All pre-production must include a risk assessment, this would normally be the task of the producer. You are going work on this together.
Reflect on the briefing in the LT on Thursday @ 10.30 (in retrospect if you like):
Consider all the possible risks of working in an abandoned bunker, underground, with concrete edges (at head height), with little and big steps, some of which are wet! It’s also going to be dark! You will be filming panic and frantic action, what is that action…? Running…
…ARE YOU NUTS!!!
You must really think about this and foresee any possible risks and how your are going to make sure that risk doesn’t turn into injury, accident or spoiling other peoples shoots!
Please read and familiarise yourself with this document.
Remember it is essential that you test your success so far against your creative intentions. See this previous post if you have ‘forgotten’ what your creative intentions are.
So far we have done the following tasks within three production roles:
Screenwriting
You developed an understanding of German Expressionism and it’s impact on the horror genre. Especially in relation to the monster.
We developed an idea from a given circumstance, ‘What if.’ As well as using other stimulus materials, like moodboards and music / sound.
We used the screenplay format to write the opening sequence of a horror film.
You’ve worked with a fellow screenwriter to collaborate on one script and have redrafted it (you can only make this claim if you actuality did redraft the script as a partnership and made significant amendments)
Directing
Worked with the cinematographer on story-boarding the sequence this should have taken into consideration framing and narrative importance.
You have worked with your actors to explain, explore and develop the characters.
You have worked with the cinematographer on blocking.
You (will) have overseen the cinematography and worked with your actors to film the sequence.
Cinematography
You have worked with the director to develop ideas on lighting, framing and composition in the storyboard.
You created a shot list of 30-50 shots, which prioritise the shoot and ensured you are filming to edit.
You have setup lighting and camera for each take in collaboration with actors & the director.
The Reflective Journal
All of this work is excellent evidence for your reflective journal.
Please unsure that you keep your journal up to date with all your pre-production documents and reflections.
Also ensure that you do REFLECT! Which means:
‘What have I learnt?’
‘How did I learn it?’
‘What did I learn from my successes and failures?’
Also please remember to reflect on the shoot and if possible take photo evidence of you in action during the shoot (you could give this role to a (minor) role).
TASKS
Please see updated blog league for specific posts and evidence to be uploaded.
Here is the list of planning documents that you will use over the next few days in order to prepare for your shoot next week.
Extended Step Outline – use this to fine tune your scene and establish the important narrative information
Storyboard – Use this document to visualise each shot. How are you going to frame each shot and how do you see your edit developing (match on action, eye line match, shot reverse shot, 180 degree rule, reaction shots, close ups on key objects…) Here is a document which explains the function and design of a storyboard.
An alternative to the very formal storyboard, which can be inflexible. Is to create a postit note storyboard. Each postit note is a shot, which contains your shoot planning ideas. You should mount these in order on a large (A2) piece of paper. This method allows you to make changes to your storyboard. Here is an example for a music video.
Shot List – Use this to plan out your filming. Use it later to organise your shoot so that you film your film in a practical order.
Production Meeting Agenda – Use this document as a discussion and organisational document. Who is going to bring which props and costumes. Also, who will film what and when.
Please complete this document with requests for mise-en-scene that you are not able to provide as a group. Adding requests to this does not guarantee that you will get the item of costume or prop, so you must also enter a discussion with Mr Gregson or Miss Hales about whether it can be found.
As we know the screenplay is a visual script and the really successful ones are those that allow an image to be painted for the reader – so that they can SEE what the screenwriter is intending.
This week we are going to spend time developing the idea and redrafting the script. By the end of the week you should have agreed a final draft to use on shoot.
This is a shared visual document which is used to help the production team work up an agreed vision for their film. The moodboard should contain:
characters
framing and lighting ideas
settings (this will be available from the Mirus Battery at Le Hougette later this week
props
costumes
Here is an example from a previous student. You should be aiming for at least 20/25 images and you can present these as below or in a one page collage.
Redraft the script.
Based on your shared work this week redraft the script.
The Pitch
When you have completed this work you should:
Pitch your ideas to your teacher
Upload your work into the screenwriting section of your reflective journal
Discuss the film / sequence ideas that spring from those items
Independent Study.
Write the first draft of a screenplay based on one the ideas you have been attracted to in this lesson. You should aim for about 2 -3 pages of script. Any longer and it may well be longer that 2 -3 minutes of film time.
This is the brief for your first full film sequence.
‘The opening sequence (approx 2-3 minutes) of a new horror movie.’
Your creative intentions should be clearly identified at the outset and your reflections throughout and once complete will be based on them. You must also reflect on your developing understanding of your production roles.
