ADR Project

Summary

Film Before Visual ADR

https://youtu.be/SedJiiuHuNs

Film After Visual ADR

ADR Process

Audio ADR Preparation

ADR Terms

  • ADR = audio dialogue replacement
  • Post-Synchronization = most of audio is recorded in post production
  • Looping- how people replace dialogue
  • Partial ADR = match mic, placement, and environmental reverb
  • Visual ADR = actor lip syncing
  • Audio ADR = actor matches the sound of original audio

Audio Post-production Terms

  • Voice overs= off screen announcements and narrations that are scripted and recorded separately
  • Always match the mic that you used in production

What I Learned and Problems I Solved

My Final

Summary
For my Final in my IB Film class I created a VoiceThread presentation to highlight my three favorite projects that I have done throughout the year. The three projects highlight are my silent film, ADR and Making of a Champion. All of these films posed different challenges for me but I feel they helped me improve my knowledge of film and helped me become a better filmmaker.
Videos:

Film Sound Design – Ambient Sound, Library Sound and Foley

Summary

In this project we went around the school and recorded anything that we thought we could use on my phone, we then went to the computer and got all the sounds into garage band after a few steps. After using all the sounds that we recorded from our walk we plan to then go into the sound room to record any additional foley that we need to complete the sound for the earthquake scene.

Film Before Foley and Sound Effects

Film After Foley and Sound Effects

 

Foley Process

Our teams foley process was largely based around being creative and walking through different areas of the school looking for any sound that could have any chance of making it into the video to play over the earthquake scene.

Sound Library

  • 1. we have paper on the desk to sound like steam
  • 2. We have pencils clicking to sound like the loose gravel
  • 3.We have me flicking a pepsi can to sound like the popping electrical wires
  • We have ping pong paddles clicking to sound like bags falling
  • we have the plexi glass rumbling to sound like the earth rumbling
  • We have two metal pieces to sound like the car hitches clanking
  • we have me talking to replace the kid’s talking
  • we have finger nails scraping rails to be the tracks and train wheels screeching
  • we have foot steps for when the people leave the train car
  • We have feet moving through the leaves for wind
  • we have clacking books for the tracks clacking/ phone lines falling down

Audio Signal Chain Terms

  • Single system-audio fed directly into camera
  • Double system- separately recording audio, better audio quality
  • Sampling rate-measure in kHz, 11kHz-interenet audio, 44.1-cd, 48-digital video
  • Bit Depth-how many different values each wave can have
  • compressed audio throws away a lot of information
  • 96kHz, 24bit uncompressed
  • Preamp-boost signal of microphone so it can be recorded
  • Line Level
  • want to avoid clipping, 0DBFS is set to clipping point
  • Impedance- a measure of the devices resistance to AC current- Z
  • LowZ less than 600, HighZ is 10,000
  • Sound dissipates so put mic as close as you can to subject
  • Proximity effect- boost in base frequency
  • Boom mic or lav mic

Foley and Sound Effects Terms

 

What I Learned and Problems I Solved

Sound is half the picture

The Arrival of Multiplexes and Asian Mainstream

1970s and Onwards: Innovation in Popular Culture – Around the World.

