CUT! EARLIER AT LEAST

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1 Tips for IB Film - Be organised! - Show. Don t tell. - Start Strong. - Film on interesting locations, not on school or compounds only. - Adults portraying adults. - Overthink your shots in preproduction. - Don t forget coverage footage. - Always use microphones. - Practice and test with the equipment BEFORE shooting day. - Give the script before hand to your actors and crew. - Control the light. - Have a interesting and original plot (avoid drugs, bullying, it was all a dream, so on) - Starting film waking up? Alarm clock? Why? - Be clear about the genre of your film. - You MUST use a tripod. - Every shot MUST have a reason, otherwise, CUT! - Arrive at least 1 hour EARLIER than your actors to setup everything - Have AT LEAST three drafts of your script. - Ask someone that you respect but it s not close to you to read and then tell you what they understood of your story. - Don t set for average. In arts, average is bad. Imagine an yearbook with 30% mistakes? A movie with 30% of problems? Still, 70% is correct so is it ok? - Your film has to have a theme, a HEART. - Make sure all equipment have the same date and time (camera/sound recorder). - Confirm dates with actors and crew frequently. - Never film alone. You will need help. - Make sure to use a headphone when operating sound. - Make sure you have enough battery for the equipments. - Make sure to always check your takes and mark the the best one. - Use clapboard. - Follow your storyboard THEN shoot what you think can be a creative approach. - Do not always rely upon natural light. - Order to call ACTION on a set: CAMERA READY? (Press rec on the camera and makes sure the shot is properly framed) SOUND READY? (Make sure mic is on and sound designer makes sure volume is ok). CLAPBOARD (clapboard in front of the camera and the person holding it reads the clapboard). ACTION. After the scene is shot, you wait for 2-3 seconds and THEN CUT. ASSESSMENTS - Word count in all papers - Your written commentary MUST have visual elements. Lots if possible. - Film vocabulary in your written commentary (tracking, mise en scène,.rack focus ) -The examiner does not know who you are or how good student you were for two years of IB Film. He/She will see your assessment and how you perform during it. - Always cite your soundtrack in the written commentary. - NEVER use previously created material in your film (music, video, game). - Have a Making Of picture diary. Lots of pictures and even video. It helps the written commentary.

2 More Tips for the Production Portfolio (and one for the Presentation) Presentation: The teacher should introduce the oral presentation so the examiners know that he was there and the student is not reading. Trailer Rationale - You don't have to write "... without giving too much away to the audience." This is OBVIOUS in any trailer. No trailer is supposed to give the whole film away but a trailer should at least give a good hint of what the movie is about, such as genre, the basic protagonist, conflict, the theme of the documentary, etc. 90% of the trailer rationales corrected have that sentence. Also, the rationale IS NOT A SYNOPSIS. The examiners will inevitably watch the film so you don't have to tell them what the film is about; you need to discuss the REASON for doing that film. What are you trying to achieve? Choosing your Production Role - Why will you choose a role that you have no experience whatsoever for the FINAL ASSESSMENT of the IB Film course? You should pick one role that you are not only familiarized with but also feel comfortable with. 1 out of 15 PP that examiners moderate has candidates saying that was the first time they were in that role. Students should know which role they like the most in two years of the course. Production Role - Be clear about your role! Many papers examiners correct have discrepancies of what the candidate's role is. Students must select a clear and specific role for which they will be evaluated. A good chunk of the papers has a role set by the IB coordinator different from what the written commentary is about so it's wiser to have the role CLEARLY stated in the production slate (the black screen in the beginning of the movie) AND in the cover sheet if your written commentary. No, you don't need to explain to the examiner what an editor does. They know that. Written Commentary: You should be formal in your written commentary. It's not supposed to be an informal production diary; it should be a corroboration of your hard work making the film. Don't simply copy and paste from a production diary or something similar. So many written commentaries examiners see have sentences like: "For my role as an editor, I WILL be doing most of the work in post-production. The movie is already done and you've turned in! How "will" you do anything? This gives the impression that you did not review your commentary. Use your film studies vocabulary, that film lmaguage. This helps a lot. Also, take advantage of the 1750 words. If you worked hard in your film, this will be a limiting factor. Commentaries with 1000 words or less (HL) show that the candidate did not have that much participation in the production. Written Commentary - Avoid stating the obvious: "As the cinematographer, I was in charge of the camera" or "As the editor, I had to do most of my work during post-production". Those are words wasted when you could be addressing your artistic and logistical decisions. Once

