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INTRO TO ASSIGNMENT (DAY 1)

INTRO TO ASSIGNMENT (DAY 1). An Inspirational Moment in Time: The Collaborative Journey Through The Production Process of Narrative Filmmaking. DRAMATIC PURPOSE. A HERO Who WANTS something Take ACTION Meets with CONFLICT That leads to a CLIMAX And then a RESOLUTION. Inspire.

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INTRO TO ASSIGNMENT (DAY 1)

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  1. INTRO TO ASSIGNMENT (DAY 1)

  2. An Inspirational Moment in Time: The Collaborative Journey Through The Production Process of Narrative Filmmaking

  3. DRAMATIC PURPOSE A HERO Who WANTS something Take ACTION Meets with CONFLICT That leads to a CLIMAX And then a RESOLUTION

  4. Inspire A LYNCH BROTHERS FILM

  5. NARRATIVE THEME Films that inspire hope, love, and freedom—ultimately, this will be a film that celebrates the triumph of the human spirit.

  6. Contraction A BEARFIGHT FILM

  7. SPECIFIC SKILLS Produce one 2-3 minute narrative short based on the provided theme of INSPIRATION. Write an original short screenplay in proper industry format using the dramatic structure. Practice scene economy and dialogue minimization. Demonstrate a thorough understanding of dolly shots. Incorporate effective titling sequences and end credits that reinforce the story's tone.

  8. Painless A DARK LIGHT STUDIOS FILM

  9. ASSIGNMENT # 1 • Using the DRAMATIC STRUCTURE and the THEMATIC GUIDELINES as a foundation, develop your own original story. • TOMORROW: • Break into PRODUCTION Groups • Fill out the DRAMATIC STRUCTURE • Develop your PITCH • LAST 15 min. of Class: 2 min. pitches presented by director/group

  10. Scene Economy and Dialogue Minimization

  11. "I steal from every movie ever made." -Quentin Tarantino Most successful short films focus on ONE moment or event in the life of ONE main character.Most short films focus on a pivotal, significant event in the life of the main character.

  12. Use as few scenes as possible to tell your story. It also means creating the shortest scenes possible. To do so, start a scene as late as you can and end it the moment you've set up the next scene.

  13. Forget the chit-chat and greetings and extraneous closing dialogue. Jump right in to the crux of your scene!

  14. JARED hurries into the cafe and sees his sister, JUDY. She waves him over and he sits down. JARED Hey Sis’. JUDY How are you? Did you get held up in the rain? JARED Just a little. It was crazy on Sierra Avenue. Hey, let’s track down the waiter and grab a bite to eat. I’m starving. JUDY Me too.

  15. JARED and his sister JUDY are seated in the café. After the WAITER steps away from the table, JARED leans in towards his sister as if the next words out of his mouth will disrupt the flow of the universe. JUDY What is it? You’re scaring me. JARED Promise not to tell. JUDY You didn’t. JARED Oh, yes I did, and I did it with style. JUDY Mom and dad are going to kill you. JARED That’s okay, I’m leaving in a few weeks anyway. The WAITER returns. WAITER Are we ready to order?

  16. Read Excerpt from I AM SAM

  17. THE DOLLY: KEEP ON TRUCKING

  18. A dolly is a cart which travels along tracks. The camera is mounted on the dolly and records the shot as it moves. PROVIDES DRAMATIC FOOTAGE

  19. POINT OF CLARIFICATION Dolly = in-and-out movement (i.e. closer/further away from the subject) Tracking/Trucking = side-to-side movement. Zoom = poor man’s dolly

  20. Dollies are operated by a dolly grip. In the world of big-budget movie making, good dolly grips command a lot of respect and earning power.

  21. Spider Dolly

  22. Dolly Model # 1

  23. Dolly Model # 2

  24. Dolly Model # 3

  25. Dolly Model # 4

  26. 3. Dolly To move the camera closer to the subject, you "dolly in." To move it farther away you "dolly out."

  27. 4. Trucking In moving a camera from side to side you "truck right" or "truck left."

  28. SHOT COMPOSITION AND ANGLE REVIEW

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