Production

Film making  is the process of making a film. Film making involves a number of discrete stages including an initial story, idea, or commission, through scriptwriting, casting, shooting, editing, and screening the finished product before an audience that may result in a film release and exhibition. Film making takes place in many places around the world in a range of economic, social, and political contexts, and using a variety of technologies and cinematic techniques. Typically, it involves a large number of people, and can take from a few months to several years to complete.

STEPS OF PRODUCTION

•  Development
•  Pre-production
•  Production
•  Post-production
•  Distribution

Development

In this stage, the project's producer selects a story, which may come from a book or a play or another film or a true story or an original idea, etc. After identifying a theme or underlying message, the producer works with writers to prepare a synopsis. Next they produce a step outline, which breaks the story down into one-paragraph scenes that concentrate on dramatic structure. Then, they prepare a treatment, a 25-to-30-page description of the story, its mood, and characters. This usually has little dialogue and stage direction, but often contains drawings that help visualize key points. Another way is to produce a scriptment once a synopsis is produced.
Next, a screenwriter writes a screenplay over a period of several months. The screenwriter may rewrite it several times to improve dramatization, clarity, structure, characters, dialogue, and overall style. However, producers often skip the previous steps and develop submitted screenplays which investors, studios, and other interested parties assess through a process called script coverage. A film distributor may be contacted at an early stage to assess the likely market and potential financial success of the film. Hollywood distributors adopt a hard-headed business approach and consider factors such as the film genre, the target audience, the historical success of similar films, the actors who might appear in the film, and potential directors. All these factors imply a certain appeal of the film to a possible audience. Not all films make a profit from the theatrical release alone, so film companies take DVD sales and worldwide distribution rights into account.
The producer and screenwriter prepare a film pitch, or treatment, and present it to potential financiers. If the pitch is successful, the film receives a "green light", meaning someone offers financial backing: typically a major film studio, film council, or independent investor. The parties involved negotiate a deal and sign contracts. Once all parties have met and the deal has been set, the film may proceed into the pre-production period. By this stage, the film should have a clearly defined marketing strategy and target audience.

Pre-production

In pre-production, every step of actually creating the film is carefully designed and planned. The production company is created and a production office established. The film is pre-visualized by the director, and may be storyboarded with the help of illustrators and concept artists. A production budget is drawn up to plan expenditures for the film. For major productions, insurance is procured to protect against accidents.

• Storyboard is a visualizing method that create a blueprint of what the shot sequence should be. The visual images are drawn or made by programs such as Photoshop. There may also be a written caption as needed for each shot.

The producer hires a crew. The nature of the film, and the budget, determine the size and type of crew used during filmmaking. Many Hollywood blockbusters employ a cast and crew of hundreds, while a low-budget, independent film may be made by a skeleton crew of eight or nine (or fewer). These are typical crew positions:

• The director is primarily responsible for the storytelling, creative decisions and acting of the film.
• The unit production manager manages the production budget and production schedule. They also report, on behalf of the production office, to the studio executives or financiers of the film.
• The assistant director (AD) manages the shooting schedule and logistics of the production, among other tasks. There are several types of AD, each with different responsibilities.
• The casting director finds actors to fill the parts in the script. This normally requires that actors audition.
• The location manager finds and manages film locations. Most pictures are shot in the controllable environment of a studio sound stage but occasionally, outdoor sequences call for filming on location.
• The director of photography (DP) is the cinematographer who supervises the photography of the entire film.
• The director of audiography (DA) is the audiographer who supervises the audio graphy of the entire film. For productions in the Western world this role is also known as either sound designer or supervising sound editor.^[2]
• The production sound mixer is the head of the sound department during the production stage of film making. They record and mix the audio on set - dialogue, presence and sound effects in mono and ambience in stereo.^[3][4] They work with the boom operator, Director, DoA, DoP, and First AD.
• The sound designer creates the aural conception of the film,^[5] working with the supervising sound editor. On some productions the sound designer plays the role of a director of audiography.
• The composer creates new music for the film. (usually not until post-production)
• The production designer creates the visual conception of the film, working with the art director.^[5]
• The art director manages the art department, which makes production sets
• The costume designer creates the clothing for the characters in the film working closely with the actors, as well as other departments.
• The make up and hair designer works closely with the costume designer in addition to create a certain look for a character.
• The storyboard artist creates visual images to help the director and production designer communicate their ideas to the production team.
• The choreographer creates and coordinates the movement and dance - typically for musicals. Some films also credit a fight choreographer.

 

Production

A director performing dual roles as director and camera operator gives instructions during the filming of a scene.

