Cinemagic #14 (1981)

... _ .: ClliII'l" W. JO<1" Wllh. >eel.,., of Ili ....

"'.n

p lhat " I'INdlnglor "endel· VOUO wnh .... lIen c ... illU 100<1 In h .. film. AI LIr/'" Story 0<1 page 30.

~.I1: A ",o<IuctlO<1 0' llirom Chip Galb<a"~·.Ir.e.t film.

rha Ra", ... nl.IIV •. The fi:m " 0<1. of Ihl, ... e·. Produce .. · Bulletin Soard enl,,". See Pa2e 22

CONTENTS

Number 14

Editor's

Electronic

Books

28

Bench

4

Special

16

...

"'m

....

~

-=:;:.

..

~

01 information w>d \eC1riq'-"'5 for lIMo

S

tory

b

oar -

d

Effects

-

"m~

••.

"''''''.

"""""

ing

6

(

...:;'ll;l;l

~

lI

t!

I

Cinemagic

,

,

!5!f,:'8t~~!5t

_ . . • ' . . !

....

"

, _ _ CTKW

,

Fihn Contest

Rules

-

1 2

TM 19a1 or£JIoAGICIs-JA Short Pe

s.:wch

~ it

d<-v.g.-

Eligibility

~ w>d f\IIe$ .e on P"II"

12.

eoIorIg with toone

01

IllS!

yeao-

'

,...-...

DonI n'IISI o.A!

Fihnmakers

'

Forum

_

1 4

'

'''~

'WI.t~

"

1

Market-

29

_.

