Video production module (basic level)

VIDEO PRODUCTION MODULEADVANCED COURSE OF MEDIA LITERACY 1
3.VIDEO
PRODUCTION MODULE
ADVANCED
COURSE OF MEDIA LITERACY

BASIC
AUGUST 2014
AUTHOR
Authors: Skaidrite Bukbãrde, Žarko Čižmar,Antra Skinča, Ivan Stojilović.
Partners: Telecentre Europe, DemNet, Fundatia EOS - Educating for An Open Society,
IAN,Telecentar, LIKTA, Langas ateit, Fundación Esplai.
Coordination of the content development: Alba Agulló
GRAPHIC DESIGN AND DESIGN
Fundación Esplai (www.fundacionesplai.org) & Niugràfic (www.niugrafic.com)
Under Creative Commons
Attribution - NonCommercial - CompartieIgual (by-nc-sa)
To obtain permission beyond this license, contact
http://tma.telecentre-europe.org/contacts
Access to Multimedia Toolkit
http://tma.telecentre-europe.org/toolkit
LEGAL NOTICE
This project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission
cannot be held responsible for any use which may be made of the information
contained therein.

3.1 Introduction P.4
3.2 A brief history of film and video P.4
3.2.1 From the beginning to the present
3.2.1 Image formats
3.2.1 Computer film
3.2.1 Film festivals, prizes

3.3 Film grammar P.9
3.3.1 Frame
3.3.2 Shot
3.3.3 Camera movements
3.3.4 Scene
3.3.5 Sequence
3.3.6 Composition
3.3.7 Formats

3.4 Rules of filmmaking P.11
3.4.1 180º Law or line law
3.4.2 Rule of thirds
3.4.3 The rule of thirds in dialogues
3.4.4 Variate Shots By Size And Angle
3.4.5 Conclusion
3.5 Film production – from basic concept
to distribution P.14
3.5.1 The basic concept
3.5.2 Work processes of film production

3.6 Video editing P.22
3.6.1 Introduction
3.6.1 Video capturing
3.6.1 Work surfaces of editing programmes
3.6.1 Importing, data reading
3.6.1 Editing, cutting

3.7 Video project P.26
3.7.1 What is a report?
3.7.2 What is an interview?
3.7.3 Interview technique
3.7.4 Documentaries
3.8 Activities P.30
3.9 Bibliography P.32

Index 3 VIDEO
PRODUCTION MODULE

Introducction3.1
Have you ever made amateur video shots of your family, of parties
or excursions with a camera, smart phone or a camcorder? Have
you ever realised how great it would be to be able to edit and
cut these shots as you like, in your own home environment? Do
you have a computer which is suitable for video post-production
work, but you don’t know how to make a start? Well, you are at the
right place! If you are not particularly interested in the film-making
profession, but you would be happy to master the basics of vid-
eo-editing for home use, you can do that we us. We will show you
the way how to worthily preserve your memories. We will help you
realise your ideas and make the most of your creativity. If, how-
ever, you are thinking about joining the work of a local TV station,
or you want to have a taste of TV journalism; if you are interested
in the work of an editorial office or you want to try your luck as a
reporter, a cameraman or an editor, we can assist you in these as
well. You can learn the basics from us.
The aim of our basic video course is to learn and master the work
processes of film-making, to develop digital and creative skills,
and to obtain media knowledge. During the course, you can be-
come familiar with the short history of film and you will see what a
script has to contain. You will get a glimpse of how a professional
film crew works, and you can even make an interview. You can
learn about the operating principles of editing programmes on
the computer and their work surfaces, you can find out what is
a straight and a soft cut, you can make titles, subtitles and cred-
its. Professional film-makers will illustrate and present to you the
basics of video editing in frontal, individual, pair and group work
arrangements. Don’t hesitate any longer. Roll the camera!
A brief history of film
and video
3.2
Film is one of the most popular technical tools of our time with
the aim to provide the public with information, entertainment and
arts. It is capable of using both time and space directly, that is, it
operates in time and space simultaneously.
3.2.1 From the beginning to the
present
3.2.1.1 The beginning
To look at the origins of film, we have to go back as far as the end
of the 19th century. On 13 February 1895, Auguste and Louis Lu-
mière submitted a patent application for the cinematograph.
The idea of the device was conceived by Louis Lumière, but both
brothers participated in its realisation and the patent application.
The phrase “cinematograph” was created and patented by Léon
Bouly in 1892. The expression became available for patent again
in 1894, which made it possible for the brothers Lumière to use
it for their own purpose. The cinematograph, similarly to Edison’s

cinetoscope, had a 35 mm perforated photofilm roll for capturing
and projecting images, but the device created by the brothers
Lumière featured two obvious changes. One was that the motion
picture could be viewed by not only one person through a small
opening, but with the help of a light it was projected onto a large
screen, so that the people in the room were able to watch the
film together, at the same time. The other novelty was a “clawed”
film-forwarding device with reciprocating motion. This made it
possible that each frame of the film could be paused for a mo-
ment in front of the projection window.
Photos: wikipedia.org
In December 1895, the brothers Lumières presented their first
motion picture to the public in Paris. Prior to that, other motion
pictures were also produced, although they were not meant for
publicity. Film historians consider 28 December 1895 the begin-
ning of film history. One year later, a company founded by Thom-
as Alva Edison organised its first public show in New York. In
1902, Georges Méliès presented his trick film entitled A Trip to
the Moon, which was also a forerunner of sci-fi. In 1903, Edwin S.
Porter produced a movie called The Great Train Robbery, which
created the genre of western. That was the first occasion the dolly
was applied: a technique where the camera is moved on rails.
In 1911 the first film studio was opened in Hollywood. In the fol-
lowing years the number of studios multiplied at amazing speed,
which aroused the interest of film producers. At the time, the mar-
ket was open and the people were hungry for a new kind of enter-
tainment. Thrill and scenes ending in suspense assured that the
crowds attending film shows would come back again.
Films were focused on typical characters, or some unique charac-
ters were featured in every film. Charlie Chaplin, who was born in
1889, first appeared on the movie screen in 1913. He became a
favourite of cinema audiences due to his shabby, gloomy charac-
ter with a penguin walk.
Two years later, in the United States, a company called Fox took
the lead. In 1917 the first colour film was born with the title The Gulf
Between.

