1. DIGITAL FILMMAKING

2. Session 1 Cinematic Storytelling

3. The Art of Engagement Grab Attention! Grab Attention! Hold Attention! Hold Attention! Change Feelings! Change Feelings! Change Understanding! Change Understanding!

4. Cinematic Engagement The Evolution of Cinematic Conventions

5. The Early Cinema

6. From Convention to Cinematic Language

7. From Language To Cinematic Literacy

8. Story So What’s a Story?

9. Story Elements The Building Blocks of Storytelling Character Character Place Place Time Time Plot Plot

10. The Cinematic Story Story: Dramatic Elements and Structure Story: Dramatic Elements and Structure Shots: Visual Elements and Structure Shots: Visual Elements and Structure Sound: Audible Elements and Structure Sound: Audible Elements and Structure Editing: Narrative Weaving of Shot And Sound Editing: Narrative Weaving of Shot And Sound

11. Story Structure The Layout of Story Elements Acts Acts Scenes Scenes Story Events Story Events Beats Beats

12. The Most Important Story Element! Significance!

13. Theories of Drama Aristotle’s Poetics

14. b.384 B.C. in Macedonia, a student of Plato b.384 B.C. in Macedonia, a student of Plato Was tutor to Alexander the Great Was tutor to Alexander the Great Aristotle’s analysis of Tragedy is the basis of contemporary Western Drama Aristotle’s analysis of Tragedy is the basis of contemporary Western Drama

15. Aristotle’s Definition of Tragedy “.. A tragedy is the imitation of an action, that is serious, … having magnitude, complete in itself in appropriate and pleasurable language…in a dramatic rather than narrative form: with incidents arousing pity and fear, wherewith to accomplish a catharsis of these emotions…” “.. A tragedy is the imitation of an action, that is serious, … having magnitude, complete in itself in appropriate and pleasurable language…in a dramatic rather than narrative form: with incidents arousing pity and fear, wherewith to accomplish a catharsis of these emotions…”

16. Aristotle’s Definition of Tragedy Realistic Realistic Important Important Must be complete never unresolved Must be complete never unresolved Must evoke “feelings” such as pleasure, pity and fear Must evoke “feelings” such as pleasure, pity and fear Preferably incident and action driven Preferably incident and action driven Should cause a “catharsis” or emotional purging in the audience Should cause a “catharsis” or emotional purging in the audience

17. Aristotle’s Elements of Tragedy Character Character Plot Plot Theme Theme Diction Diction Song Song Spectacle Spectacle A Dramatic Catharsis or Cleansing! A Dramatic Catharsis or Cleansing!

18. Aristotle’s Three Unities Unity of Action Unity of Action  Single Incident Unity of Space Unity of Space  One Place Unity of Time Unity of Time  One time

19. Organizing The Story Organizing Story Elements Acts Scenes/Sequences Story Events and Dramatic Beats

20. Act Structure All drama must have: A Beginning A Beginning A Middle A Middle An End An End

21. Act Structure Contd. Beginning : Act I The Exposition  Introduce character, time place  Sets up relationships  Act I ends with an event that disrupts the stability of the protagonist’s world the stability of the protagonist’s world

22. Act Structure Contd. The Middle: Act 2 The Struggle The protagonist is prevented from accomplishing or fulfilling their goals, desires and objectives The protagonist is prevented from accomplishing or fulfilling their goals, desires and objectives Ends with a Climax Ends with a Climax

23. Act Structure Contd. The End: Act 3 Resolution After the climax, the lives of the characters begin to resolve either happily or tragically in a new stable reality After the climax, the lives of the characters begin to resolve either happily or tragically in a new stable reality

24. The Scene A dramatic action or interaction in one place at one time! A dramatic action or interaction in one place at one time! Scenic interactions or incidents must themselves have a beginning, middle and end Scenic interactions or incidents must themselves have a beginning, middle and end A Sequence extends the idea of a scene by having the dramatic action in more than one place and perhaps more than one time! A Sequence extends the idea of a scene by having the dramatic action in more than one place and perhaps more than one time!

25. Story Events Scenes are made up incidents, actions and particularly interactions Scenes are made up incidents, actions and particularly interactions Whatever happens to the characters Whatever happens to the characters Significant Story Events are “Beats” Significant Story Events are “Beats”

26. The Pulse of Drama: The Beat Moments of significance in a scene Moments of significance in a scene Beats are moments of changing consciousness/understanding in the audience and the characters. Beats are moments of changing consciousness/understanding in the audience and the characters. Dramatic Beats- Changes in the audience’s understanding of the story Dramatic Beats- Changes in the audience’s understanding of the story Performance or Acting Beats- Changes in the character’s understanding of the situation Performance or Acting Beats- Changes in the character’s understanding of the situation Think of the moment a point is won during a tennis match Think of the moment a point is won during a tennis match Very significant beats mark the end of a Scene or an Act Very significant beats mark the end of a Scene or an Act

27. Sample Screenplay

28. Theories of Drama Contd. Freytag’s Triangle 5 Acts Structure Exposition Rising Action Climax Falling Action Denouement

29. Session 2: Visual Storytelling The Shot The Shot

30. The Frame Aspect Ratio 4:3/1.33:1 SDV Red 16:9/1.78:1 HD Green 2.39:1 Cinema Blue

31. Shot Names Long Shot (LS) Medium Shot (MS) Close Shot/Up (CS or CU) 2-shot Over-the-shoulder (OTS) Pan Tilt Track Dolly Zoom Hi Angle Lo Angle Normal

