• You will need to think about how you will convey your concepts and engage with the audience.
  
• Think about the appropriate genre as a vehicle to carry your ideas and concept(s). Decide whether it will be a documentary, based on observational or essay style, or dramatization which falls into the thriller or comedy style, for example.
  
• Consider the style of the film. Will you be working within filmic conventions or breaking them in the production of your film.
  
• Convey your ideas within the film clearly and strongly.
  
• Convey your ideas within the film clearly and strongly.
  
• Remember what you have to communicate your ideas and concepts within 7 minutes (including credits).
  
• Feedback is important. It is worth showing your film to others and asking them their opinion on how well your film conveys your ideas and concepts.
  

This relates to how your film is developed in all its stages: from original concept to finished product and all the stages along the way.

1. Pre-production: This relates to the progress of the film from initial ideas to the development of the script. Pre-production attempts to map out what the film will look like in terms of scenes, the dynamic flow of events and the development of the story. In pre-production it is important to consider:

• Development of a script.
  
• Choosing an appropriate genre.
  
• Selecting locations (remember the shooting brief list!).
  
• Thinking of the stylistic look through image and sound.
  
• Selection of actors.

2. Production: relates to the actual “filming” of the film, from the use of the camera to the establishment of continuity during the filming process. If you’re organized and have made appropriate plans, you should be able to minimize the production of your film. In production, it is important to consider the following:

• Development of scenes
  
• Development of characters and/or action

3. Post-production: deals with the final construction of the film in which the style, action and characters come alive. Editing is the most important aspect in post-production as it shapes the efforts of your filming (which are called “rushes”) into a refined and finished work. Good editing ensures the flow of the film and the its storyline. It also provides a distinctive look to the work, the unfolding of events and character development. You should be considering the following points in post-production:

• Continuity of scenes.
  
• Variation of camera angles to create film movement.
  
• Use of special effects.
  
• Thinking of the stylistic look through image and sound.
• Inclusion of sound and music (ensure that copyright is observed).
  
• Inclusion of titles & credits outlining all who assisted in the making of your film and their roles.
   
  

1. Basic Vocabulary

• FRAME – one transparent photograph in the series, printed on a length of film.
• SHOT – a number of frames which have been taken, either actually or apparently, in one uninterrupted running of the camera. There is no restriction on length e.g. 1 second, 3 minutes etc.
  
• SEQUENCE – the main division of a film. It is comprised of a succession of shots, concerned with the development of one subject or idea. Again there is no restriction on length e.g. 1 minute, 5 minutes, 20 minutes etc.
  
• STAGE – also known as an episode, this is composed of a number of sequences linked by time, subject, setting etc. The use of the term stage can be thought of in the following terms: a sequences has a similar function to a paragraph and a stage is similar to a chapter.

2. Camera Positions

• LONG SHOT (LS) – a shot actually or apparently taken with the camera at considerable distance from the subject. Some of the uses of the long shot include establishing the setting, indication of size or expanse, create a feeling of isolation, cause the viewer to feel detached from the subject.
• MEDIUM SHOT (MS) – a shot actually or apparently taken with the camera closer to the subject, but not so close as to exclude some of the surroundings. In relation to the human body – from knee/waist up. Some uses of the medium shot include observation without involvement, indicate an attitude of neutrality.
  
• CLOSE UP (CU) – a shot actually or apparently taken with the camera close to the subject. In relation to the human body – head. Some uses of the close up - show details, create emphasis, establish a felling of intimacy.
• EXTREME CLOSE UP (XCU) – a shot actually or apparently taken with the camera extremely close to the subject. Some feature of the subject fills the frame. In relation to the human body – eye, mouth, nose etc. Some uses of the extreme close include the concentration of attention, creation of shock or surprise.

3. Camera Angles

• NORMAL (NA) – camera parallel to the ground at eye level. The main use is to establish a “natural” viewpoint, especially as a point of comparison with other angles.
  