  • Best of Mainstream films did new things
  • Kung fu movies hit mainstream
  • The Kingdom and the Beauty (1959) dir. Li Han-hsiang
    • Highly colored, studio set, musical
    • feminine
  • A Touch of Zen (1971) dir. King Hu
    • wider screen, more aggressive and faster
    • choreographed fights
    • introduction of kung fu
    • transcendentalism
    • influenced many asian directors
  • Enter the Dragon (1973) dir. Robert Clouse
    • Bruce lee’s fighting had more rage
    • part of shift to masculinity
    • camera stayed out of the fight
    • fighting was fast and furious while camera was not
    • camera should be still, let actors be athletes
  • A Better Tomorrow (1986) dir. John Woo
    • Hong kong triads
    • filmed shooting scenes with several cameras
    • non linear editing style
  • Iron Monkey (1993) dir. Yuen Woo-ping
    • Spun characters in the air
  • The Matrix (1999) dir. Andy Wachowski & Lana Wachowski
    • Yuen choreographed fight scenes
    • fast cutting, kung  fu and gravity fighting
  • Once Upon a Time in China (1991) dir. Tsui Hark
    • Hark is steven Spielberg of hong kong
  • New Dragon Gate Inn (1992) dir. Raymond Lee
    • Hark produced this film
  • Mughal-e-Azam (1960) dir. K. Asif
    • Mainstream india grew in innovativeness
  • Devi (1960) (introduced in Episode 6) dir. Satyajit Ray
  • Mausam (1975) dir. Gulzar
    • Child actor from Devi grown up in this film
    • Older character looks down on his younger self
  • Zanjeer (1973) dir. Prakash Mehra
    • lots of close ups
  • Sholay (1975) dir. Ramesh Sippy
    • Colossus of 70’s film
    • greatest Bollywood film of its time
    • looks like a western
    • “Indian cinema gives poetic justice in three hours”
  • The Message: The Story of Islam (1976) (aka Mohammad, Messenger of God) dir. Moustapha Akkad
    • in some ways its a conventional biblical epic
    • never show who Mohammad is because Islam doesn’t allow the depiction of Mohammad
    • Made two versions of the film, one arabic and one english
    • did this because film styles are so different
  • The Making of an Epic: Mohammad, Messenger of God (1976) dir. Geoffrey Helman & Christopher Penfold
  • The Sparrow (1972) dir. Youssef Chahine
    • captures moment of Nasser saying Egypt lost to Israel in six days war
    • forsaw overthrow of Egyptian leader from office
  • The Exorcist (1973) dir. William Friedkin
    • “want see” film era
    • films that people wanted to see
    • blockbuster era
  • A Guy Named Joe (1943) dir. Victor Fleming
    • influenced Spielberg
    • pilot watches woman he loves fall in love with another man
    • pilot was killed in war
  • Jaws (1975) dir. Steven Spielberg
    • Three very different characters
  • The Making of Steven Spielberg’s Jaws (1995) dir. Laurent Bouzereau
  • Vertigo (1958) (introduced in Episode 4) dir. Alfred Hitchcock
    • dolly in and zoom out, influenced jaws
  • Close Encounters of the Third Kind (1977) dir. Steven Spielberg
    • shows awe and revelation scene
    • classic Spielberg
  • Jurassic Park (1993) dir. Steven Spielberg
    • similar awe and revelation scene
  • Star Wars Episode IV: A New Hope (1977) (introduced in Episode 1) dir. George Lucas
    • used models for spaceships
    • Robots based on two funny characters in Hidden Fortress
    • borrowed a lot from Kurosawa
  • The Hidden Fortress (1958) dir. Akira Kurosawa
  • Triumph of the Will (1935) (aka Triumph des Willens) (introduced in Episode 4) dir. Leni Riefenstahl

Movies to Change the World

1969-1979: Radical Directors in the 70s – Make State of the Nation Movies.

