Contents
Introduction |
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1. |
The Humanist Auteur |
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The Digital Wave (and the Power It Gives Us) |
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Film as Scholarly Tool |
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The Filmmaker-Scholar |
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The Filmmaker-Scholar as Auteur |
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Looking for Charlie |
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2. |
Learning to Love the Camera |
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3. |
The Production Process |
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Pre-Production |
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Production |
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Post-Production |
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4. |
Concept and Planning |
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Schema One — Essay Films |
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Schema Two — Discussion/Interview Films |
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Schema Three — Full-Production Films |
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Schema Four — Subjective Explorations |
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Achievability |
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Case Study — Signals |
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Planning |
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5. |
Collaboration |
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6. |
Precedent |
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7. |
Choosing Your Filmmaking Equipment |
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Smartphone Kit ($100–1,000) |
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DSLR Kit ($300–5,000) |
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8. |
Core Methods |
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Stabilise your Camera |
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Focus your Camera on your Subject |
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Compose your Shots |
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Plan to Capture Contextual Footage |
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Take Control of your Camera’s Settings |
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9. |
Settings, Lenses, Focus, and Exposure |
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Camera Settings |
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Lenses |
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Stylised Focus |
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Exposure |
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Summary |
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10. |
Composing a Shot — Tips and Techniques |
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Head Room |
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Looking Room |
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The 30° and 180° Rules |
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Fundamentals |
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11. |
Shots and Compositions Considered |
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12. |
The Visual Language of Cinema |
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Frame Rate |
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Vulnerability, Strength, and Significance through Camera Angles |
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Wide Shots, Close-Ups, Mid-Shots |
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Aspect Ratios |
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13. |
Interviews |
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Oral History and Interviewing |
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Designing an Interview |
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Formulating Interview Questions |
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The Phrasing of Questions |
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The Role of the Interviewer |
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The Interviewer/Subject Relationship |
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The Ethics of Interviewing |
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The Interview Process |
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Participant Information Sheet Template |
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Informed Consent Form Template |
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14. |
Recording Audio and Creating Soundscapes |
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Recording Sound on Site |
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Rough and Ready |
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Lavaliere Microphones |
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Run and Gun |
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Clipping |
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On-Site Tips |
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Engineering Ambience |
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Voice-Overs and Commentary |
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15. |
Light |
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Core Rules |
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Hard Light and Soft Light |
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Lights and Lighting |
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Lighting Quick-Reference Guide |
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16. |
Camera Movement |
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Going Handheld |
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Handheld Tracking |
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Camera Pans and Tilts |
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Dolly Shot |
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Tripod Dolly |
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17. |
The Two-Page Film School |
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18. |
Post-Mortem: Making a Short Documentary about the 2016 Presidential Election |
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Pre-Production |
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Production |
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Post-Production |
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Aftermath |
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19. |
Post-Production Workflow |
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Review your Footage |
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(Re)Consider your Audience’s Relationship to the Film |
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Plan a Working-Structure for your Film |
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Begin Creating a Rough Cut |
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Step Back |
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Critically Review and Reassess |
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Post-Mortem |
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Refine Your Rough Cut |
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Step Back, Review Your Fine Cut and Reassess |
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Reflections |
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20. |
The Three-Act Structure |
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21. |
The Protagonist |
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Harmon’s Story Embryo |
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Casting the Audience as the Protagonist |
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The On-Screen Protagonist — The Journey |
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22. |
Assembly |
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Editing |
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Colour-Grading |
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Sound-Tracking |
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23. |
Editing Workflow in Adobe Premiere Pro |
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Step One: How to Start a New Project |
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Step Two: Get to Know the Premiere Workspace |
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Step Three: Import Video and Audio Clips into your Project |
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Step Four: Move Clips into your Timeline |
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Step Five: Shorten a Clip |
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Step Six: Moving Clips Around the Timeline |
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Step Seven: Cutting Between Clips |
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Step Eight: Remove Unwanted Sound-tracks |
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Step Nine: Add a New Sound-track |
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Step Ten: Add On-Screen Text |
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Step Eleven: Saving Your Project |
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Step Twelve: Exporting Your Project |
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Step Thirteen (Optional): Colour-Grading Your Project |
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24. |
Distribution and Dissemination |
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Theatrical Release |
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Digital Streaming |
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Freely Accessible Digital Streaming |
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Bibliography |
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Illustrations |