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Mr. Shooks Class Assignments

Visual and Media Arts Studies at Tamanawis Secondary Ideas on How to create interesting Videos Plus All of your Assignments for the year, And How I am going to Grade them Jump to: Video Assignments Other Assignments Audience Engagement Camera Distance Camera Angle Continuity Continuity--Angles and Pans Cut in or Insert Shots Editing Grading for Video Projects Image Size Links to Video and Film Sites Notes on Marking Production Script Concept Screen Direction Shots Shots where the Camera Moves Story Storyboard Story Concept Format Time and Action The Matrix Reloaded--Assignment Which Shot to use Your Role Mr Shook's Student Page The Story Make sure that every sequence of shots, no matter how short tells a story. To do this you would put every sequence of shots in story telling order. Use: An establishing shot to enable the audience to see what is happening A medium shot to allow the audience to recognize the protagonists Close-ups to rivet the audience attention on the core of the matter at hand Use close-ups to keep the audiences' attention and to: Focus on objects that will play an important part in the next sequence of shots Remind the audience of their importance to your story Involve your audience; make the camera a participant in the story, not a distance spectator. Shots A Video Production is made up of hundreds and thousands of pictures, called shots, each of which must be carefully planned. To make your production more interesting, various types of shots are used. Instead of trying to generate a finished video production while shooting, recording footage with an edit in mind will allow you to take advantage of the editing suite and save you time and improve your editing techniques. Capture every shot that you might possibly want to include in your finished production. Tape your shots in any order that you find convenient. Record every shot so that it is longer than its probable final length. That's called shooting to edit and it's built on the Three C's: Coverage, Continuity and Cutability. Even if you're a very casual shooter, you can easily put these core principles to work for you. Remember that a video is not a still photo album. With photos, you can skip from one topic to another, taking a couple pictures of each. But watching a video with only a few short shots in each sequence feels jerky and irritating. If you're going to bother with a subject, then take the trouble to cover it properly. First, record establishing shots to let viewers know where they are. At a birthday party, show the whole back yard before zeroing in on the pin-the-tail-on-Bozo game. At a school play, shoot the auditorium and audience before the curtain goes up. In short, always provide viewers with a context in which to locate your other shots. Next, go the opposite way and get close shots. Remember that most display monitors are 32 inches or smaller, so get in there and record the fine details. Once you've got a full shot of a historic church cathedral, for instance, go for close-ups of windows, doors, steps, and gargoyles, or buttresses. Show the audience the telling details that reveal the soul of the building. In other settings, people are often the most important details, so shoot lots of close angles, from medium shots (waist up) to big close-ups (chin up). Finally, record the small details, such as the knife cutting the birthday cake or a pigeon strutting on the cathedral steps. In addition to capturing added useful information, these inserts (so-called because you'll insert them into the main footage) increase the "cutability" of your sequence. Consider the following for every shot you film Is this the most interesting camera angle? Is this the best setting? Is the background distracting or does it reinforce the mood and message? Does the action fill the frame? Can I make the hero look more heroic by filming by shooting up at them from a low angle? Can I make someone or something look smaller by filming down on them it? How should I vary the time span of my shots (the average length of a shot is six to ten seconds.) How should I change the image, camera angle or perspective for every new shot? How do I maintain a smooth flow of action from the first to the last shot? Camera distance There are three main shots describing how near or far the camera is from the subject. A close-up shows only one part of the subject, usually in great detail. Close-ups would include shots of a person's face,(this could be used as a reaction shot) or the paws of a dog walking down a path, of a hand on a doorbell, or of a tree branch. A picture showing half of the subject, such as a character from the waist up or the back end of a car, is a medium shot. A long shot shows the whole subject: a person from head to foot or the entire car. Any of these shots can show one subject or more at the same time. These three shots are used for specific reasons. An establishing shot at the beginning of a scene tells viewers where they are i.e., a long shot of a car driving up to a hotel or a close-up of a restaurant sign. To show the effect of one person's words or actions on the other people in the scene, a reaction shot is used. However, mixing shots provides variety and gives information needed to keep the story moving. In general remember that: Video is a close-up medium! Things look better in close-up because the screen people view your video on is small. Camera angle The angle from which a shot is taken is another way to give variety as well as information. High-angle shot positions the camera above eye-level, looking down on the subject, which consequently appears insignificant, weak, helpless, or small according to how extreme the angle is. At eye-level, the impression is neutral. A low-angle shot has the camera looking up at the subject, which then appears important, powerful, or domineering, again depending on how exaggerated the angle is. Usually the camera looks at the subject, but occasionally the camera shows what the subject is seeing. The is a reverse-angle shot Shots where the Camera Moves Another way to give your video variety is for the camera to move. When the camera changes its position by moving left or right, this is called tracking or trucking. Changing the camera's position by moving it forward or backward is known as dollying. When the camera stays in the same position but turns left or right, this is panning, and when it turns up or down, this is known as tilting. Even when the camera is stationary and not turning it can appear to move closer to or further from its subject; by using a special ring or lever on the lens, the camera person can zoom in or out. Although these moves are useful, they should not be overused or they will lose their effect. In fact, any camera movement must be planned and rehearsed so that it will be smooth and in tune with the action. Other Considerations: A single shot should be as long as it needs to be to advance the story in an interesting manner Establish a relationship between your shots Mixing your shot lengths from five to 15 seconds, will make your video more professional looking. When you want to give the audience the impression of speed and excitement use a series of extremely brief shots with a progression of image size from smaller to larger. A rule of thumb to convey excitement, vary your shots, interspersing under-5-seconds with ones that are over 5 seconds but under 10 seconds, and throw in an occasional over 10 second shot for a change of pace The secret is in recognizing that subject matter and action both suggest, and sometimes even dictate, the length of the shot and sometimes the angle of the shot. Image Size At least one shot in every four or five should be a close-up-a shot made two meters or less from the subject of the shot. The formula of beginning with an establishing long shot, followed by a medium shot to a show who's present doing what, followed by one or more