Narrative Fiction Film Production Protocol
PRE-PRODUCTION |
|
| Screenwriter | Write the script. Use this template. |
| Producer & Editor | In your group's assigned server partition, create a folder titled with the project name, like this: The Flowers in Monster Attic. Inside, create the following subfolders: audio, documentation, video, and project. Inside the "audio" folder, create the following subfolders: dialogue, music, and sound effects. Inside the "project" folder, create the following subfolders: premiere, audition, exports, and documentation. Inside the "documentation" subfolder, create the following subfolders: BTS, footage logs, releases, promotional, script, and storyboard. |
| Director | Analyze the script, identifying its peak of intensity. Articulate this climax as some significant visual change (examples might include: a camera move, an editing pace variation, or a rack focus). Plan your film using the Storyboarder app. Include timing estimates for each shot. Secure the professor's written approval before shooting. |
| Editor/DIT | Use Premiere (not the server) to create a Production in the "premiere" subfolder. Use Premiere (not the server) to create an "edit" project within that production. Create the following bins: sequences, video, audio, graphics, merged footage, effects, and music. |
| Editor | Create a sequence with the following nomenclature: YYMMDD followed by the most recent version letter, a space, and the editor's three initials, like this: 200406a bdf. Create a new sequence for each work session. Make sure the sequence settings conform to the footage settings. |
| Director & Editor | Export an animatic from the Storyboarder app. Import it into the V1 layer of the first edited sequence. |
| Director | Cast the film. Do not use members of your filmmaking crew as actors. Each actor must sign a personal release before shooting commences. Give the completed personal releases to your producer for upload to the project's "documentation" subfolder. |
| Production Designer | Scout locations, mindful of appearance (including compass orientation), ambient sound (such as traffic), and reverb. Present your findings to the director who will make the final selection of location(s). Take reference photographs of the entire location from multiple angles. Make a floorplan of the set to scale (it will become the basis for lighting plots and actor blocking diagrams). |
| Producer | Secure access to the set with location releases signed before shooting begins. |
| Lighting | Make tentative lighting plots. |
| Audio, Camera, & Lighting | Submit individual reserve lists of equipment to your producer. Before your shoot, test any equipment with which you are not familiar. Bookmark or download necessary operations manuals. |
| Producer | Submit a single reserve list of equipment to lab aides in the equipment loan office. Schedule the equipment's pick-up and return with your crew members. Test the equipment for proper function before you leave the building with it. |
| Producer | Secure the services of a still photographer whose job it will be to shoot behind-the-scenes footage and stills of both production and post-production. |
PRODUCTION |
|
| Producer/Photographer | Document the production with behind-the-scenes footage and photographs. Upload those to the server's "BTS" folder within 12 hours of each shooting day. |
| Production Designer | Supervise set dressing, costume, make-up, and hair. For the sake of continuity across multiple days of shooting, document each with exhaustive photographs. |
| Director | Specify camera placement based on approved storyboard. |
| Director | Entrust the cinematographer and production designer with the task of preparing the set for shooting. Meanwhile, coach the actors, paying particular attention to (1) clearly pronounced, adequately projected lines and (2) consistent performances. Invite the actors to improvise and experiment in rehearsal, then lock down their performances so even pauses in delivery and small gestures may be repeated again and again. Actors whose characters and performances evolve over multiple takes are making life miserable for the editor. |
| Audio | Attach and test body mics. Gender modesty is a paramount concern when assigning audio technicians to the task of affixing lavalieres to clothing or skin. |
| Lighting | Set lights. Refine lighting plots. |
| Camera | Configure the camera to record HD 1080p video at 23.976 frames per second with a shutter speed of approximately 1/60 sec. |
| Camera | White balance (after corrective/conversion gels but before additive/designer colors have been applied) at each new camera position. |
| Camera | Check focus before each take at the lens's maximum focal length. Disable the camera's automatic focus feature. |