--'

~~~fr-

,.

place

_

,.'

iJ~ ~~.-.d

Bui'j),ow ...

-

eo. F .. I

oI$ound." ChIlI SteYens Iohows )011 how to build )'OUr - . . I<IIIt\d .tr1l!ClS ~atDf

Producers

'

Bulletin

Board

_

2 2

-Low Budget

Devasta-tion

30

F~rnrnak«f ~ Sippon""'" KeW\ SmyIh ... )OU how to CfNl~ a deoms· t/leW <:it)' In mlniato.n-cheap!

Charles

33

(q///I/'Irfl/f

_~=

_=j

_.•.

_--Issue #14

... hed.,.

O'OONN STUDIOS, INC.

475 Park Ave. South New York, NY 10016

Pabllah ....

Norman Jacobs/Kerry O'Quinn

A.Mdate

PubII . . . . RIte Eisenstein Ckcalatlo. Dlrecto .. Richard Browne

EdIto ..

David Hutchison D •• ' ...

.,..-ectoI'

Cheh N. Low De ... Robert Sefcik

M.agI.g EdItoI'

John Clayton EcBtodaI CoDtdltuton Charles Jones Jerry Parisi Damon Santostefano Steve Sippin Kevin Smyth Chris E. Stevens Art8taft Laura O'Brien Karen L Hadell . . . A. ... taDb Joan Baetz Eileen Dempsey David Gilman Cindy Levine Nancy Reichardt ... ofCUlDlAGIC Don Dohler

AdvII1IIIng 1nformIIIIon: RIAl EiHnIteIn (212) 652830

About .... cover: Charles W. Jones of Knishtstown, Indiana poses with two

of the apa~uits that he made for his film, At Light. The story begins on page 30. eover'photo by Jan Skipo.

9

4 ClNEMAGIC #14

Editor's

BENCH

It's Contest Time!

T

his is the last issue of ClNEMAGIC that you will read before the deadline of this year's Short Film Search. The complete rules are printed on page 12, but be sure to send in for your official entry form (information and address on page 13).

The sponsors of the contest, New York's prestigious School of Visual Arts and CINE-MAGIC, have introduced a number of changes in this year's competition. Many of the contestants expressed a desire to know how their scores ranked among all of the entries. Accordingly, this year we are instituting a "report card" that will be mailed to each entrant. The card will show scoring in points in each of the judged categories. Entrants will be able to determine how close their film came to being accepted in the finalists' competition. Ranking of the finalists will of course only be revealed at the awards screening in November.

Additionally, there will be a notation on the card indicating that you and your film are being considered for coverage in the pages of CINEMAGIC. This may have no bearing on the status of your film as a finalist. You may be selected whether or not you actually qualify as a finalist. As I've often pointed out, contest requirements and editorial requirements are not the same.

Last year the screening was held at the Beacon Theatre (an old, restored giant movie palace). This year, in spite of the fact that nearly one thousand spectators attended last year's finalist screening and awards ceremony, we will be located in a much smaller house, in the interest of a better projection environment for Super-8 and 16mm. We would rather have to turn people away from the door in order to insure top quality projection than to have poor projection in an enormous theatre. I think that filmmakers will be pleased to see their efforts projected under the best possible circumstances. Other than those changes, the format is generally the same as last year-so get those entry forms and films turned in.

• •

•

Eastman Kodak has recently announced that there are new Ektachrome movie emul-sions available in Super-B. We have not received test samples, and we would appreciate comments from individual filmmakers regarding the differences-if any-and improve-ments that they have found with the new Ektachrome emulsions. Letters will be printed in a special section of Filmmakers Forum .

-David Hutchison

CINEMAGIC is published bi-monthly by O'QUINN STUDIOS, INC., 475 Park Avenue South, New York. NY 10016. ISSN0090-3000. This is issue Number 14 (Volume 3, No.2) Content is C> Copyright 1981 by O'QUINN STU DlOS, INC. All rights- reserved. Reprint or reproduction in part or in whole without written permission from the pl,lblishers is strictly forbidden. CINEMAGIC accepts no responsibility for unsolicited manuscripts, photos, art or o~er-material, but if freelance submittals are accompanied by a self-addressed, stamped envelope, they will be seriously considered and, if necessary. returned. Products advertised are not necessar-ily endorsed by CINEMAGIC. and any views expressed in editorial copy are not necessarily those of CINEMAGIC. Subscription rates $9.98 one year (six issues) delivered in U.S., Canada and Mexico. foreign subscription $12.98 in U.S. funds only New lublcrlptlonl: send directly to CINEMAGIC. c/o O'Quinn Studios, Inc., 475 Park Avenue South, New York, NY 10016. Notification of change of addre .. or renewall

