week 5: Production Management for film & Mise en scene

Production

“Production” is generally not considered a department as such, but rather as a series of functional groups. These include the "front office" staff such as the Production Manager, the Production Coordinator, and their assistants; the accounting staff; the various Assistant Directors; and sometimes the Locations Manager and his or her assistants. The Director is considered to be a separate entity, not within the departmental structure.

 

Executive Producer

usually an investor in the project or just a credit that the filmmaker gave to someone who paid for the credit. You can have as many executive producers as you want but generally keep it to a minimum.

 

Producer

A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project.

 

Production Manager

The production manager supervises the physical aspects of the production (not the creative aspects) including personnel, technology, budget, and scheduling. It is the production manager's responsibility to make sure the filming stays on schedule and within its budget. The PM also helps manage the day-to-day budget by managing operating costs such as salaries, production costs, and everyday equipment rental costs. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator.

 

Unit Manager

The unit manager fulfills the same role as the production manager but for secondary "unit" shooting. In some functional structures, the unit manager subsumes the role of the Transport Coordinator.

 

Production Coordinator

The Production Coordinator is the information nexus of the production, responsible for organizing all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production.

 

Director

The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack. Though the director wields a great deal of power, he or she is ultimately subordinate to the film's producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred.

 

Assistant Director

The first assistant director (1st AD) assists the production manager and director. The ultimate aim of any 1st AD is to ensure the film comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focussed on their work. He or she is in charge of overseeing the day-to-day management of the cast and crew scheduling, equipment, script, and set. A 1st AD may also be responsible for directing background action for major shots or the entirety of relatively minor shots, at the director's discretion.

2^nd Assistant Director

The second assistant director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks delegated to the 1st AD. The 2nd AD may also direct background action and extras in addition to helping the 1st AD with scheduling, booking, etc. The 2nd AD is responsible for creating Call Sheets that let the crew know the schedule and important details about the shooting day. In Canadian and British functional structures there are 3rd ADs and even Trainee ADs; in the American system there are 2nd 2nd ADs.

 

Production Assistant

A production assistant assists the first assistant director with set operations. Production assistants, almost always referred to as PAs, also assist in the production office with general tasks.

 

Script Supervisor

Also known as the "continuity person", the script supervisor keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script. He or she makes notes on every shot, also keeping track of props, blocking, and other details to ensure that continuity is maintained from shot to shot, and from scene to scene. The Script Supervisor's notes are given to the Editor to expedite the editing process. The script supervisor works very closely with the director on set.

 

Production Accountant

The production accountant assists the production manager and line producer in keeping track of the film's budget. The production accountant, together with his or her various assistants, is often considered to be a separate department.

 

Location Manager

The location manager researches, locates, secures and coordinates the filming locations. He/she creates a location breakdown, identifying the precise locations needed and works hand-in-hand with the director and the production designer. For smaller budget productions the Location Manager may also serve as the Unit Manager.

**remarks

In many cases, for low budget film production either shorts or features, often the crew is not completed. Thus, most likely the producer is multi tasked, he or her can be a production manager or an assistant director.

as for your short film, thus, the producer is someone who is in charged of everything about management and organization. Nevertheless, it is a very important role as well as the manager for your short film production.

Mise en scène

Mise en scène is everything that appears before the camera, namely:

• the setting
• the costume and make-up
• the use of figure, expression and movement by actors
• the lighting

The style scale

Formalism, expressionism		Realism
Form over content - how things are shown is most important, and beyond a usual representation of reality. Expressionist films are highly stylised, and are characterised by oblique camera angles, distorted shapes, bizarre settings, high contrast lighting and the surreal and subjective.		Content over form - looks like real life - the intent is to make us forget it is a representation. This is the dominant style of most films, and is sometimes referred to as "the style of no style."

Setting

Setting gives a sense of place and time. Whatever the film is, you should always analyze the set because it provides important clues about the nature of the film, such as:

• where the action takes place
• when the action takes place
• the mood
• the characters
• the genre of the film.

Costume and make-up

Costume and make-up can be considered as part of the set, because they indicate:

• the period
• the state of society
• social class
• cultural backgrounds
• character traits.

Changes in costume indicate changes in character, e.g.:

• rich to poor
• taking off clothes as lowering defenses.

Clothing might also be a trademark.

Figure, expression and movement

• Body language
• appearance
• facial expressions (very significant in close-ups)
• sound elements.

The way a character stand and move is important.