  • Fox and His Friends (1975) (aka Faustrecht der Freiheit) dir. Rainer Werner Fassbinder
    • Most prolific of german directors
  • All That Heaven Allows (1955) (introduced in Episode 6) dir. Douglas Sirk
  • Ali: Fear Eats the Soul (1974) (aka Angst essen Seele auf) dir. Rainer Werner Fassbinder
    • Took previous movie and made it darker
    • Tracking shot to show prejudice of women’s family
  • The Bitter Tears of Petra von Kant (1972) (aka Die Bitteren Tränen der Petra von Kant) dir. Rainer Werner Fassbinder
    • Has actors move slowly as if they’re haunted
  • All About Eve (1950) dir. Joseph L. Mankiewicz
    • Two women trying to control each other, influenced fassbinder
  • Alice in the Cities (1974) (aka Alice in den Städten) dir. Wim Wenders
    • Wenders films about men in open space
    • Intrigued by america itself
    • Telescope shot
  • An Affair to Remember (1957) dir. Leo McCarey
    • carey grant met a women on empire state building, influenced wenders
  • Gods of the Plague (1970) (aka Götter der Pest) dir. Rainer Werner Fassbinder
    • Margarethe von Trotta acted in it
  • The Second Awakening of Christa Klages (1978) (aka Das zweite Erwachen der Christa Klages) dir. Margarethe von Trotta
    • Anticlimactic robbery scene
    • Uses close ups, and direct camera angles, shows equality between women
  • Burden of Dreams (1982) dir. Les Blank
    • Documentary camera, very far back
  • Arabian Nights (1974) (aka Il fiore delle mille e una notte) dir. Pier Paolo Pasolini
    • Italy had become commercialized
    • Pasolini murdered by male prostitute
  • The Spider’s Stratagem (1970) (aka Strategia del ragno) dir. Bernardo Bertolucci
    • Was Pasolini’s assistant
    • Lots of tracking right
    • about fascism and identity
  • The Conformist (1970) (aka Il conformista) dir. Bernardo Bertolucci
    • Also about fascism and identity
    • leaves blowing in the wind
    • Visual beauty seen as to hollywood
  • Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
    • scenes have derived from the conformist
    • Goes high and turns ugly event into beauty
  • Women in Love (1969) dir. Ken Russell
    • sexual identity is key theme
    • Horizontal cinema
  • Performance (1970) dir. Donald Cammell & Nicolas Roeg
    • Two mens faces dissolve into each otter
    • most imaginative shooting in story of film
    • greatest 70’s film about identity
  • Mean Streets (1973) (introduced in Episode 9) dir. Martin Scorsese
    • influenced by mirror scene in Performance
  • Persona (1966) (introduced in Episode 7) dir. Ingmar Bergman
    • influenced Performance
  • Walkabout (1971) dir. Nicolas Roeg
    • Wide angle lenses
    • about contrast between nature and city in Australia
    • Shedding clean cut self when se meets more vital human being
    • like chaz from performance
  • Picnic at Hanging Rock (1975) dir. Peter Weir
    • Films girls in slow motion to create sense of mystery before they disappear
  • My Brilliant Career (1979) dir. Gillian Armstrong
    • Sam Neil glamorized while girl isn’t
  • Minamata: The Victims and Their World (1971) dir. Noriaki Tsuchimoto
    • One of greatest documentaries every made
    • filmed over 17 years
    • Small 16mm camera allowed him to be at center of action
  • The Emperor’s Naked Army Marches On (1987) dir. Kazuo Hara
    • “Documentary masterpiece”
    • Japanese assertion
    • trying to find soldier
    • friend was probably eaten by commanders
    • truth buried in lies
  • Black Girl (1966) (aka La noire de…) (introduced in Episode 8) dir. Ousmane Sembène
    • bold start of african feature film making
  • Tarzan’s Secret Treasure (1941) dir. Richard Thorpe
  • La nouba des femmes du Mont Chenoua (1971) dir. Assia Djebar
    • looks at Algeria through feminist lense
  • Xala (1975) dir. Ousmane Sembène
    • getting rid of colonization in Senegal
    • wasn’t against religion and wanted a radical revolution in Africa
    • Created Third Cinema
  • Sinemaabi: A Dialogue with Djibril Diop Mambéty (1997) dir. Beti Ellerson Poulenc
  • Badou Boy (1970) dir. Djibril Diop Mambéty
    • Helped create african modernism
    • Abstract feel
  • Hyènes (1992) (aka Hyenas/Ramatou) dir. Djibril Diop Mambéty
    • Greed, celebrates joys of capitalism
    • Mambéty was very angry with capitalism
  • Kaddu Beykat (1975) (aka Lettre paysanne) dir. Safi Faye
    • Africa’s first important female director
  • Harvest: 3,000 Years (1976) (aka Mirt sost shi amit) dir. Haile Gerima
    • Story spans over 3,00 years
    • Low contrast back and white
    • long lense
  • Umut (1970) (aka Hope) dir. Yilmaz Güney & Serif Gören
    • Güney was most influential director in middle east
  • Yol (1982) dir. Yilmaz Güney & Serif Gören
    • Still life shots of village
    • Director broke out of jail to edit film
  • The Battle of Chile (1975/1977/1979) (aka La batalla de Chile) dir. Patricio Guzmán
    • Footage of coup of Chile
  • The Holy Mountain (1973) (aka La montaña sagrada) dir. Alejandro Jodorowsky
    • believed in zen Buddhism
    • self discovery