• LOW ANGLE (LA) – shot taken with the camera below the level of the subject. Some uses for the Low Angle are: - to isolate the subject, emphasise height or strength or size, indicate a threat or danger, create a feeling of awe, or the suggestion of inferiority of other subjects.
  
• HIGH ANGLE (HA) – shot taken with the camera above the level of the subject. Some uses of the High Angle include: - to create a feeling of detatchment, as an indication of smallness or weakness, or suggest a superiority of other subjects.
  
• TILTED ANGLE (TA) – shot taken out of vertical alignment with the subject. Some uses are to indicate a perceptual or emotional change or abnormality.

4. Camera Movement

• PAN – Horizontal rotation of the camera across a subject or following a moving subject.
• Some uses are to indicate or emphasise the length or breadth of the subject, to increase the scope of a shot or to create suspense.
• ZIP-PAN – horizontal rotation of the camera at a speed sufficient to blur the image. Some uses for this shot are as a transition between shots or sequences or to create an impression of speed.
• TILT / DUTCH TILT – the vertical rotation of the camera up or down a subject or following a rising falling subject. Some uses include the indication of height or depth, to increase the scope of the shot or to create suspense.
  
• CRANE – the camera is mounted so that it can move on all planes. Some uses include to suggest a feeling of detatchment or to indicate termination.
  
• TRACK, ZOOM – the actual or apparent movement of the camera towards or away from the subject, or following a moving subject. Some uses include – providing a record of continuous movement, the gradual focus of attention on detail, or the movement from detail to general view.
  
• DOLLY – This is when the camera moves along with the action. The camera can move on tracks, but a tip for a cheap alternative is to use a skateboard.

5. Camera View

• FRAMING – the composition of objects within the rectangular boundaries of the frame. Some uses include the concentration of attention, indication of significance, the creation of suspense or surprise by the exclusion of the centre of interest.
  
• FOCUS – the definition of the image. Some uses include – sharply defined image for harshness or reality, blurred image or image edges for fantasy or flashback or perceptual and emotional abnormality, distorted focus can be used to indicate horror or perceptual or emotional abnormality.
  
• LIGHTING – the intensity and angle of lighting on the subject. Some uses include – heightening suspense, creation of mood or to provide an external reflection of a characters feelings. Low key lighting is often used for suspense or mystery, high key lighting for gaiety or excitement and “natural” for immediacy or warmth.
  
• SUBJECTIVE VIEWPOINT – the camera adopts the viewpoint of a character. Some uses include gaining total viewer involvement, through camera movement the suggestion of giddiness or falling etc.
• OBJECTIVE VIEWPOINT – the camera adopts the viewpoint of an observer. Some uses include statement or narrative.
  

• CUTTING – The film is cut into pieces and these pieces are selected and the arranged in the order which best suits the director’s purpose. Selection and arrangement are partly determined by the need for economical visual description and partly by the following things.
  
• PACE & RHYTHM – Shots and sequences may be cut to various lengths to run various amounts of time. A number of brief shots can be used to create an impression of excitement or joys for example. Alternatively, the use of longer shots can be used to create an impression of gloom or sadness. By arranging the shots in terms of pace, the director achieves the larger rhythmical movements of the film.
  
• RELATIONSHIPS – the arrangement of the shots also determines the flow and direction of the story. In a well-made film, the viewer is usually unaware of the normal cuts because of the linking effects of dialogue, incident etc. However, you should be aware of the juxtaposition of shots when this has a special purpose and contributes additional information. This is called relationship cutting and some of it’s uses are:

  CONTRAST each of two shots may add to the appreciation and understanding of the other through vivid contrast.

  SIMULTANEITY two or more connected or related stories may be developed simultaneously by cutting from one sequence to another. Although the stories may be separate, each sequence may directly or indirectly comment on the other. Most users of this technique gradually merge the stories as the film continues.

