Student Booklet 2013

1

2013

STUDENT

FILM-MAKING

HANDBOOK

Production group / film title:

Group Members:

2013 Bayside City Council

2

CONTENTS

TABLE OF CONTENTS

Introduction

Four Stages of Production 3

Project Task 4

Progress Report/Checklist 5

Concept Development Brainstorming 8

Research 11

Initial Synopsis 12

Pre-Production Production Roles 14

Writing 15

The Visuals 16

Release Forms 17

Storyboard 18

Shot Lists 19

Call Sheet 20

Release Form 22

Location Clearance Form 23

Cutaways and Additional Footage List 24

Shooting Schedule Calendar 25

Production Setting up your camera 28

Filming a shot 30

Recording Sound 33

Conducting an Interview 34

Handy Film-Making Tips Summary 37

Logging Sheets 39

Post-Production Using Music in your Movie 42

Pickups/Re-Shoot Form 43

Music License Agreement 44

Music Performance Release Form 45

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YOUTH DOCUMENTARY PROJECT 2011

INTRODUCTION

Documentary Making

Film-making is arguably the most exciting, creative and challenging of all art forms. It

combines the traditional artistic expressions of writing, music, art and drama into one

dynamic medium that has the power to move and inform an audience like nothing else.

And this year you will get the chance to produce your own five minute documentary. All

the way from concept through to finished edit, the ideas, decisions and organisational

decisions will be yours to make, guided by your teacher and outside film professionals.

The Four Stages of Production

There are four stages you need to go through to produce your movie

CONCEPT DEVELOPMENT In which you will come up with a concept and

develop a script for your documentary.

PRE-PRODUCTION In which you will plan and prepare for filming

your documentary.

PRODUCTION In which you will form a film crew and shoot

your documentary

POST-PRODUCTION In which you will edit your shoot footage into a

finished five-minute film.

This handbook provides advice, examples, forms and worksheets that will help you get the

most out of this exciting project.

ALL FILMS MUST RUN FIVE MINUTES OR LESS TO BE

ELIGIBLE FOR SCREENING AND JUDGING

Judging Criteria:

1. Approach and investigation of the documentary form 1 2 3 4 5

2. Subject matter 1 2 3 4 5

3. Effort and commitment to the process 1 2 3 4 5

4. Intention and scope of the project 1 2 3 4 5

What were they trying to achieve?

5. Technical competency camera 1 2 3 4 5

6. Technical competency editing 1 2 3 4 5

Film Compilation: Only the films chosen for screening will be sound mixed and mastered to tape.

Additionally, only the prize-winning films will be included in the official DVD compilation.

Screening Criteria:

15+ Rating - The Bayside Film Festival will be applying for a 15+ rating on all films. Films should refrain

from using visuals/dialogue containing content that can be perceived as offensive and from presenting

depictions of characters of persons in a vilifying and/or discriminatory nature. Awareness of cultural sensitivity

issues is a strong focal point for this event.

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INTRODUCTION

Youth Documentary Project Task

AIM

To produce a short documentary (five minutes or less) focusing on an issue that impacts on

students lives and/or the local community. REMEMBER - You are making a NO BUDGET

documentary. Find the material to hand, use your own skills.

WHAT TO DO

Organize yourselves into production teams of 3 - 4 students and choose your story. Decide what your story is about and define it in one sentence EXAMPLE: Story: Surviving The Cyclone

SENTENCE: Through interviews with a family who was camping when cyclone Yasi hit

we will come to understand something of the fear that mother nature can inspire.

WHO Crew member has neighbours who were stuck in the cyclone and would like

to be interviewed for the story.

WHAT Family has photographs and their own video footage we can use plus

interviews.

WHEN Saturday week 4: All the family will come together for interviews

WHERE Family home, living room,

HOW Single interviews with family and one scene with everyone watching tv and

commenting on footage.

WHY See peoples reactions first hand - does it change them? What did they learn?

Choose roles for each member of your production team,

Work with the skills you already have. Assign pre-production, production and post-production roles to each team member. Plan your production. Take into account the following variables 1. Intended audience what production styles will you use to engage your audience?

2. Locations at what times are they accessible?

3. Production timeline sensible planning can avoid production headaches.

4. Style and mood is your documentary upbeat, somber, mellow? Understand the tone

you are trying to create and plan production techniques accordingly.

5. Choose interview subjects try to choose viewpoints that reflect BOTH sides of the

argument. Also try to include a cross-section of people relevant to the subject.

6. Book talent and equipment in advance to ensure availability.

INTERVIEWS - Having decided who you are going to interview, ensure that your

questions are organized in advance. You should have a list of 8-10 questions that are

essentially sub-questions relating to the overall driving question. The more prepared you

are, the more confident and relaxed your interviewee will be in front of the camera.