American Cinema of the 70’s

1967-1979: New American Cinema

3 separate types

  • Satirical
  • Dissident
    • loved to shoot about people
    • hated old styles
  • assimilationist
    • edgy, more thoughtful content
    • Almost al win characters were male
  • Duck Soup (1933) dir. Leo McCarey
    • Satirical
    • Marx brothers movie
  • Artists and Models (1955) dir. Frank Tashlin
    • Found consumerism vulgar
    • society is fake
    • Lots of color
    • in order for something to be funny, you need to think sad first
  • Catch 22 (1970) dir. Mike Nichols
    • Great satire
    • World is upside down
    • “We want you to like us”
    • many people thought it had an anti-American message
  • Mash (1970) dir. Robert Altman
    • Another war film like Catch 22
    • used masks on nurses which gave him more freedom for sound
    • Used zooms or long lenses
  • The Graduate (1967) dir. Mike Nichols
    • beer and boredom
    • showed lost generation
    • turned lights on and off for pacing
  • The Fireman’s Ball (1967) (introduced in Episode 8) dir. Miloš Forman
    • Documentary style
  • One Flew over the Cuckoo’s Nest (1975) dir. Miloš Forman
  • The Last Movie (1971) dir. Dennis Hopper
    • Dissident film
    • “making of” movie
    • hate letter to american film
  • McCabe & Mrs. Miller (1971) dir. Robert Altman
    • Anti western
    • colors are muted, no contrast imagery
    • long lenses
    • no heroes
    • Visual uncertainty to match the 70’s uncertainty
  • The Conversation (1974) dir. Francis Ford Coppola
    • Coppola started as a dissident director
  • Mean Streets (1973) dir. Martin Scorsese
    • 4th 70’s dissident
    • fighting to open up the forum
    • Story of modern saint in gangster society
  • Taxi Driver (1976) (introduced in Episode 1) dir. Martin Scorsese
    • taxi in slow motion
    • emotional wisdom was in way mizoguchi didn’t show faces during emotional scenes
  • Chikamatsu Monogatari (1954) (introduced in Episode 3) dir. Kenji Mizoguchi
  • Raging Bull (1980) (introduced in Episode 5) dir. Martin Scorsese
    • self destructive man
    • shot documentary style
    • long lenses, flat lighting
    • during fight, there was fast cutting and tracking
  • Italianamerican (1974) dir. Martin Scorsese
    • documentary  about his parents
  • American Gigolo (1980) (introduced in Episode 7) dir. Paul Schrader
    • Schrader was a dissident to
    • 80’s red lighting
  • Light Sleeper (1992) dir. Paul Schrader
    • drug dealer floating through life
  • Pickpocket (1959) (introduced in Episode 7) dir. Robert Bresson
    • ending influenced Schrader’s American Gigolo and light sleeper
  • The Walker (2007) dir. Paul Schrader
    • similar to American Gigolo
  • The Birth of a Nation (1915) (introduced in Episode 1) dir. D. W. Griffith
    • famously racist
  • Killer of Sheep (1978) dir. Charles Burnett
    • One of greatest films of 70’s
    • from kids point of view
    • Black conciseness
    • About people
  • The Shop Around the Corner (1940) dir. Ernst Lubitsch
    • Jewish characters on the side of films not main characters
  • Annie Hall (1977) dir. Woody Allen
    • joke is New York Jewishness is foreign to everywhere except New York
  • City Lights (1931) (introduced in Episode 2) dir. Charlie Chaplin
    • Annie hall is offspring of City Lights
  • Manhattan (1979) dir. Woody Allen
    • city symphony
    • wide shots
  • The Last Picture Show (1971) dir. Peter Bogdanovich
    • Mixed old and new
    • black and white
    • 16 second dissolve
  • The Wild Bunch (1969) dir. Sam Peckinpah
    • stretched Sergio Leone’s neo-realism in fight scene
  • Pat Garrett and Billy the Kid (1973) dir. Sam Peckinpah
    • Garrett shoots himself in mirror
  • Badlands (1973) dir. Terrence Malick
    • characters so needed they were almost mentally ill
  • Days of Heaven (1978) dir. Terrence Malick
    • Great Natural lighting
    • Camera flows, was attached to cinematographers body
    • gave way to steady cams
    • To shoot locus films they dropped peanuts from a helicopter and had actors walk backwards then they reversed the footage.
  • The Mirror (1975) (introduced in Episode 8) dir. Andrei Tarkovsky
    • Wind is nature coming alive
  • Cabaret (1972) dir. Bob Fosse
    • mixed old and new
    • musical shot in close up, something that is not usually done.
  • The Godfather (1972) (introduced in Episode 6) dir. Francis Ford Coppola
    • Assimilationist film
    • Had it shot like a rembrandt painting
    • focus was shallow
    • Lit marlon brando from overhead, called north lighting, done so no one could clearly see his eyes
  • Chinatown (1974) dir. Roman Polanski
    • Style was old hollywood, almost film noir
    • Detective movie
    • Killer right in front of you but it takes whole movie to figure it out.
    • filmed with wide angles and bright lighting
  • The Maltese Falcon (1941) (introduced in Episode 2) dir. John Huston
    • Another detective movie, similar to that of Chinatown
  • Jules et Jim (1962) dir. François Truffaut

 

Making of a Champion Post-Production

Summary

For this phase I took a step back and let the editor and sound designer do their work for this phase. Since the filming was done all we needed to do was put the clips in place and edit them down to fit the time limit. I wanted to let the editor do his work but also make sure that the film still achieved its original vision. For the sound designer I let him find the music for our montage but I still had to approve it to see it it fit in with the feel of the movie.

