APPROACHING STORY
What is story? What are the fundamentals of story? And how do you craft your film so that the story is as sharp as it can be? In this seminar, we’ll look at the art of storytelling, its architecture and its structure. The focus will include coming up with story ideas, researching the idea, and constructing outlines, treatments and shooting scripts. We’ll discuss linear and interactive storytelling, defining your audience, and working with a script editor. Whether you’re developing a short film or have your eye on a feature, this seminar will be invaluable for everyone participating in Stories from our Land.
THE DIRECTOR AT WORK
How does a director work on a documentary film? We’ll use footage from finished films as well as uncut material to offer students an idea of how a film is put together from a director’s perspective. This workshop will focus on: the shot list or filming plan; filming a sequence; filming an interview; filming discreetly; and filming ethically. We’ll cover working within a budget, keeping on schedule and working with a crew.
A PRODUCER’S JOB
This workshop will focus on producing film and interactive projects of any size. We’ll look at how you can budget projects and schedule them effectively. We’ll discuss finding and employing crews, renting equipment, and managing the production and post-production. Legal and business affairs will be covered, along with information about funders, unions, and pay structures. When you make your film or interactive project, you’ll have to stay on budget and time; this course will show you how. And along the way, it will highlight all of the things you SHOULDN’T do as a producer.
CAMERA & LIGHTING
This intensive, one-day workshop is for anyone interested in the craft of cinematography. We’ll look at all aspects of successfully capturing images with a camera. Participants will work with digital video cameras and lighting equipment in order to understand how to film both indoors and out. Filters, coverage, movement, and scene coverage will be discussed as well as preparing for production and post-production. Whether you want to work with a professional cameraperson or become one, this intensive seminar is a key day of this week.
SOUND WORK
Many emerging filmmakers ignore sound to their detriment. Sound is what often saves a film and it certainly makes a good film even better. Capturing great sound for your project is an art and a science. In this workshop, you’ll learn about single and double sound recording in the studio and on location, microphone choice and placement, and working with talent both in front of and behind the camera. A particular focus will be on post-production workflow and creating the best sound design for final mix.
EDITING
Documentaries are often the hardest kind of film to edit. This course will concentrate on editing documentary footage that is captured on location and in the studio. We’ll look at the process of digitalization through to final cut with an emphasis on finding and creating the best story possible. Hands-on editing work with Final Cut Pro will include finding the story arc, letting the images tell the story, working with narration, working with sound, and (gasp!) working with a director.
SHOOTING A MICRO DOCUMENTARY
This is the true, hands-on component of the Stories from our Land week. Over the next two days, you’ll work in a small group to conceive, pitch, plan, shoot , edit and screen a microdocumentary. What’s a microdocumentary? It’s a short, evocative sequence that has some kind of compelling story, character, or idea at the heart of it. We’re not putting a time limit on the final film but know that it will have to be short-really short- since you’ve only got two days to come up with an idea, shoot it and then edit it. Think about it: you’ll have about five hours to shoot the film; you’ll have about eight hours to edit it. That’s it. So, the trick will to be as creative as you possibly can within the limits of all of this. Be super creative- that means drawing upon all of what you’ve learned over the last three days and put it to the test. Do it within a tight timeframe- that’s the nature of filmmaking, hurry up and wait. And, most important of all, have some fun- don’t worry about creating a masterpiece, just make the best film you can.
Conceive
This is where you come up with an idea and figure out whether it’s doable or not. Think about something that you can shoot in Thunder Bay, something that doesn’t require a lot of negotiation to shoot, something that you can capture in about five hours. Maybe it’s a process: how does one of the hotel staff clean your room? Maybe it’s about a character: that taxi driver probably picks up some interesting people over the course of a day. Maybe it’s about an idea: how, for instance, do people cope when they move south? Remember- you’ll want to come up with something that can be realized in the short time that you have.
Pitch
Quick, succinct, exciting. That is the quintessential “elevator pitch” and that’s what you’ll be doing during this hour. Being able to clearly talk about your film idea and get others excited about it is a skill that takes practice. It also helps you think about your project. Tell us what the story is, what resources you need, why we should see this film and why your group is the only one that could make it.
Plan
Plan for everything and be open to anything-before you turn on the camera, you’ll make up a shot list or shooting script. Book time at your location with your subjects, decide on any interview questions and get your equipment ready.
Shoot
Over the course of about five hours, you’ll have to capture both great images and great sound. Remember that you’re not trying to create a masterpiece. And don’t shoot journalistically- you’re not making a news piece here. Instead, think of it as a compelling and creative sequence that tells us something interesting about how you see the world. Show it to us with interesting shots and sound. Give us a film that has a point of view and a perspective. Don’t forget to shoot for your edit either-you’ll be working with an experienced editor to craft something great, but all of that greatness starts with what you capture.
Capture & Plan
In this session, you’ll review all of the footage you filmed and capture it into a FCP editing system. You’ll start working with an experienced editor who will help you organize the footage and think about the story you want to create. As a filmmaker, you have to know every single frame of your film-this is the time to start.
Screening & Critique of Rushes
During this two hour block, each group will have a few minutes to screen some of their best rushes and talk to the rest of us about how the shoot went. You’ll talk about the story idea you have and explain how you and the editor are going to craft the final film. The rest of us will ask you pointed questions about what you got and what you missed- and in general act like producers or funder who have a stake in making the best possible film.
Rough Cut to Final Cut
Working in collaboration with an experienced editor, each team member will get the chance to edit together a rough cut of the film they are making with their group. Then you’ll screen each cut and decide collectively what to incorporate into the final film. This is a technical, hands-on session; you’ll learn how to “ think in pictures” and put the FCP skills you’ve learned this week to use. At the end of this, you’ll have a complete short film.
