FILMMAKING

1. ACT ONE FILMMAKING FOUNDATIONS OF Aesthetic Theory & Communication Application

2. Starring Professor/Director MATLOCK BOBECHKO

3. Briefing the Bobechko • QUICK STUDY • Initiating Film Program • University Accredited: PUoT & CCC • QUICK STUDY • Author of Philosophical Theology Articles • CLEANWAVE ENERGY CORP. Director of Marketing & Media Operations • Write, Direct, Produceand Edit Commercials • Electronic Media & Film Bachelor of Science Degree @ Towson University • Created Several Award Winning Short Films

4. Syllabus • LOG LINE(s) • An introductory filmmaking crash course designed to encourage the expansion of your cinematic consciousness! • Learn how to be the writer, producer, director, cinematographer and editor of your own film. • Throughout this two-part course, we will pursuit the core principles within pre-production, production and post-production of films and filmmaking. • RECOMMENDED MATERIAL • Camera: DSLR, Digital Camcorder, Cellphone, etc. • Computer:DVD Player, Celtx, Word, Photoshop, etc.

5. Texts & Books • REQUIRED TEXTBOOK • “Producing & Directing The Short Film & Video” - David K. Irving and Peter W. Rea • RECOMMENDED READS • “Sight Sound Motion: Applied Media Aesthetics” by Herbert Zetti • “Film Form: Essays in Film Theory” by Sergei Eisenstein • “Story: Substance, Structure, Style and the Principles of Screenwriting” by Robert McKee • “The Short Screenplay: Your Short Film From Concept to Production” by Dan Gurskis • “The Screenwriter’s Bible: Writing, Formatting & Selling Your Script” by David Trottier • “The Technique of Film and Video Editing: History, Theory & Practice” by Ken Dancyger • “A Short Guide to Writing About Film” by Timothy Corrigan

6. Contact Information • Watch online material and access more information @ www.makeitfilm.com • Comments, Questions, and/or Concerns: • Email: GFXenterprises@gmail.com • Twitter: @MkBobechko

7. What is a film? Film is focused communication! Film uses visual, audial and kinetic communication through the essence of rational and emotional cognition to exercise an experience.

8. Ways of viewing a film IDEAL EXPERIENCE • Entertainment meets Education • Entertainment • relies heavily on subconscious conduct • uses the movies as a form of leisurely release and escapism of the real-world. • Education • extensive conscious study of the human condition • aesthetic and artistic compositions • philosophical and theological implications • theoretical interpretation and psychological aptitude • cultural application and historical authenticity • technical knowledge and skill

9. What is communication? • com· mu· ni· ca· tion[kuh-myoo-ni-key-shuhn] • The connecting, imparting or interchanging of thoughts, opinions, feelings, or information by speech, signsand symbols; expressed and impressed through the senses. • Sensory Communication • Sight* • Sound* • Smell • Taste • Touch* • Successful Communication Requires EMPATHY!

10. Visual Communication • Written Language • Signs, Symbols and Subtitles • Body Language • Actors, Extras, etc. • Camera Language • Mechanics: focus, aperture, shutter speed, etc. • Framing: placement, angle and movement • Light & Colour: saturation, brightness, tone, contrast

11. Audial Communication Film Sound: Diegetic vs. Non-Diegetic • Dialogue • Character vs. Character • Music • Emotional Push (Mood Setting) • Sound FX • Amplification of Significant Sounds • Emphasized or Accurate representation • Environment/Ambience • Location: Backgroundand Setting (time of day) • Mood Setting

12. Kinetic Communication • How can a movie be kinetic? • In the film sense, Kinetic Communication is an amalgamative baseline of both visual and audial communication; evokes consequential side-effects of feeling in sight and sound to conjure energy forms such as emotion, will, spiritand morale through the use of time and motion manipulation. Kinetic Comm., weaves the senses into meaning. • In the philosophical sense, Kinetic Communication is a response directly linked to your beliefs and who you are as a person. Therefore, it can be different per person, it’s solely dependent on how you ingest and digest the intent of the communication projected(internal sourcing). • In the physical sense, Kinetic Communication occurs in movie theatres when the base in music generates intense sound vibrations that physically shake your body (external source).

13. Kinetic Comm., Continued Time: the inescapable constant arrow connected to everything; the boundary-line and foundational frontier for energy influence. Motion: the pace and rhythm of moving pictures and vibrating waves manipulates energy content into meaningful context, that in which, changes our perception of time.

14. Communication Synopsis Film: Visual, Audial and Kinetic Comm. Once we can observe and understand the motivation and nature behind each shot and story, we can appreciate the film’s true intent along with how we perceive it. Rationality binds these forms of communication. Emotions and feelings weave thoughts and impressions of both the visual and audial senses together, and rationality clears the static and defines them. Emotions and feelings lead logic in a direction, but do not have authority over reason. Logic decides to follow or challenge the content.

