tale Provide students with a scene from a script ask them to design a shot list &/or storyboard for it compare with the real storyboard if you have one Provide students with the shot list of a short film. Ask them to draw up a shooting schedule with equipment / props and design inventories. Production Exercises could include: Production Race: give students a basic shot list of a telephone call give them a set time to shoot it in and promise a prize to the group who finishes first. They must have logged all the shots! Mix cables and shooting equipment on the floor ask students to reorganise and inventory the equipment. While shooting a sample scene, ask students to swap production roles every 10 minutes to give everyone an insight into the different production responsibilities. Give students the opportunity to experiment with different design / props / costumes / lighting / special effects. Post-Production: Having shot footage in separate groups for different sample sequences, ask the groups to write a paper edit for the footage they have shot and hand it over to another group to edit. Give students the opportunity to experiment with different music and sound effects. Give students the task of shooting and editing a sequence from two totally different points of view. STAGE 2: PRODUCTION Once candidates have been given a number of very brief pre-, production and post-production exercises to complete and have had several dummy runs at filming a variety of short sample sequences, they will be ready to embark on the filming of their own complete production. Although teachers will maintain the role of facilitator throughout this process, it is effective to treat this stage as though it were a professional endeavour, with the teacher essentially taking the role of acting Producer. It is equally important, from the outset, to determine the roles that the candidates will play on each other s productions. As production is essentially a team activity, it is important that each individual candidate be given as much creative and editorial control as possible throughout the process of making their own product. This means ensuring that they are made entirely responsible for the idea, writing and planning of their product. When on set, they will also be responsible for both the directing and cinematography (lighting, composition and camera framing). When in the editing suite, they will be responsible for all editing decisions. Although they will be assisted by their fellow pupils when on set, with each pupil clearly allocated a routinely defined production role (eg.

23 sound / camera assistant / props / costume etc), all actual decision-making and justifications thereof must come from the candidate. As a teacher or Producer overseeing this process, there will be a number of management considerations to keep in mind: Give clearly defined parameters, particularly in terms of product length, number of locations / effects / characters etc. While allowing candidates to push the boundaries of their imaginations it is also important not to lose sight of the realities of what is feasible given the school s timetable, available space and resources. It is important that candidates be aware of these limitations from the outset. It is a test of their creativity to be able to work within them. There can never be enough planning! It is vitally important that candidates tackle the shoot with a precise knowledge of how they plan to edit their ideas together afterwards. The production shoot is where imagination meets logistical reality. If it has been badly organised, the ideas will never make it to the screen. A central criterion of assessment in this specification is therefore how candidates succeed in negotiating their original ideas with the realities and obstacles of a film shoot. When they are scheduling their shoot, always encourage candidates to allow extra time for the unexpected. Ensure also that candidates take a lead role in the co-ordination and planning of their own shoot, as Production Managers asking permission to use certain rooms in the school at certain times from the relevant department head, for example. To enable a smoother running of all of the production shoots, ensure that all candidates are adhering to the same organisational and communication systems, as outlined in the Production Framework. This is why it is so important to organise a sufficient number of short practice runs beforehand, thereby making such systems almost second nature to candidates before they embark on their own productions. It is advisable to have Production Meetings throughout the process, as inevitably, arrangements will have to be remade and plans renegotiated. It is important that candidates are seen to take a lead in the running and ownership of this process and that their decisions and learning are reflected in the evaluation materials they submit for assessment.

24 Guides and Examples SHOT SIZES The amount of the frame occupied by the subject is described in terms of shot size. Whenever you are making a storyboard or writing a script you should use the standard terms. For practical purposes, the following are the correct terms when the subject is a person. Extreme Long Shot (ELS) or Establishing Shot An extreme long shot (ELS) is usually used to show a wide location to establish where the action is. Any people in the frame will appear very small. Long Shot (LS) A long shot (LS) of a person includes the whole body. The person occupies 3/4 to1/2 the screen height, containing enough of the location to show where the action is taking place. Medium Long Shot (MLS) A medium long shot includes the whole body plus a short distance above/bellow. Knee Shot (3/4 Shot) A knee shot is a 3/4 length shot, were the person in the frame is shown from the knees up.