close-ups form different angels to give a clear look at the action is a good one. When deciding how far back the camera should be from the subject, for the first shot, be thinking about how many seconds the establishing shot will be. Continuity Let's take a look at continuity; the craft of shooting action in separate parts that can be edited to look like a single, continuous flow of events. Many times, this means repeating part or even all of shot A's content in shot B, so the editor (you) can cut from A to B at exactly the same point in the flow. Unless you have lots of time and money, you may not want or be able to re-stage action, so here's a sneaky alternative. Clear the frame instead. When you follow moving subjects, don't stay with them throughout the shot. Instead, stop before they do and let them exit the frame. If they're standing or sitting still, end the shot by panning away to make the frame, so to speak, exit them. When the editor picks them up again in the next shot, their action won't have to match. When you know where subjects are going to wind up, frame their destination and let them move into the empty shot. The second big part of continuity is screen direction, ensuring that subjects move (or just look) in more or less the same direction. Your edits will look smoother and more professional if screen direction is maintained. To do this without heavy thought and planning, simply stay on the same side of a subject throughout the sequence. If your seated birthday cake cutter is facing left in medium shot and you want a close-up of the knife slicing the icing, place yourself behind the server's left (rather than right) shoulder. That way, the arms and knife will extend from right to left in both shots. If you doubt the worth of fussing with screen direction, try the insert over the right shoulder too and then see which shot cuts well. Smoothly flowing logically unified sequence of video shots, telling a story with a beginning, a middle and an end would have continuity For continuity in your videos action should be the rule: 90% of what you shoot should have action in it. You know what you have to say, YOUR AUDIENCE DOES NOT. Unless you are an expert storyteller, you should not try to be subtle, do not assume "that your audience knows all about that" and then leave out some vital element of information in your video The shots you use should convey to the audience what you want to tell them. Your audience is always anticipating what is coming next, and does not keep remember more than one-shot sequence at a time so: You have to frequently reestablish a sequence of close shots taken in the same sequence so the audience can be reminded where the action is taking place and who is involved You have remind the audience of what is going on by using a medium shot Cut Ins or insert shots Most of the tips suggested above will improve the cutability of your footage. Cutability is the readiness of two shots to butt together so naturally that the edit is invisible to the audience. After competent video camera operation, cutability may be the biggest contributor to a professional looking show. Its main principle seems like a paradox - the more different you make two shots, the more cuttable they will be, as long as the action continues smoothly between them. Why? The change in perspective distracts viewers' attention from the edit. There are many variables from shot to shot. The subject size (from extreme long shot to extreme close-up), the angle (from full front all the way around to the subject's departing stern) and the height (from bird's-eye to worm's-eye perspective) all deserve exploring. On a professional shoot, directors try to change at least two out of these three, often subject size and either angle or height. In a more casual project, it may be enough to change one, usually subject size, because zooming is so instinctive and easy. If you do this, however, make sure the zoom doesn't include crucial content (like the cake candles blowing out) or you won't be able to cut from zoom start to finish to change angle. Make the effort to move around your subject (as long as you stay on the same side). You can conceal an amazing amount of action mismatches if the second shot is 90-degrees different from the first shot. Finally, if you do nothing else, stop shooting everything from the lazy, standing height perspective. With today's rotatable outside view screens, you can grab shots over the heads of spectators. You'll find that low angles tend to dramatize action, especially in combination with wide-angle lens settings These shots aroused when your video makes a pivotal point using a small significant prop or a piece of action-a doorbell, a knife, a diamond that was stolen and are used to maintain continuity without losing the audience. You should show a close-up of the item to give your audience the full clear view of its involvement in the action. This will give the subject of the insert shot added dramatic importance in your video Cut ins can be a "cut-away" enabling you to inject a change of pace, a new idea or some visible counterpoint or establishing a relationship between two completely unrelated scenes In a sports report you may show a kickoff at football game, but if touchdown does not occur for several minutes, then cut-away is to a crowd shot, then back to the touchdown play to deliver the continuity of the shot and maintain excitement. Rule of thumb-cut away to a related subject or action taking place at the same time as the principal action Shooting for Continuity-Angles and Pans When you take your camera to shoot your first shot you have many choices to the question where do I put the camera? Before taking the shot or while you are setting the scene, ask yourself: Is this the best camera angle for this shot? How will it relate to the shot that follows? Would a lower angle create a more dramatic effect-bigger than life, more dominating? Would a higher angle be better? Would an overall view be better to quickly establishing the setting? (Remember low angle shots increase the importance of the subject, high angle shots decrease it) Should I use a worm's eye view-straight up or the birds-eye view--straight down? Should I tilt the shot and use a "Dutch angle"? A more three-dimensional effect can be made by shooting somewhat across your subject, (a three quarter shot) You get one effect from shooting the grill of an automobile, another effect shooting at its profile and another by shooting so that one of the front corners of the car is nearer to your camera. Once you have your establishing shots then identified and established your characters in their setting you can stay objective or you can switch to a subjective mode Staying objective means looking at your subjects as a neutral observer The subjective mode is when the camera takes the Point of View of the subject, and the camera actually experiences what is happening. Use restraint when panning, it can add variety to your video, but: Keep pans horizontal or straight up and down (tilt)Pan a static scene more slowly then the slowest panning speed you think is needed-even a moderately slow pan is too fast for the audience and the subject will blur or you will give the audience motion sickness. Use a tripod to pan or tilt When you are holding the camera to pan or tilt plant your feet, and rotate the whole upper body in the anticipated direction of the on-coming action, stating twisted around and coming untwisted at the waist as the action is panned. Rule of thumb-Shoot a non-pan shot of your subject before any pan you shoot and then shoot another non-pan shot after the pan shot is completed. The difference between a dolly and a pan is that in a dolly shot the camera actually travels a distance toward or away from the subject, and in a pan shot the camera pivots in one place. Follow Shot When you are following a person or animal as they move across the scene, keep them in the center of the shot and in-focus, keep the camera