5

Progress Report/Checklist

The following checklist gives a week by week guide to how your group should be

progressing.This also allows you to plan ahead. If for example you are the editor doing

graphics start working on this straight away. Share the tasks evenly to ensure that everyone

is involved and you are all being fair to your fellow film-makers. The Producer is

responsible for assigning tasks and completing the progress report checklist. There is

plenty to do, you should be busy the whole time. Week Task WHO DONE Week 1 1. Choose a topic and driving question. 2. Write a brief outline of your concept. 3. Choose production roles for the group. 4. Brainstorm ideas: genre/style/audience/ locations/interview subjects etc. Week 2 1. Research topic and driving questions. 2. Choose interviewees & locations - check availability & practicality 3. Write a script or breakdown for your film. Week 3 1. Choose and confirm times and dates for filming. 2. Write lists of questions for interviewees. 3. Prepare interviewee & location release forms. 4. Book your equipment in advance 5. Write shot list Week 4 1. Begin filming. 2. Ensure release forms are signed by interviewees. 3. Get location release forms signed if necessary. 4. View rushes and discuss 5, Gather stills, archival images etc Week 5 1. Continue filming. 2. Continue reviewing footage. 3. Continue digitizing footage. 4. Begin planning editing sequences. 5. Plan musical and audio treatment. Week 6 1. Complete filming. 2..Begin edit, complete digitizing footage 3. Plan graphics -titles, inter-titles, name slates 4. Begin organizing/creating music. 5. Complete music release forms if necessary 6. Write and record voice over narration if required.


INTRODUCTION

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INTRODUCTION

Progress Report/Checklist (cont)

Week Task WHO DONE Week 8 1. Continue and review edit, 2. Collect additional footage if necessary. 3. Begin organizing/creating music. 4. Complete music release forms if necessary. 5. Collect any desired sound effects 6. Lay down VO and audio FX Week 9 1. Continue and review edit. 2. Commence graphics/supers for film. 3. Lay music and FX to edit Week 10 1. Complete edit. 2. Complete film credits (include all interviewees/ teacher and any other contributors). 3. Ensure Bayside logo is included at end of film 4. Collect all release forms and paperwork into production folder 5. Render edit out to video file .mov files for Mac and .avi files for PC. 6. FINAL FILMS DUE 27.06

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CONCEPT

DEVELOPMENT


CONCEPT DEVELOPMENT

Brainstorming

Research

Initial Synopsis

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CONCEPT DEVELOPMENT

Brainstorming

What are you interested in at the moment?

Who are you interested in?

Look for people or situations in transition.

Look to those around you who you have access to; family, friends

neighbours, people with stories to tell.

Over the next two pages write down as many things as you can!

Think about locations, images, actions, events, questions.

How will you tell the story - interviews, voice over, text?

What will we SEE what images will tell the story without words?

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CONCEPT DEVELOPMENT

Brainstorming

Think about your audience.

Who are they?

What do they know, what will you show and tell them?

What is the central idea you can convey?

How will you reveal this?

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CONCEPT DEVELOPMENT

Think through these five questions

WHO or WHAT, WHEN, WHERE, HOW, WHY?

1. _________________________________________________

_________________________________________________

_________________________________________________

2. _________________________________________________

_________________________________________________

_________________________________________________

3. _________________________________________________

_________________________________________________

_________________________________________________

4. _________________________________________________

_________________________________________________

_________________________________________________

5. _________________________________________________

_________________________________________________

_________________________________________________

Brainstorming

Write a driving three questions or statements you can

return to which will keep your film on track. You will

return to these when making key decisions.

1. _______________________________________________

_______________________________________________

_______________________________________________

2. _______________________________________________

_______________________________________________

_______________________________________________

3. _______________________________________________

_______________________________________________

_______________________________________________

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CONCEPT DEVELOPMENT

Research

What are five different locations / people / internet sites that

you could collect information from upon one of your topics?

(be specific - eg. Dont just write the Internet)

1. _________________________________________________

2. _________________________________________________

3. _________________________________________________

4. _________________________________________________

5. _________________________________________________

Carry out your research and compile all your information in

your production folder.

What are five key questions that you want to find out through

your research?

1. _________________________________________________

2. _________________________________________________

3. _________________________________________________

4. _________________________________________________

5. _________________________________________________

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CONCEPT DEVELOPMENT

Initial Synopsis In the space provided, write a brief outline of what your documentary

is going to be about.

________________________________________________________

________________________________________________________

________________________________________________________

________________________________________________________

________________________________________________________

What images will you include?

________________________________________________________

________________________________________________________

________________________________________________________

________________________________________________________

Who will you use for your interviews / talent?

________________________________________________________

________________________________________________________

________________________________________________________

________________________________________________________

What genre of music will you use?

________________________________________________________

________________________________________________________

________________________________________________________

What will the overall tone and style of your documentary be?