• If they are the foreground they might be considered more important.
• If they move against a stationary background attention is drawn to them.
• Even distribution of characters makes for a balanced shot, whereas uneven distribution is unsettling to the eye.
• Positioning of characters within the frame may even indicate emotional distance.

Special remarks:

Everything appears from left to right or located at left, it usually implies pleasantness to the viewer. Which means, when the scene is about something positive or the following scene is a happy scene, the subject usually moves from left to right. However, anything from right to left could suggest unpleasantness, uneasiness, danger, and anything negative. Therefore, at many times, the protagonist is usually at the left and the villain is usually at the right side of the frame.

moreover, colors can play an important role for showing good and bad. For example, good guy usually have vibrant colors like superman, spiderman, iron man, and hulk. However, bad guys usually have duller colors, distorted outfit, or scary costume. Batman is different, because the art concept for batman is, he's a threat to the bad guys, thus he should look more solid and darker to his opponent, but don forget, he looks cool and good looking, so... you get the idea.

next, anything is placed on the top part of the frame or at the higher ground, it suggests power, strength, or authority, that against anything lower than the subject or below it.

in addition, anything is positioned closer the center of the frame, it makes the subject seems more important. Vice versa, anything placed further from the center, it gets less important.

the distance between the casts can suggest closeness or intimacy. The closer they are together, the more intimate they are.

when you have the casts facing at one direction, parallel, it shows that they are in the same team, facing same challenges. However, if you have them facing each other or agaisnt each other, it suggests opposition. Means they are opponent or different, except when you have a romantic scene such as the moment when they are kissing.

lastly, when the talent is facing the camera, it makes the character interacts with the audience, or to create intimacy between the viewers and the character. however, lesser the talent facing the camera, greater distance you are creating between the audience and the character. Say, if you are trying to create mysteriousness for your character, you would rather not to reveal his entire face or you can have him or her back facing the camera. It triggers audience's imagination.

nevertheless, in order to achieve good mise en scene in your short film, the basic idea is to put in thoughts before you start shooting. Be aware of how your camera and casts move, positioned, and the way your casts look like. Think about what perspective best suits your scene or convey whatever you want to express to the audience. It's usually about common sense. thus, all you need to do is, put in thoughts in every single shots, sets, and movements. And don't forget, have a nice setting or background and play around with lighting can make your movie lots more fun and interesting. in fact, i'll be judging your mise en scene for your final project, it's part of the marking scheme too. So, if you should have any question, you can ask me anytime, i'll be more than happy to help.

Story, Screenplay, & Storyboards

Story Development

Plot
Plot or storyline is all the events in a story, particularly towards the achievement of some particular artistic or emotional effect. In other words it's what mostly happened in the story. Such as the mood, characters, setting, and conflicts occurring in a story.

Story arc

• Plot is often schematically represented as an arc reflecting the rising action described in the following phases:

1. Initial situation – the beginning. It is the first incident that makes the story start.
2. Conflict or Problem – goal which the main character, or other characters, of the story has to achieve.
3. Complication or Rising action – obstacles which the main character has to cope.
4. Climax – highest point of interest of the story.
5. Resolution – what happens to the character after overcoming all obstacles and reaching his goal, or failing to achieve the desired result and not reaching his goal.
6. Conclusion – the end result of the plot.

Short Story (for short film)

• Short stories tend to be less complex than novels. Usually, a short story will focus on only one incident, has a single plot, a single setting, a limited number of characters, and covers a short period of time.

• In longer forms of fiction, stories tend to contain certain core elements of dramatic structure: exposition (the introduction of setting, situation and main characters); complication (the event of the story that introduces the conflict); rising action, crisis (the decisive moment for the protagonist and their commitment to a course of action); climax (the point of highest interest in terms of the conflict and the point of the story with the most action); resolution (the point of the story when the conflict is resolved); and moral.

• Because of their short length, short stories may or may not follow this pattern. Some do not follow patterns at all. For example, modern short stories only occasionally have an exposition. More typical, though, is an abrupt beginning, with the story starting in the middle of the action. As with longer stories, plots of short stories also have a climax, crisis, or turning-point. However, the endings of many short stories are abrupt and open and may or may not have a moral or practical lesson.

• Of course, as with any art form, the exact characteristics of a short story will vary by author.