| Audio | Configure recorder for dual rec mode at 48 kHz/24 bit with average dialogue levels at -6dbFS. Set levels in rehearsal with actors. Record 1 minute of room tone. Report the room tone file number to the DIT for inclusion in the footage log. |
| Camera | Disable the camera's automatic iris feature. Shoot multiple takes at no fewer than three bracketed f-stops. ISO speeds under 1200 are recommended for low grain. |
| Director | "Quiet on the Set" "Roll 'em" |
| Camera | Begin recording HD 1080p video at 23.976 frames per second with a shutter speed of approximately 1/60 sec. "Rolling" |
| Audio | Being recording dialogue in dual rec mode at 48 kHz/24 bit with average dialogue levels at -6dbFS. "Speed" |
| Director | "Marker" Director claps visibly in camera frame so dual-system audio can be synchronized in post-production. |
| Director | 10-second head with clean entrance. "Action." |
| Audio | Record dialogue, keeping boom mics as close to the edge of the frame as possible without appearing in the shot. |
| Director | 10-second tail with clean exit. "Cut" "Camera Report" |
| Camera & Audio | Accurately report the file number of each take to the producer for inclusion in the footage log. |
| Director | For the sake of continuity editing, the entire action of the scene must be recorded in every take from each camera position. The entire action of the scene must be recorded in every take from each camera position. The entire action of the scene must be recorded in every take from each camera position. Shoot multiple takes from each camera position at different focal lengths (long, medium, and close-up) and f-stops (bracketing). |
| Camera | Shoot multiple takes from each camera position at different focal lengths (long, medium, and close-up) and f-stops (bracketing). |
| DIT | Maintain an accurate footage log, entering audio and video file numbers (as well as ISO speeds and f-stops) after each take. Make multiple back-up copies (on-site and off-site) of all recordings (video as well as audio) and still images (such as those used for white balancing and continuity). |
POST-PRODUCTION |
|
| Producer | Within 12 hours of each shooting day, upload behind-the-scenes footage and photgraphs to the project's "BTS" subfolder. Make multiple back-up copies (on-site and off-site) of all BTS recordings and still images. |
| DIT/Camera | Within 12 hours of the shoot, upload video footage to the project's "video" subfolder. |
| DIT/Audio | Within 12 hours of the shoot, upload audio recordings to the project's "audio" subfolder. |
| Director | Within 12 hours of the shoot, upload the revised storyboard to the project's "documentation" subfolder. |
| Producer & Director | Within 12 hours of the shoot, review the footage together, rating each take (0 = low; 3 = high) in the appropriate footage log column. Upload the footage log to the project's "documentation" subfolder. |
| Lighting | Upload lighting plots to the project's "documentation" subfolder. |
| Producer | Upload personal and location releases to the project's "documentation" subfolder. |
| Audio/Asst Editor | Synchronize and merge audio and video files. Camera mic should be in sequence audio tracks 1&2. Upload the resulting files to the project's "merged footage" bin. |
| Producer | Create end credits as specified here. |
| Editor | Produce an assembly cut of the film based on the film's storyboard. |
| Editor | Solicit feedback, then produce a rough cut of the film. |
| Editor | Solicit feedback, then produce a final cut (visual lock) of the film which includes an opening title card and the Producer's end credits. |
| Editor | Prepare visual lock for export to the following new projects: Color, Graphics, Dialogue, Score, Foley, Rerecording Mix |
| Dialogue Editor | Improve the recorded audio as necessary, using Adobe Premiere's Essential Audio panel. Dialogue levels should register between -12dbFS and -6dbFS. Add roomtone to camouflage absolute silence in the dialogue track. |
| Colorist | Grade the film to compensate for variations in footage; confer with the director and cinematographer to establish a desired artistic look; enhance/alter the mood or setting of scenes; conform to broadcast standards of color |
| Foley | Record, edit, and mix (1) original, (2) production, and (3) library sound effects to compliment the action on screen. |
| Score | Record, edit, and mix (1) original and (2) library music for the film's soundtrack. |
| Rerecording Mixer | Combine recorded dialogue, sound effects, and music to create a final version of the soundtrack which conforms to broadcast standards of loudness. |
| Editor | Export multiple versions of the film using Adobe Media Encoder: (1) a full-resolution screener which includes the leader (2) a Vimeo copy which includes the leader (3) a Vimeo copy which does not include the leader. Store the exports on the server in the project's designated subfolder. |