________________________________________________________

________________________________________________________

________________________________________________________

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PRE-PRODUCTION


PRE-PRODUCTION

Allocate Production Roles

Writing - treatment & narration

Visuals

Interview/Talent Information

Interview Release Forms

Location Release Forms

Shot List

List of Additional Footage

Shooting Schedule

Titles Concept Development

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PRE-PRODUCTION

Production Roles

As you are working in collaboration, it is important that you all undertake sections of

the task in order to make the whole process much more equitable.

Role: Name:

Producer Responsible for the organisation of all aspects of the documentary

and the management of the whole team. Needs to have strong

communication skills. Responsible for paperwork, permissions, co-

ordination.

Director Responsible for the creative direction of the documentary. Should

attend and direct all shoots and also work closely in post-production.

Writer Responsible for writing narration and treatment any research and

writing the interview questions. Should be prepared for multiple re-

writes in consultation with director.

Director of Photography (DOP) Responsible for the filming of the documentary. They need to be

skilled in all operations of the camera to ensure the documentary is

looking its best. They may also be responsible for SOUND on small

crews.

Sound recordist Responsible for the recording of sound at shoots to ensure that all

audio can be heard clearly. Will be responsible for recording extra

sound, voiceovers (VO)

Editor Responsible for the editing together of the documentary at the post-

production stage. Works with the director and the DOP.

Titles Designer Responsible for the design and creation of the main titles. Works

with the editor in consultation with the director.

Music Composer Responsible for the composing of the music or the sourcing of it.

**Remember - all music must be copyright free!

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PRE-PRODUCTION

Writing:

RESEARCH TREATMENT NARRATION QUESTIONS

RESEARCH After your initial research in the concept development

stage you need to do some thorough research. MAKE SURE YOU

HAVE YOUR FACTS RIGHT -times, dates, names, locations, those

responsible for locations, fill out the talent information sheet and the

location informatin sheets.

The TREATMENT is the detailed explanation of the story. It is a

working document used to communicate to all the crew members what

will happen, what they will be seeing. It is used in documentary as the

preliminary document as we usually do not precisely know what we will

find as we shoot the story. This is the excitement of doco film making,

the story unfolds before your eyes.

A script is necessary however for the narration or voice over. Writing the

narration or VO is a serious creative job. The outline can be sketched in

pre-production but it often has to be re-drafted once interviews and

footage are collected. It requires research to get the facts right.

The INTERVIEW QUESTIONS should be drafted in such a way as to

help you get clear information from your subjects. The list of about 10

questions should encourage them to use their own words. Give them to

the subject before hand if it helps. Dont forget to do your research

beforehand- this may mean an email or conversation prior to the actual

interview. You need to be sure the person is the right one to interview,

that they want to talk about the subject and that they understand what

your story is about.

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PRE-PRODUCTION

Working as a team you should discuss WHAT visuals will help tell

the story without words. Video is a visual medium and relying on

words only to drive your story will take away from the impact. By

using images to create mood, create a sense of location, give

breathing space between ideas, give depth to your ideas through

metaphor and pace in editing and juxtaposition you will explore the

full VISUAL LANGUAGE of your story.

THE STORYBOARD (pg18) is fairly straight forward process of

drawing the various shot sizes and visual compositions that you are

planning to use. As these are invaluable when it comes to filming, be

sure to indicate the type of shot. Close up, Mid shot, Wide Shot,

Extreme Wide Shot, POV point of view.

This document works in conjunction with the SHOTLIST (pg19)

The shot list is another useful document. Thinking through the visuals

of the story and listing important shots and visual links for your crew

and director to work to gives the editor material to work with and

makes location shooting efficient.

THE VISUALS

THE CALL SHEET The CALL SHEET (pg 20& 21) is created by the producer

for each new location of shooting. It is really useful

document if you are all arriving from different places. Doing

this work in advance for important shoots will avoid

mistakes.

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PRE-PRODUCTION

Release forms -you simply have to have them. And there are many

kinds for many different situations. Here we will only use four- the

Personal Release Form (pg 22), the Location Clearance Form (pg 23)

the Music Performance Release Form (pg 45) and the Music Licence

Agreement (pg 46).

Photocopy these forms as you need them and carry multiple Personal

Release Forms and Location Clearance Forms with you on the shoot.

A Personal Release form is a document that gives you, the filmmaker,

the rights to film another person for your project and then to use that

footage in your film. And who needs to sign a Personal Release?

Ultimately, when it comes to getting release forms, go with the old

saying, Better safe than sorry. Most definitely get one if the person

says anything on camera like an interview subject.

Many locations will not allow you to shoot until you have asked

permission first. Many places you think are public, like a shopping

centre will expect you to get permission before you can film. The

release form is part of this process.

The music release form proves you have recorded the music with the

performers permission.

