"The screen is a magic medium. It has such power that it can retain interest as it conveys emotions and moods that no other art form can hope to tackle." - Stanley Kubrick
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imdb.com.
In my theatre directories I have SPECTATORA or PUBLIC pages in order to remind student-directors that they have to examine everything from the audience perspective. Director is the FIRST viewer, the active spectator, who arranges the narrative on the screen for all of us. If you would keep it in your mind throught the whole process and all the stages of filmmaking, you will be okay.
Be simple. Use "common sense" -- do not assume anything. The biggest mistake is that what you have on the screen and in your mind is not the same! You must develop the "objective" viewing of your own films (script). I do not know what you know. Plaqy with this phenomena. This is the GAME of good storytelling. Especially, in film, where in fact your spectator is the actual storyteller. Make him into a good narrator. He is the one who puts your shots together!
Shooting
To shoot your film, you'll need a digital still camera with "movie mode," or a video camera (i.e. a camcorder). You can use an analog camcorder, but a digital camcorder makes things easier.
A digital still camera with "movie mode" generally records video clips of thirty seconds or less, but that's enough for a Ten Second Film.
For details on shooting and capturing digital video, this is a helpful article (avid.com).
Editing
To turn your video into a film exactly ten seconds long, you may need to edit it. You might already have video editing software on your computer — especially if you have a Mac with iMovie, or if you're using Windows XP with Movie Maker 2.
Other desktop video editing systems include Pinnacle Studio, Screenblast Movie Maker, or the professional grade (and more expensive) Adobe Premiere.
The shorts have their own "market" -- they don't make money, but your short films SELL you! Remember it. See Part 5 to understand the difference between the two commodies -- you and your films.
This is the biggest leap between making movies and being paid for doing it. Yes, often it has nothing to do with the movies at all, but since the quality of your filmmaking is the factor you can control -- stick with it.
But how does it work, Anatoly?
Well, this is not the subject of the film directing class, my friends.
Covered with the flowers,
Instantly I'd like to die
In this dream of ours!
[ haiku: Do you know how to shoot this "short" movie? ]
Write 1 page scenario for a short (3 to 6 minute) film
Write 3 to 6 page script
Shoot short film outside of class time
Edit short film outside class time
Screening of footage from project in class
Attendance and participation in group in-class shoots
2 page written assignment (credit students only) + 4 take home quizes (credit students only)
* In-class exersise: students shoot short film
* Guest Artist visits
* Writing assignment: Develop a 2-3 minute pitch for your screenplay.
* Writing assignment: Develop a 3 page treatment for your screenplay.
* Writing assignment: Write a 3 to 5 minute scene that reveals a pivotal moment in your screenplay.
* Writing assignment: Write a 10 minute sequence from any part of your screenplay
* Workshop: finished student scripts.
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Questions
Live and Cyber students! Use the cheklists and edit pages -- Ask yourself tough questions!
* The Feature Film Masquerading as a Short Film: If you've ever sat through a screening of student films, you'll notice that often the ones that are best received are the shorter films. Now it could be argued that this is due to the simple fact that they suck and less sucking is better than more sucking. It could also be because the audience is sitting through many many student films in one evening and appreciates the shorter ones because it means the whole thing will end sooner. In the short narrative film genre, every moment is precious. It's to your advantage to make your film short but sweet-- for one thing, shorter films cost less, take less time to edit, and allow you more time to focus on making your film as tight and well designed as possible. Ask yourself when writing (and editing) the film-- is this scene necessary? Is this moment necessary? What does it do for the audience? We call this The "Get In And Get Out" Principal. Don't cram a full length feature into the short film style. Do what your film needs to do and then get the hell out. Remember, longer isn't necessarily better. Less is more. [ http://filmmaker.com/DUMPS.html ]
SYNOPSIS--A brief story of the play--just enough to give a sufficient idea of what the plot consists. Must learn how to write them!
* The One Joke Film: A good short film has got to be a collection of good ideas, not one good idea stretched out for fifteen minutes. In any event, at least make an attempt to fill your time with stuff that's actually interesting to someone other than yourself. I don't know how many bad student films I've seen that are actually about the filmmaker's uninteresting life or contain vignettes that go on and on and on. Before you shoot, make a list of all the "good ideas" in the script. You should have lots of them.
Is it necessary to obtain a release from everyone whose face appears on camera? * By Benjamin Craig, filmmaking.net
The short answer... yes.
Privacy laws vary from country to country, but in most developed countries you need to gain permission from a person to use their image in a media project of any kind. If the person is considered to be a minor (usually those under 18 years of age) in the jurisdiction where you are shooting, you will normally need to have a parent or legal guardian sign consent on their behalf instead.
Legitimate news gathering organisations often have special exemptions from these rules as they are generally considered to be operating "in the public interest," but filmmakers (including documentary-makers) do not enjoy this exemption and must therefore get everyone who is recognisable in the film to sign a release form. Without the release, anyone who appears in your film may be able to sue you for using their image without permission, may prevent you from distributing your film, or may even demand a cut of the profits.
If you are shooting with actors or in a controlled environment, make sure you get releases signed at the outset. Leaving it until later on or after your shoot is a very bad idea - what if you lose contact with the actor or have a falling out? It's better to have the releases signed so at least you can use the footage.
If you are shooting on location, always carry some blank releases with you. It's best to try and avoid getting members of the public in your shots, but if it's unavoidable, it's worth trying to get them to sign a release (if you ask nicely, many people won't mind). If you can’t get a release, you'd better forget using that shot.
For documentaries (particularly involving crowds), releases can be a nightmare, but they are normally required none-the-less. Some ticketed live events may include a condition to agree to be filmed in a crowd as part of the terms of issue, but don't rely on this. You'll need to discuss access with the event organisers anyway, so you should also use this opportunity to find out more about the legal implications of filmming people in the crowd (something that should probably also be discussed with an entertainment lawyer).
In summary, unless you are an accredited news gathering organisation, you must get a signed release form for anyone who is identifiable in your film.
Tools & Planning from NAMAC
Capacity Building Support
Consultant for Hire Directory
Fundraising Toolkit
Strategic Planning Toolkit
Evaluation Toolkit
"Copyright law is observed at this festival. Any film that features copyrighted material (e.g.: music, images, speech, footage, and/or screenplay) must also submit written proof of permission for use from the copyright holder. Failure to include such proof automatically disqualifies your film for entry. While filmmakers may submit as many entries as they like, please be aware that each filmmaker may only have a maximum of 2 films screened at the Festival. Films completed as part of a class, (URO) grant, or thesis project are welcome and may be submitted as entries. Films that have been shown at previous Stanford Student Film Festivals are ineligible for entry." ***
more @ questions & etc.
making a short movie: