TGJ4M_MMProduction_production

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=Production (shooting the footage)=

Production is the process of shooting your video. In the "real world", the costs of equipment, technicians, actors and sets can make this incredibly expensive. In your student productions, TIME and OPPORTUNITY are the "expense" - it's important not to waste either! A good director/production crew ensures things move smoothly to make sure there is a minimal cost in both actors, equipment and location rental (it costs $3500 to film in NY City - not including anything other than being there, insurance in an ADDITIONAL $1 MILLION).

Cinematography (picturez dood)[[image:http://1.bp.blogspot.com/_WckQavBHSmw/SZEm2l9zvrI/AAAAAAAACqg/POAyKUi7Z0Q/s400/dark-knight-interr.jpg align="right"]]
Cinematography is the making of lighting and camera choices when recording photographic images for the cinema. It is closely related to the art of still photography. Many additional issues arise when both the camera and elements of the scene may be in motion, though this also greatly increases the creative possibilities of the process. // source: [|Wikipedia] //

[|A must-watch about cinematography]

Every Cinematographer is going to ask their Director for the storyboard and create a shot list from it. This is a list of all possible shots from any (set of) camera(s) that will be needed to provide the raw footage for the shoot. The cinematographer is responsible for the technical aspects of the images (lighting, lens choices, composition, exposure, filtration, film selection), but works closely with the director to ensure that the artistic aesthetics are supporting the director's vision of the story being told. The cinematographers are the heads of the camera, grip and lighting crew on a set, and for this reason they are often called directors of photography or DPs. Here is a summary of all lists that a DP will want to take out into the field with them:
 * 1) Shot List (a list of all shots to be taken and from what cameras)
 * 2) Prop List (a list of all possible items needed for a set of shots, for a particular location)

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Lengthy - but a must-watch for those interested in film media type="youtube" key="KwtpJ3T8eK4" width="560" height="315"

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Lighting
In small productions (like you're doing now) lighting is managed by the the director, who likely is also the cinematographer, the producer, the screenwriter and actor. In reality, the 'lighting folk' are known as gaffers and grips ([|depending on their job]) Lighting plays a critical role in any film production. Without proper lighting the production can come off as amateurish and leave the viewer feeling like they're watching home-movies.

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When plotting out lighting, remember - 3point key lighting is a golden rule for most conditions. All it takes is a principal light source (often the sun, or a light fixture), an alternative (a reflective object to redirect light if you can't afford a 2nd light source) and the backfill to give the target of the shot a way of standing out from the background.

The //Three Point Lighting Technique// is a standard method used in visual media such as video, film, still photography and computer-generated imagery. It is a simple but versatile system which forms the basis of most lighting. Once you understand three point lighting you are well on the way to understanding all lighting. The technique uses three lights called the **key light**, **fill light** and **back light**. Naturally you will need three lights to utilize the technique fully, but the principles are still important even if you only use one or two lights. As a rule: This is the main light. It is usually the strongest and has the most influence on the look of the scene. It is placed to one side of the camera/subject so that this side is well lit and the other side has some shadow. || This is the secondary light and is placed on the opposite side of the key light. It is used to fill the shadows created by the key. The fill will usually be softer and less bright than the key. To acheive this, you could move the light further away or use some spun. You might also want to set the fill light to more of a flood than the key. || The back light is placed behind the subject and lights it from the rear. Rather than providing direct lighting (like the key and fill), its purpose is to provide definition and subtle highlights around the subject's outlines. This helps separate the subject from the background and provide a three-dimensional look. || // source: [|MediaCollege.com] //
 * If you only have one light, it becomes the key.
 * If you have 2 lights, one is the key and the other is either the fill or the backlight.
 * [[image:http://www.mediacollege.com/lighting/images/lighting-floorplan-key.gif width="200" height="177" caption="Key Light"]] || ===Key Light===
 * [[image:http://www.mediacollege.com/lighting/images/lighting-floorplan-fill.gif width="200" height="177" caption="Key and Fill"]] || ===Fill Light===
 * [[image:http://www.mediacollege.com/lighting/images/lighting-floorplan-back.gif width="200" height="177" caption="Key, Fill and Back"]] || ===Back Light===

Try [|this lighting simulation] to see how 3point lighting can affect your subject.

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Sound
Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the image on the screen. The entire sound track is comprised of three essential ingredients:


 * the human voice (production sound manager and boom operators on-set)
 * sound effects (can be both in studio and on-set)
 * music (usually all in the studio)

These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects.

