MCC Film Blog

Good thinking going on Peter and Kate ... these are exactly the kinds of questions to be asking yourselves. The persons you need to be discussing this with are the writer and director ... although Nick's message said the editors will have a lot to do with how the characters are perceived, by the time the editors get the film, your role is long finished. So, perhaps a bit on who does what.

1) Everyone serves the script. The script is the blueprint of the story that is trying to be told. It is the MOST important thing.

2) Next is the director. It is the director's job to CAPTURE the visual images that will become the film. This is why the film is the director's vision. Everyone works to support him in capturing the best images for the film.

3) Supporting the director most closely are production designer, art director, director of photography and casting director.

The PRODUCTION DESIGNER creates the physical world of the film ... the furniture, the pictures, s/he supervises the location scout in finding appropriate places to set this world and film it.

The ART DIRECTOR is responsible for the look of the film ... the colors, the composition, the color and construction of the objects, the storyboards ... if you look at each piece of film as a picture ... the art direction makes those pictures consistent, coherent, related.

The DIRECTOR of PHOTOGRAPHY uses the camera/cameras to capture the actual images of the actors in the environments. He/she works closely with the lighting crew (gaffer, grip) to make certain the images are captured, the context is complete, accurate and well-composed, AND that the subtext of the images is there for the editors in post-production. A good DP uses the camera skillfully and artistically.

The CASTING DIRECTOR finds the people to populate the world created by the AD and PD. These people must visually resemble the people of the story and be able to interact and behave in a related and intimate manner.

4) The SOUND EDITOR and/or SOUND DESIGNER capture the wild sound on set, supervise ADR (automatic dialogue replacement) and FOLEY (sound effects), supervise the creation of the score and soundtrack. Since most of the film is carried in the visuals, the sound department does most of its work in post-production with the sweetening of the film.

5) After the filming is complete, the EDITOR takes all of the pieces and the script and shapes it into the story. Sometimes the director participates in the editing but, more often, the editor answers to the studio executives and producers regarding the final shape of the film. One of the key negotiating points in director contracts has to do with who has the say of the "final cut."

ALL OF THESE ROLES are filled and begin in pre-production to ensure everyone is supporting the same vision. Some persons do the most of their work in pre-production (casting, location). Some are mostly production (dp). Others (editor) is almost all post production. So, anything about how the film will LOOK goes to the director.

Kate and I are working on a list of props and junk we'll need for scenes... One question we keep coming back to is this: what sort of person is Bill (or, to put it another way, how do we want to make the audience feel about Bill?). For example, if Bill's 'command center' is made up of walls full of Post-It (tm) notes, then are they neatly arranged (organized, methodical - a la One Hour Photo), or are they scattered everywhere, looking like a mess? How the scenes are laid out, and which props are used, will go a long way toward showing the audience who Bill is - maybe Kate and I need to work with the editors (who are these people?) before jumping into the scenery too heavily...

Looking forward to seeing shots of Bill's space tonight...

-Peter

I saw Project Greenlight. It is a very good show. It shows a lot about the process and how someone really needs to guide the first timers (like myself) through each step. I have bad news about the storyboards. We were not able to connect, mostly due to my schedule this week. I do have some good, high budget shorts to watch tonight. I would really like someone to consider themselves for the role of Director of Photography. You should feel confident composing shots, using the camera, etc. I would like to start working with this person, as well as the editors. The DP can be a great help in setting up shots and determing "the look" of our project. The editors can really determine how the story will be put together and how the audience percieves the characters.

Great job, Scott! After I signed off, I remembered that you were checking on the store for us. I recorded Project Greenlight last night. It was excellent! I'm going to show part of it in class tonight because it clearly shows the failures of the preproduction process (which is what we're all working on right now).

Hey, shot the grocery store, need someone to bring a DV camera to class so that the class can watch. If not I can give the tape to whoever needs it. It is not edited so bare with me on the results.

Greetings Filmmakers:
Postings are thin this week. Are you working hard or suffering in the Valley of the Stunned? I spent the last week in LA, generating leads for future projects. So I've been inspired, excited and cool.
As I recall, storyboarders are bringing the boards. Nick is bringing footage from the location for Bill's house. I'm bringing footage from the bus depot. Sets and costumes are bringing shots. Nick is also bringing the Fincher footage. We're going to come up with the shooting schedule. Anyone with anything to post ... probably too late ... just bring it tomorrow night. I invited Rayme and Travis to pop in. We'll see if they make it.