moving at the same speed as the subject. This is a follow shot. Screen Direction A moving object showing up repeatedly in a movie, such as a car going on a trip across country should always appear on the screen passing across it is the same direction-consistently left to right, or consistently right to left Two moving objects that the audience anticipates will come together should be shot so that the direction of motion contrasts with each other. A boy shown running left to right on the screen and a girl running right to left on the screen when paired give the audience the impression they are moving towards each other. If the boy is shown running left to right on the screen and a girl running left to right on the screen when paired give the audience the impression one is chasing the other Establish the screen direction of an actor by having them move cleanly toward and out of either side of the screen. If the same actor is seen in another location in the next shot, she should move into the frame from the same side of the screen she exited in the previous shot. Important when the actor is moving from outdoors to indoors of from indoors to outdoors. If an actor appears once in your video, (a cameo) have the actor make a full clean entrance into the shot, especially if they have not appeared in the previous establishing shot Time and Action Using a fast sequence of short shots each with high points of advancing action will speed up time for the audience Use a fade out where the end of the shot is a gradual dimming of the picture until the screen goes black, and then fade in can show the passage of time. A fade out usually indicates a departure A fade in usually indicates an entrance Use a dissolve and lap dissolve (dissolves that overlap the next scene) to tighten up the action in video and to show the passage of time. If you use all of these shoot-to-edit techniques, you'll find your work in the edit bay very rewarding. Your Role You are the director, the cameraperson, the editor, the storyboard editor, the crew and in some cases the talent. Your major role is that of the director. As the director, you must feel passionate about this soon-to-be film. Feeling connected and committed to the story will help you do your best work, and there's an enormous amount of work ahead. When you're done the script and the storyboard, you need to ask yourself some key questions. What is the main idea or theme of the script? What does the story say about the human condition in general? You also think about the script cinematically. How will the script translate to the visual language of the screen? Who is the audience? Storyboard A storyboard is a visual representations of every shot in your video-it is prepared by a storyboard artist (you) in consultation with you the director, (you) and other members of your technical team Before a single frame is shot, the film is planned from beginning to end on paper. Once shooting begins, you'll need to continue to communicate your vision of the film to the actors and your crew. Use your storyboard to communicate yoru vision to your crew You'll also need to be able to improvise on the set and troubleshoot if necessary. This flexibility can make the difference between an acceptable production and an exceptional one. On average, you will be able to complete filming for about one to two minutes of screen time as defined by your storyboard in eight to ten hours of shooting Editing Once the shoot is over, the film needs to be assembled into a coherent story, which will be based on your storyboard. Hours of shooting may result in only a few seconds of screen time. In the editing room, your vision will either come to life or perish. With your guidance, editing will be completed and sound will be added to complete the video. To edit and add sound for each one minute of your video plan to set aside at least four to eight hours of editing time. Your "director's cut" of the film (the one you work with your team to create) may or may not be the final one the final audience sees, but it will be the one the class sees during our show and tell sessions. To better understand the editing process, imagine you are seated in a movie theater: The lights are dim and credits appear over an establishing shot of a seacoast town in Northern BC. The title appears on the screen: Blueberry Hill. After the last credits evaporate, you see a long shot of a vacant summer cottage, then a medium shot of a mysterious-looking man pouring lighter fluid on the grass near the house and striking a match. The grass catches fire; the man flees. The vivid crackling of the fire dissolves into the sound of a young girl's laughter as she packs clothing into a cardboard box and sings along with her CD player. Who created this scene? The screenwriter, director, cinematographer, actors, lighting designer, sound designer, and the film editor. Working with the director, the film editor shaped the scene into its final form. After hours of reviewing the unedited film, he created this one-minute scene. The scene appears to take place in a seacoast town in BC during an autumn afternoon. In truth, little of what the audience sees on screen occurred in BC, and it certainly was not all filmed in one afternoon. The actor who played the mysterious man was most likely filmed on a Vancouver Film set in late summer. The young girl was filmed on a different set in early fall. The establishing shot of the seaside town was filmed months earlier on Vancouver Island, not Northern BC. The song on the girl's CD and the sounds of the crackling fire were recorded in a studio. But when you see the finished scene, all of the sounds and images work together. They appear to have taken place at one time and in one place. That is the magic of film editing. Editors select sounds and images from all the film that has been shot and arrange them to make the movie. They also plan how one shot will best transition to the next. Assembling the opening scene of Blueberry Hill, the editor might choose to begin with a wide shot of the bay, focusing on the white caps and buoys that dot the water. From the shot of the grass catching fire, the editor might decide to dissolve to the girl packing clothes into a box. There are dozens of possible transitions the editor can choose, each of which will create a different feeling. Editing often begins as soon as film has been shot. Early scenes are assembled for the producer and director to view. Occasionally, the actors will also view these early scenes. Many directors choose not to show actors these edited scenes for fear that they will affect the actors' performance. The first cut of a film is called a "rough cut". Sometimes the editor works alone, sometimes with the director. The sound designer and music composer join them for the final cut, adding sound effects and the musical score. When the editing is complete and the director and producer have approved the final version of the film when an editor is satisfied with the final film, he or she creates an edit decision list, a list of each shot in the film and its length. Today most editors use computers or nonlinear digital editing systems to compile a film. Video and Non Video Projects required this year Video Project Assignment Required Date Due Mark One Minute Video's (first one due) One Minute Video (last one due) November 06, 2003 April 29 2004 50 100 Two minute Video December 11 2003 100 Three Minute Video #1 January 29, 2004 200 Three Minute Video #2 March 11, 2004 200 Five Minute Video April  29, 2004 250 Final Project This can be of any length between five minutes and 22 minutes June 10, 2004 300 Total number of Required Projects to be done=6 Total Marks 1200 Notes on Marking: The above are worth 60% of your final mark. The rest of your mark will come from tests, quizzes, and in-class assignments. If a video is late, there will be a 10% penalty, per school day that it is late-That means if a video is due on a Monday and it is handed in on a Friday, it has lost 30% of its mark. All video projects above must be completed to receive a final grade.  