- •Краткие основы аннотирования, реферирования и перевода оригинальных материалов по специальности.
- •1. Просмотровое чтение и аннотация.
- •2. Ознакомительное чтение и реферат.
- •3. Перевод.
- •The professional set
- •I. Basic professional set behavior for each person on set -
- •II. Working on a professional set
- •The Director has the last word about every decision on set. Not always off set.
- •III. Running a professional set
- •Prep is everything!!!!
- •In moviemaking cheap is always more expensive.
- •If you treat actors like stars, they start to behave like stars.
- •IV. Before shooting
- •V. On the day of the shoot (1)
- •VI. On the day of the shoot (2)
- •Not having 2nd team means that the camera operators are framing up air and have to adjust the camera height and positions when 1st team steps back in front of the lens. Which is a total waste of time.
- •The holy ground is not a meeting place to hang out.
- •If you want to be in front of the camera, become an actor!
- •Professional crew knows that the equipment that’s in front of the camera needs to be cleared out.
- •It’s also strongly encouraged for the key crew members to watch the monitor before the camera rolls.
- •VII. On the day of the shoot (3)
- •1St team has the set
- •Never ever can a crew member be in the line of view of the actor or even worse look into their eyes during a take.
- •In between takes
- •In between takes is not the moment when the set becomes like the working floor of the stock market after the bell rings.
- •Having the take doesn’t mean that work is done and time for a coffee and cigarette break. This is when work starts.
- •It’s during the takes the majority of the crew has time to relax and have a coffee off set.
- •Хрестоматия для самостоятельного чтения по специальности “Киноведение” doing film history
- •Хрестоматия для самостоятельного чтения по специальности “Драматургия” writing a screenplay
- •Insiders
- •Dialogue
- •1St Act Watershed
- •1St Focus Point
- •2Nd Focus Point
- •2Nd Act Watershed
- •Хрестоматия для самостоятельного чтения по специальности “Звукорежиссура аудиовизуальных искусств”
- •Хрестоматия для самостоятельного чтения по специальности “Продюсерство” the film producer
- •Хрестоматия для самостоятельного чтения по специальности “Режиссура кино и телевидения”
- •Introduction
- •What and who is a director?
- •Entering the business
- •The script
- •Budget and studio involvement
- •Bringing a script to life
- •Casting
- •Rehearsal
- •Shooting the picture
- •Film editing
- •Previews
- •Reviews from critics
- •Хрестоматия для самостоятельного чтения по специальности “Кинооператорство” what is a director of photography?
- •The director of photography: responsibilities
- •In early pre-production
- •Хрестоматия для самостоятельного чтения по специальности
- •The actor
- •Acting in cinema
- •Constantin stanislavski
- •A theatre in decline
- •The birth of the moscow art theatre
- •Training
- •Working as an extra
- •Casting
- •Preparing for a role
- •Rehearsals
- •Dealing with critics. Part I
- •Dealing with critics. Part II
- •Actors on acting
- •Хрестоматия для самостоятельного чтения по специальностям “Живопись”, “Графика” art department overview
- •Production designer
- •How to be a production designer
- •Art director
- •A history of animation
- •Early peek at “avatar” production design
In between takes
Only the director can enter the holy ground freely and give instructions to any of the department heads to make changes for the next take. ONLY the department heads who are given instructions from the director can make those adjustments, all the rest stay off the set and very low profile, preferably silent.
If a department head wants to make an adjustment to the shot, he or she needs to make a request to the director, who will give the OK or not. If it’s a very minor and not time consuming adjustment, such as moving a prop or a light stand, the request will be made to the 1st AD. The 1st AD needs to be aware of any adjustments that any of the crewmembers are doing in between the takes.
NEVER EVER interrupt the director when he or she is talking to the actors. At that point all the questions are asked to the 1st AD.
The 1st AD keeps the set quiet and in order between takes.
In between takes is not the moment when the set becomes like the working floor of the stock market after the bell rings.
A way to shoot fast is to make the time in between takes as short as possible. Each time a take is done, the camera operator, DP or sometimes the 1st AD announces “Back to one” which means going IMMEDIATELY to the first camera positions and for props or stunts to go to the situation of the beginning of the shot. It should be a habit or automatism that you do without thinking.
Having the take
When the director announces that he has the take and is ready to move on, the 1st AD announces to the whole crew what the next shot will be and if unsure checks with the DP what it will be.
Right after the take the DP has the set and all the rules and procedures of “THE DP HAS THE SET” apply.
Having the take doesn’t mean that work is done and time for a coffee and cigarette break. This is when work starts.
It’s during the takes the majority of the crew has time to relax and have a coffee off set.
The scene is in the can
When the director announces he has the scene the 1st AD requests a blocking rehearsal as soon as possible if there are no major changes needed to be done to the set. When the 1st AD calls for blocking rehearsal, the crew clears camera, light stands or any other equipment that can obstruct the movement of the actors and director, off set.
This usually takes less than 2 minutes.
If the set needs to be redressed or any other big equipment, like crane, dolly and tracks, or special rigs, the 1st AD sends the actors off set and allows the crew to clear the set. As soon as the set is cleared the actors are invited back in to do the blocking rehearsal.
Lunch
Maximum 6 hours after shooting the 1st AD calls lunch. If work will continue after 6 hours a 12 minute “grace period” can be asked from the crew members in order to finish the shot. During this “grace period” no new shot can be set up. If it’s necessary to shoot past this 12 minute “grace period” meal penalty apply. This means the crew member receives financial compensation because the production fails to respect the basic human need and compromises a person’s health “The human body needs food and water to function”.
Lunch should be served in a sheltered environment in a relaxing way. Meaning the crew needs to have the opportunity to eat lunch at tables with chairs, covered from sun and rain and protected from cold or heat.
The lunch period last 30 minutes after the last crew member receives lunch. It’s the duty of the 1st AD and assistants to make sure that everybody goes to lunch.
After 30 minutes of “last man has lunch”, work can start again.
If work exceeds over 6 hours after last time the crew receives food, 2nd meal needs to be provided by production. Failing to do this will result in meal penalties.
FRENCH HOURS
French hours mean that there is A VARIATION of NUTRICIOUS food available during the whole shooting day AND the crew agrees to work under these conditions. The production can’t one-sidedly decide to do French hours.
French hours DON’T mean working non-stop and provide lunch after 6 hours and let it get cold or dry up till some one of the crew finds time to eat. This is a huge violation and can result in shutting down production.
Many beginning and amateur production companies fail terribly at how to feed crew and underestimate the value of it. It’s a vital need for the human body to exist and to perform the job asked from production. At the same time it is the highest form of respect and appreciation towards the crew. Self-respecting crew members will not work with productions who neglect the fact of serving nutritious food at regular times.
When production has questions for key members of the crew
There are 3 moments to disturb the director, 1st AD, DP, gaffer, key grip and art director during a shooting day with questions that need immediate answers. That’s right before crew call, during breakfast, during lunch or right after the shoot. NOT in between takes or during setup of shots or rehearsal with actors because their mind is working in the moment of what the scene needs or what the next scene needs.