Filmmaking  "A step by step guide"

and what they don't teach you in film school 

Written and edited by the owner of Dark Conception Films

Shot Types

• Extreme wide shot: (EWS) shows a broad (wide, large) view of the surroundings around the character and coveys scale, distance, and geographic location.

• Wide shot (WS) shows an entire character from head to toe.• Medium wide shot (MWS) shows a character usually cut off across the

legs above or below the knees. It is wide enough to show the physical setting in which the action is taking place, yet it is close enough to shot facial expression.

• Medium shot (MS) shows a character's upper-body, arms, and head.

• Close-up shot (CU) shows a character's face and shoulders. It is close enough to show subtle facial expressions clearly.

• Extreme close-up shot (ECU) shows only a part of a character's face. It fills the screen with the details of a subject.

Shot Types (2) 

Standard Coverage can be used in most basic films. Standard coverage shots include all the shots listed below: 

• Mid Shot•  Capturing facial expressions• Full shot • Track (walk with character/actor)• Close up on expressions or objects that are important• All basic shots that cover most angles of an object or

person, in standard coverage, no shot is complex. 

Video example in next slide... 

Shot Types (3)

Shot Types: video Pictures Examples: Next Slide

Shot Types: Photo examples

Shooting a dinner table scene

With a dinner table shot, recording people communicate, you have extremely limited editing options. There’s only so much you can edit without ruining the shot. In fact, most of the time you have no editing options if you want your shot to come out as professional as possible. The only option you would have is shooting the shot multiple times.

What you need for a simple around-the table shot is to know who talks when, and where they are looking while talking. The thing to know is that the more people you have around the table, as you’re moving while the character talks, you will capture a lot of back of heads. This is not that good, because it will be hard to capture the character’s face as h/she’s talking. You’ll get a lot of mixes, between heads, and the characters face.

What you’ll need to do, is when shooting the other person talking, get an over the shoulder shot of who the talker is talking to, that way you see who's talking, over the shoulder of who he's talking to.

Lighting the Set

In order to capture good images there first needs to be light in the scene to illuminate (lighten) your subject. Without light you have no picture. While light is used to illuminate the scene, it is shadow that creates depth and the illusion that what the viewer is looking at has dimension. But what is the best way to illuminate a subject to get the proper amount of shadow? If you are doing an interview, you can follow the three point lighting setup. [an error occurred while processing this directive] it all begins with the key light. It is called the key light because it is the primary source of illumination in the scene. All other lights (fill, back, rim, etc.) are adjusted based on the intensity and position of the key light. The placement of the key light will create the much-needed shadows

Generally, the key light is placed at 30 degrees to the left or right of the camera and at a 30-degree angle to the subject you are filming. Actually, you can place your key light anywhere you see fit in order to get the look and feel you desire. If you increase the horizontal angle (relative to the subject), it will emphasize skin features and produce an aging effect. As the vertical angle is increased, shadows begin to appear under the nose, chin, and lips. This causes your subject to look as though they are being interrogated. Unfortunately with today’s offices, if you shoot under fluorescent lighting, you could end up with this undesired look.

Lighting: Photo Examples 

The 180* Rule 

The 180° rule is a basic guideline in film making that states that two characters (or other elements) in the same scene should always have the same left/right relationship to each other. If the camera passes over the imaginary axis connecting the two subjects, it is called crossing the line. The new shot, from the opposite side, is known as a reverse angle.

Camera & Settings 

1. Don’t zoom in and out without knowing why: for instance to draw attention to a sign or an important detail. Zooming in just for the sake of it will render many shots unusable in editing, and is a very common beginners’ mistake. Zooming in only exaggerates the shake and makes it look as though you’re driving over mountains of rocks and is not pleasant to look at!

2. Keep the camera held close to your body (ideally pressed against your chest or stomach) and breathe gently - a camera doesn’t weigh much but your arm will start to shake if you’re holding it at arm’s length for a long take.

3. Decide whether you really want a handheld look - sometimes the wobble can be distracting (especially during interviews) and you could be better off using a tripod.