Hi everyone. Now that we have decided on a project, let's start making this film great. First, and most importantly, I would like everyone to think about what they can offer to the class project to make it something we can be proud of. If you are excited about audio, cinematography, color and design, etc. If everyone is ready on Monday, we can start thinking about who will be best at what position. Also, if everyone can start collecting anything to do with missing persons, namely those cards you get in the mail, we will start a collection area in class so we will be prepared when the shoot comes along. THE SCRIPT IS ON ITS WAY!

Good class last night.
As you’re all aware, we’ve decided to create a group project.
As a group, we’ve decided to do Nick’s “Missing Persons” script.
We have two main goals:

(1) that everyone will learn how to create a digital short film

(2) we will produce a short film of extremely high quality

Ensuring High Quality

• First and foremost, bring all your creativity, talent, commitment, skill to bear on this project. Focus on what will make it stronger. If you've never made a film before you are still a valuable contributor. During the next two class periods we'll concentrate on learning the equipment and software.
  
  
• Remember there are technical aspects to filmmaking and there are creative components. If filmmaking were simply a matter of learning hardware and software, many, many people would be making great films. It is the intangible creative component that elevates a film into the realm of something special.
  
  We have some new filmmaking people (Peter, Kate, Cindy S., Scott, Jared) who may not know the equipment well yet but they may very well bring the insights, subtext and depth to the story that propels it the furthest. Like The Promethean, the goal will best be met if everyone's talents are brought to bear. Steven Spielberg started out somewhere. Imagine if he were in your class and you had nurtured his talent. Where would you be now?
  
  
• Two intense lectures are planned for the next two class periods.
  
  
  • 6/23 — Digital photography lecture including
    
    Technical A: Setup, auto shoot, manual shoot, overriding depth of field, white balance, tripod, handheld, steadycam, power issues, lighting issues
    
    Creative A: Camera angles, subtext of shots, composing effective scenes
    
    Technical B: Importing DV into Premiere, FinalCut or iMovie
    
    Creative B: Subtext of editing, multiple camera angles, subjective time (Recommended reading: Walter Murch's In The Blink of an Eye).
    
    
  • 6/30 — Digital editing lecture including
    
    Technical A: Importing, sequencing, titles, transparency, motion, audio, exporting
    
    Technical B: AfterEffects intro for motion graphics
  
  
• Shooting Schedule to be determined but it is likely the weekends of July 5 and July 12 will be needed.
  
  
• There were a LOT of really great ideas presented in class. I would still like to see many of them made. Story ideas may be used in the fall semester or produced individually this summer. If you're passionate about the idea, don't let it die. Thanks for participating everyone!
  
  
• Pauline Cushman, a topic I am passionate about.
  
  
  »»»» Posted by Cyndi @ 9:13 AM

I like Cynidi's idea for the waterfall documentary... Rather than recreating footage of some knucklehead skiing behind a pickup, however, I'm wondering just how (im)possible it would be to get our hands on vintage home movies (after all, people who do crazy stuff like that do tend to document it - witness 'America's _______ Home Videos').

-Peter

Cyndi, you're BEAUTIFUL.

Hey, I have an idea. About a older man and his ordeal with a heart attack stroke or some type of trauma. He see's everything around him, but cannot speak nor can he hear anything that is going on around him. We can follow him around, in first and second perspectives. From when someone firsts finds him til when he makes it to the hospital. All of the feelings and experiences that he faces and the fear that he has to accept. I see it being shot in a blue - green tone and being very fast paced. I will talk about it more in class to answer any questions.

Scott Townley

Luciano, that's sweet. I can help edit. It sounds like you are getting some great experience. If our Nazi leader Cyndi OK's it, I would like to hear about the PVC dolley and zip line, etc. tonight in class.

Hello, just here checking the blogger.

Have you guys checked out the job links on the right side? I put them on my personal blog but no one has checked in there so I put them on here too. They're film and broadcast jobs. Also places of interest like Sundance and Netflix.

I will do any idea we agree on. I just heard about a local group of crazy people that are trying to bring back jousting. They use real lances, they actually break when they get hit, just like the movies. He spent $7000 on armor for himself and $10,000 on armor for his horse. Who wants to start a team?