These forms make your film LEGAL to anyone that might want to

screen it like the BAYSIDE FILM FESTIVAL. Getting them and

filing them and being able to show them to anyone who wants to

screen your film is essential.

RELEASE FORMS PERSONAL RELEASE FORM LOCATION CLEARANCE FORM MUSIC PERFORMANCE RELEASE MUSIC LICENCE AGREEMENT

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PRE-PRODUCTION

Shot

Type

Shot

Type

C/U C/U

MED MED

L/S L/S

XL/S XL/S

Setting Setting

Int Int

Ext Ext

__________________________________ _______________________________

__________________________________ _____________________________ __

__________________________________ _______________________________

Shot

Type

Shot

Type

C/U C/U

MED MED

L/S L/S

XL/S XL/S

Setting Setting

Int Int

Ext Ext

__________________________________ __________________________ _____

__________________________________ _______________________________

__________________________________ _______________________________

Shot

Type

Shot

Type

C/U C/U

MED MED

L/S L/S

XL/S XL/S

Setting Setting

Int Int

Ext Ext

__________________________________ _______________________________

__________________________________ _______________________________

__________________________________ _______________________________

Shot

Type

Shot

Type

C/U C/U

MED MED

L/S L/S

XL/S XL/S

Setting Setting

Int Int

Ext Ext

__________________________________ _______________________________

__________________________________ _______________________________

__________________________________ _______________________________

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PRE-PRODUCTION

Shot

Number

Type of

Shot

Description

Shot List

Day ___ of ___ v Location ____________

20


PRE-PRODUCTION

The Call Sheet -

Interviewee name ____________________________________

Phone ____________________________________________

Permission and Release signed __________________________

___________________________________________________

Interview Questions

1. _________________________________________________

2. _________________________________________________

3. _________________________________________________

4. _________________________________________________

5. _________________________________________________

6. _________________________________________________

7. _________________________________________________

8. _________________________________________________

9. _________________________________________________

Production -

Date & Time of Shoot _________________________________

Location ____________________________________________

____________________________________________________

Crew

Director ___________________ Mobile _______________

DOP ______________________ Mobile _______________

Sound _____________________ Mobile _______________

Other _____________________ Mobile _______________

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Reasons for location

_____________________________________________________

_____________________________________________________

_____________________________________________________

_____________________________________________________

Key Features of location to be filmed

1. ___________________________________________________

2. ___________________________________________________

3. ___________________________________________________

4. ___________________________________________________

5. ___________________________________________________

Equipment needed Main framing of shot

1. ____________________

2. ____________________

3. ____________________

4. ____________________

5. ____________________

6. ____________________

Reasons for framing the shot this way

_____________________________________________________

_____________________________________________________

_____________________________________________________

_____________________________________________________


PRE-PRODUCTION

Shot

Type

C/U

MED

L/S

XL/S

Setting

Int

Ext

__________________________________

__________________________________

__________________________________

22


PRE-PRODUCTION

Interviewee Release Form

Upon signing this release form, I hereby authorize and give my consent for

______________________________________

and the Bayside Film Festival, to distribute and sell still pictures, sound motion

pictures and tape recordings taken of me for the video production titled:

______________________________________

I also give my permission for my picture and/or voice to be used in any

promotional material that relates to the publicity of the project mentioned

above.

My appearance in this project may be edited at the sole discretion of the

producers and I understand that the Producer/s are under no obligation to

include me in the final product.

SIGNED, SEALED AND DELIVERED

Name

Address

Signature

WITNESS

Date

23


PRE-PRODUCTION

Location Clearance Form

This agreement is made on the_______ day of_________________ 2008

BETWEEN:_____________________________________________________

______________________________________________________________

And

THE LOCATION SITE MANAGER/OWNER

Name of Location Site:____________________________________________

Name of Location Site Manager/authorising person:_____________________

Address:_______________________________________________________

Phone:___________________________Mobile:________________________

Email:_________________________________________________________

Nature of agreement

I, the location site manager, authorize____________________________IONS to film

at this site on __________________(Date).

I understand that video production equipment such as video camera, lighting & sound

equipment will be used to capture footage at this location site.

I understand that the footage filmed at this site will be used

in________________________________________________________ This

documentary may be transmitted, broadcasted or communicated to the public

through film festivals, interactive media, online World Wide Web and non-

commercial television stations.

I acknowledge that I have agreed to authorise filming at this site location on a

voluntary basis, and that the use of this location does not give me any right to

require payment or participation in the proceeds of this documentary project.


Location Site Manager/Authority Production Company representative

representative

..