In 1921, D. W. Griffith created his first talking picture attempt enti-
tled Dream Street. Two years later the simple, cheap, small cine-
mas were replaced by gigantic movie palaces. By the end of the
silent picture era, film had achieved a position worthy of its value.
The most important mission of film is to “let see”, as the film analys-
ers of the time believed it. That is why it was not by accident that
after the period of silent pictures from 1895 to the 1920s, talking
pictures were received with some doubt. The fear was that due to
the addition of sound, film would resemble the theatre too much,
and it would no longer be a genre of its own. The appearance of
sound, however, did not result in negative changes in the cinemat-
ic art. Today we also know that the well-composed sound track
completes the movie.
What became obvious, however, was that vision had to be of pri-
mary importance in films; after the appearance of sound, it was
still the images that carried the artistic message.
By the period 1930-1960, talking pictures had become dominant
in the movie theatres.
Talking pictures were first made with hidden microphones. This
meant that hidden mics were only concealed from the eyes of
the viewers; the actors knew exactly where they were, because
they had to talk in their direction. “Searching” for the mics affect-
ed both mimicking and acting in a bad way. The acting legends
of silent pictures were often unsuitable for talking pictures. The
disruption of sync between image and sound also resulted in a
comic effect. These first difficulties can today be traced for exam-
ple in the American movie Singing in the Rain, released in 1952.
Sync-related errors were eliminated by recording the soundtrack
onto the film strip using photo technology. The voice for speech,
or mostly singing often came from somebody else, not the person
visible on film.
In the 1930s the Movietone procedure became common. Due to
mixing, all the sounds of the movie were gathered in one track.
Stereo sound was first used in 1940, in Walt Disney’s cartoon en-
titled Fantasia.
In the 1970s the Dolby lab developed its noise reduction system.
The stereoscopic sound of film (the so-called “stereo sound”) also
became common at this time, and twin audio tracks were used
for its recording. In the 1980s, digital sound recording appeared.

3.2.1.2 Colour film
In 1907 the brothers Lumière introduced the autochrome process.
In 1909, at the Palace Variety Theatre in London they presented
the first film with a colour effect. In 1917, based on the new Tech-
nicolor process, a real colour movie was produced in the USA
(the above mentioned The Gulf Between). In 1936 a more ad-
vanced process of subtractive colour mixing was applied, which
became known as Agfacolor in the circle of colour films. The first
German manufacturer was followed by Eastman Kodak, with the
brand name Kodakchrome.
Photo: wikipedia.org
By 1930, the Technicolor Company had developed a new manu-
facturing option which involved the making of films with the three
basic colours and their mixed varieties. The procedure was de-
veloped by Walt Disney. The actual premiere of colour film took
place in 1937, with the presentation of Disney’s classic, Snow
White and the Seven Dwarfs.
3.2.1.3 Stereoscopic film
Stereoscopic film: a film procedure which
makes it possible for the viewer to sense
all three dimensions of space even on a
flat surface (the projection screen). Ste-
reoscopic image is created in such a
way that during the screening, the view-
er’s right eye can only see the images
captured by the right-side lens, and the
left eye sees the images of the left-side
lens. At the moment, for this experience
3D glasses or special sheets are re-
quired. The film studios in Hollywood produced 3D movies as early
as the 1950s, but due to the slower pace of technical progress, this
kind of entertainment has only recently become popular.
3.2.2 Image formats
In 1933 the early standard proportion was determined by AMPAS:
it was 4:3. Until 1953, the aspect ratio for all talking pictures was
1.37:1, which agreed with the aspect ratio used on Television.
From the 50s onwards, a series of films were made in new aspect
ratio formats. The aspect ratio of wide-screen films in Europe is
at least 1.66:1. In the USA, the ratio 1.85:1 has become common.
The forerunner of super wide-screen films was CinemaScope. The
ratio of image sides was initially 2.66:1. (Then, as sound began to
be recorded onto the tape, this was reduced to 2.55:1, or, in the
case of stereo sound to 2.35:1.) Later WarnerScope came into
being, then AgaScope was created; the latter is currently used in
Hungary.

The most popular wide-screen technology of our days is PanaVi-
sion, which uses 35 mm film.
In the 70s, the Canadian Imax Corporation in Toronto developed
the IMAX film format, which is 70 mm. The result was a matchless
quality of film projection. However, the procedure is currently rath-
er expensive; it requires a separate camera which is large and
hard to mobilise.
3.2.3 Computer film
By the 1980s and 1990s, with the development of computers,
CGI (Computer-Generated Imagery) was spreading fast. This be-
came more and more impressive, easy and cheap, so it gradually
superseded mock-based imagery. In 2002, in part 2 of Lord of
the Rings, a life-like size of an army was created without using
thousands of actors, after several months of image edition on the
computer. The actual breakthrough in animation took place one
year before that, with the full movie Final fantasy – The spirits with-
in, which was made with a computer in its entirety, and the images
looked like photos.
3.2.4 Film festivals, prizes
Film-making was progressing with huge steps, so the need arose
for film directors, actors and other participants of film-making to
show their skill in competitions. The first film festival of film history
was organised in Venice in 1932, where, for the first time, the or-
ganisers of the Biennale accepted film into their artistic display.
In the 1990s, 200 film festivals were held worldwide. The most
important festivals of Europe are held in Cannes, Berlin, Venice,
Moscow and Karlovy Vary. For producers, directors and actors,
a festival prize has great significance as it can often mean their
entrance into the international film market. These events are pro-
moted by journalists, which is an opportunity for several large
productions to find an audience.

The Oscar (officially called Acade-
my Award) is the most prestigious
prize for an achievement in the
cinematic arts in the USA. It has
been given out by the Academy of
Motion Picture Arts and Sciences
in various categories since 1929.
In 1932, the first Venice Film Fes-
tival took place, and its main prize
was named Leone d’Oro.
Since 1946, the Cannes Festival
has been the most important film
festival of Europe, its main prize is
the Golden Palm.
Film grammar3.3
Over the decades, cinema has created its own language, with an
established rules used to endow understandable coherence to
the narrative. We expose here the most important.
3.3.1 Frame
The frame is the cinematic or filmic language minimal expression.
It's everyone of the static images that, set in motion, form the
video, the motion picture. 24 frames per second is the standard
measure.
3.3.2 Shot
The shot is the smallest narrative unit in filming. It is what we see
on screen at a given moment. If the image changes, the shot
does.
3.3.2.1 Sizes
According to the distance
with the main object (size):
Extreme Close Up (ECU)
Close Up (CU)
Mid Shot (MS)
American Shot (AS)
Wide Shot (WS)
Cut-In (CI)
Each color box set the limits where the shot is cut by the camera. Thus,
on screen, the ECU only will show us the eyes of the character and,
otherwise, with the WS we will see the character's full body.
 Two-Shot (TS): Commonly used when there are 2 or 4 length
characters starring the action.
 Very Wide Shot (VWS): Focused on the action space: a
room, a garden, a short street.
 Extremely Wide Shot (EWS): Is the VWS extension. It goes
from a wide setting to a vast landscape.

