Friday, 31 October 2014

Script Writing - Step outline

A step outline is a detailed telling of a story with the intention of turning the story into a screenplay.
The step outline briefly details each scene of the screenplay's story, and can include indications for dialog or interactions. The scenes are numbered for convenience. It can also be an extremely useful tool for a writer working on a spec script.
An example-
http://www.cristinaclass.info/wp-content/uploads/2012/09/Step-outline-1.png


My Step outline:- 


Begins with John sat at a B&B apartment on the edge of the bed. Building him up to leave. [John narrates to himself (as a type of audience leading to rhetorical questions) throughout the short and doesn’t actually have any dialogue-he instead narrates his responses that occur]. He narrates about the loss of his wife. Eventually John grabs his long thick coat and leaves through the front door onto the street.

FLASHBACK: John is making love to his wife, Lucy in bed, lighted subtly by candles. Its soft, passionate and a strong connection of love is apparent between the two. During the sex he narrates about his love for her, he makes it out that he practically worshipped her. They finish having sex but look at each other still. He narrates that he tells her he loves her. She tells him she loves him too.

John is now sat on a stool along a bar counter, he has a tumbler of whiskey in one hand and keeps his head down. He goes through 3 – 4 glasses of whiskey while sat there and everyone else in the bar just keeps to themselves and watches thee TV that is behind the bar; the sound from the TV is low but can be heard in the background. John puts the last glass down on the counter and stands up to leave the pub. During this he narrates about how she was perfect and that he thought nothing could go wrong. ‘She was perfect, life was perfect’

FLASHBACK: John is walking down a street over to his house, only the Bedroom light was on. He narrates how nice it he thought it was for his wife to wait up for him, he also states he told her he won’t be back from work until tomorrow. He enters his home and makes his way upstairs quietly, mentioning he wanted to surprise her. He enters the bedroom to find his wife shot to death and sprawled out on the bed sheets. Blood up the walls, all over the bed and looking pretty brutal.
John leaves the pub; the barman can be heard in the background thanking him for the business.  During this he narrates about why he felt he shouldn’t of told his wife he had to work so late; and starts to blame himself for her murder. He also mentions that it’s all ultimately Hanks fault, and he worked with him for years.

FLASHBACK: John is visiting Lucy’s grave at night, clearly drunk and holding a bottle of whiskey in his hand. His hat is keeping the rain off his face and his long coat is keeping him dry. He kneels down and places his hand on her gravestone very delicately and tears start to roll down his face. During this he narrates about how nothing is the same without her that he isn’t sure he can cope and that he is looking for the man responsible.

John is walking down one of the alley ways; it has next to no light and casts large shadows down the alley. John lights up a cigarette and takes a drag and exhales. He put the lighter back into his coat.
Man walks towards him and brushes shoulder. Man retaliates by turning round and pushing John to the floor. John gets up and swings for the man quickly and hits him clean. The man hits the floor and is out cold. John picks up his cigarette, relights it and continues walking. John narrates about how much his hand hurts and that he thinks it is broken.

His narration continues about keeping calm, and he needs to focus on what’s important as he turns down another short street. Down this street he starts narrating about how he felt sorry for Hank at first, he felt bad for Hank when he found out his wife was cheating on him.

FLASHBACK: John and Hank are sat on the bonnets of their cars in an otherwise deserted car park. There is empty beer cans around Hank’s car. Hank is drunk and angry, telling John he has just found out his wife was cheating on him and that he wants to kill the man who was sleeping with her. He also punches the bonnet of his car on occasion, visualising his frustration and anger. John narrates through this about him listening to Hank and offering him a lift home. John helps Hank into the passenger seat, gets into the driver’s seat and drives out of the car park.
John is walking down a busy street full of pubs and clubs. It is populated by couples leaving them and walking off in various directions. These people are loud and drunk but don’t contact John in any way. John walks down and past people quietly, he finishes his Cigarette and throws it away. He narrates about not letting Hank go home, he was too drunk and a history of domestic violence. He just wasn’t thinking about that, that night.

FLASHBACK: John pulls up outside Hanks house and puts the hand break on. Hank gives an appreciative nod and gets out of the car. He stumbles up the path to the front door and waves at John. He fumbles around with his keys and eventually gets into his home and closes his door. John can be heard driving off outside. John narrates he felt stupid letting Hank go home so drunk, he hoped she was out seeing another man tonight.