A good production company is Welch Studios.

See also: Cinematography and Audiography

In production, the video production/film is created and shot. More crew will be recruited at this stage, such as the property master, script supervisor, assistant directors, stills photographer, picture editor, and sound editors. These are just the most common roles in filmmaking; the production office will be free to create any unique blend of roles to suit the various responsibilities possible during the production of a film.
A typical day's shooting begins with the crew arriving on the set/location by their call time. Actors usually have their own separate call times. Since set construction, dressing and lighting can take many hours or even days, they are often set up in advance.
The grip, electric and production design crews are typically a step ahead of the camera and sound departments: for efficiency's sake, while a scene is being filmed, they are already preparing the next one.
While the crew prepare their equipment, the actors are wardrobed in their costumes and attend the hair and make-up departments. The actors rehearse the script and blocking with the director, and the camera and sound crews rehearse with them and make final tweaks. Finally, the action is shot in as many takes as the director wishes. Most American productions follow a specific procedure:
The assistant director (AD) calls "picture is up!" to inform everyone that a take is about to be recorded, and then "quiet, everyone!" Once everyone is ready to shoot, the AD calls "roll sound" (if the take involves sound), and the production sound mixer will start their equipment, record a verbal slate of the take's information, and announce "sound speed", or just "speed" when they are ready. The AD follows with "roll camera", answered by "speed!" by the camera operator once the camera is recording. The clapper, who is already in front of the camera with the clapperboard, calls "marker!" and slaps it shut. If the take involves extras or background action, the AD will cue them ("action background!"), and last is the director, telling the actors "action!". The AD may echo "action" louder on large sets.
A take is over when the director calls "cut!", and camera and sound stop recording. The script supervisor will note any continuity issues and the sound and camera teams log technical notes for the take on their respective report sheets. If the director decides additional takes are required, the whole process repeats. Once satisfied, the crew moves on to the next camera angle or "setup," until the whole scene is "covered." When shooting is finished for the scene, the assistant director declares a "wrap" or "moving on," and the crew will "strike," or dismantle, the set for that scene.
At the end of the day, the director approves the next day's shooting schedule and a daily progress report is sent to the production office. This includes the report sheets from continuity, sound, and camera teams. Call sheets are distributed to the cast and crew to tell them when and where to turn up the next shooting day. Later on, the director, producer, other department heads, and, sometimes, the cast, may gather to watch that day or yesterday's footage, called dailies, and review their work.
With workdays often lasting 14 or 18 hours in remote locations, film production tends to create a team spirit. When the entire film is in the can, or in the completion of the production phase, it is customary for the production office to arrange a wrap party, to thank all the cast and crew for their efforts.

 

Post-production

Main article: Post-production

Here the video/film is assembled by the video/film editor. The shot film material is edited. The production sound (dialogue) is also edited; music tracks and songs are composed and recorded if a film is sought to have a score; sound effects are designed and recorded. Any computer-graphic visual effects are digitally added. Finally, all sound elements are mixed into "stems", which are then married to picture, and the film is fully completed ("locked").

 

Distribution

This is the final stage, where the film is released to cinemas or, occasionally, to consumer media (DVD, VCD, VHS, Blu-ray) or direct download from a provider. The film is duplicated as required and distributed to cinemas for exhibition (screening). Press kits, posters, and other advertising materials are published and the film is advertised and promoted.
Film distributors usually release a film with a launch party, press releases, interviews with the press, press preview screenings, and film festival screenings. Most films have a website. The film plays at selected cinemas and the DVD typically is released a few months later. The distribution rights for the film and DVD are also usually sold for worldwide distribution. The distributor and the production company share profits.



How Can You Make A Movie.

1. Make your story. Because most movies are essentially visual stories, the first step is coming up with an idea that you want to turn into a movie. You don't have to have every detail in place, but you should have a basic idea of the premise.
   
   
   • Ideas. A good place to start is by writing a list of all the props, locations and actors which are currently available locally then develop a film around this. Keep a dream journal, dreams like films are visual stories and dreams. Keep a notebook with you for writing ideas down. Read the news stories in the papers. Have a basic idea, and work with that. Narrow it down as you go along while writing the plot.
   • Think about the movies you like to watch, or the books you like to read, and consider what makes them so interesting. Is it the characters, the action, the visuals, or the theme? Whatever it is, keep that element in mind as you plan your movie.
2. 2
   Expand your idea. Once you've settled on a basic premise, start adding onto it. Think about the film in 4 sections.
   