Others:
 Slanted Shot: Taken by tilting the camera 45º from one side.
 Point-of-View Shot (POV): We saw what the eyes of a cha-
racter are seeing in a given moment.
 Sequence Shot: A sequence taken in one shot. All that ha-
ppens it's without, apparently, the camera cuts the shot.
3.3.2.2 Angles
The angle is the camera position around the shot's main object
vertical and longitudinal axes.
Horizontal
Front Three-quarter Side Three quarter
rear
Rear
Vertical
Eyelevel High Low Bird's Eye Nadir
3.3.3 Camera movements
There exist the following camera movements:
 Pan: Is a horizontal camera movement where camera moves
right or left about the central axis. That is to say a circular mo-
vement.
 Trucking: A side to side camera movement respect to the ac-
tion. Also known as Dolly.
 Tilt: Same concept as Pan, just on vertical way.
 Pedestal: Same concept as Trucking but raising or lowering
the camera. This action is called "pedding" the camera.
 Dolly in/out: Move the camera forwards or backwards.
 Zoom in/out: Approaching or removing respect the main ob-
ject just not with the camera but through the lens.
 Boom: Also called Crane shot. Is a shot taken by a camera on
a crane or a jib. We'll call Up or Down basing on the direction.
3.3.4 Scene
A scene is a filming unit of measure referred to any action or dia-
log that takes place in one set. We mustn't confuse scene with
sequence.
3.3.5 Sequence
A sequence is a filming unit of measure referred to a certain num-
ber of scenes united by the same narrative topic or a common ne-
xus that can be the developing of the same action or to be taking
about the same subject.

3.3.6 Composition
The composition is the distribution of the characters and objects
inside the shot. Also the camera distance respect them. It makes
sense, in a technical and not in a decorative way, that in so far as
the camera be from the main object more elements will appear,
and therefore the composition will change.
3.3.7 Formats
The analogical film formats differenced one to each other for
the celluloid size making that, on screen, the film look changes.
Nowadays the digital film format appearance can also be modi-
fied. At those differences we call Aspect Ratio. Here we explain
the most common.
4:3
3:2
16:9
1.85:1
2.39:1
Nowadays the television standard format.
(NTSC)
Until 2009 it was the television standard for-
mat (PAL) and also in a lot of laptop models.
Cinema standard proportion. Wider and
shorter than the rest.
Also called Panoramic and its the HD televi-
sions standard.
Also used in cinema. It was popularized
with the invention of Cinemascope. It's bi-
gger than anyone and it has no black lines
like the 1.85:1
Rules of filmmaking3.4
Cinema claim to emulate reality. Thereby, many classical rules
pursue which is known by "invisibility". That is to say, that they
precisely try to avoid that the technical cinematic tools be seen
inside the movie. In other words: Are rules that you only will notice
when they had been carried out wrong.
3.4.1 Continuity
The continuity or raccord is the rule that sets that the scene skills
(coposition, props...) remain equal from one shot to another not
to generate confusion for no reason. When any scene element
suddenly changes from one shot to another its called raccord or
continuity mistake.
As we see, in this conversation, even the shots are the same, suddenly, a
pencil appears on the man's ear. Not all the continuity mistakes are so
obvious, but this example shows it clearly.

3.4.2 180º Law or line law
This is a film language classical rule mostly used in dialogs or
when two or more characters are one in front of each other. If we
saw the image from a Bird's Eye view, we should draw an invisible
line dividing the scene in two half parts order to allow the camera
only to record from one of the hemispheres. Whit that, we get that
the characters doesn't seem that they are changing their look di-
rection. With the following diagram it's easier to understand.
As we see on this diagram, if we take the shot from the right, the cha-
racter with orange shirt looks at the right and the one with the blue
to the left. If we switch sides continually with the camera, it seems that
the characters are changing positions.
In the following link we can see a funny short film called "Don't
jump the line, girl". It explains, in a entertained way, what ha-
ppens when this law is broken. http://www.youtube.com/watch?-
v=5Xe_6tVXW4c
3.4.3 Rule of thirds
Rule used both in cinema and photography. It is about element
distribution inside the picture or shot's framework. The rule of
thirds is nothing more than split the screen in nine equal squares
obtained by drawing two vertical lines and two horizontal. Usua-
lly, the essential elements of the picture or shot are distributed
around the central square vertices.
What is interesting for us in this photo is the bird. So, we can chose on
which main vertex we put it.

3.4. 4 The rule of thirds in dialogues
As an extension of basic rule of thirds, its application in dialogues
says that, generally, the front character's eyes be on the imagi-
nary superior horizontal line. Either in the central square or both
on the right or left according to the shot size and the characters
position respect the 180º law.
Let's see how the most important spots of the actor's face match with
the third's vertices. Source: http://elcineconjbes.blogia.com
3.4.5 Variate Shots By Size And Angle
Unlike the other rules, this is not a technical one but an stylistic
one. Usually the shot's proximity or remoteness is linked to the
narration intensity. The more intensity or drama, more proximity,
and vice versa. However, the shot's alternation pursues variety,
not to be boring and keeping the viewer active linking the different
emotions with different kind of shots.
3.5.6 Conclusion
Obviously, along the cinema decades, these rules had been flou-
ted to get a specific effect. However, their knowledge is essential
to tell a story with cinematographic coherence.
To finish we show here a fragment from the episode 8 of Mucha-
chada Nui (spanish humor show) that satirizes about the 180º law
and the continuity: http://www.youtube.com/watch?v=2IJa_8km-
bZY (English subtitles are avaiable)

Film production,
from basic concept
to distribution
3.5
3.5.1 The basic concept
The first step of movie-making is the selection of a theme. The
idea can be seen as not only the starting point of production,
but its very basis. Whether it is a movie for a wider audience or a
documentary targeting a smaller group, a video clip or a commer-
cial, it can fundamentally affect its audience with its up-to-date
nature. The theme of a film can not only be considered up-to-
date if it puts modern events in the focus. A film with a historical
topic can also be fresh and new if it address its contemporaries
with a good approach. The consistent-minded “receiver”, that is,
the intelligent viewer is able to draw a parallel between past and
present events, and in the movie he will find the cause and effect
relations in reference to his own age. A theme already used by
several others might still have the potential to surprise people if a
new approach is applied in it. The idea of a report film featuring a
winemaker may not strike you as very exciting the first time, as it
sounds rather banal. If, however, the interviewee lives with multiple
disabilities, but also works as a winemaker, the story appears in
a different context, and therefore has a new approach. For exam-
ple, there have been many films about the city Dubrovnik in se-
veral languages. Its historical role was examined, its architectural
and cultural relics were revisited. A film was also released about
the attacks on the old city during the South-Slavic wars; stories,
myths and legends were presented in relation to these times. Still,
if a movie director feels that not everything has been told about
the city and he could fill another film with brand new content (for
example, taking a look at the city’s role in Hungarian literature),
then his film would serve a good purpose. With a sudden change
of perspective, the director can show that from a different view the
same thing can be seen differently1
.
Sensitivity to topic, an up-to-date theme, a different view and a
new approach are the props that you will definitely need if you
intend to shoot a movie. If you feel that you have something to say,
and that you could say more with an image than with a thousand
words, then film is the best means of expression for you. As a first
step, all you need is a good idea.
3.5.2 Work processes of film
production
Film production consists of five separate phases that are also
closely linked together:
 Script/synopsis
 Preparation
 Shooting
 Post-production
 Distribution/platforms
1 E.T. was not only successful because there had been no movies made about extra-terrestrials before, but because
Spielberg focused the plot on a friendship that bridged the Galaxy.