FLASHBACK: Hank rests against the back of the door he just shut. He sighs with relief; and slowly makes his way upstairs. He keeps hold of the banister and is carefully watching where he puts his feet. He makes it to the top of stairs when the front door opens and closes. His face clearly looks angry, turns and runs down the stairs yelling abuse at his wife. She panics and starts to back into a corner. Hank starts throwing punches and starts to strangle her, he does this for too long and ends up killing her; you see this happen as her body starts to lack self-defence and just goes limp. While the abuse happens John narrates about how much he regrets letting that happen, he could have prevented it.

FLASHBACK: (Back to John finding his wife dead) John stays strong and doesn’t get upset, although does look shocked by it all. He can smell cigarette smoke, but knows his wife doesn’t smoke. Noticing an ashtray on the bedside table he goes over to it and inspects the cigarette butt in it. John narrates about him only seeing this type of smoked by Hanks brother, Jamie. A note is beside the ashtray which he picks up and reads. “He lost his wife because of you; it’s only fair you lose yours. Signed J.B” Police sirens can be hear in the distance and getting closer. John leaves the scene. He narrates about it’s definitely Jamie and he is bragging about it, he even tried to set him up.
John turns off from a noisy street down a quite side road, the noise goes distant. When walking past the lap dancing club; one of the Dancers is stood outside the club and tries to entice John inside for one of her ‘private shows’. He ignores her and keeps walking down the road. John narrates about being half way to their; and that he was glad to find Jamie. He waited for the right moment to strike, and found it.

FLASHBACK: Jamie is tied up to a chair in an abandoned factory/container with open doors. John’s car is park just past the doors with the lights flooding in, causing Jamie’s vision to be minimal. John walks into the path of the light to Jamie can roughly see him (still squinting) John narrates about what he is asking Jamie as he hits him. Once Jamie admits he killed Lucy, John places a gun to his head pulls the trigger; the force of the shot pushes the chair onto its back and leaves Jamie tied to it. John starts walking away; narrating how he is half way there. One last loose end.
John is now walking through the start of a residential area. A man passes by walking his dog, but no glances are exchanged. John is starting to hug himself a little bit to keep warm; this can be seen by his breath. He lights up one more cigarette for the night. He narrates about this is his only chance to end it, isn’t it? And how he feels responsible for it. (At this point he punches a wall).

FLASHBACK: John is laid on his bed in his Bed and Breakfast room; a lamp on the bedside table is on illuminating him a little. He narrates about the police might not of been after him, maybe he just panicked, he also narrates about feeling like he kick started it all; that he shouldn’t of let Hank go home that night. He starts to read through some old letters Lucy had sent him while he worked away, he starts to narrate about these and apologises to his wife.

John narrates about being so close; while walking past a street full of houses a variety of lights are on, on these houses. He narrates about feeling sorry for the situation Hank was in; but Hank brought this on himself abusing his wife so much. It would have been much different if he managed to catch her in the act with another man. Hell he nearly did.

FLASHBACK: John is having sex with Hanks wife in their (Hanks) bed. They climax and John slowly climbs off and lays next to her on the bed, they’re both breathing heavily. John reaches other to the bedside table, takes a cigarette out the pack and places it in his mouth. Hank’s wife mentions that Hank will be home soon and that he doesn’t have enough time to smoke. John puts his clothes back on, and leaves the bedroom. During this he narrates about nearly getting caught, that it’s all his fault.
John reaches Hanks house and the living room light is on. The T.V. can be heard from outside. A hard shadow is cast against the curtains/ blinds of Hank sat in his chair, the light changes frequently due to the T.V.   John pulls out a gun from inside his coat and puts his hand back down to his side. He walks up to the door and rewraps his fingers round the gun. He lets himself into the house and Hank doesn’t notice. John narrates about loose ends and closure; apologising to Hank and Lucy.

John’s shadow appears in the window showing the action that happens with in. He raises the gun to Hank and shoots. John narrates about loose ends and that he is sorry for everything. That is almost done. John raises the gun to his own head, and repeats narration.

Cut to black. John narrates he is sorry once more. A gun shot can be heard.