Witness

24


PRE-PRODUCTION

List of cutaways, overlay & additional footage

Shot Type

Shot

Description

Shot

Duration

25


PRE-PRODUCTION

Shooting Schedule

Week Mon Tue Wed Thur Fri Sat Sun

1

2

3

4

5

6

7

8

9

10

11

26


PRE-PRODUCTION

Shooting Schedule

Week Mon Tue Wed Thur Fri Sat Sun

12

13

14 FILMS DUE

26th JUNE

27

PRODUCTION


PRODUCTION

Filming

Logging of footage

BE PREPARED

Like the Boy Scouts, the number one motto for film-makers is Be

Prepared. It is no good being out on location with talent and crew waiting

if you discover that you forgot the battery for the camera. Keep checklists.

Plan everything. Make lots of copies of your release forms.

28

FRAME SIZE

All documentaries for the 2011 YDP should be filmed using a frame ratio size of 16:9 (widescreen).

Most cameras have a switch or menu item that readily makes this screen shape available (in fact, most

cameras are automatically fitted with a 16:9 shaped view screen for easy filming).

It is important that before you import your footage into your editing system software, that you set the

frame ratio of your edit to 16:9. If you do not do this, your footage will be stretched and distorted in

post-production.

Setting Up Your Camera

Most modern video cameras have a menu that lets you access special features. This

section will guide you through the key functions to set up your camera for optimum

use when shooting your film.

4:3 (TV) format Widescreen (movie) 16:9 format

SETTING THE WHITE BALANCE

Before filming, you must check that the colour (white balance) is correct. Most cameras have a white

balance button which allows you to tell the camera what colour white is. Zoom in on a white surface (a

clean sheet of paper will do). Push the white balance button and wait for the viewfinder icon to stop

flashing. The camera now registers this colour as white and then adjusts all other colours accordingly

for a correct colour scheme.

Incorrect colour balance Zoom in on a white sheet

of paper and press white

balance

Colour balance

now correct

Zoom back out to your

desired frame


PRODUCTION

29

USING MANUAL FOCUS

Like exposure, your camera will have an automatic focus function. Once again this is not

recommended, as the camera will automatically focus on the object closest to the lens (which may not

be your subject) and will jump in and out of focus on various objects if you pan the camera across a

scene.

Use the menu to switch your camera to manual focus. When you are ready to film a shot, zoom right

in on your subject and focus accordingly. When you zoom back out, your subject will stay in perfect

focus.

USING MANUAL EXPOSURE

Most cameras have an auto-exposure function. If this is enabled, the camera automatically exposes for

the brightest light source in the frame which may not be the subject. Also, any changes in the frame

composition (character movement, pans across a scene) will cause the exposure to bounce around and

produce ugly flashes.

Use the menu to switch your camera to manual exposure. Then simply set up your frame and adjust

your exposure to the desired look for the primary subject. This exposure will now stay constant during

the shot.

Setting Up Your Camera (cont)

With auto-exposure, the camera exposes for

the sky rather than the face

Auto-focus focuses on the leaves

instead of the face

Zoom all the way into your subject

to set focus

Pull back out to your desired frame

The same shot with correct manual

exposure


PRODUCTION

30

SETTING THE FRAME SIZE

Choose the frame size that best suits your shots communication goals.

If you have a constantly recurring interviewee or visual theme running throughout your

documentary, a good idea is to keep making your frame tighter as the film progresses. This has

the effect of drawing the audience in closer and closer as you go, heightening the dramatic tension

towards a climax.

USING THE CAMERA LENS

The most important part of a camera is the lens. Unlike the human eye, which has a peripheral vision

extending to 180 degrees, the camera lens presents a tunnel-vision view which enables the film-maker

to present a unique visual viewpoint on their subject matter.

For the most part, the more you zoom in to what is called the long end of the lens, the more you

separate your subject matter from the background, producing a far more attractive film frame.

Filming a Shot

Wide angle lens notice the amount of

unnecessary background in the shot.

Long lens unnecessary background is eliminated

and the subject stands out more

Wide shot normally used for establishing a scene or location. (Note

that a wide shot can still be shot at the long end of the lens)

Medium shot a standard head and shoulders, most commonly used on

television. Note that in a 16:9 frame, you can balance your head &

shoulders shot with a nice background.

Close-up the most emotionally engaging shot for the audience. Do not

be afraid to fill your frame with your subject. Be bold with your

framing.

Ultra close-up the most dramatic way to use your camera, often

allowing you to examine and isolate aspects of your subject in a way not

normal for the human eye.


PRODUCTION

31

Filming a Shot

FRAME ANGLES By placing the camera higher or lower, you change the

dynamics of the frame.

BLACK AND WHITE

If you want to make your shot black and white in post production, remember that you dont have

the colour palette to help separate the various elements in your frame.

Overhead angle provides a gods eye or map point of view.

High angle makes the subject appear shorter and more vulnerable.

Eye level presents a standard real life view.

Low angle makes the subject appear taller and more dominant.

Ultra low angle can give a feeling of extreme danger or power.