A film crew at work
3.5.2.1 Script/synopsis
After choosing a theme, we write a synopsis based on it. The
synopsis drafts the movie plot, the main characters, the drama-
tic steps and turning points on 1-2 pages; it gives a feel of the
mood and provides a general impression of the film. It carries in-
formation about the creative idea, the intention of the director, the
target group, the genre and the intended time frame of the film.
Documentaries in the traditional sense do not present scenes that
are acted out by actors and were pre-written, but they document
momentary events.
They document reality, so other than the synopsis, no written ma-
terial is made about them. The documentary film-maker does not
always know in advance what circumstances to expect in the
course of a field shooting, i.e. who will be his interviewees and
in which direction they will take the plot. However, if the director
interferes with reality by modifying it, using actors and fictional
elements, then he is making a creative documentary or a fiction
movie. The fiction movie is based on a script. As opposed to the
synopsis, the script does not only draft the movie plot, but it in-
cludes the scenes in chronological order, defining exactly the lo-
cation, the time of events and the dialogues, but it also makes
references to crops and transitions.
The script has to be written in such a way that one page corres-
ponds to one minute of the film2
. As for the structure of the script,
it consists of an introduction, a body and a conclusion. In the first
part of the structure we build up the fundaments of the plot, in the
second part we tackle the conflict, and in the third we resolve it.
As for the conflict (a clash of interests), it can be of personal or
social nature. If only one hero is in the focus of the story, the script
is dominated by only one train of plot. In a script with many pro-
tagonists there are various sub-stories running. The plot is always
the story of the protagonist: he is placed in a conflict, and we
watch his struggle. Characters appearing in the script can be put
in five major categories:
 the protagonist
 the antagonist
 the hero’s sidekick(s) and/or love
 the protagonist’s sidekick(s)
 secondary characters
2 This means that a 120 minute movie is approximately 120 pages long.

We have to make a character sketch of every character, which
we will follow during the script-writing process. This way we can
remain consistent3
.
The character’s profile (the sketch) includes his/her name, sex,
age, physique, dressing and speaking style, hobbies, motivation,
good and bad features, etc. The more genuine characters we
create, the more colourful our movie will be. The location of the
plot or the type of the venue is usually indicated in the script with
short references, e.g.: Exterior. Budapest. Sundown, interior.
Hotel astoria. Evening, exterior. Wharf. Daytime
Here is a simple example:
Exterior. Forest. Daytime
The bear is walking in the forest. Suddenly, the little bunny flies
over his head, and shouts:
“Bear buddy, do you want a slap in the face?”
“Yes.”
“Then go to the other side of the forest, that’s where I got mine.”
Interior. Pub. Daytime
One day the little bunny shouts out bravely in the pub:
“Who wants to have a fight with me?”
“I might”, says the bear.
Bunny:
“Okay, Bear. Then you are with me.”
The finished script is revised many times. The final version will be
the “fundament” of the film.
3 If we characterise someone as shy, scared and clumsy, then he cannot be the one who saves the world in our
story, as it would not agree with his character.
3.5.2.2 Preparation
At this point, based on the finished script, the preparation phase
can start. In this part of the work process, the financial, technical
and personal conditions of production have to be established.
Based on the script, a budget plan is prepared, and calculations
are made regarding the artists and the required technical back-
ground. If we are planning to make a documentary, in the prepa-
ration phase we have to visit the location and some research has
to be done. In many cases, the research takes place in libraries,
museums and archives. Searching for old archived films or living
witnesses will further increase the intellectual value of the film.
Involving experts and specialists in the work is inevitable, since
much emphasis has to be placed on professionalism and high
scientific standard.
In the preparation phase of a fiction movie, the props, the cos-
tumes, the set and the backgrounds necessary for the shooting
have to be obtained, and the crew has to be recruited. The tasks
are assigned. Casting and reading rehearsals also take place in
this phase of the work process. Prior to shooting, the technical
script is prepared, which contains among many things the list of
locations, camera positions, the lights, effects, and tricks. The ac-
tual shooting will also take place based on this technical script.
3.5.2.3 The shooting
The complete film material will be made during the shooting pha-
se. The shooting of a low-budget documentary is usually done by
a very small crew. In this case, roles often overlap each other, be-
causealltheworkisaccomplishedbytheminicrew.Inmanycases,
the director fulfils the role of the cameraman, the producer is at the

same time the production manager, and the light technician also
worksasthesoundengineer(ormaybehealsodrivesthevan).This
situation is by no means ideal, as every task would require a who-
le person, and the chance of errors significantly increases. This,
however, does not mean that a small film crew is not able to create
a remarkable intellectual product. The truth is quite the contrary!
A small film crew during shooting
The shooting of a fiction film requires a large film crew. Smooth
work process is assured by the exact following of the schedule
or shooting board. In the case of low-budget films, as we have
seen, roles might overlap; but with big-budget movies the tas-
ks are well separated from each other. The property master, set
dressing person, set designer, costume designer, make-up artist,
stills photographer, pirotechnician, the actors, stuntmen, extras,
the production assistant and other helpers are following the di-
rector’s instructions. Some indispensable crew members are the
producer, the script supervisor, the cameraman, the production
manager, the filming manager, the sound engineer, the gaffer and
the editor.
The producer is an expert of establishing the financial conditions
of film production; besides obtaining the capital for the shooting,
he does the overall management of the procedure. The script su-
pervisor (dramaturge) works to develop the script, provides the
script-writer with advice before the final version is born. He is able
to reshape the film in such a way that its main theme becomes
highlighted, but he can also transform or “clarify” certain cha-
racters. He can shorten slightly monotonous, dull bits, in order to
maintain the dynamic pace of the film. This means that he makes
justifiable alterations which contribute to the success of the movie
and increase its value. The cameraman does and controls the vi-
sual recording of the film. He composes the images and the sce-
nes, sets the camera moves. Depending on the number of came-
ras used at the shooting, assistant cameramen might be present
to offer him help. The production manager does all the organisa-
tion: ha makes calls, books appointments, arranges contracts,
does paperwork. He also organises and supervises preparation
work and post-production work. Deciding where mics should be
placed during the film shooting is the task of the sound engineer.
He records the sound material of the film, and he mixes the sound
with the image. He does the post-sync recording and voice-over
work in a studio. The gaffer is responsible for the lights of the film.
If the shooting takes place indoors, he lights the place with the