Script writing

• Is a back bone for a whole movie.
• It must be in present tense
• Description for the environment is written for visual aspect, different than a novel.
• It must have: scene title (location and time), action (what is happening, what should be seen in the screen, camera view, and sound effects), dialogs or narration (character's name and expression, and what they talk about)
  

Screenplay format:

• EXT- external, INT-interior, follow by the location name and time, either "DAY" or "NIGHT", all must be in big caps. eg. INT. CLASS 105 - DAY
  

• Short forms: (V.O.) and (OVER) - for voice over of a person or a sound produced by an item that is not present in the scene. POV - point of view of the character.
  

• Words with big caps in "action" is for new character's name. To make notice for the reader when a new character is introduced in the movie, or it can also represent sound effects. For example, Jason realizes a cell phone is RINGING, it is from the girl sitting behind him, SUSAN, dark hair, light make-up, t-shirt and jeans, she picks up the phone from her handbag and answers the phone.
  

• Sometimes, the writer can include brief emotional description for the character before the dialog, in italic form. eg.

Big Daddy
(angry)
I hate you, you ate all my cookies, I hate you for the rest of my life.

• Cinematography description can be included in brief as a suggestion. Nevertheless, it is the director and the cinematographers who are responsible in how they shoot it, not the writer.
• "FADE IN:", "FADE OUT:", "CUT TO:", "CROSSFADE:" are the few editing notes a writer can put in the screenplay.
• using bold and italic in the dialog can show different speaking styles when the character is speaking to different people alternatively in a scene.
  

Sample screenplay from the movie "Da Vinci Code"

SOPHIE
Oui. The numbers are only out of order.

Langdon’s eye narrow; how the hell did he miss that?

LANGDON
Ow. It is the Fibonacci sequence. From
the top of the order, too.

Sophie hands Fache a sheet of paper from the case file.

SOPHIE
Commissarie, I will explain. But I just
Have a message for …
(turning to Langdon)
Professor Langdon, right?
(to Fache)
I get the impression it’s urgent.
( to Langdon)
I am Sophie Neveu, DCPJ Cryptology.
Your embassy called Division.

She hands Langdon a scrap of paper.

EXT.CHURCH OF SAINT-SULPICE-NIGHT
A might Gothic structure. WIND blows. (OVER) A
PHONE.

INT.CHURCH OF SAINT-SULPICE-PARIS-NIGHT
A small room. Stone floors, Bed, Bible, hot plate. Single
Window open to the autumn air. (OVER) The phone
RINGS on.

An elderly WOMAN’S hand reaches out from bed
To answer. She sits up groggily. SISTER SANDRINE
BIEL.

Story board
A film storyboard is essentially a large comic of the film or some section of the film produced beforehand to help film directors, cinematographers and television commercial advertising clients visualize the scenes and find potential problems before they occur. Often storyboards include arrows or instructions that indicate movement.

Some live-action film directors, such as Joel and Ethan Coen, used storyboard extensively before taking the pitch to their funders, stating that it helps them get the figure they are looking for since they can show exactly where the money will be used. Other directors storyboard only certain scenes, or not at all. Animation directors are usually required to storyboard extensively, sometimes in place of doing a script.

Animatics
In animation and special effects work, the storyboarding stage may be followed by simplified mock-ups called "animatics" to give a better idea of how the scene will look and feel with motion and timing. At its simplest, an animatic is a series of still images edited together and displayed in sequence. More commonly, a rough dialogue and/or rough sound track is added to the sequence of still images (usually taken from a storyboard) to test whether the sound and images are working effectively together.

Often storyboards are animated with simple zooms and pans to simulate camera movement (using non-linear editing software). These animations can be combined with available animatics, sound effects and dialog to create a presentation of how a film could be shot and cut together

Guide Line for story development:

1. Character / Initial situation
2. Character's need / Conflicts / problems
3. Goal/achievement
4. statement of conclusion
5. in what kind of Setting /situation / location 
6. events (last event is usually when climax occurs)

Replacement Lecture Class this Wednesday 3rd Sep

Replacement lecture class for Wednesday 3rd September.

First two hours at P1 from 10pm to 12pm

last hour will be at LHH from 12pm to 1pm

Hollywood Films

• Most of the big label studios, big label distributors like Warner Bros pictures, Disney picture, Universal pictures, and film production companies are located in Hollywood
• In order to attract their audience, Hollywood films are mainstream films
• To maintain the film quality, they are willing to invest over USD50 millions for a film production.
• Since they have big budget, they hire experts from various professions. Moreover, each department has a big crew. [sometimes, for instance, a production assistant in art department may not have the chance to meet the director nor the talents]
• Too much money involves, therefore, most studios and production houses are not willing to take the risk in experimenting a film.
• Most Hollywood films are widely spread internationally. Hence, they have "rules" and "formulas" to follow to assure their audience, and to get approval from government.