send to CINEMAGIC. Subscription Dept., P.O. Box 142, Mt. Morris,lL 61054. POltmalter: Send form 3579 to CINEMAGIC, P.O. Box 142, Mt. Morris, IL 61054. Printed in U.S.A.

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- -

-Storyboarding

The Key to Success

S

\OI)t>o&rding i. the I><Ick.booe of

arty film production. whetl>er ~ ;s ft

"""IIIiYe.

do<;umftllary, 0/ ex·

I"'n~ntal. Good 51ol)'boards.

properly ... during shooting and e<liIlng.

,.;11 mak~ for a more infO/med and eff1ci<tnl

C''''''.

f ... t~ and more creative editing. and lower production COSIs. IIIhen '""""Yand

tim<! 1Mtte<. SIOr)t>o4rds or .. essential.

SIotyboarding i. the most enjoyable phase of preproduction: il is the time given to bralnotormlng theimagesthal h!rve been

d6rting about In )'OUr h~ alld co;wnmit

-ting them to PIIp<!r. You begin 10 build

mommlum as )'OU c~te the sound aM

Images for....,;h SCene and sIowIy~nd the u .. nsitioos I.hM will visU/l11y bind the plot

\ogethe< into a whole film. K Is the- !'nO$!

Cl'MtM! and exciting P"rt of preprodu<:-lion-the reot of )'OUr time will be !.Pen!

finding

equipment, buying

mater\ll""

pre.

poring forms, permit$. papewori< ""d end·

Ies, phoot \211$.

N. Ihe completion of your S10ryb0ardlng.

you ";11 h""" created a bookcontainlng the

'"how" fOf every"~ of 1M film-from

the di<llogue to the mood l;ghtlng. k will be

.,.,., of Ihe ITlO$Ilmpor1Mrt pif:cM <.II ... ·

rmrtion

you

will

refer

10. right

up

to when you bring your malCnM ~ Into the

6 ClNE:MAGIC ·14

By

DAM

ON

SANTO

STEFANO

lab 10/ pnnUng. ~ I. your bibde.

Surprisingly. in film .... oductioo today. In feMureas well a. SlU<ien! film ••

manydi'K-(Of. fond S10ryb0ard'ng .... poeJfloous to the

prod..ctlon_ ThIs is bec .. use they ei!~ possess the Hr\IInciaI meaM to """"'" thou· sands of feet to cove< ""t"'I~ pops into

tMir head on the $el. 0< they think they """"

mo<~ cr~_ fr~. in resp«!-10 Cam· era angies.lYIO"o'emenl 11.-.:1 blocking. Willey ar~ not reslrided 10 preyisualiled ideo •. ~ di~ probobly lad< th~ "biWI)' 10

commit Iht-I' ~as 10 pllpet bee ... ", either

Ihey have """" during pr"l'fO"luc:tlon. 0<

lhey f~1 thai ~ praying for

$pOI"IIar"le-ous 1J~lu. on location ~ the ~ wily 10

ohooI-··wha\ ~ cornes,·· I. the le<mI·

-

This

.

i. nOl the wily 10 ma"" a film. To

shoot withOlJ! Slotyboards I. a

bask

viole·

tion

0( f\IIITlIIive filmmaking. film as an art

medium hIr. endless ~nIiorl and flcxibil·

il)'. and like any art form ~ requi"'.the a";",

10 e.erdse" cO"ltain amotlnt 0( di"'ipil~

during the wr" procns of the mcdlum·. c..."ru.,.,. Only in this wily can the artist """" control

0"'"

the prnmtation of

h

i.

rnes-""ge 10 that ~ i. Slructured and ~ In a

"'7JY thaI the au-dicncc can understand and

identify with hi. ide<ts. Even a film ideo th ..

i. ~ around a single strong r\IIO"r,,1i-Ie pk>t can ~ scattered in hundred. of diffe<·

ent dirt<:tion. without discipii"" and good pi>lnnlng.

SkIpping the SlOIybooording proCess sig. nals an artist". diSlegard

to

an essential plitt 0( 1M film·, o<ganiurtion. ond lhi. un ulti· rmolO"ly lead 10 many problems during 1M production and poot.prod.xtlon pMi16.

Wrth

no me<etIC~ It$ to

how

shots

should

ookand

how

theywilil/Jlercut

togethe>.

1M

dange<s of o.eI/l.-.:Iulgen<:e IINJ!o< Ins-e<:ur·

il)' on the dlr«tor"s pM ~fn to cau",

problems. Scenes fM)I ~ 0VCf"5h0t by adding unnecessary angles and lICIion 10

them. Or 1M", maybe a lackof co~"9"­

lhftt;'. lalling 10 ohooI a certoIin action or

pioece of d",log"" from lhe corred number

of angles. rewlting in a piece of unshot K ript and the hIr!Sle of reshooting it. once