lighting equipment. The shot material is cut by the editor. He puts
together the scenes one after the other, and in cooperation with
the director, he sets the order and rhythm of images and scenes.
Prior to shooting, a schedule is made in which it is clearly indi-
cated, on which day of shooting, at which location, which scene
will be shot. That way, being familiar with the schedule, it is ob-
vious for the crew and the artists what tasks are given to whom,
when and where the tasks have to be accomplished. The shoo-
ting schedule does not follow closely the chronological order of
the script. This means that the shooting may as well start with the
last scene of the film, or the beginning of the film could be shot
at the end of the shooting process. This kind of rationalisation is
in reality for the sake of harmonising the crew, the characters and
the locations. In the script, the outdoor and indoor scenes follow
each other alternately, but this does not mean that after finishing a
scene on location the crew packs up, continues work at an indoor
location, and then again, goes outside. If at a shooting location
various, independent scenes have to be shot, the crew stays at
the given location until they finish all necessary scenes4
. The pro-
cess of shooting is often affected by cost-efficiency. For example,
if a limousine is required in three separate scenes of the film, the
crew will not pay the rental fee on three different days, but they will
shoot the three scenes on the same day, even if these scenes are
quite far apart chronologically. But we can also shape the sche-
dule in such a way that if necessary, we insert a longer break into
the shooting process5
.
4 If the first and last scenes of a script take place in Moscow, at the Red Square, then the crew does not close the
square on two different days. Both scenes are shot on the same day.
5 In the course of shooting the movie Castaway, a whole year’s break was held. This was enough for Tom Hanks to
put on 22 kg, so that he could impersonate his character in an authentic way.
As the day of shooting begins, the crew starts to shoot the scenes
scheduled for that day. The set, the lights and the cameras are in
place, and everybody takes up their position. We can use various
kinds of light for the scenes: key light, back (counter) light, top
light, indirect light, filler, etc.
A lit scene
At every pre-light session, determining the place of the key light
is of primary importance. The key light lights the character, the
object and the scene from slightly above and from the opposite
direction. The back light lights the actor from behind, and the li-
ght is thrown in the direction of the camera. The back light mostly
serves to highlight the outlines, and it helps to make a contrast
between the person or object and the background. Light from

above is reflected on the characters’ hair, and other lighting tech-
niques work like an “ornament”, helping to achieve a higher level
of sharpness. The filler is necessary to fill the shadows created by
the key light; its intensity is lower than that of the key light. Even
in the case of shiny outside scenes, the shady parts sometimes
have to be filled with light.
After the gaffer has done his part, the director and the came-
raman set up the cameras, and the shooting of the scenes can
start. The director watches the recorded images on one or more
video monitors which are connected to the camera(s). He can
hear the sound of the scenes through a headset.
The director follows the work of cameramen on monitors
Scenes consist of shots. The shot is the smallest unit of film pro-
duction; it is a “snapshot” between two cuts, a frame captured in
one image size. The image size/frame size is a characteristic of
motion picture, just like the angle, the position of the character
and his movement, the depiction of the character within his envi-
ronment. Frame sizes can be used to direct the viewers’ attention
on an important, but otherwise not too conspicuous moment. The
expression “image frame” (French: plane) is usually not used for
environment or objects, but for images depicting a human being.
Depending on how big a piece the frame contains, we can diffe-
rentiate between various grades:
 sclose up,
 choker, extreme close up, ‘premiere plane’
 medium close up
 full shot
 long shot
 extreme long shot, etc.
Close up, ‘premiere plane’, medium close up, long shot
The (extreme) close up focuses on an object; it shows a small
body part or part of a face. In this case, all we see is a bloody fin-
ger, eyes full of tears, a furrowed forehead, a pebble, a pistol, etc.

The choker or ‘premiere plane’ is an angle in which we see a who-
le head, a body part or an object. The medium close up shows
the actor’s/actors’ head and upper body, and certain elements of
their environment also become visible. From the long shot angle,
the bodies can be seen in their entirety. In the extreme long shot
not only the object and/or the man is seen, but the background
and the environment also become integral parts of the image. It
includes every character of the scene, and the whole of the sce-
nery. The extreme long shot is a setting where the figures can be
seen from more than 30m; we see them as small spots in space.
The image frames are made with camera moves. The most com-
mon camera moves are fix, pan, zoom and dolly.
The fix is a still image which assures that the viewer can observe
the image thoroughly, and it also makes any moves taking place
in the image content more visible. We normally start the camera
moves with a still, then we complete the camera move and con-
clude with a still. Example: fix-pan-fix.
Pan means scanning. When this happens, the camera is moving
around on its axis. The movement may take place from left to right,
right to left, from up to down or down to up. This type of camera
move makes it possible to show a location (e.g. a room), but with
the pan we can also follow a person’s or an object’s movement.
The pan usually starts from a still, and it stops on a still. Its speed
has to be directed in such a way that the view can be taken in
easily. With the pan, we can make a long shot or an extreme long
shot, but it is also suitable for making other frames.
Zooming is an action with which two opposite directions, in and
out can be done. The content links together the starting and the
closing image. On zooming in, we zoom on a detail from a big-
ger context. This is the way to make a long shot from an extreme
long shot, a close up from a medium close up, a choker from a
close-up, etc… On zooming out, the detail is placed into a big-
ger context. This way we can create an extreme long shot from a
long shot, a medium close up from a close up, a close up from a
choker, etc.
When dollying, the relationship between the image object and
its environment changes. Then the whole camera body moves
forwards, backwards or sideways.
During shooting, if only one camera is used, one scene is usually
shot in many versions, from various camera angles. At first, the
whole scene is shot, for example, as a fix long shot. Then the
scene is repeated several times, and a different camera angle is
applied each time. If there is an opportunity to shoot with more
than one camera, then several angles can be used at the same
time. This way the scene does not have to be repeated.

