CASTING, CHARACTERS, REHEARSAL/DIRECTING
You need to carefully and meticulously (the 3 D's...) denote each significant character. What are you trying to connote and how? How does this relate to your research?
Video and/or Ppt with plentiful illustration is vital.
Outline your ideal look/vision, then show who you've cast and in what ways you're planning to control their look to create the character you desire for a successful encoding of a preferred reading.
Are your cast expected to magically understand what is in your head? Evidence how you directed them to give them guidance on what to do. Actual rehearsal footage would be great - that can include Zoom (etc) recordings.
LOCATIONS, MISE-EN-SCENE, HEALTH AND SAFETY
What locations did you consider? Why these? Is there any link to your research findings? What factors were involved in your final choices?
Be very clear, with very clear evidence, of anything you've done to 'set dress' - basically, control the mise-en-scene to help steer audiences towards your preferred reading. Were you organised enough to gather props in good time? Were you ambitious enough to ask multiple sources to find these ... or did you look no further than what is already in your house?!
Did you review each shoot for health + safety concerns, summarising these + what cast/crew needed to be aware of + avoid doing? That currently must include covid considerations. (2023 - no longer necessary BUT see below)
Consider any possible risk (simplest: create a table: FACTOR > RISKS > ACTIONS where actions are mostly briefing cast/crew):
> use of public transport (crossing roads: observe general road safety protocols)
> shooting outdoors (traffic: crew at either end of roadways to alert to incoming traffic)
> catering (allergies, check that epipen or equivalent is there)
> action sequences (tripping, falling; director etc needs to advise on any steps, cracks etc that may cause loss of footing)
> equipment (falling on cast, crew: check tripods are stable, factoring in any wind issues; cameras with neckstrap for handheld)
> transmissable infections (covid, flu etc; check with cast/crew before meeting that none have such health issues, wear masks where deemed appropriate + take care with what is handled/washing hands)
EQUIPMENT + LOGISTICS
What equipment have you used?
How did you transport it ... and how did you arrange for/check/confirm/help with cast travel (+any catering)? Was social media a key part of that? If so, share some non-sweary samples!
Did you get signed release forms for image rights?
STORYBOARD
Students generally assume this should be done very early.
Not really.
Wait until you've completed 1 or more sample scenes + are confident that your idea works.
However, you really should DRAFT this WITHOUT DRAWINGS as a simple shotlist (not shots to shoot: shots/takes as they'd appear on screen in the edited final cut).
Then complete a storyboard with 'drawings'. You're not marked on fabulous drawing: the denotation of:
- shot framing (ECU to ELS) + angle
- shot movement (pan, tilt, track etc)
- focus
- audio, including script lines
- notable mise-en-scene
Stick-men and rough shapes are fine; use WORDS as much as pictures.
In the film industry there are varying approaches to this. A complete storyboard is usually a requirement to get funding in the 1st place ... but will almost never accurately reflect the final cut, with editing itself a powerfully creative phase generally somewhat out of the hands of the director.
Hitchcock was perhaps the only director of the modern cinema form (say, 1960s onwards) that would generally reflect his very specific storyboard in his final cut. Ken Loach is a fellow auteur who takes a different approach: he goes in with no script, never mind a storyboard (and so struggles to get funding in the UK as a result, usually relying on France and other Euro nations).
You can find many alternative templates online (here's one from me) or make your own.
SCREENPLAY
This may well go through several versions; only embed the final version BUT hyperlink the earlier versions AND provide a simple text summary of key changes.
The format is really, really simple - the guide below should tell you all you need to know, especially page 4. Your cast should be given a copy of this as early as possible so they can see what their character is meant to be like, and have a chance to think about body language, look and interacting with other characters - they may be able to pass on some helpful ideas as a result.
ANIMATIC
This is definitely not expected.
But it is very helpful for you + your cast.
Its basically using each frame from a storyboard + relating (with a VO + titles as you go, if needed above the denotation already in the storyboard) how the narrative will flow onscreen in the final planned edit. This particularly helps to give a sense of sound (and for trying out titles too). You can scan/photograph your storyboard sheets to do this.
CALL SHEETS/SHOT LISTS
This tends to be poorly done as students often fail to grasp at AS how much time it saves them in properly preparing for a shoot.
Basically, if you haven't very specifically planned your shots you will waste a lot of time trying to figure out what to do while out on a shoot - wasting the valuable time of your cast.
A shot list is the simplest way to do this: literally a list of shots to film, using whatever detail you want.
A call sheet ensures that key detail is included: any script lines; what kit/costume/props/cast are needed. On a film set the cast and crew get a copy of that day's call sheets each morning so they can see where and when they'll be needed and can prepare for what they've got to do.
Here's a sample template - again, tweak as you wish.
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