the IJlIIl i$ discovered in

the

editing

room.

LileS ...

With these dangers. in sigh~ there arc lou, essentiIII. lile-1oaVing qUillitics 01

th0-rough SlOIybooor~ 10 keep you lrom making mI~

One

.

"

complete

st0ry-board book that coriains ev-ery shot in 1M

Dfcier that ~ will ~ - - " in

the

flnil-hed print; ~ should allO contain the lighting layouts

,

_,

i

1

Abo.", O.mon Of' the set ofsr."og·, Smhdly Fln,uyw"h (from tett to roth!) 111m crew ~mbet Ch ... tes ~.utm.n, crnemato£'apllet Jrm So1<lnko and STARLOG I>JI). Irshe, M ...

ry

O·Ouonn ....

no

d"ec1ed the I,tm Bolow: A .tory!)Oard Olmon prePJfe<l • him he directed 'or Ihe New York Hor_ Oevelopment CorporatlOf'

So!! tJ]) SlbhtT ';{

fBAME OIRFcrJON

'1

5'

6

/"

rc"

-

90'1.. E.R.

SHOT

DESCRIPTION

D/5S0I-V£

ro:

CtaS<'

to

HI'

of

m~~l,oIt

4 ~

,,~J

f

...

J~Culkr$

AJt"uJ~

skQJj

4ooFl..

Dnrt

~AST

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st

T.C '.

-to"",.Js

-

Eas/: R",u

&

1X>~&n

SIoOf't/,.,e

(I>l

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t'en;

i"

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/qr,,

v,e'oJ-*-'0/<1

of

frQ",e

r~Jrt

-

CUT

,)

secon

dS

and oct and prop ~ka\loos. 10 e<W>Ie Bnyono: to know exa<:Ily whaI ~ ar~ u5edIOC"'-~ Bc~nlookfo< MCh SCeM.

The S\O<yboard book becomn the com· plett $(IUI'O'> book 10< aU of the tnlllngible

p<odvction valuH. such a. mood. otyIiza.

lion of the oct. costumes

etC-Two. the u~ of Slo<ybor"d. i. ~r.enI

to f!YO'I)' crew position on the oct and ~

good ide .. i$ to mak~ ""'" fltCh ~

member

geu

a

production book with

a

~Wi

of

tht: storyt>oel'd. for hi, QWJ1 privat~ u~. Thls,..;11 enoble fltCh ~son to Sludy the storyboard. caccfully the night before a

shoot 0< ~ they have a fn:e ~ on

the oct. Your c,.,... ohould know what ~""h

shot InYOl __ and what the day's schedule consists of. 50 they can WOtk on their """. efficiently and coriIoently. This p<ooc:tice gains you a little pe<>Ct of nWId beclI~

you know your crew "",mben "';11 know what they a", doing and you ,..;y not hIrve

tht:m onking you oiIly questions ~ f~

minutes thIot are al~ an,,, .... ed In the

SI~rd .. Good stor)oboards a", the key to an eff"1(;if:nt oew, which >aVes you P"'" dou.

time

.

$a";ng time helps you

am""'"

the~$I~.

Threoe. ~nough problem! occur duling shooting without n"edless misur!<cscaused

by poor storyboarding. With the film com.

pletely vlsuaU.ed on pa~. the cho"" ... of

fo<gettir'lg a prop 0< making a cootinuity mI ... ke ,,'" grMtJy redu<:ed. Without these ",., ... kH, the ha .. le .. nd cost of rethootir'lg I.

ke!>t

urKle< control. Along with a Mpp)I and well info<med c,.,.... thorough .tory-boardi"9".;11 help you in the rY>O$I \~.

tant way-MoepI"9 your prodvction cmts toa mi .... mum

Four. In o<df:r for you to accur~ dr ....

your stor)oboards. you must first v\sit your

po(entilll location •. Once there. you can

'~~.tically ~ermine what you can and cannot shoot 1M"', taking availabIlity. <Ie-sIred <:amera angles andclean $(lUnd urKle< consIde<alion. Then you can begin to ad out the $C~ne ,..;th the help 01 othtts, and pIotout the difl'eu-nt e .. ..-aangle possIbIl· ities. Its a good Ideo to take I'oIIIroId

_po

shoIsoi the .. ngle. you hove

<Iedded

upon. leav\ng you ".;th a clear reference 10< $Iorr t>QIord iHusuations. NI of the technical and logistical detail. of the location. such as ace .... to sufficient eIec\riciol CUlTtnt fo< lighu ... 10< O!<\uipment set-t.rp and $10<' "9~. a neartoy hMdwlrre $lOll: fo< emtt'gen· d ... , can be noted on your storyboard. 0<

location breakdown lIst

K you do not take the trouble to do all of

this. you mayencountet tndt.. .. unfo ... problems causing you to reo;rite some

action on location-plus retwe_ the new

material. Besides puohlng the prodvction behind

schoedu'"

and causing the pos5ible loss

01

til;, 0< ~r locations, you"';~ also

ang~r and fatlg"" your~.

Storyboard. r~i'" you to become

syS-tematically familiar with your Iocatioru. TIley htlp you to otganize the hundreds

01

t~thMgolntothemm'.~·

lion. enabling you to main\.!lin a .mooth