Shooting with more than one camera.
The cameraman on the left side makes a long shot from a fixed
camera position. The cameraman on the right works without a
stand, this way he can follow the moves more freely. He mostly
makes medium close ups and long shots. The third cameraman
focuses on close ups.
When we are shooting with more than one camera, we have to
make sure that the cameras do not see each other. Harmonised
work is very important. At the end of the shooting day, it is advisa-
ble to review the material, because any human or technical errors
can be corrected the next day. That is, if necessary, the scene
can be reshot.
3.5.2.4 Post-production
As the shooting work is finished, the post-production period be-
gins. In this phase of film production, the complete movie is put
together from the shot material. The length of the shot material is
often many times longer than the final version, as in the course of
shooting a lot of extra material is produced.
Editing board
These days, all of the post-production work is done on the com-
puter; several softwares and cutting programmes are available for
professional work. In the cutting studio, first of all, the dailies (the
raw, unedited footage) are watched. In the presence of the edi-
tor, the director goes through the whole shot material. Watching
the hours of raw footage might take many days. Then they select
the best scenes. After the dailies, the pre-editing period follows,
during which the selected scenes are put into the right order. The

length they come up with is still not final, as the shots put toge-
ther during the pre-editing period are not cut to their final length.
However, this version carries the idea of the pace, which will de-
termine the final proportions. In the course of the final cutting, the
editor sets the exact length of the scenes, giving a rhythm to the
film with the image changes. He increases the value of the film by
selecting delicate solutions, applying effects, music, animation.
The director and the editor watch the finalised version over and
over again for many days, correcting any mistakes. After the last
touches, the final version is produced.
3.5.2.5 Distribution/Platforms
The last phase of film making is distribution. After the final ver-
sion is prepared, the artists would like it to be released, so that
it can reach the widest possible audience. Movie distribution, TV
showing, DVD and internet releases offer the best opportunities to
get the movie to the viewers. These days, large distributing com-
panies work to connect film producing groups with consumers,
that is, to link the artists and their audience. Marketing plays a
major role in promoting films with the help of adverts or clips. For
beginner film makers, festivals offer excellent opportunities, whe-
re acknowledged professionals give feedback on their work. At
such festivals, TV channels make an occasional appearance, and
they are pleased to purchase the screening rights of award-win-
ning movies. Although it is less and less common, cultural centers
still organise interactive movie screenings, where the audience
can meet the artist, and they can discuss the movie together.
Video editing3.6
3.6.1 Introduction
In our digitised world, where with the help of our cameras and
smart phones we can make our own video films, the need has
occured to be able to edit and cut our videos of family gathe-
rings, parties or trips in our own home environment. The fact that
most households have a computer with the proper features to do
post-production work on videos is a strong motivating factor. Pre-
viously we outlined the process from the basic concept to the
birth of the complete film. As our next step, we would like to offer
help to those who are not particularly interested in the profession
of film-making, but would be happy to master the basics of video
editing for home use6
.
3.6.2 Video capturing
Capturing is the process where video material is placed into a
file on the hard drive of the computer. Depending on the device
used for recording, the material is recorded either onto a digital
videotape or a memory card. In the case of a DV tape device,
you can copy the material by connecting the equipment to your
computer; images recorded onto a memory card can be copied
with the help of a card reader. When you launch the project, it is
necessary to set the basic parameters: the resolution of material,
image size, recorded format.
6 This time we will not look at the editing and digitising of analogous recordings (VHS) as today material is made
almost exclusively in the digital format.

The library on the hard drive must also be set up, and the name
of the project has to be indicated. The material can be copied
as a whole, but the programme is also able to divide the video
into scenes by sensing the natural cuts7
. This means that the pro-
gramme will cut the video into as many scenes as often you sto-
pped the camera while shooting. Each scene lasts from starting
the camera until you stopped the recording.
Recording stops automatically if the selected disc has no more
room on it.
3.6.3 Work surfaces of editing
programmes
Every editing programme has a similar-looking work surface.
Work surfaces can mostly be divided into four blocks, these are
the following:
 Surface containing the elements of the project
 Projection screen
 Timeline
 Effect window
Windows Movie Maker is a video editing programme recommen-
ded for beginners. It can be divided into three main areas: win-
dow tables, storyboard/timeline, preview monitor.
7 Certain programmes have an automatic scene recognising function, whereas in the case of others this needs to
be set separately.
The work surface of Windows Movie Maker and
parts of the work surface

The sizes of certain parts of the window can be modified. If you
enlarge the size of the film window (storyboard/timeline), the pla-
yer (preview) surface will be smaller. By enlarging the player, the
size of the contents window gets smaller. These alterations can
be made or cancelled according to your needs, to make your
work process smoother.
3.6.4 Importing, data reading
In addition to copying the material, editing programmes allow for
other data reading processes. You can import stills, sound or vi-
deo into the project file. The data which you want to import into
the programme must initially be saved into a folder on one of the
hard disks of the computer. That is because if you import data
directly from a pendrive and it is not saved onto the computer,
then on disconnecting the pendrive, the data automatically disa-
ppears from the editing programme.
Importing
You can import new data with Win-
dows Movie Maker in the following
way. Under Movie Tasks you open the
Capture Video bar (number 1). Here
you select what you want to import: vi-
deo, image or sound. You click on the
desired option, and from your hard dri-
ve you select the folder which has the
video/image/sound saved for impor-
ting. You then select the data. As can-
cel and import appear, you click on
the latter. You may import several data
simultaneously or one after the other.
3.6.5 Editing, cutting
3.6.5.1 Straight and soft cut
If all material and imported data are at hand, the work can start.
You select a clip from the Collections and drag-and-drop it onto
the Storyboard. You can work with it on the timeline or on the
storyboard. Working on the timeline, you can remove all the un-
necessary bits. You can cut off the beginning and the ending of
scenes, however, it is not possible to remove internal images. You
can only do that by initially cutting the clip in two at the place of
your choice, and then, by clicking the icon in the bottom right
corner of the player you complete the editing. If two scenes or
stocks meet without any optical effects, we call it a straight cut.
If you want a softer transition between your images, you can se-
lect an option in the Video Transitions file. The transition of your
choice has to be dragged onto the editing surface, and dropped
between the two clips. You may accomplish this action on the
timeline or the storyboard.
Cutting on the timeline