THE END


Script Writing - Narrative Structure

Narrative structure, is described as a structural framework in which a narrative is presented to a viewer. The text structures are the plot and the setting.
The narrative structure of any work has to contain a plot, theme, and resolution. It can also be divided the three-act structure known as setup, conflict, and resolution. The setup is where the main characters and their situations are introduced, and contains the character's backgrounds and personalities. A problem is introduced, which is what drives the story.
The second act, the conflict, is the bulk of the story, and begins when the catalyst sets things into motion. This is the part of the story where the characters go through major changes in their lives as a result of what is happening; this can be referred to as the character arc, or character development.
The third act, or resolution, is when the problem in the story boils over, forcing the characters to confront it, allowing all the elements of the story to come together and inevitably leading to the ending.
An example is the 2014 Guardians of the Galaxy, the first act takes them up to their imprisonment in the Kyln. Here the main characters interact with each other and start to form bonds. The second act starts with their breakout of the Kyln and try to sell the infinity gem to The Collector at Knowhere. This in turn causes an active conflict from Ronan, the main villain of the film. This has a direct effect on the group learning to stick together and learn the value of friendship as their bonds continue to grow. The third act is ultimately an all out attack on Ronan to stop his plans. They succeed in the end, thus becoming 'Guardians of the Galaxy'.

Thursday, 30 October 2014

Script Writing - Mise-en-Scene

Mise-en-scène is an expression used to describe the design aspects of a theatre of film production, which essentially means "visual theme". Mise-en-scène refers to everything that appears before the camera and its arrangement of actors, compositioncostumes, props, sets, and lighting. 

The elements of design help express vision by creating a sense of time and space, and mood. Mise-en-scène also includes composition, which includes the positioning and movement of actors. This also includes objects, in the shot.

The director and production manager work closely to get all of the aspects of the mise-en-scène a considerable amount of time before any filming begins. The production designer is responsible for the general of the film, leading departments that are in charge of sets, locations, props, and costumes etc.

To some, it refers to all elements of visual style. Both elements on the set and aspects of the camera.

Production Skills - Cameras

XL H1

Canon XL H1

Professional 1080i HD production with XL versatility.
Shooting HD at 1080i with selectable frame rates (50i/25f), the versatile 1/3" 1.67 Megapixel 3CCD XL H1 features a new 20x HD VIDEO lens, HD-SDI output, Gen lock input and Time code input/output.

  • Professional versatility for 1080i HD
  • HD-SDI out, Gen lock in, Time code in/out
  • 20x HD VIDEO lens
  • High resolution 1/3" 1.67 Megapixel 3CCDs
  • DIGIC DV II
  • Full CINE and image control
  • 4 channel audio line-in
  • 60i/30f/24f (option)
  • CONSOLE software (option)






Panasonic AG-DVX100B


• 16:9 Aspect Display Mode on EVF and LCD for distortion free Squeeze Mode or Anamorphic Display
• Higher resolution 235,000 pixel .44"" BW/color switchable electronic viewfinder (EVF) with superimposed audio metering
• Higher resolution 210,000 pixel flip-out 270 degree 3.5"" LCD display with superimposed audio metering
• Remote focus and iris control with optional VariZoom controller(s) and others
• LCD panel has a bit of a break-away beyond the 90 degree point
• Single Button Display Character Off for LCD and EVF
• What you see is what you get on LCD and EVF
• Scene files transfer over FireWire
• Time code transfers over Firewire
• 1/3"" 3-CCD Mini-DV camcorder with exclusive CineSwitch™ technology
• Rugged magnesium alloy diecast chassis
• Outstanding sensitivity of F11 @ 2000 lux
• Supports 480i/60 (NTSC), Cinema-style 480p/24fps, and 480p/30fps image capture
• Precision wide-angle Leica Dicomar lens with Servo/Manual Zoom (with stops & barrel markings)
• Auto/manual focus F1.6 with 72mm filter size and advanced optical image stabilization
• Conventional 4:3 aspect ratio and 16:9 letterbox image capture modes
• 16 x 9 anamorphic – letterbox and digital squeeze
• Conventional video gamma and CineGamma™ operational modes
• Seven gamma settings – L, M, H, CINE-LIKE, + CINE-LIKE D, CINE-LIKE V, Black Press
• Four knee settings – Auto, Low, Mid, High
• Four color matrix settings – Norm, Enriched, Fluor, Cine
• Three vertical detail level settings in progressive mode – Thin, Mid, Thick
• Up to +12dB gain in progressive mode
• 2-channel XLR audio inputs with phantom power supply (+48V) and manual audio levels
• S-Video, Video & Stereo Audio IN and OUT
• Standard IEEE 1394 FireWire interface (in/out) for transfer of digital video/audio to NLE platforms
• One Shot recording capability
• Unique pre-cleaning heads and auto head cleaning to maximize reliability
• Well balanced and highly portable: 4.4 pounds in full operating condition
• Longer-lasting 5400mA standard battery
• Slow Shutter – 24P – 1/6, 1/12, 30P – 1/4, 1/8, 1/15, 60i – 1/4, 1/8, 1/15, 1/30
• Edge enhancement for easy focusing – Peaking (switchable on/off) in LCD and EVF
• Auto focus assist in progressive mode
• Built-in SMPTE color bars in interlace and progressive modes
• Three user-programmable buttons are assignable to any one of 11 functions
• Color drop-down display mode for menu choices
• End Search Camera function – no longer necessary to go to VCR mode to search up to the end of the recording
• Menu change on Tape Protect to read Power Save
• MOD (Minimum Object Distance) – 0.6 meter
• Two zebra settings – 80-105%
• CineSwitch™ Scene File Dial is more protected from unintentional changes
• Slower middle zoom speed
• Color level, brightness and contrast adjustment – separate LCD and EVF settings
• More sensitive on-camera microphone
• Audio off tape or live E-E for delay free (echo free) monitoring (menu choice)
• Speaker position has moved to top of camera (was behind LCD)
• Heavy-duty tripod connection
• Black Sapphire color, Barrel Paint is textured to reduce fingerprints
• ROHS compliant manufacturing assuring environmentally correct parts and methodology