If you only complete three video projects you may fail. If you fail to hand in any of the videos you may receive zero for the assignment. The one-minute videos count as one project You cannot use any of the videos done in the school year as your final project. It must be a unique video, however, you may use footage from the videos you shot during the year. If there is, in any video you want me to mark, any Violence, Swearing, Drinking, Drugs, inappropriate behaviour, nudity, sexual language, or situations that I believe will reflect badly on the school, I will give you a ZERO on the video and may take away your editing rights. Note: I will not mark any video that you hand unless the following have been done, and are handed in with the finished video Story Concept approved prior to filming and editing (see below for example) Storyboard approved prior to filming and editing-(Blank storyboard paper is in video and film room) Production Script reviewed and signed off prior to shooting. (see below for example) Permission obtained from music publishers/songwriter/singers to use any music you use in the video. This must be in writing Permission forms to use talent in your video (from parents if talent is under 19) or signed by talent if over 19. This form must be signed and attached to the video. (Use the permission forms given out at beginning of year, photocopy the number you need.) a. Talent is any actor who is in your video for more than 10 seconds b. You do not need forms for a crowd shot, but you do need a form if any person is in your video for more than 10 seconds. Other Video Assignments Storyboards of the Week You will form teams and each team will create storyboards for film ideas assigned by Mr. Shook. There will be a film storyboard due every two weeks. The storyboard will be creative and will be the creation of the team. If chosen, your storyboard must be able to be filmed. Do not use any props, situations, or events that you would not be able to film if asked to do so. Due: September 25 Video Title: Another Time Length of Video: 2 minutes Storyboard frames required 20 to 24 Due: October 9 Video Title: The Homesick Buick Length of Video: 2 minutes Storyboard frames required 20 to 24 Due: October 23 Video Title: The Secret Garden Length of Video: 2 minute Storyboard frames required 24 to 28 Due: November 06 Video Title: The Lucky Penny Length of Video: 3 Minutes Storyboard frames requires 36 to 40 Due: November 20 Video Title: Autumn Song Length of Video: 3 minutes Storyboard frames requires 36-40 Due: December 4 Video Title: Lullaby and Good Night Length of Video: 3 minutes Storyboard frames requires 20 to 24 Due: December 16 Video Title: Misty Moonlight Length of Video: 4 minutes Storyboard frames requires 44-50 Due:December 16 Video Title: My Song (For Bonus Marks) Length of Video: 4 minutes Storyboard frames requires 44 to 50 Due:January 08, 2004 Video Title: Here we All March Around in a Ring Length of Video: 2 minutes Storyboard frames required 20 to 24 Due: January 15, 2004 Video Title: I Walked the Road Alone Length of Video:2 minutes Storyboard frames required 20 to 24 Due: February 05, 2004 Video Title: The Frog,the Spider,and The Fly Length of Video: 2 minutes Storyboard frames required 20 to 24 Due: March 04, 2004 Video Title: Stormy Winds Do Blow, My Love Length of Video: 2 minutes Storyboard frames required 20 to 24 Due:April 08 2004 Video Title: Lazy Moon Length of Video 2 minutes Storyboard frames required 20 to 24 Due:April 22, 2004 Video Title: Out of The Frying Pan into the .. Length of Video:3 minutes Storyboard frames required 36 to 40 Due: April 30, 2004 Video Title: The Search for Small Length of Video: 3 minutes Storyboard frames required 36 to 40 Due: May 13, 2004 Video Title: A Very Grand Thing Length of Video :4 minutes Storyboard frames required 40 to 48 Due: May 27, 2004 Video Title: An Enchanted Place Length of Video: 5 minutes Storyboard frames required 50 to 60 Due: June 10, 2004 Video Title: And it was Eleven o'clock Length of Video: 5 minutes Storyboard frames required 50 to 60 Non-Video Assignments Activity One-Individual---Due September 18 Read the handout Film Script Terminology before you do this assignment.  Bring some comic strips (no adult or x rated comics allowed) to look at the way "shots" are used in a variety of ways in these storyboards. Many comic strips are similar to story board illustrations prepared for movies. Use comic strips to look at the way "long shots, medium shots, and close-ups" are used in a variety of ways. Because of a wide variety of shots, Spiderman is a particularly effective comic strip. Be prepared to show the class how the comic strip you brought uses a variety and different types of shots to keep the story going Activity Two-Individual---Due September 25 Answer the following question in essay form: Why is it important for you to be aware of camera-subject distance? It is essential for you to have a clear understanding of camera-subject distance before you begin to create your own productions on video. Activity One-Individual The Matrix Reloaded---Due Sept 30 Read the Handout Scanning the Movies (Written by Neil Andersen; Neil Andersen is a Curriculum Consultant with the Toronto District School Board. He is also a speaker and consultant in media and communications technology. His most recent work includes the Media Launchpad website, the teachers' study guide for the award-winning Scanning Television, and study guides for Space, Bravo! and MuchMusic's Cable in the Classroom broadcasts of original media literacy programming.) is a good introduction to the understanding of the study of Film and Video. As you read the handout, you will notice a number of questions about The Matrix Reloaded. You are to answer these questions and create a binder with all of your answers in the binder. The questions must be word processed, double-spaced and in full sentences. Each section of the Handout should have a title page to identify it and the title page should reflect the theme of the section. You may/should include artwork, storyboarding or other artistic work to enhance your project and to make it more intersting. If you have not seen the Matrix Reloaded, make arrangements to go see it before you start this project. Activity Four-Individual There will be a quiz on the following terms on September 30 (To pass the quiz a score of 80% or higher is required, if you get below 80% you will redo the quiz  on October 11,) Memorize the following terms and prepare for the quiz on September 30th Activity Four---Individual Film Editing Glossary Cut: A visual transition created in editing in which another instantaneously replaces one shot on screen. Continuity editing: Editing that creates action that flows smoothly across shots and scenes without jarring visual inconsistencies. Cross cutting: Cutting back and forth quickly between two or more lines of action, indicating they are happening simultaneously. Dissolve: A gradual scene transition. The editor overlaps the end of one shot with the beginning of the next one. Editing: The work of selecting and joining together shots to create a finished film is called editing Errors of continuity: Disruptions in the flow of a scene, such as a failure to match action or the placement of props across shots. Establishing shot: A shot, normally taken from a great distance or from a "bird's eye view," that establishes where the action is about to occur. Eye line match: The matching of eye lines between two or more characters. For example, if Sam looks to the right in shot A, Jean will look to the left in shot B. This establishes a relationship of proximity and continuity. Fade: A visual transition between shots or scenes that appears on screen as a brief interval with no picture. The editor fades one shot to black and then fades in the next. Often used to indicate a change in time and place. Final