3.6.5.2 Video effects
Besides video transmissions, in the collection file you will find the
Video effects. Their function is, for example, to rotate images, to
reduce or increase brightness, to apply vertical reflection, sepia
or rainbow effects, etc. If you wish to give an old-fashioned style
to your film, it is easy to do. You can drag the selected video effect
onto the timeline.
3.6.5.3 Editing sound and music
You can use narration and background music in your film. Win-
dows Movie Maker does not offer the option of simultaneous voi-
ce-over and music, so you can only use the one or the other.
However, you have the opportunity to insert voice into an empty
place between two music clips. You can also set the volume of
the video and the background music; that way you can make your
short movie even more atmospheric.
3.6.5.4 Preparing titles and credits
If you wish to give your movie a frame, you might want to start it
with a title and finish with closing credits. By clicking Titles and
credits, you can start editing the credit lists. First you have to
locate the title, which means that you have to decide where you
want to place it. You can put it to the very beginning of the film, on
a selected scene, or even to the beginning or ending of that sce-
ne. At the beginning of the film, the title appears in front of a blue
background. If you add it to the clip, you create overlapping titles.
You also have the opportunity to create a unique background. To
do this, you have to import an image into the programme (or you
can select one of your already imported images that you think
would look good as a background to the main titles), and you pla-
ce the titles on that. You can edit the credits based on the same
guidelines.
3.6.5.5 Finishing touches
When you have completed the final version and all your creative
ideas have been realised, it is time to save the film. You have to
give the file a name and find a place for it on your computer.
Community pages for sharing your videos
The programme also provides an option to save the film onto a
DV camera tape. It can be burnt onto a CD as well, or sent via
email. You can also upload it onto a web surface to share it with
your friends.

Video project3.7
Whether we work for television or whether we make documenta-
ries, we must be familiar with certain basic concepts.
In the chapter about radio we have already tackled the press gen-
res. Here, in the video chapter we will look at the characteristics
of reports and interviews in detail.
3.7.1 What is a report?
It is based on an experience. It is a member of the “factual mes-
sage” family, and it grew out of news coverage. It aims to com-
municate an event in a lifelike way. It is a complex genre with a
high prestige, right between journalism and literature, using the
elements of almost every genre from news clip to interview and
essay-writing. The following literary effects can be used in it: dia-
logue, depicting a milieu, creating tension, metaphors, suspense,
turn of events. In contrast to a short story, however, here every
statement has to be supported. The writer must recognise what
could be of public interest. As opposed to the news presenter,
the reporter is an active participant of the events. A good reporter
builds up his piece with details, and he makes the viewer ano-
ther participant of what is taking place, fully transmitting the at-
mosphere. He throws light on the social background, embedding
it into a social, political context; in certain cases he may even
take sides. The report improvises; it is an “impressionist”, it re-
cords the situation of the moment. It allows insight into such milieu
and worlds which are hidden from the public eye. Every report is
known for bridging distances and stepping over obstacles.
Its types are the following: fact-finding, pragmatic, analysing, jud-
ging, event-condition, documentary report.
3.7.2 What is an interview?
To have an interview with someone means to offer him an oppor-
tunity to speak. It is a conversation between two or more people
where we assume that the topic might be of interest to others as
well. It can be a genre or a way of material collecting. For the
interviewee, the interview is an opportunity to let his opinion be
heard by the public. For politicians it provides an opportunity for
public speaking. And yet, in the interview the personality of the
journalist or the editor is also reflected to some extent. The per-
son of the interviewee is not of particular interest, the point is that
the public should find him interesting, he must draw the public’s
attention. In the case of a less exciting topic, the person of the
interviewee is of great importance, but if the topic is exciting, a
completely unknown individual will also pass. The interview is a
private conversation, but the viewers have an invisible presence
in it. That is why it is both intimate and assumes publicity. It is the
most authentic genre where manipulation and distortion have a
minimal chance.
3.7.2.1 Its types
Fact-finding: This is a working method where the subject is fea-
tured as a source of information. The reporter stays in the back-
ground and only aims to obtain basic information. On the basis of
unified logic, the plot has to be complete, a whole.

Magazine-type interviews: Here the aim is not only to obtain ba-
sic information. This interview can be linked to any event or cau-
se, its choice of topic is also free. In this type, the interviewee’s
person is placed in the forefront as he shares his personal remar-
ks or calls attention to the relationship between things.
Deep interview: The personality of the interviewee is in focus.
The aim is to fully introduce our subject without getting lost in the
details. It is worth choosing a place where the interviewee can
speak freely and at ease, and where we can observe his habits.
The quality of the interview also depends on how well the two
talking partners understand each other. The reporter, however,
has a highlighted role: it is important that he should support the
interviewee, guiding him in such a way that he can do his best.
3.7.2.2 How we are obliged to give
information prior to the interview:
We have to introduce ourselves and say which medium we repre-
sent. We should also say where the material is meant to be used.
It is a must to say where and on what occasion the interview will be
aired. The topic should be shared in advance, we can even send
our questions beforehand, so that our interviewee might prepare.
However, we must be careful not to give away all our questions
in advance. We also have to make an agreement about how long
we wish to keep our interviewee busy. It is important to inform him
how we intend to use the material, that is, whether it will be used
as a source or a dialogue-type interview. The interviewee has the
right to view or even ban the finished material.
3.7.2.3 Preparation
It is a must to do a thorough research about the work of the inter-
viewee or the given topic. If we interview a public figure, we can
study his earlier interviews or articles written about him. We can
become familiar with the topic from archives or manuals.
We have to contact our subject and agree with him that it is be-
neficial for both of us to make the interview. The reporter can be
stubborn, but his stubbornness cannot turn into an assault.
Always make a draft for the discussion; there should be some
kind of logic along which we proceed. There has to be a starting
point, and we should find a direction in which we go; but let us
be flexible, let us adapt ourselves to the situation. Since we work
with a camera, we have to ask the cameraman to check the state
of the battery. It can be very embarrassing if the shooting can’t
be started.
3.7.3 Interview technique
Let us not make our own and our partner’s job more difficult by as-
king yes/no questions. Then the conversation will typically come to
a halt, and nothing will ever move it forward from the point break.
Some people can give excellent ideas regarding questions. For
example, the TV star Barbara Walters in her book How to talk to
anyone about practically anything gives typically American tips
which are helpful. In her book The interview, Anna Földes also
quotes some questions that, according to Walters may establish
a good contact and can open up the interviewee. For example: If
you were taken to hospital, who would you like to see on the bed

