moviemaking

BOY SCOUTS OF AMERICA

MERIT BADGE SERIES

moviemaking

“Enhancing our youths’ competitive edge through merit badges”

 Requirements
1. Discuss and demonstrate the proper elements of a good
motion picture. In your discussion, include visual storytelling,
rhythm, the 180-axis rule, camera movement, framing and
composition of camera shots, and lens selection.

2. Do the following:
a. In a three- or four-paragraph treatment, tell the story
you plan to produce, making sure that the treatment
conveys a visual picture.
b. Prepare a storyboard for your motion picture. (This can
be done with rough sketches and stick figures.)
c. Demonstrate the following motion picture shooting
techniques:
(1) Using a tripod
(2) Panning a camera
(3) Framing a shot
(4) Selecting an angle
(5) Selecting proper lighting
(6) Handheld shooting

35869
ISBN 978-0-8395-3238-5
©2013 Boy Scouts of America
2014 Printing
 d. Using motion picture shooting techniques, plan ONE of
the following programs. Start with a treatment and com-
plete the requirement by presenting this program to a
pack or your troop, patrol, or class.
(1) Film or videotape a court of honor and show it to
an audience.
(2) Create a short feature of your own design, using the
techniques you learned.
(3) Shoot a vignette that could be used to train a new
Scout in a Scouting skill.

3. Do ONE of the following:

a. With your parent’s permission and your counselor’s
approval, visit a film set or television production studio
and watch how production work is done.
b. Explain to your counselor the elements of the zoom lens
and three important parts.

4. Find out about three career opportunities in moviemaking.

Pick one and find out the education, training, and experience
required for this profession. Discuss this career with your
counselor. Explain why this profession might interest you.

moviemaking    3
Resources.

Resources
Scouting Literature Ettedgui, Peter. Cinematography:
Digital Photo Magic; Architecture, Art, Screencraft. Focal Press, 1999.
Communication, Journalism, Model Glebas, Francis. Directing the Story:
Design and Building, Photography, Professional Storytelling and
Public Speaking, and Theater merit Storyboarding Techniques for
badge pamphlets Live Action and Animation.
Focal Press, 2008.
Books
Griffith, Richard, Arthur Mayer, and Eileen
Andersen, Yvonne. Make Your Own
Bowser. The Movies: Revised and
Animated Movies and Videotapes:
Updated Edition of the Classic History
Film and Video Techniques From the
of American Motion Pictures. Random
Yellow Ball Workshop. Little Brown
House Value Publishing, 1992.
and Company, 1991.
Andersson, Barry, and Janie L. Geyen. Katz, Steven D. Film Directing,
The DSLR Filmmaker’s Handbook: Cinematic Motion, 2nd ed. Michael
Real-World Production Techniques. Wiese Productions, 2004.
Sybex, 2012. ———. Film Directing Shot by Shot:
Andrew, James Dudley, ed. The Image Visualizing from Concept to Screen.
in Dispute: Art and Cinema in the Michael Wiese Productions, 1991.
Age of Photography. University of Kenworthy, Christopher. Master Shots:
Texas Press, 1997. 100 Advanced Camera Techniques to
Box, Harry. Set Lighting Technician’s Get an Expensive Look on Your Low-
Handbook: Film Lighting Equipment, Budget Movie, 2nd revised ed.
Practice, and Electrical Distribution, Michael Wiese Productions, 2012.
4th ed. Focal Press, 2010. Laybourne, Kit. The Animation Book: A
Brown, Blain. Cinematography: Image Complete Guide to Animated
Making for Cinematographers and Filmmaking—From Flip-Books to
Directors, 2nd ed. Focal Press, 2011. Sound Cartoons to 3-D Animation,
revised ed. Three Rivers Press, 1998.
———. Motion Picture and Video
Lighting, 2nd ed. Focal Press, 2007.