cut: The finished edit of a film, approved by the director and the producer. This is what the audience sees. Jump cut: A cut that creates a lack of continuity by leaving out parts of the action. Matched cut: A cut joining two shots, which has compositional elements that match, helping to establish strong continuity of action. Montage: Scenes whose emotional impact and visual design are achieved through the editing together of many brief shots. The shower scene from Psycho is an example of montage editing. Rough-cut: The editor's first pass at assembling the shots into a film, before tightening and polishing occurs. Sequence shot: A shot used that is long, it would extend for an entire scene or sequence. It is composed of only one shot with no editing. Shot reverse shot cutting: Usually used for conversation scenes, this technique alternates between over-the-shoulder shots showing each character speaking. Wipe: Visible on screen as a bar traveling across the frame pushing one shot off and pulling the next shot into place. Rarely used in contemporary film, but common in films from the 1930s and 1940s. Special Video Assignments Remembrance Day Ceremony Feed the Needy Promotional Video Plays by Mr. Dale Commencement and Grad School Dances Skills Canada Video Competition I will assign the above videos to individuals and teams based on skill level and interest. If you complete one of the above, it will replace one of the other required projects. Bonus Marks and Extra Credit We will also have field trips, discussions and showing of selected films, and I expect that you will show your work to the class on a regular basis. Visual and Media Arts This section is for the Most Serious Students Only, if you are not serious about producing good videos; do not read this next section. The principle of creating an emotional experience This is critical in all types of television-from lectures to dramatic productions. The Quintessential Element It would be nice if a TV audience could be captivated solely by the depth, profundity and worthiness of our program content. Unfortunately, quality (however that's defined) is not often related to popularity (we know how that's defined: by ratings). Put simply: nothing much matters in television if we are not able to capture and hold viewer attention. Some people bemoan the lack of "substance'' on television programming; and, in particular, the lack of the "classical influence.'' The name Shakespeare is even invoked upon occasion. At first Shakespeare might seem light-years away from what we commonly see on commercial television. Not really. Shakespeare probably understood the necessity of engaging an audience better than anyone. Fact is, he used all manner of devices to capture and hold his audiences: murder sex duels wrestling matches suicides ghosts romance clowns music parades thunder and lighting mystery costumes witches and even eye gouging Shakespeare knew something else: the key to good drama is to create an emotional experience in an audience. Even though some things have changed in major ways throughout the history of film and television, this has not. The principle of creating an emotional experience in an audience is important for all types oftelevision-from lectures to dramatic productions. So, how do we create an emotional experience? First, the good television writer, producer, director and editor have to understand human nature; they must to some degree be psychologists. There are, of course, the vicarious emotional experiences we get from programming: danger, sex, action, destruction, intrigue, etc. Some of these, such as the hackneyed theme of "helpless woman in distress,'' could be considered base and exploitative. Constant car chases (which replaced the horse chases of an earlier era) and gratuitous violence and sex are other examples. Since I will not allow some of the above to be in your videos that I mark, I should give you some other ideas to help you engage your audience. So, beyond these (which you cannot use) there are other, more substantive possibilities. Audience-Engaging Principles As we've suggested, the principles that attract and hold an audience are as old as the human race. Probably shortly after the first cave men and women learned to speak they discovered that the best storytellers drew upon these principles. First, and foremost, we (and our audiences) have an interest in experiencing the experiences' of other people. We are particularly interested in people who lead interesting (i.e., dangerous, romantic, fast-paced, prestigious, wretched, highly-sexual or engrossingly-spiritual) lives. Part of this involves gaining new insights and being exposed to new points of view. This includes learning new things. In this context education can be made interesting and, upon occasion, even exciting. (Maybe there is a Darwinian "survival of the species'' element in all this. Those who are quick to pick up on new ways of coping with their environment are more apt to survive!) Whatever the reason, these are the things that attract and hold an audience. Form and Content A good script has two dimensions: form and content. Since form and content are, when you get right down to it, the quintessential aspects of production, we need to analyze them. The form of a production refers to its basic design, genre and logical construction. A production can take the form of a lecture, panel discussion, drama, variety show, news program, demonstration, or an animated sequence. In a production our goal relates to what we want the audience to experience, feel or gain. Our vision relates to how we personally use the tools of the trade to translate the goal into an audio and visual experience for the viewer (according to the dictates of our own unique personal perspective and viewpoints). Content , which includes goals and visions, includes the production's emotional attributes. It's primarily within the realm of content (goals and visions) that engrossing and effective productions are separated from those that are mediocre and dull. And it is primarily within the ream of content that videographers can make their own personal, creative contributions. Although there may be some definite rules for the successful operation of production equipment, there are no rules for program content; maybe guidelines, but no hard-and-fast rules. The bottom line for content is simply, does it do what it's supposed to do; or, more specifically, does it work? In the past we tended to put great emphasis on technical quality-often at the expense of content. ("The film had fabulous special effects, but the story was trite and predictable.") At the same time we have to acknowledge that technical weaknesses can quickly get in the way of content. As always, the more transparent the production process, the better the chance of communicating the intended message of a production. The bottom line now seems to simply be: does it work. If it holds the attention of an audience, communicates some message, and results in a favorable response, it's successful. For the students interested in a career in this industry or in TV go to: http://www.cybercollege.com/tvp_ind.htm and look at the course. If you want to I can set it up so you can take the course for extra credit, talk to me and I will give you the details. This is a on-line course on Television Production, it is a A Comprehensive On-line Cybertext in Studio and Field Production with its own tests, and assignments. There is also a discussion group and links to other video and production ideas and students on the web. If you decide to take this course, (This option is open only to second years students) the following assignments from the course can be subsititued for mine. (These assignments may also be used by other students as ideas for their projects, if they are stuck but only with my permission.) The Following Five Video Assignments Are Designed To Meet the Various Goals Established For This Course Campus Story The emphasis here is