4. Don’t leave equipment on ‘Auto’ settings, just because it seems easier. The shots don't end up well in the long run. Learn how to use the manual settings first. The Auto settings for things like focus and color balance can have a major impact on how the footage will look.

Camera & Settings (2)

Pacing

The quickest way of improving a film is to trim off the ‘dead’ on the front and end of a shot. You don’t want one character to say ‘Look out!’ then have to wait several seconds for the other character to turn around and say ‘What?’, so pacing is essential. But pacing varies depending on the scene – to create high-speed frenzy (ie a car chase), short, quick cuts work well, but if sadness or peace is the emotion you’re after, allow time for the audienceto feel the mood by using slower cutting.

Editing Tips 

Effects are very tricky, so you need to be careful. Ask yourself if you need the multi-colored, pixellated, flashing dissolve and if the answer’s ‘yes’, then by all means leave it in. But be aware that effects can often be distracting, and having too many can look as if you’ve trawled through the effects bar on your computer and used every single one because it was there. Sometimes even pointless. Effects are useful in their place, and can really help jazz up aboring title sequence. Try not to put too many though, and don't make a big mess.

What Makes a good film

Most programmers/distributors will be inundated with submissions and so your film has to grab their attention from the very first shot. The harsh reality is that if your film doesn't pique their interest within the first two minutes, in all likelihood they may not sit through it 'till the end. Don't waste time on lengthy introductions and credits – spark their interest in the story as quickly as you can.

Credits at the start can distract the viewer (especially if the direction, production and editing are all by the same person!) so leave them out unless you have it written in an agreement with one of your cast. Similarly if your film starts with a long establishing shot where nothing really happens, viewers may switch off before you get to show them your great plot and idea. If the pace of your film is naturally slow and ambling, make the shots as rich and enticing as possible to draw the viewer in.

Note – a good editor can really transform a film. If you're directing and editing your own film you might be too attached to certain shots to know which bits to chop out to make your film a stronger, more coherent piece. In big blockbusters, scenes that have cost thousands or even millions can be chopped if the studio/filmmaker feels that they are not integral to the final edit of the piece.

Lastly, story. With a bad story, you can only go so far. A script is what makes the story better/worse. As long as you have a good story, and a decent camera, and a crew that helps you, you'e good to go.

Filmmaking Strategies 

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Producer's Word

• You want to eliminate anything that does not enhance the story. Exaggerate things that do enhance your story

• It’s good to be nervous.

• Do your best, don't try to do more than that.

• Camera has to be always charged. Boom, or sound has to be available.

• Recording sound isn’t “no, it’s nothing!” it isn’t nothing, “It is something, it’s a moment in time. People will want to hear the characters crystal clear”.

• Your schedule is going to be film, film film, and maybe a little sleep.

Part 2

What they don't teach you in film school -  

Film Tips, and much, much more! 

You're aren't an aspiring filmmaker, you ARE a filmmakerYou don't need a fancy degree or a studio to be a filmmaker. You don't need a high definition camera to become one. You need some type of camera, a story to tell and actors that will fit the role and make your film believable. That's what a filmmaker is. A person who visually tells the story with his cast that do a good job of pretending.That's what acting is - pretending.

Pick up a camera now, and go shoot anything. A guy across the street, your plants, a dog, children swinging on slides, etc. After you've done that you can edit and make it into a good story. Now, you love filmmaking right? Which is probably why you are reading this. You have strong passion for film. Go get a camera, some actors, and discuss a some interesting topics or moments in your life, or your favorite story. You can even make one up! Now, go and shoot it. The next step is editing it. Next? There you have it - a film that you're ready to show the world even if it may have some flaws. The number one thing to remember is never be embarrassed. That's the worst thing you can do. Always be confident in your work. Think that your viewers will think like you and love your films as much as you do. 

If they don't, this only means one thing - practice and keep on shooting more, you'll get better, and so will your film reviews. All you need, is to have passion, will power, dedication and you’ll be the next biggest thing!

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