These are to refresh my memory when needed.


Information from:

Monday, 27 October 2014

Loc Doc Drama - Location Hunting

Location for the Georgie Shots. I found this a short walk away from University. a place called Lynn Street. It was ideal and confirmed to be used for the shoot.


Sunday, 26 October 2014

Loc Doc Drama - Transcript

Pennywise: Hiya Georgie,
Aren't you gonna say hello.

(Georgie shakes His Head)

Pennywise: awwww, C'mon Bucko Don't ya wanna a balloon.

(Georgie Begins to reach for the balloon and then stops halfway)

Georgie: I'm not supposed to take stuff from strangers, my dad says so...

Pennywise: very wise of ya dad Georgie, very wise indeed but i Georgie, am
Pennywise the dancing clown and you are Georgie, so now we know each other,
CORRECT!

Georgie: I guess so, I gotta go.

(Georgie starts to get up then stops once Pennywise talks)

Pennywise: GO! Without this.

Georgie: My Boat!

Pennywise: Exactly, go on kiddo, Take it, awww you want it don't you Georgie, Of
course you do and there's cotton candy and rides and all sorts of surprises down
here, and balloons too, All Colours.

Georgie: Do they float.

Pennywise: Oh yes, they float... Georgie
They float and when you’re down here, with me, YOU'LL FLOAT TOO!!

(Pennywise grabs Georgies hand and Georgie Screams)

Wednesday, 22 October 2014

Loc Doc Drama - Production Meeting 2

PLANNING & ACTION MEETING NOTES

Programme(s) or meeting purpose:
Date: 20/10/14
Time: 14:32
Place: Computer Room
Present: Simon, Steven, Chloe, Mikey, and Jacob
Programme Leaders: Di and Mike
Student Reps: (if applicable)

NB: see final page for actions arising



Action
1
Apologies

N/A
2
Chair’s opening remarks


3
Previous minutes

N/A
4
Matters Arising


5
Jacob not confident with camera as of yet…

Jacob
6

Child to play “Georgie”, we need to find someone suitable
Simon and Steven
7

Need to find location, or even dress a set
All Crew
8

Make up for Pennywise
All Crew
9

Closing Remarks, everyone happy
All Crew
10



11



12



13



14












ACTIONS ARISING FROM:

Meeting:                                                                                         
Date:



Action
Name
1.             


2.             


3.             


4.             


5.             
We will all do experiments with each piece of equipment we use to be sure that we know what to do when we shoot

6.             
Simon and Steven will look for a suitable actor and talk through the lines and make sure he has a chaperone

7.             
The whole crew will be looking for a suitable location and if worst comes to shove we will design and build something in accordance with set design

8.             
Whole crew will be on the lookout for suitable make up and costume for Pennywise to make him look as screen accurate as possible

9.             


10.