The idea about teen pregnancies is excellent. To do it right will take about six years because you need to find three or four pregnant teens and follow them (if you want to have a compelling film). If you find people who HAD kids while they were teens and ask them about what happened, you get a talking heads film of people remembering how it went bad. If you follow 3 or 4 couples, maybe one will give you a good story. And, because you are following it in real time with them, you will see their earnestness, see the drama, be there when their naive hopes are dashed by reality.

Easiest way to post? Well, log into Blogger.com (tell it to remember you). Post your message then when you publish, have it open the page in a separate window and bounce between the two windows.
--OR-- Log into the MCCFilm page, read the new stuff, quickly scroll to the bottom with your three-button mouse and hit the blogger icon in the lower left corner. Follow same procedure as above.

Well, if you plan on sitting back and enjoying all of the money you made on documentaries, I don't think you'll be sitting in an Eames chair, if you know what I mean. I did set up a conference with the folks from the Discovery Channel on Monday morning so I should have some interesting news to report for class. Don't forget to propose a slant with your documentary idea. Like rock climbing in Sedona ... you might want to do a documentary on the trick to climbing in national parks ... protected areas, beautiful vistas, special equipment. Or the education game for teens, why so many high school kids are flunking out.

cyndi, thanks for the 'step-by-step' guide to filming documentaries, but didn't you leave out one step? you know, the one where you sit back and live comfortably on all the money you've made? ;)

Hey, Cyndi you said you needed ideas? How about a documentary about people and there relationships. Friends, family, and personal relationships. Also I am into rock krawling, with jeeps and other 4 wheel drive vehicles. How about a docu on that?

Can we finish the Indian Water Rights documentary this summer? That may NOT be possible. Shall we all propose shorter ideas? Things we could COMPLETE this summer? Why don't you guys offer some suggestions for shorter projects?

Areas for consideration

• Things around school
  
• Things related to art or famous artists
  
• Things related to filmmaking
  
• Things about cars, racing, insurance, driving
  
• Historical people and or events
  
• Music
  
• Advertising
  
• Reality show

Yes, it is very realistic to assume we will shoot something over the summer. In addition to a GROUP Project, it is feasible that each and every one of you could easily begin your own documentary film over the summer. Documentary filmmaking is a combination of research and data gathering. Data gathering primarily consists of shooting footage.

Documentary Process

One of the reasons many filmmakers begin with a documentary is that it is more affordable and more accessible film form. Unlike dramatic narrative, there is rarely a big production shoot concentrated into a few weeks. It's a steady trek to collect interviews and b-roll until you achieve enough critical mass to tell a compelling, coherent story. So, in my opinion, here's the process.

• Choose a topic you are VERY passionate about
  
• If you're very passionate, you probably know quite a bit about it already. Write all that you know about as your preliminary reference.
  
• Brainstorm ideas about how you could tell this story. Think of many slants (different approaches or ways of telling the story).
  
• Brainstorm visuals: interviews, b-roll, illustrations
  
• Begin your interviews. Capture key people immediately.
  
• Continue to research. Your interviewees will tell you things you didn't know and lead you to new points of interest.
  
• Record more interviews and more b-roll.
  
• At a certain point (it may be six weeks, six months or six years), you will achieve a critical mass. You have enough information to EDIT a compelling story.
  
• Edit your documentary.
  
• Distribute your documentary.
  
• Begin another project.

Notice that you can use HTML tags in your posts to emphasize key elements and make your post more visually interesting.

seriously, i like the idea of the native american water rights documentary very much. i am willing to do research - one thing i actually know a little bit about. however, if all i do is research, then i don't learn much about making films this summer (which would be, if not tragic, then certainly very sad). given the large scope of this (proposed) project, is it realistic to think we'll actually shoot something over the summer?
-peter

ok, i've been a little hesitant to bring up this idea, but cyndi is relentless... i was under the impression that the summer film class was about making low-budget porn - was i mistaken about that..?

This works for me!

Welcome to the MCC Film Weblog (Blog). You may post your ideas, thoughts and suggestions in this space. In this way, everyone can read the dialogue without having to open a million emails. I didn't get the largest space here so it's important that you avoid using large images and concentrate on mostly using text. Thanks ...