25 Mid Shot (MS) A mid shot cuts the body just bellow the waist. Far enough away to capture arm gestures, but close enough to see the facial expressions. Medium Close-UP (MCU) A medium close-up cuts the body above the waist and below the bust / chest. Close-Up (CU) A close-up is framing from just above the head, down to the upper chest. The cut-off point is normally around the armpits, enabling you to get close enough to see eyes and facial expressions in detail. CU s can have a lot of impact. Big Close-Up (BCU)

26 A big close-up shows the head full height, nearly filling the screen. Very Close-Up (VCU) A very close-up might contain from just below the mouth to just above the eyes. The eyes are extremely expressive and an VCU can be a very powerful way of expressing an emotion. Extreme Close-Up (ECU) An extreme close-up is a detail shot. Here are some other useful abbreviations: 2s Two-Shot, 3s Three- Shot Where there are two people in the frame. Where there are three people in the frame. GS Group Shot WS Wide Shot Insert Shots - These are close-ups of significant detail, such as a clenched fist, a ring on a finger etc. At the editing stage, these shots are called over-lays.

27 POV - Point of view shot L/A Low Angle shot H/A High Angle shot Wallpaper Shot Cutaway Shots Introductory Shot Establishing Shot / General View (GV The viewer sees the action through the eyes of one of the actors. The camera is pointing up at someone. This can make people look intimidating or superior. High angle shots, where the camera is pointing down at someone, can make a person look small or insignificant. These are general shots of people, places or activities that form a background for a commentary or narration. A glimpse of something that is not part of the main action is called a cutaway shot, these put the main action into context. There should always be a shot to introduce the action. For example, people are often shown walking into a building before the beginning of an interview, which helps to establish place and person. These should be taken for every location where shooting takes place. They are often very useful at the editing stage.

28 PICTURE COMPOSITION Your audience can only see what you have chosen to show them. Just that part of the scene selected by the lens, which is visible on the rectangular screen. Today s TV screens come in two formats 4:3 and 16:9 also know as Widescreen. It is important to choose which format / aspect, you are going to work in from the start. Most TV is now shot in 16:9 and this is also supported in most DV Cameras. The reason you must choose this at the beginning of a project is because a 4:3 footage show on a widescreen TV will appear squashed (everyone looks fat) and a 16:9 footage show on a normal TV will look stretched (everyone looks taller). It is not only the footage that must conform to these ratios; any photographs, computer graphics or titles must also fit these formats. Standard PAL/DV Resolution is 720 x 576 pixels, and has a 4:3 Aspect Ratio. Widescreen PAL/DV Resolution is1024 x 576 pixels, and has a16: 9 Aspect Ratio.

29 The Audience can only guess at what lies outside the lens (angle of view). The skill in filmmaking lies in choosing just the right section of a scene that will satisfy the audience. Convincing them that this is exactly what they want to see at that particular moment. When you have no control over the subjects that you are recording, composition is simply choosing which lens angle to use, and where to stand to record the best image. If you do have control over the subjects, composition also involves deciding how they should be arranged. With many subjects you can get a close shot of them, filling the entire screen, without losing parts outside the frame area. Others are too tall for the screen, so you can only show them completely in a long shot, or shoot them in sections, either by panning/tilting over them, or by intercutting a series of shots. Headroom, leadroom and talking space are important framing considerations: If you film a person and the frame crops off their heads, hands or feet, the result looks odd. Keep a check on the distance between the top of the head and the top of the frame. If the headroom is to little, the frame will appear to crush down on the subject. Too much headroom unbalances the shot and may distract the viewer s attention. Too little headroom Too much headroom Just enough headroom Also be aware that parts of heads may be cut off by the receiver overscan. Most TV receivers are adjusted to get the maximum picture size possible, so they cut off the edges of the shot. If you don t want your audience to miss anything important such as titling, you need to compose your shot to keep these details within the safe area of the screen. Most video editing applications have these overlays built in.

30 Above are the action safe and title safe areas for both the 4:3 and 16:9 aspect ratios. The action safe area is 10% smaller than the total dimensions, and the title safe area is 20% smaller than the total area. The concept of leadroom applies strongly to moving subjects. For example, if a person is moving laterally across the screen, it is important to allow lead space in front of the person, so that they can move into that space.

