Contribution by the students of the Film-maker course

Presentazione sul tema: "Contribution by the students of the Film-maker course"— Transcript della presentazione:

1 HOW TO MAKE A SHORT FILM Basic actions and suggestions (Proposal for a handbook)
Contribution by the students of the Film-maker course Città di Castello

2 Basic actions for the production of a video
Plot Screenplay Story Board Shooting Editing

3 Realisation Pre-production Production Post-production

4 PRE-PRODUCTION Finding the plot and setting up the script
Staff organisation Finding locations and actors Schedule transfers and request of authorisations when needed Setting up the set: set design, costumes, props Schedule and working agenda

5 PRODUZIONE (PRODUCTION)
Shooting agenda Shooting Shot check

6 POST-PRODUCTION Editing Sound mix

7 PLOT A plot is the first sketch of a story that will become a film. The synopsis is usually dreawn up on one page. Every story is the outcome of a traditional drama set of elements: Conflict Crisis Climax Conclusion

8 SCREENPLAY A screenplay is the backbone of a film. Writing a script should be rigorous. Its main elements are: Actions Dialogues The format of a screeplay is structured in a way that one page usually equates to one minute of screen time. In a “shooting script”, each scene is numbered & technical direction may be given

9 LO STORYBOARD In questa fase è importante pensare a quello che i francesi chiamano il decoupage tecnico. Pensare cioè al tipo di inquadrature che si vogliono realizzare. Uno strumento utile per abituare i ragazzi a quella che sarà la visione reale del girato, la composizione di uno storyboard, ovvero il disegno vero e proprio di ogni singola inquadratura. Are graphical oganizers such as a series of illustrations images displayed in sequence for the purpose of pre-visualizing a motion picture or interactive media.

10 SHOTS Environment Extreme long shot Long shot Medium shot Total People
Full figure Cowboy shot/American shot Close-up Detail

11 Long shot Barry Lyndon (1975) - Stanley Kubrik

12 Full shot Mulholland Drive (2001) – David Lynch

13 Cowboy shot/American shot
The Good, the Bad and the Ugly (1966) – Sergio Leone

14 Close up The Good, the Bad and the Ugly (1966) – Sergio Leone

15 Detail Psycho (1960) – Alfred Hitchock

16 CAMERA PLACEMENT Long take Land scape view Camera dolly
Shot/Reverse shot

17 The SET Set design Lights Costumes Make Up & Hair-Styling

18 SCHEDULE AND SHOOTING AGENDA
organization of shooting day Call sheet Decoupage – detailed scenes Location Crew Accessoires

19 POST-PRODUCTION Acquisizione del girato Scelta delle scene migliori
Montaggio delle scene seguendo la sceneggiatura (Editing) Scelta della colonna sonora Finalizzazione

20 VISIONE DEL PRODOTTO FINITO
La visione di gruppo del prodotto ultimato servirà come feed-back del lavoro al fine di verificare se gli obiettivi prefissati sono stati raggiunti e in quale misura.

21 Grazie per l’attenzione Thank you for your attention
Contributo degli allievi del Corso per Film-maker