Independent Films

• Unknown label, unknown film production, unknown sponsors.
• Most of the time they can't afford a good team, or celebrities.
• Production size is usually small and not as big as Hollywood film productions
• Indie films are shown in selected theaters because they are not distributed by the big labels and their films often may not have big audience.
• Sometimes, because of insufficient budget, indie film-makers are forced to be highly creative.
• Because the investment is low, indie film-makers usually would take the risk to do experiment in their films, and they often like to "break the rules". Thus, most of the time indie films can get more awards than the Hollywood films.

FILM THEORIES

• Most theories of film are concerned with the wider context of the medium- its social, political and philosophical proposition.
• Theorists explore the vital nature of cinema – what differentiates it from other art forms, what its basic properties are.
  
• Traditionally, theorists focus on 3 areas.

1. The work of art - the film itself, how the film is constructed, or how it’s manipulated.
2. The artists - how they want to show themselves.
3. The audience - how they perceive, respond either critically or analytically, the outcomes are various because perceptions are subjective.

Theory of the Realism

• Most theories of realism emphasize the documentary aspects of film art.
• Movies are evaluated primarily in terms of how accurately they reflect external reality.
• The camera is regarded as essentially a recording mechanism rather than an expression medium. Thus, they have less concern about cinematography techniques, and they prefer simple editing.
• Often, their films are bias to one side, and usually involve moral and ethical issues. It’s like an argumentative article on a topic about humanity, society, or morality only in a visual form.

Neo-realism theory

• Neo-realism is a cultural movement that brings elements of true life in the stories it describes, rather than a world mainly existing in imagination only.
• The movement was developed in Europe (mostly Italians), primarily after the end of World War II.
• Neo-realism is characterized by a general atmosphere of authenticity.
• Andre Bazin, a French film theorist and critic, argued that neo-realism portrays: truth, naturalness, authenticity, and is a cinema of duration.
• The necessary characteristics of neo-realism in film include:
• a definite social context;
• a sense of historical actuality and immediacy;
• political commitment to progressive, even violent, social change;
• authentic on-location shooting as opposed to the artificial studio;
• a rejection of classical Hollywood acting styles;
• extensive use of non-professional actors as much as possible;
• a documentary style of cinematography.Formalist Film Theory

Formalist films

• Formalist film theories believe that the art of cinema is possible precisely because a movie is unlike everyday reality.
• Exploits the limitations of the medium - its two dimensionality, its confining frame, its fragmented time - space continuum- to produce a world that resembles the real world only in superficial sense.
• The real world is merely a repository of raw material that needs to be shaped and heightened to be effective as art.
• Most of the Hollywood films: Star Wars, Spiderman, Enchanted, Matrix, etc
• Some extreme formalist films can be abstract or difficult to accept for the majority of the viewers, for instances, 2046

The Auteur Theory

• Auteur critics claimed that what makes a good film is not the subject matter as such but stylist treatment.
• The director dominates the treatment, provided he or she is a strong director, an auteur.
• The greatest movies are dominated by the personal vision of the director.
• A filmmaker’s signature can be perceived through an examination of his or her total output, which is characterized by a unity of theme and style.
• The auteurists argued that the best movies are dialectical, in which the conventions of genre are held in aesthetic tension with the personality of the artist.

Eclectic and Synthetic Theories

• Eclecticism isn’t really a theory so much as a method of practical criticism. It is a favored approach of many film critics in the US.
• It is sometimes called the tradition of sensibility because a high value is placed on the aesthetic discrimination of a person of taste and discernment.
• Eclectic critics reject the notion that a single theory can explain all movies.
• Personal taste is the main determinant of value in eclectic criticism.
• They usually begin with their feelings about a movie, then work outward, trying to objectify these instincts with concrete arguments. Thus, it’s just an opinion, however well founded or gracefully argued.
• (Eclectic: choosing what is best or made up of elements from various sources)
• Eclectic critics are rarely in agreement because each of them is reacting to a movie according to his or her tastes rather than a large theoretical framework, with its built-in system of checks and balances.
• Their critiques may change from time to time depending on the particular period. In 1963, the movie “81/2” was regarded as a bad film; in 1972, it was ranked as a masterpiece.