Evidence of working with the Editor

This is our storyboard with notes from the editor about some of our transitions.

Changes between initial script and Final version

Our script started out as a short story which we then converted to a script. This was because we wanted to get the story written first and then add in the cinematic elements.

Discussions of reaction to the final cut

It didn’t include all of the scenes that I had hoped it would because we ran out of time in filming and going over the five minute mark, but I feel that it incorporated all of the artistic elements that I wanted it to have. The one discussion the editor and I had was about the quality of the video. While editing he noticed that our film so far was lower quality than he expected. This was probably a technical issue due to the fact that we did not have the best equipment to work with.

Evaluation of Film

This film succeeded in achieving the original vision we had for it. On on artistic level we were able to gain access to the props, setting and costumes that we wanted. On a technical level we were able to incorporate most of the cinematic storytelling elements that I wanted to from pre-production. These elements included directing the eye, and movement on the X and Y axis. This film also met expectations in terms of its genre. The original plan for the movie was a sports comedy and I feel that it met the criteria to fall in that category.

What I Learned

I learned that in the post production phase the director is more of a supervisor and not as hands on. Maybe its a preference but for this project I thought it would be better to let each person have control of their position and in the end each person did their part well. This whole process taught me that a director needs to spend a good amount of time and effort in each phase because no one knows the vision for the movie better than them.

Making of a Champion Production Journal

Summary

For the production phase of the film we filmed our movie. As the director I was mainly behind the camera helping the cinematographer set up the scene but I did make an appearance in the film as a track coach. Our film relied heavily on props and so it was my job to supply those props. In this phase the whole group really had to work together unlike the previous phase when it was mainly the screenwriter and I. If someone wasn’t behind the camera they were in the scene which required our team to have good communication each day about what each person needed to do. In the end we were able to finish filming our movie and get the clips to our editor for post production.

Production Notes for Each Day of Shooting

My expectations for the first week was to finish up the script and get our props. Since we couldn’t do any filming the first week because we were waiting for our fat suit to arrive. We used this time to finish up the script and storyboard. Once we got our fat suit we were able to begin filming. My expectations for the rest of production was to shoot one scene a day  so that it wouldn’t put to much pressure on our team but we had to work fast in order to meet the deadline. The first day of the second week wanted to film the scenes that took place in our school’s parking lot. This was achieved but not in its entirety. Our group only managed to shoot one scene in the parking lot. The next day was dedicated to shooting scenes on the track for our montage. We were able to finish all of the shots for a montage towards the end of our film. The third day we were not able to accomplish any expectations for shooting but we were able to upload our clips to a computer so that when post-production started we already had material to edit. The fourth day was another filming day, we were able to exceed expectations because we filmed two scenes to make up for the previous day. The fifth day was also a filming day with a scene for another montage.

On Going Discussions with Film Team

Cinematographer: The cinematographer and I mainly discussed how to film certain shots. One example was a tracking shot were we decided that instead of walking behind Toby we would use a skateboard so that the shot would be smooth and not shaky.

Editor: My discussions with the editor revolved around the montage and how to use it to show the general progression of our main character Toby and how he is getting better.

Sound Designer: My discussion with our sound designer was about the sound effects of our movie. We needed to have certain sound effects for example our main character falling the would not be to noticeable but also comical.

What I learned

I learned that it is expensive to make a movie. We didn’t have the necessary props in the beginning so it was my job to go out and buy them just so that we could achieve my artistic vision for our film. I also learned that each phase heavily affects the other phases. We ran late in our pre-production phase which meant that we had to really hurry up in the production phase to end with enough time for our editor.

