MV Production Condensed Notes PDF

MV Production Condensed Notes (When writing notes look at a bunch of lists and definitions, it seems like that’s what he’s looking for in his exam stuff.) What is a music video Script? -​ Two to three pages to describe in great DETAIL what is in the music video. What are the three stages of...

MV Production Condensed Notes (When writing notes look at a bunch of lists and definitions, it seems like that’s what he’s looking for in his exam stuff.) What is a music video Script? -​ Two to three pages to describe in great DETAIL what is in the music video. What are the three stages of Different Types of Camera Mounts Production? 1.​ Dolly 1.​ Pre-production 2.​ Steadicam 2.​ Production 3.​ Tripods 3.​ Post-Production 4.​ Crane 5.​ Drone What are the three shot perspectives in Film? 1.​ Repertorial (Like reporting) -​ From the point of view of the camera, talking directly into the camera. Used in variety-shows and in news reports. 2.​ Objective -​ In this situation, the camera is the eavesdropper. The camera is only observing the action unfolding in front of it. Used in the majority of work such as Drama and Comedy. 3.​ Subjective -​ This is the POV shot from the character. Literally. What’s the difference between a scene and a shot? -​ Scene: A scene defines a place or setting where the action takes place. -​ (interior - int or exterior - ext)  -​ Shot: A shot defines a continuous view filmed by one camera without interruption. Scenes are made of many shots. -​ You could shorten this to the idea that scenes are the larger aspect as the shots build up the scene. (The shots are the building blocks of the scene) What are the three types of image sizes? 1.​ Long/ Wide Shots a.​ Establish the location/ setting 2.​ Medium Shots a.​ Intermediate shots between a close-up and a long shot. Good for recording gestures, facial expressions and movements. 3.​ Close Ups a.​ Basically the emotional shot for actors or specifics of an object. Usually used to draw specific attention to the subject/object. What are the three main types of What are the three types of Camera Camera Angles? Heights? 1.​ Side 1.​ High 2.​ ¾ 2.​ Normal 3.​ Front 3.​ Low What are the three general categories of Lenses? 1.​ Normal Lens -​ Approximates your eye level point of view, creates a natural/ neutral shot. 2.​ Wide Angle Lens -​ Exaggerates and distorts lines and perspective, Easy to keep steady and focused. 3.​ Telephoto Lens  -​ Compresses and flattens lines, giving a dreamy feel. Shallow depth of feel creates soft backgrounds, action has a slow motion quality. Also allows you to film things from far away. What are the four main types of Camera Movement? 1.​ Pan -​ Left or right movement of the camera’s axis 2.​ Tilt -​ Up and down movement on its own axis 3.​ Zoom -​ The function of a focal variable lens that allows you to move in and out of a shot by shifting from a wide-angle lens to a telephoto lens, and vice versa. 4.​ Tracking -​ Camera moves parallel to the action or towards or away from the subject. What is the imaginary line? -​ The imaginary line is a line drawn at the 180 degree angle, this line is not to be crossed in most filmmaking in order to keep the continuity of a scene and its shots. If not the film maker risks confusing the spacial continuity understanding of the audience. What are the five main types/names of Camera Filters? 1.​ Polarizing Filters -​ Reduce reflection and increase colour saturation 2.​ Graduated Filters -​ Produce dark and or coloured skies. Common in commercials. 3.​ Diffusion/ Fog Filters -​ Produces a soft-focus/ low contrast effect (most theatrical features use a bit of diffusion) 4.​ Star Filters -​ It creates star patterns when a light source is shone through it, 70’s type shii. What are the three kinds of Lighting Positions? 1.​ Keylight/ Spotlight -​ Highlight the subject/ object or something to draw attention to. 2.​ Back Light -​ A light source that is positioned behind a subject and faces the camera. Creates depth, contrast, and silhouette. 3.​ Fill Light -​ A secondary light source that brightens shadows in a scene, reducing contrast and creating a more natural look. (Softening the key light, you don’t always need to make it look like a soliloquy.) How do you operate F-stops when it comes to aperture? -​ The lower the number for the F-stop the more light comes in, the higher the number for the F-stop the less light comes in. -​ Or you can also say the lower the number of the F-stop the more the aperture opens up, the higher the F-stop number the more the aperture closes up. What are the Four Objectives of Creative Lighting? 1.​ To define the shape and texture of a physical form creating a sense of depth and perspective. 2.​ Create Mood (Ex: The lighting of a comedy vs Drama) 3.​ Imitate the Quality of Light Characteristics of a situation or setting in reality. 4.