Subject is separated from

background through

colour contrast

In black and white, subject

and background become

mixed and murky

Use contrast to separate

subject and background if shooting

for black & white


PRODUCTION

32

Filming a Shot - Lighting If possible, you should always light your subject to separate it from the background and enhance

the look of your movie. This can be achieved through the use of the sun for exterior shots and

artificial lights for interior shots.

EXTERIOR:

INTERIOR:

Sun directly in front of the subject produces an unattractive, harsh look.

Sun just forward of side-on to the subject is the ideal light.

Sun at 45 degrees behind subject (back-light) is a fantastic look, but is

best achieved in the morning or late afternoon when the sun is low in the

sky and not as bright. Note how the camera is manually exposed for the

face and not the sun or sky.

Subject lit only by overhead room lights. Image is flat and lifeless.

Subject lit just forward of side-on with a single light. Notice how the

foreground now has separation from the background.

Subject lit from behind. This produces a more silhouette look and can be

particularly effective if you are trying to make your subject appear

secretive or sinister.

Back-lighting can also be used to very good effect when shooting

machinery or inanimate objects. Note how a back light gives this model

ship texture and glow.

If you dont have lights, try to situate your subject near a window with ambient natural

light. If this is not possible, even a normal lamp with a 100 watt bulb placed near the subject

will help.


PRODUCTION

33

Most cameras come equipped with a built-in microphone. Many also have the facility

to plug in an extension microphone lead. If possible you should use this as it allows

you to move the camera further from the subject, thereby shooting at the longer end of

the lens, without losing volume.

Most cameras also have an auto audio recording level function which sets a standard

level and suppresses extreme sounds. In most cases this works well and it is

recommended that you use it.

However, common sense should also be employed. If your subject is extremely loud

(shouting, machinery etc) move the microphone (or camera) back a little. If the

subject is whispering, move the microphone closer.

Try to choose locations where background sound is minimal and always encourage

your on-screen performers to speak up loudly and clearly.

The camera operator should wear headphones and monitor the incoming sound. If this

is not possible, most cameras allow you to set a visual recording level display through

the menu. Turn this on so that you can see the audio levels bouncing as you film.

Recording Sound

A sound engineer uses a boom pole to get the

microphone close to the talent

Audio levels bouncing in the

camera viewscreen


PRODUCTION

34

Conducting an Interview

Here are some tips on how to conduct a successful interview

Meet with your subject beforehand to establish a comfortable rapport.

Research and prepare your questions. Have them written down on a piece of paper.

Maintain strong eye contact with your subject. Be interested. Nod in response to

their answers.

Do not punctuate the subjects answer with muttered responses (eg. I see or Uh-

huh).

Do not overlap question and answer. Ask your subject to wait just a second after the

question is finished before beginning their response. This gives the editor clean audio

in post production.

Ask the subject to respond in complete answers. This is particularly important if

you plan to edit out the interviewers questions in the final movie.

Question: Where were you born?

Incorrect response: In Wagga.

Correct response: I was born in Wagga.

Avoid closed questions that can be answered with a yes or no.

Incorrect: Should the coal-miners be on strike?

Correct: What is your opinion on the coal-miners strike?

Do not ask double-barrelled questions.

Incorrect: What is your role and what sort of people will you deal with?

Normally the subject will only answer the second half of the question.

Avoid using words such as firstly or finally because you may edit your questions

in a different order in the final film.

Avoid using words such as yesterday or last week as they create problems when

your film is viewed at a later date.

Incorrect: Is the extreme heat the past few days evidence of climate change?

Correct: Is the increase in extreme heat evidence of climate change?


PRODUCTION

35

Find a spot that is as quiet as possible and light and frame your subject. If you want

to show the interviewer, they can also be framed in the establishing wide shot. If it is a

long interview, tighten your frame progressively to draw the audience closer to the

subject.

If you want to film the interviewer asking the questions, this is normally done after

the subject leaves, and is then cut into the sequence during the edit (another reason

why your questions should be written down on paper prior to commencing).

Filming cutaway shots that do not include the subject also allows the editor more

freedom to remove unnecessary dialogue from the subjects answers by cutting away

to the interviewers reactions (eg. nodding their head) or other related visual footage.

Filming an Interview

Establishing two-shot over

interviewers shoulder

Interviewee close-up

Interviewee extreme c-u Interviewer close-up should match

interviewee c-u

in frame size


PRODUCTION

36

DO NOT CROSS THE LINE

Whenever you have an interview or scene with more than one person, you must draw

an imaginary line between the two subjects and ensure that your camera stays on the

same side of the line when it switches angles to go from one subject to the other.

If you cross the line when filming, then when you edit your shots together the subjects

will both appear to be looking in the same direction rather than at each other.