3 again, as a candidate, you should trust that the examiner has knowledge of filmmaking. Written Commentary - Image captions should be one sentence, two at MOST. Some candidates write full paragraphs explaining in details the production process. This MUST be part of the word count of the written commentary. Written Commentary Cinematographer: We used natural light. How did you use" natural light? Did you have a bouncer? A diffuser? Tell the examiner more. If you planned your shots well, you cannot expect that the day you are scheduled to shoot will ONLY be the perfect light/weather that you imagined when doing your storyboard. Visual Evidence in Written Commentary - It's mandatory, for all stages of production, no matter what your role is! For example: behind the scenes shots showing light setups is a great one for the cinematographer; directors working with the actors is an awesome one too. Show research by comparing shots of movies that inspired you with your own shots. Postproduction? Capture the screen from your editing suite, which is even better if you do a screenshot of your trailer that you are editing. Film Rewinding effect" - Unless you have an INCREDIBLE reason to use it in your film, don't! It's a waste of time in your precious film and most of the time achieves nothing. If you want to show how "everything starts", use a simple cut to the original scene. Do not rewind the WHOLE FILM back to the beginning.

4 15 Top Tips for the Independent Study 1. Meet the formal requirements in the strictest way. Cover Sheet. Annotated list of sources (details under each source of exactly how you used it in the script). 4 Films (2 at SL) Pages (not including title page). Audio and Visual columns equally sized, courier 12pt font. Films should clearly come from different Geographical locations but be sure by including a foreign language and culture. Page Breaks, Gaps, Wider Margins etc will likely contribute to marks being capped at 15/25 for not meeting the correct format. 2. Visual and Audio both require same level of attention. This is meant to represent a documentary where what you see matches with the audio. There should not be large gaps in either column except in exceptional circumstances. (e.g. a gap in the audio where the visuals would still be sufficiently engaging) 3. Establish a clear rationale for the Topic The rationale needs to be very clear about what the Topic is which is simply the idea that you have which joins the films together there should be a clear relationship between the films. 4. Underpin the topic with solid Theory (or History, see below). Even if your topic that unifies the films is a theory then it needs to be clear what aspect of that theory is being explored. E.g. if exploring Lighting, what is it we will discuss about lighting? (High/Low Key? 3 Point Lighting? Contrast? etc). 5. Dealing with History If Film History is a part of your rationale then what aspects of History will you be exploring? Socio- Political Context? Technological developments? Characteristics of a Movement? Be clear and define your points early to support the Knowledge of Theory and Development of Argument on the marking criteria. 6. Engage your audience You will have to write clearly. The best way to do this is to chunk your audio into sentences each with a clear point. (Easier to match to Visuals this way too usually). Avoid long paragraphs. Do not say in this essay or anything else related to a written piece. Write as formal, but spoken language. Don t swear or quote swearing please. Not all audience members appreciate it. 7. Using Actual Source Text as part of the Script You can make mention of actual quotes from sources as long as you detail this in the ANNOTATIONS. Establishing an Interview with an expert can be a way to frame your quotations, do not overuse this tool (once or twice is ok). Just because we are hearing from the expert doesn t mean your visuals should show a headshot, or interview shot of them talking. 8. The Narrator Similarly don t resort to using more than a brief shot or two of the narrator talking. The visuals column is important to enhance the points made in the audio and should include Film clips whenever possible. 9 Good Visuals The best visuals will be described in detail (filling the visual column as much as the audio. Use film language to describe where appropriate, e.g. The camera tilts upwards from the chessboard to reveal Humphrey Bogart in a medium/close up shot. Timecodes for the clips will not be watched or given credit, so avoid using them to save space.

5 10. Analyse Too many students submit scripts with audio sections that only describe and do not analyse. To analyse is to consider the elements or structure of the film/theory/history. Description should be minimal in the audio column just enough to refer to the clip/point you are discussing. If you re doing it well then the description should be in the visual column as you show us the example. 11. Structure The best assignments will link together the films by comparing and contrasting them. Also there will be conclusive statements in the script to tie the points of analysis together. 12. Depth/Breadth of Argument Good theory/history will be deep if making numerous analytical points and comparisons. But in order to have breadth it is helpful to address a number of relevant theories/elements/historical movements. For example: Lighting in Film Noir and Neo Noir rather than just simply Lighting in Film. 13. Representation A special note here for representation topics they are a common choice and often very superficial. If choosing to examine how a particular group/culture/idea etc is seen in films, be sure to underpin with theory. Detailed references to the Socio-Political context and real world examples of the subject being represented is essential. Good scripts on Representation likely will be combined with other Theory such as an analysis of how they are portrayed using Film Language. The Representation topic is not an excuse to simply refer to everytime the subject appears in a film. 14. Originality Although a value judgement is involved here originality can be the difference between a good and a great script. It starts with the rationale The topic should ideally be something you have noticed yourself that joins your films together. 15. Redraft The first draft should never be the final draft and the writing of the IS should not be left until the last minute. This much is obvious. But when you come to redraft your script, read it through and try to SEE AND HEAR the Visuals and Audio. Does it flow? Would it be entertaining to watch? Remember that in the end, this is a script designed to be made into an entertaining and meaningful piece for your audience.

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