Structuralism & Semiology

• Structuralism and semiology were attempts to introduce a new scientific rigor to film criticism, to allow for more systematic and detailed analyses of movies. Borrowing their methodology from such diverse disciplines are linguistics, anthropology, psychology, and philosophy, these two theories first concentrated on the development of a more precise analytical terminology.
• Semiology is a study of how movies signify. The manner in which information is signified is indissolubly linked with what’s being signified.
• The language of cinema, like all types of discourse, verbal and non-verbal, is primarily symbolic: It consists of a complex network of signs we instinctively decipher while experiencing a movie.
• Semiotic theorist suggested that the sign be adopted as the minimal unit of signification.
• A single shot from a movie generally contains dozens of signs, forming an intricate hierarchy of counterpoised meanings.
• Any element, lighting, items in the scene, part of a dialogue, the camera angle, and etc, could symbolize and suggest something, like codes.
• Structuralism is the study of how various codes function within a single structure, within one movie.
• It is strongly eclectic and often combines the techniques of semiotics with other theoretical perspectives, such as auteurism, genre studies, ideology, stylistic analyses, etc
• They basically break down a movie into codes and decodes them one by one. The codes may not be an item or an object, it could be abstract and subjective, for examples, sexual (male vs female), conceptual (cooked vs raw), generational (youth vs age), etc
• Their pluralistic approach allows for much more flexibility, complexity, and depth in critical enterprise.
• These theories are merely tools of analysis. By themselves, they can tell us nothing of the value of signs and codes within film, Like every other theory, then, there are only as good as their practitioners. The writer’s intelligence, taste, passion knowledge, and sensitivity are what produce good criticism, not necessarily the theoretical methodology used.

Historiography

• Deals with theory of history - the assumptions, principles, and methodologies of historical study.
• The theorists scoff at the naive notion that there is a film history. Rather, they insist that there are many film histories, and each is defined by the historian’s particular interests, biases, and prejudices.
• 4 types of Historiography theories.

1. Aesthetic films historians
• Film as art
• They concern themselves with tradition of masterpieces and great filmmakers.
• They value a work primarily for its artistic richness, irrespective of whether the film was commercially successful.
2. Technological historians
   
• Film as inventions and machines.
• “The history of motion pictures – as an art form, as a medium of communication, and as industry – has been determined principally by technological innovation” by Raymond Fielding, an American scholar.
• They are concerned with the implication - artistic, commercial and ideological - of such innovations as portable cameras, synchronous sound, color, improved film stocks, 3-D, stereophonic sound, steadycams, etc.
3. Economic historians
• the bigger profit the film make the better, however, prestige, artistic integrity are also valued.
• To them, the profit motive has been the main driving force in the evolution of American film industry, and movies tend to reaffirm the ideological values of their sponsor.
4. Social historians
• They concerned about their audience.
• They emphasize film as a collective experience, as a reflection of mass sentiments during any given era. These sentiments can be overtly articulated or subliminally insinuated by appealing to our subconscious desires.
• They often turn to stylistic and sociological data for supporting evidence.

FILM GENRE

• Genres are distinguished by a characteristic of conventions in style, subject matter, and values.
• Many genre films are directed at a specific audience
• Filmmakers are attracted to genres because they automatically synthesize a vast amount of cultural information, freeing them to explore more personal concerns

Categorizing film genre
Setting

• Crime: places its character within realm of criminal activity, or within organizations attempting to prevent said activity (or sometimes both).
• Fantasy: speculative fiction outside reality (i.e. myth, legend).
• Film noir: portrays its principal characters in a nihilistic and existentialist realm or manner.
• History: taking place in the past amidst notable historical circumstances.
• Music: about musicians, music and their instruments, not to be confused with musicals.
• Prison: takes place in an prison environment where the characters may be guilty or innocent.
• Science Fiction: defined by the effects of speculative (not yet existing) technology (i.e. future space travel, cyberpunk, time travel).
• Sports: sporting events and locations pertaining to a given sport.
• War: battlefields and locations pertaining to a time of war.
• Western: wilderness on the verge of civilization, usually in the American West.
• Asian: oriental civilization.
  

Mood

• Action: generally involves a moral interplay between "good" and "bad" played out through violence or physical force.
• Adventure: involving danger, risk, and/or chance, often with a high degree of fantasy.
• Comedy: intended to provoke laughter.
• Drama: depends mostly on in-depth character development, interaction, and highly emotional themes.
• Horror: intended to provoke fear and/or revulsion in the audience.
• Mystery: not understanding in full the plot of the movie until the end.
• Romance: dwelling on the elements of romantic love.
• Thriller: intended to provoke excitement and/or nervous tension into audience.