62    moviemaking
 .Resources

Levy, David B. Your Career in Van Sijll, Jennifer. Cinematic

Animation: How to Survive and Storytelling: The 100 Most Powerful
Thrive. Allworth Press, 2006. Film Conventions Every Filmmaker
Lowell, Ross. Matters of Light Must Know. Michael Wiese
and Depth. Lower Light Productions, 2005.
Management, 1999. Zettl, Herbert. Video Basics. Cengage
Lumet, Sidney. Making Movies. Learning, 2012.
Vintage, 1996.
Malkiewicz, Kris. Cinematography: The
Classic Guide to Filmmaking, 3rd ed.
Fireside Press, 2005.
Maltin, Leonard. The Art of the
Cinematographer: A Survey
and Interviews With Five Masters.
Dover Publications, 1978.
Mascelli, Joseph V. The Five C’s of
Cinematography: Motion Picture
Filming Techniques. Silman-James
Press, 1998.
Mercado, Gustavo. The Filmmaker’s
Eye: Learning (and Breaking) the
Rules of Cinematic Composition.
Focal Press, 2010.
Murch, Walter. In the Blink of an Eye,
2nd revised ed. Silman-James
Press, 2001.
Oxlade, Chris. Movies.
Heinemann, 1997.
Rickitt, Richard. Special Effects: The
History and Technique. 2nd ed.
Billboard Books, 2007.
Samuelson, David W. David
Samuelson’s “Hands-On” Manual for
Cinematographers. Focal Press, 1994.
Scott, Elaine. Movie Magic: Behind the
Scenes With Special Effects.
HarperCollins Publishers, 1995.

moviemaking    63
Resources.

Organizations and Websites Photo and Illustration Credits

Creative America Edison National Historic Site, National
Website: http://www.creativeamerica.org Park Service, U.S. Department of the
Moving Image Collections Interior, courtesy—page 9
Website: http://imtcdrupal.imtc.gatech.edu ©2005 JupiterImages—pages 5, 7, and
Videomaker 8 (top)
Website: http://www.videomaker.com Library of Congress, Prints and
Photographs Division, courtesy—
Acknowledgments pages 8 (bottom) and 10
The Boy Scouts of America is grateful to ©Photos.com—cover (all but merit badge
Eagle Scout Steve McWilliams for his and digital cameras at bottom left);
expertise in the writing and revision of pages 4, 25–26, 32–33, 37 (bottom),
this pamphlet. Mr. McWilliams is a 39, 41–42, 51, and 59
director/cameraman with numerous James Reeb; property of Pinewood
feature and commercial credits to his Derby LLC, used by permission—
career in cinematography that spans pages 13 and 56–58
more than 25 years. The BSA thanks
Nancy Schiesari, cinematography profes- All other photos and illustrations not
sor at the University of Texas Radio, TV, mentioned above are the property of
and Film School in Austin; Augie or are protected by the Boy Scouts
Heibert, founder of Northern Television of America.
in Alaska; and Robert Brown with the Dan Bryant—pages 16 (both) and 35
Texas Film Commission for their advice
Tom Copeland—page 47
and help with this edition. Special
thanks to Gwen Scott of HeritagePhoto Sam Kolich—page 21
in Georgetown, Texas, for her help with Ernest Masche—page 6 (inset)
the digital editing section.
John McDearmon—pages 17, 27, 44,
The BSA is grateful to independent
and 48–50 (all)
filmmaker John Stone of Stonehaven
Media for so generously giving his time Brian Payne—pages 3, 22, 30 (right),
and his knowledge about cinematography and 52–53
and filmmaking, and for his assistance Randy Piland—cover (digital cameras at
with the manuscript. We also appreciate bottom left); pages 18 (both), 20, 36,
his allowing us to use photos of pine- and 55
wood derby racing from the film Down
and Derby. Steve Seeger—page 30 (left)
The Boy Scouts of America is
grateful to the men and women serving
on the Merit Badge Maintenance Task
Force for the improvements made in
updating this pamphlet.

64    moviemaking