You must always keep a record of the production process and upload evidence of your work throughout (at least once a week) to your reflective journal
The creative intentions may be drawn from this list and you should identify 3-5. You may choose others or modify these as you wish.
Create a sense of…mystery, suspense, horror, intrigue…around a given place.
Introduce a monstrous character or presence.
Introduce a…tense, frightened, oblivious… victim.
Build the sequence to a shocking/scary crescendo.
Use specific cinematography techniques from German Expressionist film making.
Use montage editing to develop a sense of place and/or compress time.
Use continuity editing to make sense of a characters (inter)actions.
Design costume and props and dress the set to create a sense of….abandonment, corruption, decay, threat…
Your creative intentions may depend upon you production roles. You will be working in pairs and will be required to adopt at least one production role from each of the three main stages of production:
Pre-production (planning):
Screenwriter &/or storyboard artist
Production designer
Producer (both)
Production (filming):
Cinematographer.
Director.
Sound recording.
Producer (both)
Post production (editing):
Visual editing.
Foley sound designer
Sound editing
Music composer
Producer (both)
Task:
Define each of these role in terms of the tasks they will be required to undertake during that particular stage of production.
Update the definitions in your reflective journal under the main headings:
There are two possible essay titles for your video.
How and with what effect are specific film elements of German expressionism used within a contemporary horror film?
This essay is asking you to define German expressionism as well as explain how this film movement had a distinctive visual style; you should use scenes from Nosferatu to illustrate your ideas.
You should use some contextual detail from the period/culture in Germany to explain how Expressionism came to the fore.
In the second part of the essay you should use Let The Right One In to show how that style is still used in horror movies today.
From Nosferatu to Eli. How has the representation of the vampire changed to suit contemporary values, attitudes and beliefs?
The second essay asks you to explore the representation of the two vampire characters. Remember the key to a representation essay is twofold:
What ideologies (values, attitudes, beliefs (fears)) from the period / cultural that made the film are communicated through these ‘monsters’.
How is this ideology communicate through micro features in key scenes.
The work we have done over the last few weeks was designed to help you answer these questions:
The means that you need to plan your video essay and bring together all the materials that you are going to use to answer one of the two questions.
Review the research we conducted last week.
What ideas (quotes) do you want to drop in to your video essay?
You should aim for 3-5 quotes ideas taken from your research
Make sure you reference the name of the book and author in the essay.
You must also compile a bibliography for your essay (a list of your research sources), which you should submit next to your essay in your Reflective Journal.
Select the examples from the films that you going to use in the essay?
Choose 2-3 scene from each film and within those scenes select approx 15-30 second clips.
What terms do you need to use to describe these examples?
What is the meaning implied, suggested or illustrated in your example?
How will you link the TEAS to the significance?
This means going back to the question, which should be at the top of your video essay & bibliography.
You should have written a script before you edit. You will be recording this script later this week and will be editing to the script.
In your final video essay, which compares our two films you need to show that you have done some independent research.
From IB Film Specification:
‘Each student carries out broad research, using both primary and secondary sources, in order to investigate possible areas of film focus and films for comparison from within the areas of film focus, using materials from a range of sources, including original films, critiques, publications and other media.’
In the assessed coursework you should do this research entirely independently and should aim to have between 8-12 sources. These sources will be made up of a combination of:
Your two chosen focus films
Books on your film focus or chosen films
Critics Reviews
Magazine and Newspaper Articles
Video Essays
Podcasts
Websites & Blogs
For this practice unit we have provided some research materials that we would like you to quote from in your video essay. We are also going to go to the library later this week to find book.
Task
In pairs divide and conquer one of these resources, which will be allocated to you by your teacher.
Find 1-3 quote(s) from the source, which you think are useful in developing your understanding…
…the context of the film movement
…the film genre (vampire horror)
…the cinematic style (micro features) of our films
Today we are considering cinematography & sound design that is conventional (typical) of horror films.
We will watch Suckablood (BC Horror) in class and use this to consider how the cinematography & sound is typically ‘horror’.
We are seeking to understand how German Expressionist cinematic techniques were the blueprint for horror films.
Task
In pairs, one of you will be exploring cinematography:
Framing
Compostition
Angle
Movement
Lighting & Colour
Whilst the other considers sound design and music:
Diegetic
Foley
Dialogue
Non-diegetic
Music
Sound Effects
The Video.
Make a short montage in Premiere Pro, which uses titles to identify specific features of cinematography and/or sound, which are conventional of horror.
You should aim to find 3-5 examples of sound and 3-5 examples of cinematography
This means the video should be either silent, showing a feature of the cinematography. Alternatively the video should show a still of the scene or a title card and analyse the sound which you are describing as conventional of horror and/or influenced by German Expressionism.