  PARALLELISM shots may be juxtaposed to indicate things happening simultaneously and directly connected. This may best be illustrated by the “heroine-in-danger-cut-to-hero-coming-to-the- rescue” cliché.

  IMAGERY shots may also be juxtaposed to state a film simile or metaphor. Eisenstein, a Russian director, was fond of this technique and for example, would juxtapose a shot of a vain man and a shot of a strutting peacock. Imagery may be used for symbolism by repeated insertions of shots of some objects e.g. snow, fire, water etc.

2. Time

• CHRONOLOGY – a director may wish to indicate a change in chronological time i.e. he may wish to signal a move backwards or forwards in time. Signaling a time change is by no means essential, however some techniques used to do this include:

  DISSOLVE one picture gradually merges into the next.

  FADE one shot fades into darkness and the next shot emerges from the darkness.

  JUMP-CUT shots may be juxtaposed to indicate things happening simultaneously and directly connected. This may best be illustrated by the “heroine-in-danger-cut-to-hero-coming-to-the- rescue” cliché.

  CROSS-CUT two shots linked by a situation e.g. scoring a try / spectator action.

  PAN especially the zip pan

  FOCUS one shot moves out of focus and the next begins out of focus and gradually moves into focus.

  ZOOM zoom into large clun-up then zoom out to show subject in new surroundings / older / younger etc. - Other more obtrusive devices include the WIPE,

  IRIS,LETTERBOX and FLIP-OVER. These are more often used in television than film.

• PHYSICAL TIME – directors may also alter physical time by using the fact that the moving image is a mechanically produced illusion i.e:

  ACCELERATED MOTION motion may be accelerated to produce a comic effect or less exaggerated acceleration could create a feeling of excitement

SLOW MOTION by slowing action, a director may create greater fluidity of movement, an atmosphere of boredom, monotony or fantasy.

REVERSED MOTION this effect is often used for comic effect or for trick effects such as a person being hit by a car

FROZEN MOTION a fairly recent technique is the repetition of identical shots. This gives and appearance of stopping the action and can be very effective, especially when the soundtrack provides a contrast of continued story development.

DRAMATIC TIME This referes to a compression or expansion of chronological time to suit the needs of the story and is achieved in editing. Most films compress time, but within a film, time is often expanded e.g. the fight scene in Matrix freezes an action that takes seconds in reel time.

PSYCHOLOGICAL TIME the direction may use certain techniques to produce in the viewer, a subjective, emotional impression of the duration of time. By using quick cutting, loud or lively music and a dynamic composition of images, the director can induce exhilaration, laughter, excitement, horror, dismay etc. By using quiet, uneventful scenes, soft and soothing music, static image composition and slow cutting or dissolves, the director can induce contentment, sadness, nostalgia or grief. Accompanying these emotional experiences is that of either the fast or slow passage of time.

3. Sound

• The director can select from the following types of sound – natural, dialogue, music, sound effects.
  
• The director can be selective or non-selective in the use of sound.
  
• A non-selective sound track could include:
  
  • All sounds from inside the scene and from the immediate locale
    
  • All sounds from the immediate locale but none from the visible action
    
    
• A selective sound track could include:
  
  • Only certain sounds appropriate to the visible action.
    
  • Certain sounds from outside the visible action
    
  • Silence
    
• A director may decide to link shots or sequences by sound. This is called “cutting on sound” as distinct from “cutting from action”.
  
• One of the most important stylistic considerations concerning the director’s use of sound is the way in which the sound is related to the image. We’re all aware of audio clichés like violins in love scenes. If not intentional, try and avoid these clichés. A good director is usually far more original and will use words, sounds or music which:
  
  • Conflict with the visual image
    
  • Emphasise the point of the visual image without being obtrusive
    
  • Gradually become obtrusive and therefore take over from the visual image or give a different interpretation of the visual image.