Format

• Live action: The most common format of films.
• Animation: the rapid display of a sequence of 2-D artwork or model positions in order to create an illusion of movement.
• Biography: also known as "biopic", a format that tells the story of an historic figure or an inspirational story about real people. This genre is arguably the most controversial, because the majority of biopics show fictionalized events.
• Documentary: a genre that portrays reality.
• Musical: songs are sung by the characters and interwoven into the narrative.
• Target audience
• Children's film: films for young children; as opposed to a family film, no special effort is made to make the film attractive for other audiences.
• Family film: intended to be attractive for people of all ages and suitable for viewing by a young audience. Examples of this are Disney films.
• Adult film: intended to be viewed only by an adult audience, content may include violence, disturbing themes, obscene language, or explicit sexual behavior. Adult film may also be used as a synonym for pornographic film.

Week1: Intro to Film Studies

Overview
The subject has been designed to introduce students to various narrative and stylistic theories and practices in film-making. The objective of the course is to:-

• Introduce students the basic understanding of film: its philosophy, its industry, and its practice from production to cinema.
• Develop an ability to analyze, discuss, write, and produce original films by applying the theories they learn in class.

Learning Outcomes
Upon completion of the subject, students are able to
1.Analyze a film and decode film language
2.Distinguish between good films and bad films.
3.Craft a good film.

Credit Rating
4 (3 hours of lectures and 1 hour of tutorial)

Course Requirement
• No prerequisite

Assessments
Journals 10%
Assignments 20%
Mid-term 30%
Final Project 40%
Total 100%

Journals
There are 4 Journals. By applying what students learn in class, write a review on a movie that will be screened during lecture classes. All 4 are to be completed during class, for those students who miss it, only with valid reason and certified letters, are deserved to complete it later.

Evaluation criteria:
Ability to analyze, observes, and evaluates films in a professional manner.

Assignments
There are 2 assignments, in group of 5-7, and both worth 10 marks. One assignment is given a topic or a title specifically by the lecture and the other one is title free, which is, its theme, topic, style, format, form, and genre is entirely up to students.

Evaluation criteria:
Creativity
Efforts

Mid- Term Exam
Students are required to work on a team of 5-7and submit a 5-7 pages of screenplay along with a story board for a 5-7 minutes short film, and a formal presentation. The story must be truly original. Both screenplay and storyboard has to be in proper format. The paper works must be submitted before the presentation starts. 10 marks for each: screenplay, storyboard, and presentation. FAILURE TO DO SO WILL RESULT IN AUTOMATIC FAILURE FOR THE ENTIRE TEAM IN THIS CATEGORY.

Evaluation Criteria:
Screenplay: Creativity and originality, Format, and Plot Continuity
Story board: Tidiness, Clarity, Readability, and Continuity
Presentation: Professional, Short & Sweet, and Spellbinding.

Final Project
The same team of five must produce a 5-7 minutes short film based on the screenplay and story board from their mid term exam. During final week, all final projects must be submitted. FAILURE TO DO SO WILL RESULT IN AUTOMATIC FAILURE FOR THE ENTIRE TEAM IN THIS CATEGORY.

Evaluation Criteria:
Directing: mise en scene
Production design: make up, wardrobe, location, location set-ups, color grading
Cinematography: lighting and cinematic composition
Montage: continuity, editing style.
Music and sound: choice of music, clarity of sound, sound effects

Plagiarism & Collusion
Plagiarism constitutes using the work of another without referencing that the ideas expressed are not of your own. Collusion constitutes joint effort between students or others in preparing materials for assessment/projects. If you are not sure which referencing system to use, please consult your lecturer.

KDU college regards most seriously any acts of dishonesty and this can result in penalty including failure in the subject and possible expulsion from the college. Please refer to your KDU college Handbook for More information.

****General Rules******
1.LATE WORK IS UNACCEPTABLE!!!! ANY LATE WORK WILL GET ZERO RESULT, NO ECCEPTIONS, NO EXCUSES, NO MERCY!!!

2.All students are required to maintain 80% attendance in class to be eligible for midterm or final examination.

3.Mobile phones are not permitted during lectures or tutorials.

4.Attendency
- Later than 10 minutes = Late
- Later than an hour = Absent
- 3 absences before mid term = Not eligible for mid term exam
- 3 absences after mid term = Fail

The lecturer will only tolerate any late or absence by acknowledging him one week in advance with valid reason, or mc from certified physicians if the student is ill.

email: giovchen2@yahoo.com