next to yours? In which historical period would you like to live? If
you were to win a million dollars in the lottery, who or what would
you spend it on?
These questions, although a bit clichéic, are definitely useful to
give the conversation a push when it stops, and it shouldn’t be
ignored that they can lead to dozens of new questions. If we are
out of ideas, we should not hesitate to use them.
The journalist has to be inquisitive the whole time through, and
he should not stick to his planned questions at all costs. Such
interviews are usually dry and dull, and make an impression as
though the reporter is more interested in himself than in the inter-
viewee. We must give the interviewee some space, but we have
to be on the alert if he has questions for us; we are not to let the
conversation be inverted. Whether we interview a plumber or a
prime minister, it is the most important thing to pay attention and
feel the air of the discussion, and later to reflect the things said
in the most exact way. After proper preparation work this will not
seem impossible at all.
The presence of a camera bothers the interviewees more than
e.g. a dictaphone. A good cameraman and editor always know
what are the most preferable or comfortable circumstances for an
interviewee.
3.7.4 Documentaries
After this professional review let us move on to the documentary
as a genre of its own.
From the 1920s onwards, with a much smaller group of dedicated
viewers, the documentary film has continuously been present in
global film production. With movies becoming more and more like
fairy tales, this genre represented the living conscience of film,
which inspired many newly born styles (e.g. Italian neorealism,
free cinema or the documentarism of the Czechoslovakian new
wave). Out of this genre came several classic directors, i.e. the
English John Grierson, the Dutch Joris Ivens, the French Jean
Rouch and Chris Marker, the Russian Mihail Romm, the Hunga-
rian Pál Schiffer, Gyula Gazdag, Gyula Gulyás, János Gulyás.
In the course of film history, various types of documentary film
were born. Such was the propaganda film, which was usually
made at the order of a political party or organisation, or the state
itself, and intended to spread an ideology effectively, among the
widest possible audience. Propaganda films were mostly made in
a large number during the Second World War.
The nature film became one of the most successful documentary
types of the TV era.
The popular science film explains an important or interesting field
of knowledge in science or the arts with much accuracy, and yet
in a language comprehensible for the public.

The portrait follows a typical or exemplary path of a human life.
As television became common, cinemas were no longer a home
for documentaries, and on TV these films were often merged with
journalism. Their higher-standard forms (i.e. event broadcasting,
analytical, dramatic shows) rarely found a channel for their pre-
sence.
On the other hand, some typical types of documentaries (nature
film, popular science film, TV news shows replacing cinema news
reels) are now so popular that thematical TV channels (Spektrum,
BBC World) serve to fulfil their viewers’ needs, and high-ranking
annual festivals, fares present the products coming from this genre.
3.7.4.1 Let’s make a documentary
In order to fulfil this noble and rather difficult task, it is definitely
necessary to master the above mentioned things. What comes
after that is the selection of a theme. This can be the elaboration
of a topic which has been investigated for a long time, or the do-
cumentation of an event, which, as we say, is literally in the street.
In both cases, preparation is required; in the first instance we
have more time, in the second case there is less time to get ready.
It is very important that we ask the interviewee questions of public
interest. If we beat about the bush, we might end up shooting
several hours of material, and the editing will be complicated. So
we must ask relevant questions.
When making a documentary, the role of the cameraman is very
important. A good cameraman has to be at least as attentive as
the reporter. He has to record cutaways that go well with the the-
me. The magic of documentaries partly depends on the scenes
that cannot be re-shot, because they will never be repeated. Only
accurate, creative cameramen with a confident hand are able to
do this.
In documentaries, speech plays a major role, but images are just
as important. Films must also provide a visual experience.
After shooting, the editor, who is on many occasions the same as
the reporter, will go through the shot material. Then he does the
script and edits the film; he writes the narration. The narrator re-
cords his voice and hands over the material to the second editor.
The second editor has an important task, because he is the one
who puts all the tiny things together into one, composed form.
Since documentaries globally have a low budget, it is often the
second editor who edits the credits and the music.
Documentaries are usually purchased by thematical channels,
but it is also possible to present them at festivals.

Activities3.8
1. Film grammar
A. Catalog the following shots according their size/composition
and angle (vertical and horitontal)
Example:
Front Low Mid Shot
2. Rules of filmmaking
B. Make, by drawing or taking pictures, a western duel story-
board with the application of this unit's explained rules.
Storyboard: Sequence design in "comic" format where in
each vignette there is drawn each movie shot in the movie's
order of appearance.
Example:
3. Film production – from basic concept to
distribution
C. Connect the camcorder/camera with a monitor and make sure
everybody can see the screen. Turn the camera to face the
students and make a long shot of the group, then a medium
close-up. Make a close-up and a choker of each student. Call
some students individually to:
 make a long shot
 make a medium shot from long shot
 make a medium close-up from medium shot
 make a close-up from medium close-up
 make a choker from close-up
 make a medium close-up from choker
 make a close-up from medium close-up
 make a long shot from close-up

 make a choker from long shot
 make a medium shot from choker
Remark: The task can be done the opposite way. One student
makes one particular shot and the others have to recognise
which frame it is. Students may assign these tasks to each
other as well.
D. Practicing camera moves which make the various frames/
shots.
 make a zoom from a still into a still, as you like
 introduce the location (classroom, telecentre, etc.) with a pan
 Introduce one of your group mates in standing position with
a tilt. Which direction would you prefer: from below going up,
or going down? Why?
Remark: The task can be done in pairs. One student stands
behind the camera, and the other makes various kinds of mo-
ves which have to be followed by his partner. For example,
he slowly walks from point A to point B, he quickly walks from
point B to point A, he quickly puts his hand in his pocket, he
slowly pulls something out of his pocket…etc.
E. Drafting situations
 birds chirping in the forest
 studio discussion – talk show
 live broadcasting
 the prime minister holds a press conference
 the defendant is stormed by journalists as he leaves the
court building.
Look at these situations, and determine which kind of micro-
phones they would require. Which mic would be useful, possi-
bly suitable or absolutely necessary?
F. Putting together a film concept. Assembling the crew.
 the director and his assistants assign the locations
 the cameraman and his assistants consider the possible
camera positions and settings
 the reporters make a list of questions
 the production manager organises the shooting with the in-
terviewees
4. Video editing
Everybody saves some music and photos onto a USB drive
from their home PC.
G. Prepare a library. Name it “film”. This is where you will gather
all files and data necessary for video editing. Make a project
file. Copy the material into the programme. Save it.
H. Import a photo, sound and a video into the project file. Don’t
forget to save them.
I. Choose a clip from the collections and drag it onto the editing
line. Cut off the beginning and the ending part of the scene.
J. Get familiar with transitions. Select a transition option and drag
it between the two clips.
K. Give the clip an old-fashioned atmosphere.
L. Put some music in the background. Be careful with the volume.
M. Click on Titles and credits. Find a place for, and then create
overlapping titles. Save the film.

Bibliography3.9
 LONG, BEN. SCHENK, SONJA The digital filmmaking han-
dbook. Digital Filmmaking Series CHARLES RIBER MEDIA
(2011)
 J. BENET, VICENTE Cultura del cine: Introducción a la his-
toria y la estética del cine. Paidos Ibérica (2004)
 UNIVERSITY OF REDDIT Introduction to Filmmaking
http://universityofreddit.com/class/38220/introduction-to-film-
making

BASIC
Project supported by:
This project has been funded with support from the European Commission

Video production module (basic level)

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