"They say the camera never lies. It lies every day." Cesar Romero
PRE-PRODUCTION
Storyboarding is vital when trying to make a sequence look seamless. Often, problems can be identified and rectified before picking up a camera, because the visual images help the crew see what shots don't look right when pasted together.
If there's any action or dialogue in the scene, a script is needed in order to recreate, to perfection, any events, as the director will want to shoot the scene several times over. This allows some aspects of one take to be comfortably merged with aspects of another take.
The production schedule needs to be one of the final stages of pre-production. A production schedule means that for example scenes shot in the same location, or featuring actors in the same costume, can be shot consequetivly, even if the scenes to not follow eachother in the storyboard. This saves time and money, and also prevents natural influences from disrupting continuity, such as unwanted bad weather.
PRODUCTION
180 degree rule: If the camera crosses the line of vision between two characters, the viewer will find it hard to keep track of the positioning in the scene, which will distract them from the plot.
30 degree rule: If the framing stays the same, the angle of the camera pust either stay the same or jump by more than 30 degrees, or it will appear as if the camera has jolted, which looks unprofessional.
Matched cuts: Action should never be repeated in the final cut, or it will be obvious that it has been filmed twice.
Reaction Shots and Cutaways: These help the viewer identify what is important in the scene, and if really nessessary, can help divert from mistakes in other shots. In our project, for example, time constraints could mean that some problems could take up too much time to be rectified.
Each shot should be longer than nessessary - filming blank background before and after the scene means that editing can be much tighter. In the 'accident' project, we were not allowed any post-production time so had to second-guess the timings between each scene, which proved incredably difficult. If you have access to an editing programme, make sure your shots are as easy to work with as possible!
POST-PRODUCTION
- EDITING FOOTAGE
The previously discussed storyboard, in addition to a shot list, is very helpful in helping the editor line the shots up into the correct order on an editing programme. At this point, blank space can be deleted to increase the pace of the film, and any sequences set to specific music will have the sound put in. Hopefully, the editor will have time to look at rushes before starting his or her job, in which case any major problems can be reported back to the director and producer. Cuts will be used to link shots together so the audience can become emotionally involved with the narrative, while a fade could be used to signify the passing of time
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