VOX-POPS

A more informal form of interview is the vox-pop (shortened version of voice of the

people) and often comprises brief statements from the man in the street in an instant

survey type style.

Because this is a more casual approach and often both interviewer and subject are

standing next to each other, framing the scene as a front-on two-shot is often a good

way to go (still try to maximise your angle of light).

Vox-pops also work very well with a hand-held camera, as this adds a feeling of

rawness and urgency to the responses.

Filming an Interview (cont)

Interviewer Interviewee

Camera Pos A Camera Pos B

filming interviewee filming interviewer

Do not put camera on this side of the line


PRODUCTION

37

HANDY FILM-MAKING TIPS SUMMARY


PRODUCTION

PRE-PRODUCTION

- Keep all production paperwork, scripts etc. in one single production file.

- Organize location clearances and talent release forms.

- Make a list of contact numbers of cast and crew.

- Take note of the location of nearest hospital and police station in case of emergency.

- Make sure actors/interviewees know times, dates, costume and prop requirements ,

preferably in writing.

- If you plan to use any weapon in public (even a toy replica) you must alert the police.

LOCATION

- Check location for problems such as crowds, traffic, noise, lighting conditions.

- If you need electricity, check for power supply.

- Is there enough space to get the shots you require?

- Are there toilets, food and drink nearby?

- If your location is on private property or in a public building (eg. a shopping centre) you

will need to get permission from the owners.

EQUIPMENT

- Book your camera equipment well in advance.

- Make sure camera is working BEFORE you leave the school.

- Make sure you have your videotape stock with you.

- Handy items to have with you tripod, extension leads, double adaptors, headphones, gaffer

tape, scissors, production file, pen and paper, sunscreen, first aid kit, shortlist, snacks, drinks,

mobile phones.

CAMERA TIPS

- Set your camera to shoot in the 16:9 widescreen frame ratio.

- Check white balance, exposure and focus.

- Check the lens of the camera for cleanliness.

- Be wary you dont film yourself in reflective surfaces such as windows.

- Make sure you dont record the Date and Time.

- Shoot your subject matter from a number of different angles so that you then have a greater

choice of shots when you come to edit.

- Try to have the light source (the sun if youre outside) approximately sideways or just

marginally behind your main subject matter. If the light is directly in front of the subject, the

effect is harsh and talent will be forced to squint.

38

HANDY FILM-MAKING TIPS SUMMARY


PRODUCTION

CAMERA TIPS (continued)

- Use a tripod if possible to get much smoother shots.

- Try to avoid zooming in an out during a shot.

- Make sure you roll the camera for a good couple of seconds both before and after your shot.

This will make editing and importing your shots much easier.

- Pay attention to the background of the shot. Often we concentrate so much on the

foreground subject that we miss things in the background which may prove to be an annoying

distraction when our shots are viewed at full size.

SOUND RECORDING

- Make sure you have quiet on the set when recording sound. Try to use quiet locations.

- If in a noisy location, encourage your talent to speak up.

- Be aware of potentially distracting background noises refrigerators, air conditioning,

telephones ringing etc.

- Beware of shooting near power lines these can create interference in sound recording.

- Once finished at a location, record 60 seconds of ambient location sound. This can be very

useful for smoothing sound over cuts in your final edit.

- Wear headphones if possible to monitor sound recording.

EDITING

- Set your editing software to 16:9 widescreen before importing footage.

- Do a rough cut first, simply putting all your shots in their planned order, to check on the

length of your overall film.

- Refine rough cut by smoothing transitions, adding music and mixing soundtrack. Make sure

the voice track is not smothered by background music or sound effects.

- Once edit is complete, export/render your timeline out to a single movie file - .mov file for

Mac users and .avi for PC users. This file should be app. 200mb per minute of movie.

- Burn your movie as a data file onto dvd or save to a USB stick for delivery.

39


PRODUCTION

Logging Sheet Tape # Time Code Content

Description

Useable?

Yes/No/Maybe

40


PRODUCTION

Logging Sheet Tape # Time Code Content

Description

Useable?

Yes/No/Maybe

41

POST-PRODUCTION


POST-PRODUCTION

Paper Edit

Editing (Rough Cut)

Possible Re-shooting

Titles Creation

Soundtrack Composing

Credits

Editing (Final Cut)

Music Release Forms

42


POST-PRODUCTION

Paper Edit basics

Making a transcript

-The transcript is a paper version of what you have shot. It will help you decide what

was shot, as well as what the person said in the interview.

--This will help you decide what cutaways that you may want in your documentary.

-- In professional feature length documentaries, the transcript will list every word

that has been said. Dont worry about doing this.

Steps.

1. Watch your footage.

2. Write down what each of the shots was.

3. Write down what the interviewee had said. (Dont worry about being

too detailed)

4. Use some post it notes., or bits of paper. Draw each of the shots.

5. Sequence them to see if it makes a clean visual sequence.

6. Write down the shots that dont ILLUSTRATE, what they person

had said.