32. Visual Elements & Structure Frame & Shot

33. Long Shot (LS)

34. Extreme Long Shot (ELS) Establishing Shot

35. Medium or Mid-Shot (MS)

36. Close Up or Close Shot (CU OR CS)

37. Extreme Close Up (ECU)

38. Subject Size Long Shot & MLS Mid Shot & MCU Close Shot & ECU

39. More Shot Names: 2-SHOT

40. Over-the-shoulder Shot (OTS)

41. Audience Effect The Objective Camera Audience Effect The Objective Camera Audience Effect The Subjective Camera Audience Effect The Subjective Camera Audience Effect

42. LS. 2-Shot - Objective POV

43. MS-OTS Woman Objective POV

44. MS-OTS Man Objective POV

45. CU Woman Subject POV

46. CU Man Subjective POV

47. MLS 2-shot Objective POV

48. The Classic Hollywood Scene

49. A Scene Sample

50. LS/MS/CU Classic Hollywood Scene Exposition Long Shot - Beginning Long Shot - Beginning Mid-shot - Middle Mid-shot - Middle Close-up- End Close-up- End

51. Continuity Classic Hollywood Cinema Technique Classic Hollywood Cinema Technique Establishes Spatial Orientation Establishes Spatial Orientation Maintains consistency shot by shot Maintains consistency shot by shot Preserves the emotional empathy and involvement of the viewer Preserves the emotional empathy and involvement of the viewer Preserving the viewer’s suspension of disbelief Preserving the viewer’s suspension of disbelief Anything that breaks Continuity is “bad” Anything that breaks Continuity is “bad”

52. Continuity Example 180 Degree Rule

53. Scene Sample

54. Continuity: Eyeline Match

55. Continuity: Eyeline Match Cont.

56. Summary: Building Your Film Story Scenes built dramatically by beats Scenes built dramatically by beats Locate Beats by placing shots Locate Beats by placing shots Choose the right shots to show the beat Choose the right shots to show the beat Construct the scene with combinations of shots (LS/MS/CU) and Beats Construct the scene with combinations of shots (LS/MS/CU) and Beats Scenes built into Sequences if needed Scenes built into Sequences if needed Sequences into Acts (Freytag’s Triangle) Sequences into Acts (Freytag’s Triangle) Acts assembled into a full story or film Acts assembled into a full story or film

57. The Art of Engagement Revisited The Orchestration of Cinematic Elements to Engage your audience, hold their attention and then change them The Orchestration of Cinematic Elements to Engage your audience, hold their attention and then change them In this presentation we have talked about some Cinematic elements, the cinematic grammar, the narrative and visual building blocks of audio visual engagement. There are others, namely In this presentation we have talked about some Cinematic elements, the cinematic grammar, the narrative and visual building blocks of audio visual engagement. There are others, namely Sound & Editing

58. DISCUSSION EXAMPLES http://www.reelbiography.com/index.html http://www.swaggerfilms.com/index.php/corpora te-videos http://toppup.com/projects/http: www.point7west.com/cms/services http://www.jeffproductions.com/

59. Camera Perspective Telephoto Lens Wide Angle Lens Normal Lens

60. Wide Angle vs.Telephoto Image Wide AngleTelephoto

61. Camera Staging & Filming Technique Master/Coverage Shooting Overlapping Action Shooting

62. Screen Direction Helps Maintain Spatial and Visual Continuity: Subject to Subject Axis Camera to Subject Axis Axis of Action Continuity of Action Between Frames Frame Entry Frame Exit

63. Subject to Subject Axis 180 Degree Rule

64. Camera to Subject Axis

65. Axis of Action

66. Composition Rule of Thirds

67. COMPOSTION CONTD. Diagonal Lines/Depth

68. How to Shoot A Scene Fiction Summary Breaking down the Screenplay Storyboarding Marking the Screenplay Deriving the Shot list The Floor Plan Setting Up Shots: The Master Shot The Overlapping Master Coverage Shooting Numbering shots Using the Slate Preparing the Camera Report

69. How to Shoot A Scene: Documentary Camera A Roll and B Roll Lighting 3 Point Lighting For Interviews Natural Lighting Sound Microphones Interviewing

70. Lighting The Quantity of Light Contrast Exposure Gain The Quality of Light Color Temperature White Balance

71. Directionality: 3-point Lighting

72. 3-point Lighting Key Light

73. 3-point Lighting Fill Light

74. 3-point Lighting Back Light

75. 3-point Lighting

76. Lighting Shooting Without Lights Avoid bright backgrounds Change locations Outdoor Shooting Avoid mid-day shooting Use Sun as key Use Sun as Back with reflector as Key

77. Interviewing

78. Interviewing Tips Don’t read questions while they speak Don’t ask a question that provokes a single word answer If you need to, ask them to summarize their own answers Keep mental notes about good sound bites Ask one question at a time LISTEN!

79. Shooting Tips Stay steady and simple Use a tripod whenever possible Get in close Compose like a Still Photographer Don’t zoom Keep the background darker than the subject if possible Shoot pre-roll and post-roll

80. Shooting Tips Contd. Let subjects walk in and out of frame Think about editing the shots while shooting Time your shots- don’t roll for ever When you pan or tilt have a beginning and an end Documenting vs. Documentary: Be clear Slate your shots if you can The audience will tolerate bad pictures not bad sound

81. End of Session 2