31 In an interview situation the framing is much more attractive if there is an added amount of talking space, in the side of the frame to which they are speaking. The Rule of Thirds Subjects look more attractive if they are placed a third of the way in from the edge of the frame, rather than in the centre. This is known as the rule of thirds. If you draw an imaginary grid on your monitor, dividing the screen vertically and horizontally into three equal parts. Then compose the shots so that the main objects, or the horizon or eye level fall on these lines or where they cross, the result is a far more pleasing balance. This routine is purely mechanical; as subjects positions really depend on their size, shape, tone, background, their relative importance, and so on: but in time, you will instinctively compose shots with these techniques in mind. This photo was taken in keeping with the rule of thirds The main building falls on two of the grid lines and the blades of the Windmill run along the upper guide.

32 This photo however is unbalanced and less attractive because it does not conform to the rule of thirds.

33 SYNOPSIS SAMPLE UFOh A group of young people is producing a short science fiction film at a residential film training camp. There are tensions on set and the shoot is not going well. The lead actress, is particularly disruptive and like a true primadonna, storms off the set and steals the camera in retribution when the crew is not looking. One of the technicians, who feels that she has been treated unfairly, ventures out into the surrounding forest to find her. Aliens abduct them both but the lead actress manages to catch the aliens on camera just before she is sucked up into the spacecraft. The next day a crew-member discovers the camera in the forest. When watching the tape, the crew discover the footage of the real spaceship. They soon realise that this is not footage that they shot themselves. The lead actress and technician suddenly arrive mysteriously at the scene and hypnotise the crew. They return to the spaceship, removing the camera, the crew and all proof of the aliens existence. Stylistically, the film will resemble a low-budget sci-fi B-Movie, and the focus will therefore be on creating all the effects required by the story in camera and not at the editing stage. Lighting will be expressionistic and will seek to create a surreal atmosphere. Acting will vacillate between overblown and deliberately wooden, thus complimenting the low budget feel of the production.

34 SCRIPT SAMPLE UFOh SCENE 1 INT FILM STUDIO It is week one of a summer film camp. The CREW is filming a model shot where a SPACE SHIP is flying across a DESERT LANDSCAPE. DIRECTOR And cut Thanks everyone. That looks good. ACTOR Good? It was terrible. It was far too jerky. TECHNICIAN That s all you actors can do. Criticise. Haven t seen you doing much acting so far DIRECTOR Hey, don t start all that again. Now, where is our lead actress? (looks at WATCH) She was meant to be here half an hour ago The DOOR opens and the ACTRESS enters the studio. And where have you been? We ve had to change the whole shoot because of you! ACTOR I thought we all agreed to be here on time. What makes you so special? ACTRESS I had a headache if you really must know. ACTOR You re not even wearing the right costume! You haven t got a clue! ACTRESS That s it! I m leaving! I can t work under these conditions. DIRECTOR Well if you want to go, go. We ll be able to manage without you if we have to. ACTRESS is about to say something. Changes her mind and storms out, banging the door. ACTRESS EXIT. TECHNICIAN That was really stupid! What re we going to do now? Who s going to take her place?

35 DIRECTOR C mon everyone, we can still finish the scene and get something in the can. Let s take 5. Everyone back on set at quarter to. SCENE 2 INT FILM STUDIO The door of the studio opens and we see the ACTRESS peering in. She enters the room and hurries over to the CAMERA and TRIPOD. She lifts the CAMERA and slides it into her BAG. SCENE 3 INT CORRIDOR The CREW are making their way back down the corridor to the studio. They are chatting amongst themselves about the shoot. SCENE 4 INT ENTRANCE HALL ACTRESS slips down the corridor and out the exterior door. SCENE 5 INT CORRIDOR The CREW are continuing on their way back down the corridor to the studio. SCENE 6 EXT FOREST (DAY) The ACTRESS is hurrying towards the nearby forest carrying her BAG. SCENE 7 INT FILM STUDIO