​ Separate a Subject from their surroundings and focus attention on one subject among many. What is S.M.P.T.E Time Code? (SMPTETC) -​ Society of Motion Picture and Television Engineer (Time Code) -​ A system that assigns every frame of video a digital identification code that can be used for consistent and quick reference by time code compatible edit controllers to produce gram accurate edits. What is the purpose of the S.M.P.T.E? -​ To make finding material easier (Command F dat shii) -​ Syncronizing material audio to video What are the two kinds of proessional editing processes? 1.​ Low Resolution/ Offline Edit -​ Highly Creative/ Time Intensive 2.​ High Resolution/ Online Edit- -​ Short Time/ Highly Expensive/ Meet high standard What is the two step process/ edit to start editing your video in Low Res mode? 1.​ Assembly Edit -​ Usually a compilation or one long mid-shot take of the scene. This allows you to create a timeline in which you get a general sense of the story/narrative you want to tell. 2.​ Insert Edit -​ You literally insert/ remove shots, using the script as your guide. What are the different types edit transitions? 1.​ Cut -​ Most commonly used form of transition, instant transition from one shot to another. 2.​ Dissolve -​ To fade from one shot to another with the other shot fading in, they intersect in timing briefly. 3.​ Fade -​ Fading in from black or fading to black. 4.​ Wipe -​ Having a line that goes from left to right, right to left, up to down, down to up, or other diagonal directions, to literally wipe the screen and transition to the next shot. 5.​ Defocus -​ To have the lens defocus and create a sense of foggyness. Production Crew Notes EXECUTIVE PRODUCER - responsible for arranging the financing that funds production. This financing would not necessarily be their own money or funds. The funding would come from studios, networks, and streaming services, such as Crave TV or Netflix's, who in term borrow from the banks. PRODUCER - most productions are 'producer driven. Which means, the producer comes up with the idea or concept to make a novel into a movie or TV series. They hire the key creative people, such as the screen writer, director, stars and connect with an executive producer to finance the production. They hire the production manager and through scheduling several meetings budget the production for the Executive Producer to approve. Once a production budget has been finalized, 4 people sign off on it, The Producer, the Director, the Production Manager, and the Assistant Director DIRECTOR - responsible for working with the entire cast and crew to capture their CREATIVE VISION for the production. It is the Directors creative vision everyone is aspiring to and working for on the production. PRODUCTION MANAGER - is the right-hand person to the Producer, hires all other crew members, such as the assistants, craft service, catering, drivers, production assistants, office personnel, accountants, and any other non-creative personnel the production needs. During the production, the production manager oversees the production according to the final shooting script, production budget and production shooting schedule. ASSISTANT DIRECTOR - acts as a righthand person to the Director, to assist in organizing all the necessary elements for the Director to direct a scene, such as having all extras on standby, the cast, specific props, and production equipment, like a Chapman Crane. DIRECTOR OF PHOTOGRAPHY (DOP) (also called CINEMATOGRAPHER and CAMERAMAN) - interprets the Directors creative vision using lenes, camera, and the unsurpassed mastery of creating light, shadow, color, and motion. Esthetically, DOPs embellish the Directors creative vision by painting it with light. DOP's work very closely with the Director. CAMERA ASSISTANT - organizes all the camera equipment in a proper manner and takes control of the technical functions of the camera in support of the DOP. Additional camera assistant titles on the camera team family are camera operator, focus puller, the slate clapper loader and camera assistant trainee. SET PHOTOGRAPHER - responsible for taking 'production stills' on set for promotional and archival purposes. These 'production stills' will be used to highlight and promote production in the entertainment industry media platforms. An example of the 'production stills' use would be in the advertisement release of a feature film, in newspapers, magazines and on social media. DATA MANAGER - responsible for operating alongside the camera team, all the hard drives to back up all picture and audio digital data so that it can be edited later. Picture and audio data is back up in full optimum quality. Such as if the production is shooting in 4K, the Data Manager will back all the picture data in 4K, even though the editing will be completed and master in 2k. At a future date, if the production needs to be remastered in 4K, they have access to the picture and audio digital data that is backed up on hard drives to 4K to achieve that. LOCATION MANAGER- responsible for scouting, selecting, and negotiating the rental terms to specific locations that the production needs to shoot in and or around. These locations are based on the locations that are listed from the production shooting