   
   • Beginning, or Introduction (sometimes even a Prologue) where you introduce the characters, establish the mood, and set the stage. This is the exposition.
   • Middle, where the bulk of the movie takes place. Here you develop the protagonist and the people who are friendly to him; the antagonist, and his friends—if any; and perhaps a love interest who could also be the protagonist or antagonist. Feel free to mix the roles and genders as much as you like. (Consider the roles in Kill Bill, for example.) The middle is also where the story is really told. Why are these people here, and what are they doing together? Where does it look like they are heading? What is the friction point that needs resolution? Because about 2/3 of the way through the movie, you’re going to reach...
   • The Climax. This is where the movie comes to a head. This is where the meteor hits the planet, or doesn’t; where the hero defeats the bad guy and lives—or dies—himself; and where the night watchman discovers how to get all the toys back in the box before the toy store opens. The romantically interested kiss, the bomb is defused, the crooked politician is found out, Mars gets an atmosphere, and Timmy is rescued from the well.
   • The Resolution, or Denouement. Now that the story has been told, and the climax reached, your movie needs to tie up the loose ends and send everybody home talking about what they just saw. This is where the scruffy anti-hero puts the girl on the plane and says, “We’ll always have Paris.” Timmy is scolded and then has his hair tousled and is lovingly taken home for fried chicken and dumplings; The toy store owner is clueless about last night’s mayhem...except he thinks he saw Beach Barbie wink at him (nah, couldn’t be); and of course, everybody’s favorite—the mysterious loner mounts his horse and rides off into the sunset...roll credits!
   • When that's sorted out, cut the narrative into even smaller pieces—for instance, thinking about the introduction, development, and transition of the each of the 4 main events. Keep working your story into smaller and smaller segments, until you have a good idea of what's going to happen scene-by-scene.
   • If you want to translate this into a screenplay, see the More Information section below.
3. 3
   Storyboard your film. Storyboarding is drawing out sketches of what you want your filmed shots to look like.
   
   
   • It can be done on a macro scale, drawing only each major scene or transition.
   • It can also be done at the micro level, planning every shot and camera angle—even multiple angles per shot. (Think the signature opening scene in Matrix with Trinity.) This process makes a long film go more smoothly. You can try shooting without storyboarding, but it will not only help you visualize your movie, it will help you explain your vision to the director and cinematographer.
4. 4
   Develop an aesthetic for your film. Because movies are visual, it's a good idea to spend some time on the "look and feel" of the movie. Consider two films as an example: Matrix again, with its monochromatic, yellow-green tone throughout, which heightened the sense of being “digitized,” and A Scanner Darkly by Richard Linklater, which was rotoscoped and had a unique and memorable cartoon reality look to it. Here are some other areas to consider.
   
   
   • Shooting style: Do you want your film to feature smooth, expertly-edited shots, or a rough, handheld camera look? It’s all there to do. For example, look at Melancholia by Lars von Trier; the opening scenes were shot with a super high speed camera, which renders as a fluid, graceful slow motion. Most of the rest of the movie is shot with a handheld, or “shaky cam,” setting the tone for the emotional and spiritual conflicts that ripple through the movie.
   • Costume design: Films rely heavily on the costumes to communicate essential character traits to the viewer. You need think only of Men in Black.
   • Set design: How do you want the setting of your film to look? Can you film it in a real location, or will you have to build a set? The sweeping panoramas of the big screen epics of the 60s and 70s relied on a combination of wide open spaces and studio-lot sets. Scenes from The Shining were shot at a ski lodge in Oregon. Dogville was shot on a bare stage, with only suggestions of buildings as props.
   • Lighting: Some movies feature soft, almost gauzy lighting that makes the actors and the sets look significantly more appealing, and the entire film more dreamlike; others favor a lighting style that looks closer to reality, and some people push the edges and go for a really hard light that is almost cutting. Check out Domino with Keira Knightley.
5. 5
   Assemble a crew. Your crew will help you translate your vision into a film. These are a few positions to consider:
   