36 SHOT LIST SAMPLE UFOh SCENE 1 SHOT 1INT FILM STUDIO CU Desert scene, space ship flies across frame. Slow Reverse zoom to MLS in order to establish STUDIO and CREW. DIRECTOR And cut Thanks everyone. That looks good. ACTOR Good? It was terrible. It was far too jerky. SHOT 2INT FILM STUDIO MS of TECHNICIAN (with CREW in the background) TECHNICIAN That s all you actors can do. Criticise. Haven t seen you doing much acting so far SHOT 3INT FILM STUDIO MS of DIRECTOR (CREW in background) DIRECTOR Hey, don t start all that again. Now, where is our lead actress? (looks at WATCH) She was meant to be here half an hour ago SHOT 4INT FILM STUDIO MS door opens ENTER ACTRESS. SHOT 5INT FILM STUDIO MLS (POV ACTRESS) CREW turn to look at the door. DIRECTOR steps forward. SHOT 6INT FILM STUDIO MLS (POV DIRECTOR) ACTRESS walks in to face the director. SHOT 7INT FILM STUDIO MS - DIRECTOR (POV ACTRESS) DIRECTOR And where have you been? We ve had to change the whole shoot because of you! Slow PAN to show ACTOR as he steps forward to speak ACTOR I thought we all agreed to be here on time. What makes you so special? SHOT 8INT FILM STUDIO MS ACTRESS (POV ACTOR & DIRECTOR) ACTRESS (looking at the DIRECTOR) I had a headache (looking at the ACTOR) if you really must know. SHOT 9INT FILM STUDIO MS ACTOR (POV ACTRESS)

37 ACTOR You re not even wearing the right costume! You haven t got a clue! SHOT 10 SHOT 11 SHOT 12 SHOT 13 SHOT 14 SHOT 15 INT FILM STUDIO MS ACTRESS (POV ACTOR & DIRECTOR) ACTRESS That s it! I m leaving! I can t work under these conditions. INT FILM STUDIO MS DIRECTOR (POV ACTRESS) DIRECTOR Well if you want to go, go. We ll be able to manage without you if we have to. INT FILM STUDIO MS ACTRESS (POV ACTOR & DIRECTOR) ACTRESS is about to say something. Changes her mind and storms out, banging the door. ACTRESS EXIT. INT FILM STUDIO MLS (POV ACTRESS) CREW turns to go back to work. INT FILM STUDIO MS TECHNICIAN (CREW in background) TECHNICIAN That was really stupid! What re we going to do now? Who s going to take her place? INT FILM STUDIO MLS DIRECTOR & CREW DIRECTOR (looking around at the CREW) C mon everyone, we can still finish the scene and get something in the can. Let s take 5. Everyone back on set at quarter to. FADE OUT as CREW EXIT. SCENE 2 SHOT 1INT FILM STUDIO CU of DOOR HANDLE turning slowly followed by REVERSE ZOOM and UPWARDS TILT to reveal ACTRESS opening DOOR and peering into STUDIO. SHOT 2INT FILM STUDIO MLS (POV ACTRESS) of CAMERA on TRIPOD. SHOT 3INT FILM STUDIO MLS of ACTRESS stepping into room and moving towards CAMERA on TRIPOD. Slow ZOOM in to MS of ACTRESS lifting the CAMERA and putting it in her BAG. SCENE 3 SHOT 1INT CORRIDOR Low angle MS, panning backwards - CREW walking down the CORRIDOR in the direction of the camera, chatting.

38 SCENE 4 SHOT 1INT ENTRANCE HALL MLS of ENTRANCE HALL as ACTRESS slips out the EXTERIOR DOOR. SCENE 5 SHOT 1INT CORRIDOR Low angle MS, panning backwards - CREW walking down the CORRIDOR in the direction of the camera, chatting. SCENE 6 SHOT 1EXT FOREST (DAY) MLS of ACTRESS hurrying towards the nearby forest carrying her BAG. SCENE 7 SHOT 1INT FILM STUDIO MLS of CREW bunched together at the open DOOR of the STUDIO. CREW in focus in background. Adjust focus to bring empty TRIPOD into focus in foreground. Readjust focus to bring CREW reaction into focus in background.