on story. Take any aspect of campus life (any college campus) and develop a well-thought-out video piece with a clear beginning, middle and end structure. First, write (type up) out all of your shots in the order you plan to tape them. You must hand this in with your tape. As an example: LS - campus, early morning, with students hurrying to classes MS - Mary, with a load of books getting out of her car in the Communication Division parking lot. MS - John noticing, stops, turns, starts walking toward her. ((etc.)) Edit in the camera (for this assignment only) Learning the concept of editing in the camera is an important discipline that will save you time later. Sound will be music (your choice) from an audio cassette or CD that you will bring to class and play with your videotape. You will not use any location sound for this first assignment--only CD or cassette music. (After this assignment you will be submitting an edited tape and the audio will edited onto your edited mater during the editing process.) TIME: Not critical, but between 1 and 3 minutes. Person at work. Illustrate on tape the relationship between a person (only one person) and a job. This can be a vocation or avocation, but not a hobby. Tell a complete story of the person-job interaction through the use of establishing shots, closeups, ECUs, etc. When you present your video we should get a clear idea of the person, exactly what they do, how they do it, and something of their personality and feelings toward their job. Sound for this assignment will be a selection of music of your choice. You may include SOT (sound-on-tape) segments if you feel you can confidently handle this at this point in the course. Transfer this music along with any location sound (including interview segments) to your edited master during the editing process. TIME: Not critical, but between 1 and 3 minutes. Mood piece Establish a basic mood--tranquillity, anxiety, reverence, anger, patriotism, sensuality, spirituality, or whatever--entirely through your selection of subject matter and the use of camera angles and lighting techniques. Music and dialogue may only supplement (but not establish or clearly communicate) the mood you select. Without your audio we should clearly get the idea. Stick to one mood or feeling and don't confuse matters by moving from one mood to another. After seeing your video I should be able to ask 10 people for a one-word description of the mood conveyed and get a reasonably consistent answer. TIME: Probably rather short. Once you feel you have communicated your mood, quit! Mini-drama Do a short dramatic scene with two or more actors in which you smoothly and transparently intercut the dialogue from two or more single-camera setups. This is to be done in single-camera, film style setups. Write the script yourself, or borrow it from a film or play, it doesn't matter. You will be required to hand in a typed script in proper dramatic script form before your video will be shown. Keep in mind needed visual variety and the techniques of single-camera film-style production. NOTE: To meet the minimum requirements of this assignment you must have at least six, consecutive audio cuts from one (speaking) person to another. This is a typical dramatic segment and not a voice-over or one person interviewing another with a single, shared microphone. The people must be in the same location (i.e., not one talking on the phone to another, or whatever). Pay particular attention to shifts in audio levels, changes in background sound, proper pacing, consistent actor energy levels, etc. When we hear your video we should not be distracted by unnatural sounding audio transitions. To achieve the desired results this assignment also will require finesse in working with actors. Public Service Announcement Create a 30-second PSA (Public Service Announcement) with an ethical, moral, spiritual or humanitarian message. Time: precisely 0:30. (Not a second more or less!) Have a video (and possibly audio tag) at the end that clearly identifies your cause. To receive credit this must be edited with a non-linear editing system and be a truly effective PSA, one that shows top-notch production techniques. Story Concept Format Example: The Story: Growing Things :-) A mother is showing her little daughter how to hand wash cotton gloves. Mother soaps up a pair of large adult ones. She scrubs them together and then hands them to her daughter. Mother goes away. The child continues scrubbing...and scrubbing...and scrubbing. When Mother returns to see how her daughter is getting on, she is aghast to discover the big gloves have shrunk to a pair of tiny ones. Blackout. The Props: (Example of a list of props to be used) A wash tub or a kitchen sink Two pairs of plain cotton gloves, identical except for size-One is larger for an adult and one pair is small to fit a child. Soap either a bar of soap or a package of laundry soap Stool or Chair Two Aprons The Talent (Example): A mother and a daughter or two female actors one older (in her late twenties) one younger (age: about five or six) The Costumes: (Example): It is not important what the actors wear, but if each wore an apron over their clothing it would add to the movie. The Lighting: (Example): The easiest way to film this is outdoors on a sunny or hazy-bright day. If it is shot indoors then I will need fill and flood lighting to make the actors instantly identifiable and the action easy to interpret by the audience. The Set (Example): A kitchen with kitchen sinks all extraneous objects removed with a stool for the child to sit or stand on to reach the sink. Rehearsing (Example): The cast will be informed of the plot, and I think we will need one or two rehearsals before we start to videotape. Shooting the Video (Example): In this movie I will use the following types of shots. 1. An establishing shot, (ES) which is a long shot that shows the audience where the action or scene takes place 2. Medium shots (MS) of mother and daughter to identify the actors and their relationship to each other and to the action. 3. Medium close-ups (MCU) and close-ups (CU) of the action at the sink and of the actors faces. Format for the Production Script (This must be in writing and it must follow the format here to be accepted and marked) (Hint: Before you start to shoot check the camera, and the lighting) Action and Camera In the opening long shot (LS) I will establish the washday area, either the kitchen or outdoor scene. Mother enters and turns on the water, or if outdoors, pours hot water into a tub from a bucket. The ES should take no more than 5 seconds Leave Mother at the sink or tub, but shoot from another LS from a slightly different angle, the best shot in my mind is downward from a higher camera position. This will allow us to see daughter entering the scene, carrying a soap or box of detergent. Shot should last about 6 seconds Close shot from another angle. In the hand nearest the camera mother holds a large pair of gloves, with her other hand she agitates the warm water to make suds. Dolly or zoom slowly in on the gloves as she puts them in the water and they disappear under it. As soon as the gloves are under shot over. Max 5 seconds MS of Mother showing daughter how to scrub gloves. About 4 seconds. LS of Mother drying her hands on her apron and leaving the set. Daughter is left alone scrubbing. This shot is 6 seconds 6. 