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Fighting Tips
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1. Camera Preparation

 * Check the Batteries & Date


 * Ensure your SD card is empty
 * Make note of WHICH card you're using
 * Label your cards if you plan on switching
 * Check the Camera Settings
 * Set Widescreen vs Fullscreen
 * Make a choice - footage __MUST__ be consistent throughout your project, once you choose you will not be able to mix footage types.
 * Menu - Advanced - Widescreen (on/off)
 * Turn off Effects - Fade in/out etc.
 * If you want fades or other effects, do them in post-production instead

2. Shooting

 * Camera Mount
 * **Use a Tripod whenever possible**
 * **Use a "Steadicam" or "Dolly" for traveling camera shots**
 * Use Handheld only if necessary
 * Composition and Framing
 * Use your storyboards to remind yourself what it is you want the shot to look like
 * Provide about 5 seconds of LEAD IN and leave 5 seconds of LEAD OUT before calling "action"
 * Basic Photography
 * Fill the Frame
 * Keep the Background Simple
 * Arrange proper Lighting
 * Don't shoot with a light source in frame
 * Think of what mood you want and have a light source that reflects that style
 * Sound
 * You can edit OUT camera sound and replace it with voice-overs or captions
 * The mic MUST be within a few feet to capture dialogue
 * Some cameras may accommodate external microphones

3. B-roll
"B-Roll" footage is supporting, secondary video footage (or still images) that ILLUSTRATES what your interview subjects or narration are talking about. For instance - if an interviewee is talking about participants in the Terry Fox run, the B-Roll can actually show the people being talked about. The editing can "cut away" from the interview to show the B-Roll. An advanced technique is to allow the AUDIO of the A-Roll to continue overtop the video of the B-Roll, and then allow the video to return to the A-Roll again.

Use of B-Roll has the following advantages:
 * It can break a LONG clip up into smaller, more interesting segments
 * It can help ILLUSTRATE what's being talked about
 * It can disguise "Jump Cuts"

Finally - Remember the importance of the B-roll for shots as simple as this: [|Timecode - 16:35] Season 3 Episode 5 Creepy Candy Corollary.

[|MEDIA LINK]

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 =Assignment #4 - Mis-en-Scene=

Planning is key to any production. Good film is even harder when there's little-to-no dialogue. In a small production team you are to plan, storyboard, then produce (BUT NOT EDIT, other than trimming clips) a 45 second __**newsroom or documentary feel**__ mis-en-scene. I recommend static camera placements along with static lighting and sound. When shooting something like this, it's important to remember that often, shooting the same scene with 2 cameras at the same time is not only prudent, it's a good directorial move. There are a few criteria:
 * 1) You must show me your storyboard before signing out the camera(s) to shoot.
 * 2) You must show me your lighting plan before signing out the camera(s) to shoot.
 * 3) You must show me your shots and props list before shooting
 * 4) You may shoot for only 15 minutes maximum.
 * 5) You have only 1 period in which to 'edit' the clips into a final product (again, you can use various cuts and trim clips, but I don't want you processing the clips for colour or effects.
 * 6) **The one post-production effect you will use (aside from your transitions)** is that you will put your **piece's title** either at the opening, or shortly thereafter - this is included in the 45 seconds.

Your finished product will be rendered H.264 MP4 720p and we will showcase one final edit per group during a rough screening. While you are working in small production teams EACH PERSON must:
 * participate in the production phase (e.g. cinematography and/or lighting and/or sound)
 * __**edit their own reel and submit it**__

You will be evaluated as follows:

another person to create this presentation without asking lots of questions. || Storyboard and lists are missing many elements and are hard to read. One cannot tell what goes where. It would be impossible for another person to create this presentation without asking lots of questions. ||
 * **CATEGORY** || **4** || **3** || **2** || **1** ||
 * **Preproduction** || Storyboard and lists are easy to read and all elements are so clearly written, labeled, or drawn that another student could create the presentation if necessary. || Storyboard and lists are easy to read and most elements are clearly written, labeled, or drawn. Another person might be able to create the presentation after asking one or two questions. || Storyboard and lists are missing key elements or are hard to read with rough drawings and labels. It would be hard for
 * **Cinematography** || Angles and shot choices are well thought out and enhance the content. || Angles and shot choices show a degree of skill but some may lead to distraction away from the message of the film || Camera positioning and movement tracking are not well used to enhance the film. || Camera positioning and movement tracking are distracting and appear happenstance. ||
 * **Lighting** || Key lighting is used correctly to lead to a superior product. || Lighting is used correctly in most instances, yet could be enhanced in others. || An attempt was made to light the subject, but often incorrectly. || Little planned lighting is used, relying almost solely on ambient lighting. ||
 * **End Product** || The resulting Mis-en-Scene is a masterful result of lighting, cinematography and thought out screenplay. || The resulting story is obvious, but the occasional element of the technical work distracts the audience. || The story can be followed, though technical or directorial errors often lead the viewer to distraction. || There might be a story, but it is lost in a morass of errors and lack of forethought. ||
 * **Use of Time** || Used time well during each class period (as shown by observation by teacher, and documentation of progress in journal) with no reminders. || Used time well during most class periods (as shown by observation by teacher, and documentation of progress in journal) with no reminders. || Used time well (as shown by observation by teacher and documentation of progress in journal), but required reminders on one or more occasions to do so. || Used time poorly (as shown by observation by teacher and/or documentation of progress in journal) in spite of several reminders to do so. ||

NEXT: Post-Production