   
   • Director: The director controls the creative aspect of the movie, and is a key liaison between the crew and the cast. If this is your movie and your story idea, and the budget is modest, the director is probably you.
   • Cinematographer, or Director of Photography (D.O.P.): This person is in charge of making sure the lighting and actual filming of the movie go smoothly, as well as deciding with the director how each shot should be framed, light, and shot. He or she manages the lighting and camera crews (or is the lighting and camera crew, on a smaller film).
   • Casting director: The casting director decides which actors are best suited for the film, as well as negotiating contracts and schedules.
   • Set designer: This person is in charge of making sure the sets correspond with the director's creative vision. He or she might also be the props master (in charge of the items that fill the set).
   • Camera operator: The camera operator does the actual shooting of the movie, working with the cameras. On a small production, this person could also be the cinematographer or the director—or both!
   • Sound man: The sound man may be one or more people. Dialog needs to be recorded either in scene, or looped in later during production. Sound effects, like lasers zapping and helicopters exploding, all need to be created; music needs to be sourced, recorded, and mixed; and foley (footsteps, leather creaks, plates broken, doors slamming) all the needs to be generated.
   • Costume designer: On a large production, this person would choose (and maybe even sew) every costume used in the film. On smaller productions, this position is usually merged with another job.
   • Hair and makeup artist: As the name implies, this person is in charge of getting the actors into the right hairstyles and makeup for each scene. On a small production, this position might not even exist.
   • Script supervisor: The script supervisor is charged with making sure the actors stay on script, and that the continuity of the film is maintained. He or she might also record the production's daily progress working through the screenplay. On a smaller production, this might be merged with another position.
   • Film editor: Once production has wrapped, the editor takes all the shots and combines them into the master. He works with the director, keeping some takes and cutting others. On a smaller movie, the director might handle editing.
   • Sound editor: The sound editor mixes the music, dialog, foley, and effects. Most computer-based film-editing software makes some allowance for audio tracks, but the addition of a skilled engineer is highly recommended.
6. 6
   Cast your film. People in your community might work for screen credits in low-budget films. Of course, it would be advantageous to have a well-known name starring in your movie.
   
   
   • Test the range of your actors. If you know that one of them will have to cry in a sad scene, make sure he or she can do it before you contract for the project.
   • Avoid scheduling conflicts. Make sure your actors can be available on-set when you need them.
7. 7
   Dress the sets, or scout a location. If you're going to shoot on-location, find the area you want and make sure it's available for filming. If you're working on a set, start building and "dressing" (or adding props) them.
   
   
   • If possible, using actual locations is easier. It's simpler to film in a diner than make a room look like one.
8. 8
   Gather and test your equipment. At the very least, you'll need a video camera. You will probably also need a tripod — to mount the camera for steady shots — lighting equipment, and sound equipment.
9. 9
   Film your movie. The decisions you make will result in the difference between a "home movie" or a professional looking movie.
   
   
   • Some people say to shoot multiple takes from multiple angles because it will be more interesting in the end. It will certainly give the editor something to think about!
   • As a very general rule, professional filmmakers shoot each scene in a wide shot, medium shot and close up of important elements.
   • Also, the type of shots they decide to take are determined by what feeling or emotion they are trying to convey. If you are under time pressure use more than one camera. Follow the 180 degree rule.
10. 10
    Edit your film. Take your footage to your computer, upload the files, then log them, identifying what shots work. Put together a rough cut using these shots. The way that you edit your film drastically affects the way the film ends up looking and feeling.
    
    
    • Making jump cuts will hold the viewer's interest and set the tone for an action movie, but long, lingering shots have a powerful impact as well, but done badly this can be very boring. Consider the beginning of The Good, the Bad, and the Ugly.
    • You can also edit to music, which is a fast and effective way of editing; you can also edit to music on a quiet section of the film, by choosing music which provides the right mood.
    • Editing between various angles can quickly show multiple things going on in the same scene. Use your editing system's split or razor tool to create smaller clips from multiple shots, and then mix and match. You'll get the hang of it quickly, and with digital movie making, your mistakes are always saved by Undo.
    • With transitions a dissolve or cross fade symbolizes the passing of time and a fade to black is used when someone falls asleep or at the beginning and end of a film.
    • The kind of editing software you use matter. For Windows use Sony Vegas, Adobe Premiere (PC or Mac), or Avid Media Composer (PC or Mac); for a Mac, use iMovie or FinalCut Pro.
11. 11
    Add sound effects and music. Make sure that your music flows with what is going on during the movie at that second. Music gives the movie an emotional stance. It changes the audience's emotions which give them a more positive view on your film.
    
    
    • You can vary your music, to make the audience feel happy, sad, scared, excited, etc.
    • Remember that if you are planning on distributing a film using found music can cause problems, so it is best if you can get music specially composed for the film; plus there are many skilled musicians out there who would love to get experience.
12. 12
    Create the title and credits sequences. You'll want to name your cast and crew at the end of the film. You can also include a list of "thank yous” to any organizations that were willing to let you shoot in their establishments. Most importantly keep it simple.
    
    
13. 13
    Export the film to a digital format DVD.
14. 14
    Make a teaser or trailer (optional). If you want to promote your film online or in other theaters, select pieces of it for a promotional trailer. Don't give away too much of the plot, but do try to catch the viewer's interest.