6A, 6B, 6C Assorted CU's from various angles of child's hands scrubbing gloves and her face showing intense concentration. Each shot is about 4 seconds in length. This scene in the final edit depends on the variety of photographic angles and the consistency of the theme of washing ad scrubbing. At the end of the scene replace the big gloves with the small ones. LS of mother returning from the same direction she left. Shot is 4 seconds CU of Mother's hands reaching in, fishing around for the gloves. She pulls out the tiny pair of gloves. Shot is 6 seconds Full screen CU of Mothers face registering surprise, shock and dismay. This shot is 3 seconds. Full screen CU of Daughters face registering laughter. This shot is 4 seconds. Fade out 5 seconds Total Length= 60 seconds. Sound--The numbering on the sound indicates which scene the sound goes with. Music and the sound of running water or water pouring from the bucket. Music fades into the background, Mother calls daughter Music volume increases Sound of Music increasing When Mother leaves, Music changes to more upbeat tune. Music continues through all scenes Music changes lowers in volume Music raises in volume Music continues but fades Rubric for Video Projects Mr. Shook Student Name ___________________ Members of Group: ___________________________________ CATEGORY 4 3 2 1 Originality Product shows a large amount of original thought. Ideas are creative and inventive. Product shows some original thought. Work shows new ideas and insights. Uses other people's ideas (giving them credit), but there is almost no evidence of original thinking. Uses other people's ideas, but does not give them credit. Workload The workload is divided and shared equally by all team members. The workload is divided and shared fairly by all team members. One person in the group is viewed as not doing his/her fair share of the work. Several people in the group are viewed as not doing their fair share of the work. Technical Requirements (See Technical requirement mark sheet) All requirements are met and exceeded. All requirements are met. One requirement was not completely met. More than one requirement was not completely met. Video Presentation Interesting. Relatively interesting Delivery not smooth, but able to maintain interest of audience. Delivery not smooth and audience attention lost. Storyboard Covers topic in-depth with details Includes essential knowledge about the topic. Includes essential but there are 1-2 errors. Content is minimal or there are several errors. Story Concept No misspellings or grammatical errors. Three or fewer misspellings and/or mechanical errors. Four misspellings and/or grammatical errors. More than 4 errors in spelling or grammar. Organization Content is well organized The overall organization of topics appears flawed. Content is logically organized for the most part. There was no clear or logical organizational structure. Links of Interest to Video and Film Students Adobe Premiere contains links to tutorials and other interesting sites on this popular editing suite for PC's. Art Films contains a listing of Web Sites of Interest to Arts and Media Professionals BRITISH COLUMBIA FILM was established by the provincial government in 1987 as a privately managed, non-profit society to administer funding intended to expand and diversify the cultural industries of independent film and video production in British Columbia Blue Screen Page Once the exclusive domain of Hollywood special effects artists, blue screen imaging has expanded to include video and computers. There are many mysteries to the succesful execution of a blue screen composite and considerable confusion as to what a blue screen composite is. This page gives you some ideas on how to use a blue screen. Elements of a Video Script A video script is a product of Concept, Structure, Content, Style, and Format. Awareness of the role of each will result in scripts that are targeted to the audience and the goal of the video. These elements, plus an Opening that grabs the audience and a Closing that ties it all together are vital to the success of your video. Filmmaking Net is a reference and community for the new and independent filmmaker. filmmaking.net is the latest evolution of one of the Net's oldest filmmaking resources - the Internet Filmmaker's FAQ. The IF-FAQ is still here, but so is a great deal more of film and movie-making information. And like always, still 100% free. Independent Film Producers Page Our goal is to promote independent films so if we can help you out, we will. Note this site may contain objectionable language on some of the films shown. I.A.T.S.E Local 891 We think you can find out all you need to know about Local 891 and its members. Guests can go to the Application page and download information about getting into the film industry Producers can go the Producers page and look up rates of pay and view the map of the 'zone' In addition we have added a Links page connecting you to other unions and locals of I.A.T.S.E. Members and guests can read our on-line magazine 'Kinetoscope'. Library of Literature online All good videos have a story, to be exposed to good literature increases your ability to tell a story. Browse through some of the classics to get ideas for your videos Movie Maker A site dedicated to the art and business of making movies, great ideas and lots of links Museum of Moving Images is dedicated to educating the public about the art, history, technique, and technology of film, television, and digital media, and to examining their impact on culture and society. National Film Board of Canada contains links that young Canadian Film makers should be aware of including A website that is charting the making of the documentary View from the Summit. It will evolve as the film takes shape, reflecting the principal stages in the production process Reel West Canada The Digest is a reference book detailing the names of individuals and companies providing necessary equipment and services for all aspects of film and television production in western Canada. It includes a list of films, and videos being shot in BC. Shooting the Scene contains job descriptions of some of the people who work on a set, each of whom has an important role in the making of the movie. The Matrix: Reloaded Movies are a powerful marriage of image and sound, an exciting yet complex means of affecting how we feel and even how we think. While many of us understand something about the books we read or the music we hear, we don't necessarily understand as much about the movies we see. Think of this Study Guide as a way to "read" movies, to discover how they work and how they communicate through the magic of story telling on the big screen. This Study Guide focuses on Matrix Reloaded and was written by: Neil Andersen. Neil Andersen is a Curriculum Consultant with the Toronto District School Board. He is also a speaker and consultant in media and communications technology. His most recent work includes the Media Launchpad website, the teachers' study guide for the award-winning Scanning Television, and study guides for Space, Bravo! and MuchMusic's Cable in the Classroom broadcasts of original media literacy programming. Network Plot Synopsis Morpheus, Neo and Trinity are three rebels trying to protect their rebel city from robot soldiers and free the human race from a virtual reality prison created by genius programmers.  They navigate between octopus-like sentinel robots in the real world and sentient agents in the virtual world to consult the Oracle and meet the Architect of the matrix. 1.  Sequel or serial? Sequels repeat a movie plot, each beginning pretty much in the same place as its fellows in the series.  The characters and themes develop minimally.  Serials give the plot a distinct forward movement, and characters develop from one to the next, beginning the new movie in their evolved form. In the context of television programs, the characters in The Simpson’s begin each episode fresh.  There is no history in the relationships between Homer and Mr. Burns or Bart and Krusty – each time they meet it is as though it is the first time.  In the case of Buffy, the Vampire Slayer, however, there is movement in both plot and characterization.  The characters establish relationships and history with one another that sustain and grow from episode to episode. Is Matrix Reloaded a sequel or serial?  