15. What makes a film? • As filmmakers, our purpose is to express and capture existence and forge that existence into essence, into an experience! • 5 Key Ingredients in Cinematic Communication • Writer • Producer • Director • Cinematographer • Editor

16. Writer • Chief of Screenplay Design Write: Script & Treatment Focus: Audial Communication (ex. Dialogue) Guide: Visual Communication (ex. Location) Guide: Kinetic Communication (ex. Mood) • FREE Program: CELTX

17. Producer • BOSS: Chief Executive Manager & Supervisor • Budget* (Most Important Role) “Final Say!” • Controls Financial Verdicts of Entire Production • HIRES Cast, Crew & Art (Below/Above-the-Line) • Pre, Pro and Post-production • A: Producer, Writer, Director& Talent • B: Cinematographer, Editor, Art Director,Costume Designer, Make Up Artist, Best Boy, Gaffer, PA, etc. • Locations (On/Off Set) • Arranges Actor Auditions, Set Locations, etc. • Marketing & Distribution • Creative Input (film budget sways creative control)

18. Director • Chief Visionary & Artistic Captain • Screenplay (Visual & Kinetic Communication) • Script, Treatment, Storyboard, Shot List, etc. • Camera (Crew) • Framing: Position & Movement • Lighting: directing Cinematographer • Actors (Cast) • Art Direction (Location) • Set Design, Costumes, Make Up, Props, etc. • Editing Room (“Final Say!”) • Pre-visualized final edit in mind • Complete Creative Control • Can be overpowered by Producer (budget)

19. Cinematographer • The Mechanical Aesthetician (AKA. Director of Photography) • Visual Communicator: Forms the Frame into 3-Dimensions • Scientifically Sculpts What’s in the Frame • Works Directly Underneath the Director • Controls Camera Operations • Controls Lighting Operations • The Directors BFF • Ensures a ‘good-looking’ scene! • Controls the accuracy of the film’s visual intentions • Holds the key to a film’s aesthetic authenticity • Directors Listen to Cinematographers Creative Input • Sustains lighting and camera continuity!

20. Editor • The Magician: Maker of Movies • Focus: Kinetic Communication • Computer/Red Room: splices shots into sequential compositions to establish the scenes and story from the screenplay. • Controls the time and motion within shot chemistry. Holds the ability to change the ‘sense of time’ by making things feel faster or slower than they really are • Under the Producer and the Director’s will power, but has powerful Creative Input (he combines the footage and the Producer and Director approve of it or not) • Finalizes the Film: the Maker or Destroyer of your movie • Talented Editor takes the weak and makes them strong

21. What is our focus? • Mental Preparation prior to Pre-production • #1 Focus: Director • #2 Focus: Writer & Cinematographer • Guide: Producer & Editor • Act II Focus: • Producer, Director, Cinematographer & Editor

22. Final FILM STUDY Evaluation • CRITICAL APPLICATION • Choose one film. • Choose one scene. • Write an essay: • Describe the film: genre, history, ‘behind-the-scenes’, etc. • Describe the significance of the scene. • Describe the overall emotional/rational experience. • Approach criticism: aesthetically, philosophically, theologically, theoretically, psychologically, historically and or technically. • Provide Screenshots: • Describe and capture each essential shot in the scene, shot by shot, sequence by sequence. • Make A Point: mark up the screenshot to point out its techniques, problems, approaches and so forth.

23. Final FILM STUDY Evaluation • First Due Date: Tuesday October 8th, 2013 Choose a film you plan to study throughout the course • By Lecture 4, I must know the film you have chosen to pursuit and study throughout the courseso that I can watch it! • Final Due Date: Monday December 23rd, 2013 NO EXTENSIONS! • By Lecture 17, you will an extra 6 days (Dec. 23rd) to complete your assignment. Godspeed!

24. Final FILM STUDY Evaluation • CREATIVE APPLICATION • Bonus Credit: if you believe that a shot, sequence or even the entire scene had an effective idea, but it was poorly executed, I encourage you to storyboard a new version of the scene through drawings or photographs. Therefore, you must keep the original context of the script but simply reshoot the shots and sequences of the scene that you believe could have been improved. Fully explain and discuss what, how and why you have adjusted and creatively corrected the scene. I will only accept clean-cut images, diagrams, photographs or drawings. That means anything sloppy such as stick figures will not suffice. • Keep In Mind: if you’re using a camera and you do not have lighting equipment, make sure you effectively capture natural light to the best of your ability to simulate the appropriate atmosphere of the film. Continuity is key! • This Bonus Credit will be a practical preparation tactic for FILM 200B.

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