IS Resources

  • Akira Kurosawa- Composing Movement. Every Frame a Painting. N.p., 19 Mar. 2015. Web. 4 Mar. 2016.<https://youtu.be/doaQC-S8de8>.
  • “9 Scenes from ‘Jaws’ That Will Show You How Spielberg Does Cinematography.” No Film School. N.p.,n.d. Web. 4 Mar. 2016. <http://nofilmschool.com/2015/02/9-scenes-jaws-show-how-spielberg-does-cinematography>.
  • Prince, Steven. The Warrior’s Camera: The Cinema of Akira Kurosawa. N.p.: n.p., 1999. Print.
  • Rabiger, Michael. Directing: Film Techniques and Aesthetics. N.p.: Taylor & Francis, 2013. Print.
  • “Seven Samurai Review.” RogerEbert.com. N.p., n.d. Web. 4 Mar. 2016. <http://www.rogerebert.com/reviews/great-movie-the-seven-samurai-1954>.
  • The Spielberg Oner. Every Frame a Painting. N.p., 6 May 2014. Web. 4 Mar. 2016. <https://youtu.be/8q4X2vDRfRk>.

 

Making of a Champion Director Pre-production Journal

Summary

This week I worked with my team to come up with a concept for our movie. I worked with the sound designer to figure out the soundtrack an what type of music would be playing in our movie. What we came up with is inspirational music that would work well in a montage.  I worked with the editor to see what type of edits he wanted to do and how we could incorporate that to further the story. My preference was to do Kurosawa type editing where the edits are made on movement. With the screenwriter I helped him write the the story and and helped him understand what the vision for the film was. As a director I tried to be as involved as possible with every aspect of the film.

Cinematic storytelling elements

  • 3 XY(Diagonal) movement
  • 2 Y axis (vertical)
  • 4 depth of field
  • 7 Directing the Eye

Explanation of the Film Vision

This film is going to be like a track version of Rocky. The main character feels like has a dream to be a Olympic sprinter but he lacks the skills to be one. After being rejected by the school track team he finds a new mentor in a crazy has been. He trains relentlessly until he gains the physical abilities to compete on a high level. The movie will end in a similar way that it begun. Instead of watching other people run on his TV he will be looking at himself run.

Target Audience

The target audience for this movie will be younger viewers. One thing that I have found is that younger audiences tend to respond better to action comedy better than other groups and since this films comedy is based around action it will be more appealing to a younger audience. This film also has a message about if you try hard enough you can achieve your goal. These uplifting theme movies are always popular with a younger audience because their parents take them to it to inspire them to achieve their dreams.

Genre/Style of the Film

The genre that would best describe the style of  this film is a comedy. It would fall under this category because the plot is deliberately designed to amuse and provoke laughter with either one liners or action comedy. It could also fall under the sports genre because it follows the basic sports movie plot structure in that a goal is set early on while the middle is reserved for training for that goal and in the end they achieve the goal.

Influences from Other Films

When talking about influences for this film, or any film for that matter, it is hard not to name Citizen Kane because of its great use of the cinematic language. In this film we will take away some of Orson Welles’ depth of field techniques because that is something he used so well. Since this movie is about an aspiring track star we will have to make good use of movement in this film. For this one big influence to me is Akira Kurosawa because he was able to use movement on so many levels. The specific techniques that I will try to integrate into this film is his movement of the individual and groups.

Consultations with Production Team

Director and Sound designer working together

Location Scouting

This is the set of stairs leading down to the track. We will use this location in multiple scenes and in the background where the trucks are parked is where the mentor and Toby will meet for the first time.

Casting Decisions

Since we only have four people in our group our choices for the characters was small. One member always has to be behind the camera and I cannot act at all which left two people. Here are their roles.

  • Willie will be playing the lead role of Toby in this Production
  • Sam will be the mentor.

Permissions

The locations that we are using are either the houses of our group mates or the high school that we attend. For the houses I made sure the group members asked their parents if it was okay for us to shoot scenes there and since it is for school they all responded yes. For filming at the school, we can do parts of that during the day when we are attending classes there and for the weekends the track is open to for people to come so we can film there anytime.

Scheduling

This is our call sheet for production and it shows that we start filming at 8:45 Am every weekday for two weeks.

What I learned and Problems I Solved

I learned that as the director I have to be involved in every aspect of the film. I learned how to make a call sheet and more importantly what information goes on a call sheet. One problem that we had in the production phase was communication over what our story was going to be. To solve this problem we all pitched in and brainstormed and then I wrote a rough draft of the story and then our screenwriter transferred that into a script.