Why? If it is a serial, how does it move the plot and concepts of The Matrix forward? What questions from The Matrix does it answer? What new questions does it ask? How does it complicate the puzzle presented in The Matrix? The Matrix follows an Archetypal Story Pattern. The Matrix follows an archetypal story pattern, or a pattern that repeats itself through many ages and cultures. In most archetypal hero stories, the hero starts a journey after being an outcast, or misfit, at home. The journey often begins with a crisis or a dream which leads the hero into a passage, often termed a "night-sea journey" because it is dark and dangerous. Early in the journey, the hero often finds or receives a "talisman," which is a magical object that gives the hero special powers. During the journey, the hero meets people who challenge the hero, then help him or her become more heroic. Often, the hero is accompanied on the journey by a "familiar," an animal who uses its animal sensitivity to warn or guide the hero. There is also a guide, or mentor, who offers useful advice at important moments. Often, the hero cannot achieve his goal on his own, but requires the help of a female, who supplies some of the feminine qualities the hero may lack. Toward the end of the journey, the hero must pass a supreme test of his or her worthiness. After passing the test, which often involves defeating or tricking a powerful villain, the hero returns home with new-found wisdom and is greeted with celebration. This story pattern is a close match to The Matrix. As you think about the archetypal story pattern, you can find one or more close or exact matches to the movie's story. However, if you think about other stories, specifically The Odyssey, Clash of the Titans, Star Wars, Hercules, Wild America, The Wizard of Oz, and Huckleberry Finn, you will find equally good matches. This is because all these stories are examples of archetypal hero journeys. How does Matrix Reloaded extend the elements of Archetypal Story Pattern? Why have the Matrix movies become a cult?  How does The Matrix Reloaded fuel the cult or discourage it? Pretend you have not seen The Matrix, but only Matrix Reloaded.  What prior knowledge do you lack that is necessary for you to make sense of Matrix Reloaded? 2.   What’s in a Name? Names are carefully used in Matrix Reloaded.  Thomas Anderson, Neo’s name in the matrix, is ordinary compared to the significance of his name in Zion.  Consider and research the following names, as well as others you may remember, and determine how they add to the interest and complexity of the story: Icarus, Nebuchadnezzer, Vigilant, Persephone, Niobe, Seraph, Link, Oracle, Merovingian, Morpheus, Trinity, Zion  3. Product Placement Many movies contain product placements, sometimes extensive, sometimes not.  Die Another Day is an extreme example of producers accepting money to use name-brand products, such as cars and watches, in their movie (there are 26 sponsors). Does Matrix Reloaded contain product placement, or the clearly recognizable use of name-brand products? Can you think of other likely places where product placement might have been used? Can you suggest any reasons why the producers allowed so few examples of product placement? Would extensive product placement have changed your reaction to the movie?  How? Consider the following statements from Matrix Reloaded.  What philosophical questions do they help viewers consider?  How do they help viewers reflect upon and make sense of their own lives? 1.      “You didn’t come here to make the choice. You’ve already made it. You’re here to try to understand why you made it” 2.      “Causality is the way of the world.”   3.      “Everything begins with choice.” 4.      “Hope is the quintessential human delusion.” 5.      “There are no accidents.” 6.      “‘Why’ is what separates us.” 7.      “Choice is an illusion created between those with power and those without.” 8.      “Ghosts, aliens, and vampires are rogue programs that need to be assimilated.” 9.      “I wish I knew what I’m supposed to do.” How might this question connect Neo and Harry Potter? What other statements in Matrix Reloaded are helpful to viewers who are puzzling over the human condition and the roles of technology in our lives?  Why? 4. Movie Craft As well as a compelling story, Matrix Reloaded contains many purposeful uses of sound, image and editing to increase its entertainment value and keep viewers interested.  Consider the following cinematic elements and how they have added to viewers’ enjoyment and understanding of the movie. There are frequent cutaways to the matrix views of people or places, where their outlines are described by millions of glowing green digits rather than the shapes and colours that usually define them. The story is told using non-sequential story editing – it begins with Trinity invading the power plant, and there are many moments when events occur out of sequence, especially when Neo is haunted by dreams of Trinity’s death. We see crows flying towards us from Neo’s point of view in the square just before he fights the Smiths. The dance in Zion is presented in slow motion and is intercut with shots of Neo and Trinity making love. How does it help us understand the difference between the reality of Zion and the fantasy of the matrix? During each of the fight scenes (Neo and Seraph, Neo and Smith, etc.) the filmmakers used a heavy-beat music track.  What is the effect of this track on viewers’ perception of the fights?  What is the effect of the fight music being similar to the Zion dance music? There are frequent uses of 'bullet time' – the slowing of action during which characters are able to avoid bullets or other mortal dangers. There are many contrasts between the matrix and Zion: the matrix has a green tint, while Zion has a blue tint; the people in the matrix are often costumed in high-fashion styles, while people in Zion are dressed in rough, soiled, earth tones; people in the matrix often speak in slow, pretentious sentences, while people in Zion speak more naturally. Zion includes many elements of heavy machinery (giant cogs, gates, pipes, robots, steam) while the matrix appears to have no machinery beyond automobiles and factories. 5. The Architect Neo meets the Architect at the Source.  This is the moment the movie has built toward; the moment the Oracle said would provide answers; the moment Neo believed he would discover his purpose; the moment Morpheus said would defeat the machines and end the war between the machines and Zion. What happened in the white room of screens?  Why is the room lined with screens?  The Architect’s language is very distinctive.  Does Neo understand what the Architect tells him?  Did you find the Architect hard to understand?  What is it about the Architect’s language that makes him difficult to understand?  How does the Architect’s language contrast with Neo’s language?  What might these differences in language reveal about their personalities? The Architect reveals several important secrets about Neo’s purpose in life, about the matrix and about Zion.  What are those secrets?  How do they help viewers understand the movie?  How do they change Neo’s ideas about who he is and what he needs to do? 6.   Predictions for Matrix Revolutions At the end of Matrix Reloaded, Morpheus has lost his dream that Neo is the One; the Nebuchadnezzer is destroyed; the machines’ drills are nearing Zion and 250,000 sentinels are poised to kill the people of Zion; Agent Smith has possessed a Zion warrior; Neo knows he is the sixth version of the anomaly and that meeting the Architect did not defeat the machines; Neo has discovered that he can destroy sentinels; an orphan wants to crew with Neo in the future; and the Keymaker is gone.  What predictions might Matrix fans make about Matrix Revolutions? How will Neo discover the double-agent? What new vision will Neo, Morpheus and Trinity develop to help them defeat the matrix? How will Neo’s powers help him defeat Smith and the matrix? How can the drills be stopped? What role might the orphan play in Matrix Revolutions? Back to Student Index Page Back to Mr. Shook's Main Index Page This Page was