script. For example, both exterior and interior shots around a farmhouse or an interior apartment with a balcony. ER - coordinating all electrical crew and equipment, such as lights, Is, electrical generators, step down transformers, power supplies, and sive cords and cables. The gaffes pick up all the lighting equipment from ntal house and deliver this to the production set or location. The gaffers heir instruction from the DOP.GRIP - responsible for helping rig, support and generally facilitate the camera shot that is in motion or not. They also 'flag' the camera lenes, making sure that no light from the production is causing glaring on the camera lenes which In turn would flare the shot and make the take unusable. The Grip takes their instruction from the DOP. SOUND MAN - responsible for the optimum on-location audio recording of the production sound, dialogue, and sound effects. All productions strive for the on-location sound to be the final audio for the production. BOOM OPERATOR - person who handles the long pole with the microphone attached called a boom. They hold the boom with microphone just over the actor's head to achieve optimum audio recording of the actor's dialogue. UNIT MANAGER - is production's executive accountant, making sure all the wages and production expenses are paid in accordance with the approved production budget. Unit Managers are usually hired by the Executive Producer and work very closely with the producer and production manager, to ensure that the production spending and payout falls in line with the approved production budget estimate. SCRIPT SUPERVISOR - responsible for maintaining a continuity report, to ensure that the 'facts' of the production remain consistent from one scene to the next. Failure in continuity can lead to glaring errors common in movies, such as an empty glass that remarkably refills itself in a subsequent scene. A mud-soaked shirt that is suddenly clean in the next shot. Also, these continuing reports are used for reference in the production as well in the postproduction. Such as the editor having access to this script continuity reports to assist in selecting the best takes for a specific scene they are editing. MAKE UP ARTIST - is responsible for ensuring the talent in front of the camera look their very best for the production. Sometimes this involves slight touches make up such as high lighting but can be also very detailed and extensive make up that represents a serious head injury that a production scene requires. SET DRESSER- responsible for items acquired to be on the set or location for shooting. Such as wine bottles, cups, glasses, cutlery, and plates. PRODUCTION ASSISTANT - responsible for taking on the supplementary tasks for all the production departments like the camera, sound, lights, production office, and locations. Production assistants take their instruction from the Production Manger and Assistant Director. EDITOR- is the individual or individuals responsible for organizing the footage and placing it into a final cohesive and comprehensive form. Which is the edited picture. They achieve this by adding and taking away footage as well as matching sound with picture in accordance with the shooting script. For example, taking the production's story and ensuring it has a beginning, middle and end. Their work is often of great significance to the overall success of the l production. Editing is also ranked as a cinematic art form. TARTIST- adds specific background sound effects to the production's picture. Such as footsteps, door closing, and glass breaking. The Foley achieve these specific background sound effects, by using objects such 5, pans as well as bending sheet metal to simulate 'thunder'. CRAFT SERVICES - responsible for providing coffee, tea, soft drinks, & water as well as meal snacks, such as bagels and cream cheese throughout the day for the production crew. CATERING - is responsible for providing the full course main meals, during the production's shooting day's scheduled breakfast, lunch, and dinner breaks. List of Technical Film Terms Arial Shot: A shot from above, usually made from a plane, helicopter or crane. Auteur: A director with a recognizable and distinctive style who is considered the prime author of the film. Back-lighting: Lighting directed at the camera from behind the subject, thus silhouetting it. B-picture: A cheaply and quickly made film used to fill the bottom half od a double bill when double features were standard. Camera angle: The perspective which the camera takes on the subject being shot. A low angle, high angle, or tilt angle are the three most common. Chiaroscuro: The artistic technique of arranging light and dark elements in pictorial composition. Cinematographer: The "director of photography", or "lighting cameraman", who is responsible for the camera technique and the lighting of a film in production. Crosscutting: Intercutting shots from two or more sequences, actions, or stories to suggest parallel action. Cutting: Moving from one image or shot to another by editing. Depth of field: The varying