39 SHOOTING SCHEDULE SAMPLE UFOh DAY 1 - MONDAY 4 TH AUGUST 2003 Scene No s Page No s Description D/N Cast No s Scene 12 Page 8 Exterior Aliens have landed (Stock Footage) D All Alien Extras Action Props / Effects / Set Dressing Alien Props Shooting Rehearsal for Scene 12 in AV Room. Notes:

40 DAY 2 TUESDAY 5 TH AUGUST 2003 Scene No s Page No s Description D/N Cast No s Action Props / Effects Scene 1 Page 1/2 Interior Film Studio Actress has arrived late and storms off the set. D 1-6 Studio Props (camera / sound kit) Desert Landscape model Scene 2 Page 3 Interior Film Studio Actress steals camera. D 3 Studio Props camera on tripod / Actress Bag Scene 3 & 5 Page 3 Interior Corridor Crew is returning from their break. D 1,2,4,5,6 N/A (possibly coffee cups) Scene 4 Page 3 Interior Entrance Hall Actress leaves by front door. D 3 Actress Bag Scene 7 Page 3 Interior Film Studio Crew realise that their camera has been stolen. Scene 9 Page 4 Interior Film Studio Crew discuss what has happened. Technician leaves to find Actress. Notes: D 1,2,4,5,6 Studio Props empty tripod D 1,2,4,5,6 Studio Props empty tripod / Technician Jacket

41 DAY 3 WEDNESDAY 6 TH AUGUST 2003 Scene No s Page No s Description D/N Cast No s Action Props / Effects Scene 11 Page 4-7 Interior Studio Forest Actress and Technician are abducted by aliens. D 3 & 4 Alien 1 Alien 2 Forest Props & Set- Up / Smoke Machine / Alien effects costume / Spaceship props / Actress Bag and Camera Scene 6 Page 3 Exterior Forest Actress is D/N 3 Actress Bag hurrying towards nearby forest. Scene 8 Page 4 Exterior Forest Actress stops D/N 3 Actress Bag and looks around. Scene 10 Page 4 Exterior Building/Forest Technician leaves building in direction of forest. Moon effect shot Notes:

42 DAY 4 THURSDAY 7 TH AUGUST 2003 Scene No s Page No s Description D/N Cast No s Scene 12 Page 7/8 Interior Breakfast Room D 1, 2, 5, Technician 2 arrives with 6 camera. Scene 13 Page 8-10 Interior Screening Room Crew are watching footage and are abducted by Aliens. D 1-6 Alien 1 Alien 2 Action Props / Effects Breakfast Props / Technician 2 Jogging clothes (NB new costume for all cast) / Camera Camera Notes:

43 CALL SHEET SAMPLE UFOh Sheet No.: 2 Date: 5/8/03 Production Office: MIA Productions CCEA Clarendon Dock Belfast BT1 3BG Producer: Ingrid Arthurs Unit Base: As location Director: Ellen Factor Unit Mobile: Location: Dixon Residential Centre Unit Call: 10.00am Upper Malone Road Weather: N/A Belfast BT7 0HA Scene Page Location Description Cast 1 1 / 2 Int Film Actress has arrived late and storms 1-6 Studio off set. 2 3 Int Film Studio Actress steals camera 1 Cast No. Artiste Character P/Up W Robe/ On Set M-Up 1 Lucy Phillips Actress Luke Bannon Director N/A Edward O Hare Technician 1 N/A Timothy Taggart Actor N/A Donal Doherty Camera Person N/A Jennifer Green Sound Person N/A Catering Provided by Centre Duty Manager Contact Tel: Ext. 9 Equipment 1 x Camera / 1 x Tripod / 1 x Boom Mic & Mixer / 3 x Redhead lights Transport Action Props Set Dressing Costume & M/Up N/A Own Transport Studio Props (camera / tripod / sound kit) / Flying saucer on string / Actress bag / Technician jacket Desert Landscape model / Misc. studio dressing (inc papers and clipboards) / empty coffee cups / chipped walls / gaffer tape and black masking material All crew actors in Day 1 costumes. NB: Technician jacket (action prop in Scene 9) in position from Scene 1. Directions to Location N/A

44 SHOOTING LIST SAMPLE Page of UFOh SHOOT DATE: LOCATION: SCENE NO.: CAMERA SET UP NO: Shot No. Description Camera Lighting Sound Costume Props / FX / Set Dressing

45 SHOT RECORD SHEET SAMPLE Page of UFOh SHOOT DATE: LOCATION: TAPE NO.: Scene No. Shot No. Take No. Description Timecode In Timecode Out Comments

46 STORYBOARD SAMPLE