NOTE: This part of the process is not completely necessary but will

help you decide what you may need to make the documentary

coherent.

43


POST-PRODUCTION

Edit- Rough cut

When you get into the edit suite. It is important to make sure that you organise all

your different types of media and clips into various categories. The include.

Interviews

Cutaways

B-roll

Music

Sound FX

Graphics

Titles

Steps.

1. Digitize your footage.

2. Log your clips into different categories.

3. Edit the interviews first. This forms the backbone of your

storytelling.

4. Place cutaways to help illustrate your inteview.

5. Different shots can form segues between different

interviews.

6. Think about how to introduce your subject dynamically.

Often films use special effects and a strong music which

creates the feel of your entire story.

44


POST-PRODUCTION

Pickups/Re-Shoot Form

Footage

Description

Reason for re-

shoot

Importance

45

USING MUSIC IN YOUR MOVIE


POST-PRODUCTION

One of the areas of greatest concern and questions for student film-makers is the use of

music what am I allowed to use? where can I get it? do I have to pay copyright?

You cannot use commercially recorded music in your film production without paying both

writing and performance copyright fees.

However, there are a still a number of ways to access music

GARAGE BAND

Most students create their own music using the popular and user-friendly Mac Garage

Band software. This is the most recommended method and all music created by you with

this program is copyright free. (Note that most PCs have their own equivalent of Garage

Band).

LOCAL MUSICIANS/BANDS

Employ the talents of friends/musicians and/or a local band. If you do this, the creators of

the music should sign release forms for your movie. Note that this music must be original

you cannot use a cover version of a popular song.

DOWNLOADING FROM THE INTERNET

Music that you download from the internet cannot be used in your film even if you have

paid a download fee. This download fee covers personal listening only and does not

license you to use the music in a film production.

ROYALTY-FREE MUSIC

There are a number of sites on the internet that supply Royalty-Free music . What this

means is that you pay a one-off license fee which then enables you to use that piece of

music as many times as you like in all productions including films. However, there is a

cost involved in this process. Most tracks cost app. $25.

The best of these sites is www.shockwavesound.com

46

Music License Agreement This agreement is made on the______ day of_________________2008

BETWEEN:___________________________________________________

____________________________________________________________

____________________________________________________________

And THE COPYRIGHT OWNER

Name:_______________________________________________________

Address:_____________________________________________________

Phone:______________________Mobile:___________________________

Email:_______________________________________________________

The copyright owner is the owner of the material set out in the Schedule to this

agreement (the copyright material).

The copyright owner agrees to grant_______________________________

a non-exclusive license to the copyright material on the terms and conditions set

out in the Schedule.

SCHEDULE

The Copyright Material:

Terms and Conditions:

The copyright owner grants_______________________________________

the right to synchronise the copyright material with vision to be used in

_____________________________________________________________

will provide the copyright owner with on-screen credits__________________

_____________________________________________________________

The copyright owner acknowledges that they have agreed to participate in this

documentary on a voluntary basis, and that the use of their copyright material

does not give them any right to require payment or participation in the proceeds

of this documentary project.


SIGNED for and on behalf of }

______________________by:________________________ }

}

in the presence of:

Witness: .

SIGNED for and behalf of }

The copyright owner by }

}

in the presence of:

Witness:


POST-PRODUCTION

47

Music Performance Release Form Name of Performer/Artist__________________________________________

Address________________________________________________________

Phone_____________________________Mobile_______________________

Email__________________________________________________________

Producers______________________________________________________

Program_______________________________________________________

Date of Performance_____________________________________________

Nature of Appearance/Performance_________________________________

BY THIS DEED, I the artist, hereby grants____________________________

the right to make an audio/visual recording of my performance (Recording)

and to use the Recording in any way including but not limited to the following:

Use the Recording or part thereof in association with another soundtrack or with other

visual images.

Use the Recording and Interview or part thereof, in a documentary, which may be screened at film festivals, on-line World Wide Web, broadcast or sold.

Use the Recording/interview or part thereof for promotional purposes. Retain the Recording/Interview for the period of time required by the Producer for

archival purpose.

The Artist hereby indemnifies the Producer against any claims for infringement of copyright in respect of any music or lyrics performed by the Artist within the Program.

I agree to hold the Producer harmless against any claims arising from the use of

the Recording/Interview in accordance with the terms of this Release.

My appearance in this project may be edited at the sole discretion of the

producers and I understand that the Producer/s are under no obligation to

include me in the final product.


PERFORMER/ARTIST____________________________________________

REPRESENTATIVE______________________________________________

WITNESS_________________________________DATE________________


POST-PRODUCTION

Student Booklet 2013

Documents

Transcript of Student Booklet 2013