range of distances from the camera at which an object remains sharp focus. Deep focus: A technique that exploits depth of field to render subjects near the camera le far away with equal clarity. Dissolve: Frequently called "lap dissolve": a transition that superimposes a fade-out over a fade in. Establishing shot: A shot, usually a long shot, that orients the audience in a film narrative providing visual information (such as location) for the scene that follows. Expressionism: A literary or cinematic style which expresses the author's private vision or offers a distorted perspective on reality. Extreme long shot: A shot made from a considerable distance, sometimes as far as a quarter mile away. It provides a panoramic view of a location without camera movement. Fade-in: A technique for beginning a scene whereby an image gradually appears on a blacked screen, finally brightening into full visibility. Fade-out: The opposite of fade-in. Film clip: A short section of a film cut out of context, usually for the purpose of reviewing or previewing. Film noir: Literally "black film": a generic term for a type of film set in a sordid urban atmosphere that deals with dark passions or violent crimes. Many American thrillers of the late forties were of this type. Flashback: A shot, scene, sequence, or (sometimes) a major part of a film, inserted into the narrative present in order to recapitulate the narrative past. Flash forward: Like a flashback, a shot, scene, or sequence outside the narrative present, but projected into the narrative future. Frame: The smallest compositional unit of film structure, the frame is the individual photographic image both in projection and on the film strip. Full shot: A shot that includes the subject's entire body and exclude almost everything else. Genre: A category used to classify a film in terms of certain general patterns of form and content, such as the Western, the horror, the gangster, etc. Hand-held shot: A type of shot made possible by portable, single operator cameras. Highlighting: The use of extremely concentrated or fine light beans to accentuate certain parts of the subject. Jump cut: A cut that is made in the midst of a continuous shot rather than between shots. Jump cuts create discontinuity in the filmic time and draw attention to the medium itself, as opposed to its content. Long shot: A shot that generally includes the whole figures of its subjects and a good deal of background. Match cut: A cut in which two different shots are linked together by visual, aural, or metaphorical parallelism. Medium shot: A shot distanced midway between a close-up and a full shot. Mise-en-scene: Literally, "putting in the scene": a term that describes the action, lighting, décor, and other elements within the shot itself, as opposed to the effects created by cutting. Montage: Its simplest meaning is "cutting". Sergei Eisenstein, however, developed an elaborate theory of montage based on the idea that contiguous shots relate to each other in a way that generates concepts not materially present in the content of the shots themselves. Neo-realism: A post - W.W.2 movement in film making associated primarily with the films of Roberto Rossellini and Vittorio De Sica in Italy. It was a characterized by Leftist political sympathies, location shooting, and the use of non-professionals. Pan: Any pivotal movement of the camera around an imaginary vertical axis running through it. Post-synchronization: Synchronizing sound and image after the film has been shot. Reaction shot: A shot that cuts away from the central action to show a character's reaction to it. Scene: A rather vague term that describes a unit of narration. In film, it may consist of a series of shots or a single sequence shot in the same location. Shot: A continuously exposed, un-edited piece of a film of varying lengths. Soft focus: By means of lens, filters, special lenses, or even Vaseline smeared on a normal lens, the definition of a subject is blurred or softened, producing a dreamy or romantic effect (and often, making the actor or actress appear younger). Subjective camera: A technique which causes the viewer to observe events from the perspective of a character in the film, either empirically or psychologically. Surrealism: A movement in painting, film, and literature in the twenties; the term now suggest any fantastic style of representation. Swish pan: A pan that moves from one scene to another so quickly that the intervening content is blurred. Take: A director shoots one or more takes of each shot in a given set-up, only one of which appears in the final version of the film. Tilt shot: A shot made by turning the camera up and down so that it rotates on an axis running from left to right through the camera head. Tracking shot: A single continuous shot made with a moving camera. Wipe: An optical process whereby one image appears to wipe the preceding image of the screen — a common transitional device in the thirties. Zoom: A shot made with a variable-focus lens often used to create optical motion without tracking the camera.