SHOOTING LANGUAGE and CAMERA REPORT:

In shooting an action or dialogue scene the director says “CAMERA” which cues the camera operator , and something to identify the scene and the number of the take. The director then says “ACTION” to cue the actor. In sync films with FILM, a clapboard is used, because the sound is running independent from the film, and that clap allows the sound to be synced with the film later. In our digital video you might hold a small card with the information in front of the lens. (this is only necessary in a more complex movie with several scenes and locations) When the action or dialogue is done, the director says “CUT”, the cue for the actor to stop, and the camera to be turned off. The take which the director likes should be noted beside each scene in the shooting script.

This technique needs to be followed on all films. Get used to being very ordered about CAMERA, ACTION, CUT.

When you begin a tape, you must count to 15 before you begin to film. This gives you enough time on the tape for the transfer machine to back up and begin digitizing your
Scene. THIS IS VERY, VERY IMPORTANT. Otherwise you’ll miss the very first shot you take, and won’t be able to transfer it. Make sure while you are filming, you do not STOP your camera. Learn to put it on hold, without turning the camera off. By stopping the camera, you begin a new time sequence, which makes transferring the film a nightmare. Take your time, and try to remember.

One can edit movement to movement, or still shots to still shots. Give yourself the option by having all your dolly or pans go from still, movement to still. Give yourself a count of 5 before you begin your pan or dolley, and when you come to a halt give yourself another count of 5. Make certain moving shots that you intend to edit together must be filmed at the same SPEED.

Note the direction of the actors head when inserting close-ups. If the actor looks up, be sure you film the reaction shot (whatever he or she is looking at) from the actor’s point of view. If the actor is looking up, for example, then film the object looked at slightly from below.

These DIRECTIONAL problems--left, right, up, down, are extremely important if you want to be able to edit your film properly. They are difficult, and we will try to give you lots of practice learning them.

You may edit a front view and a side view quite easily provided they are not from identical distances. For example, it is difficult to edit a MEDIUM front shot, with a MEDIUM profile. Far easier is a MEDIUM front shot with a CLOSEUP profile or vice verse.

When dealing with actors, try to stay close in . Pull your close-ups VERY CLOSE to avoid sloppy negative space around their faces that will distract from what they are experiencing. Be very aware of the lighting on your close-ups: you want to sculpt the faces, and make the character look as good as possible. If you are going to do close-ups in natural light, think carefully about makeup.(everyone needs a little powder to get rid of facial shine) Get rid of facial blemishes (unless the character is supposed to have an acne problem).

Save your LONG SHOTS for your most exquisitely designed shots, dealing with PLACE and giving an overall feeling of the atmosphere and environment. Once established, then keep in with your actors closely.

THE MASTER SHOT & THE INSERT SHOT:

In many cases, the very best way to film is to film the entire set of actions in one take. This is called a MASTER SHOT, and you may use very little of it. But it establishes the action of your film, and you will thank yourself in the editing process. However, THEN you film the film the way you’ve thought of it shot to shot. But be careful to arrange the actor similar to the master shot, so the scenes can be edited together. Have one person simply pay attention to where the actor is looking, how he moves his hands, body, etc, so it can be repeated accurately. (this person is referred to as the SCRIPT GIRL, or SCRIPT SUPERVISOR)l)

Many of you have learned how difficult it is without a number of insert shots to help the editing problems. CLOSEUPS of faces, eyes, objects seen, help draw the viewer into the scene, but also helps you out of editing jams. This process of taking a lot of auxiliary shots of the same scene is called COVERING YOURSELF.

If you wish to have a consecutive shot be convincing you need to film it from moment to moment--cover yourself. Film the character entering the room from three viewpoints rather than one---a composed shot, a traveling shot, a closeup shot. This will give you flexibility in editing and gives you a chance to vary the shots of your movie.

SUMMARY:

By now you are learning how difficult it is to make a well made film. Believe me, regardless of how much you learn, it’s always difficult and time consuming because the situations and variables are always changing. The biggest problems students have so far have been:

1. Sloppy composition that leaves visual garbage in the frame (this will kill a shot, and you will have to go back and film again, so be on the lookout for it. Don’t be a victim of visual garbage--take time to move your camera to get rid of it, or ask your helpers to move the objects.

2. Compositions that don’t read because they are way too cluttered and don’t have a direct simplicity to them. (this has something to do with your lazy choice of rooms,light, etc. in which to film. Part of good film making has to do with understanding when a place will enhance a film, and when it won’t.)

3. Shots that can’t be edited together---actors don’t continue their actions, don’t leave the frame, don’t turn the right direction, don’t have a follow-up shot to finish the sequence.

4. Sequences that are flat because their is nothing visually arresting about them. Think about beautiful natural light, sources of light, reflections, or austere composition to compensate the ordinary quality of the place.

5. Actors reactions that only generalize the idea, but don’t come anywhere near showing the real impact or feeling of their actions. ( Everyone is bad at this so far. ) I would suggest you try to move through the emotional line of a scene shot by shot. What is your character thinking, feeling each time you observe him or her.

6. Your opening and closing shots. Remember, these must be the most arresting and dramatic in the film. Spend lots of time with the first image--it has to distinguish your film, and deserves a lot of attention. It tells the viewer two things---this filmmaker has an arresting idea so pay attention, or--ordinary and boring to the max.