l.!'!'O~O~'~'O-"''--_ _ _ _ _ _ __ __ _ _ _ _ __ _ _ _ _ _ _ _

...J

productIon lind a reasonable bu<Iget. ClNE/>VoGIC "/4 7

StOf)'booordlng Formato

,---

---

-

---:--;:

;;;;;

-

--

,.l

lhefe Ofe different besi<: types of story-

I

t>oa,d lot"'O 10 use doper.ding on whcIiler

y<>UGre mol<ing"nIIl'fo\Noeotdo<:umentary

I

film. These

fOlmu~not

standard (in fl>Cl. ,

I

everyone ha. thei<

own

~ ~ G story-bottrell, but they all consi>!. oIlhe 0lImo:

infO<Tn<>tion. lhe fQrm$ iliustr<tled here .. ~

my

own

...".,;on of a storyboIJrd form. Ag. u~one Is for .. ""rr~ r.lm and f'9u"" two

is for " docu"",ntal)' film

The diff ... ena M~n the two fotm. I. ~Important lhedocumemaryformhas

,,16s organized forma~compljmenUng the

~ style In whk:h a docummtary

Is she!. The narrative f"rm, (fogu,," one) is

more intriclltewith much more ioformation

10 nn in. yet kept os si mpIe lOS possible. N"'"

there i. " SloryboII,d Irame as ... , as a

spGCe

IOf

"

fIoo<vIM

of elldl iocllllon.

The 'KOrding of ~ls on .. doalnwn·

till)' shoot is ~ to whll( ~r hiopp"n5 On the location. since the director h.os only a

ha.ic id~ of whl>l "';11 be dra",," illl" each

Ir."",. In 1M documenutry form. the

.toty-boerd frame itsd is .... rge and ""n be used

fOfd,awingsof ~~co~

Of, after you "'" done shoolmg. lor quick

sketches d one

.hot

or a whole scene.

Thew are laler used as a reference by the ed~or. NoIe!hat the ~ spa<:'" ~ for

technlca) inforl\'lZltion ate cle.'lr. t>:::>Id and clo!.e together .., Ihat 1M director Of f><O"

duction ""'nagct C4fl eas;1y jot down or

mark Information during or after shOOllRg.

Eff>df:n<:y and speed are esMr1MI on a

document.lry shooc. a crew cannoc aIIo«j

to mi •• Import.'InI <tction tMt "';U ~r

happen agllin.

n....

;nformMion

aero5$.

the top of the form combillH th~ notes recorded and used

t,'

the dirKlor. the d""matogropMt.

production manager arld the «iotor. For "location" you fillln,.n",~ the scene is 10 be

.Ilol "Shoe r"'~ applies in a documen· tary unless you ar~ shooting a pre-.. "'Y' boarded Imernew. ~ ''"<l.,;, ... the.nor:

num-ber lhat you are IIIklng within a ..:elM!.

"S«ne"

applie5vuyotlfllandcan ber.lled In with t~ a number or a nick-""rn~. For

InSUln<:t. "Na:d R.dIy. Speak ... On." or "Comrnlssooner InteMew:' erc.

•

One of lhe slltC •• l tllects s.c~neS in

$'.'10(/'.

Blr,hday '."'.'Y

IUlu,ed I •• " e.pIes"",s ,n the conf~",fI(;e room. whOCh .. und,.. Mlack by • SQuaa,on olTIE fiihl ... The e.pJo.

.0(\<1.

were cre.ted w.th twQ I"'i~ C.,bon

a.",de

lank. and. "I'ihlnlng" macn,ne Abo •• : The f,nal effec\. 8010w: fhe storybo .. a Note the placement floor plan shaws the PC .. t;"" oflhe tank •. the 1r8hln,"~ moch.1\e and the aclors.

CH~·lCl'''''.

&b

l)AV':P l1,fTtJI'5"N

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E:

"Roll .... Is wheo-e the 1IS5isIano: cinemat o-grapher wrilts dowrlon what roll the p<IftIc

-ular shot or sce"" is r«ord«i. Then, the «iilor upon assembling Ihe scene.., i<r>oIos

what roll to search through

for

the partir»

lar shoI. "Edge number" Is

strIcd»

for

16mm and 35mm. Thi. il where the «iilor. a~r\ from his logs. might wMrt to mark down lhe code numbers that the st"'Y' boarded ""ene fans betwe<en. The<e code numben are prim«i onto !he ~ d!he

film slock, ocrurring """"y 20 frames and

are used

t,'

ediIots and ~ cutters as

a coded reference point for eYery shot thai

waS

filmed

.

"P"9" -- Is for !he ""rip! page number on .mid> !he storybolrrded shot

occurs. The c'ew can refer to !he ""rip! by , , , . .. . , ' .

'"'''I

I

!>8!I"rlUmberiflhtyareconfused.

(R

EC<>

/?

D

1,111-,()

SIJ.o

f FX;

o)MULT

To Inform theflltirecrew, ~Itythe fOr

s..r.l:>

~;~j'13 ~) S4!i:S lMIFI1rilN6

sound man. W !he shot Is

""""",f'

0'

1

.!!

"'b,.:.~.:::::

___

::.

_____

~~'::~=--"-:'::

2:

"~~~~~~

_J

".IIem." (siler( is al.., known as M.0.5.). V,86DIE'S !Iff

-r

E

you~~~~~one~.~~.

r---

---

---,

"Speed" II for !he d~ 50 he

" ' - ' If I>e Is 10 -'>oot .. scene 011 ~ 0.-f_ modon. -... dir«tion" ~ not

...-y

apply 10 • do<:urnerCoty

&hoot.

but

_1mBIed In IhII perticularform

beaouM

I _ <bng -'oil ~aphy

from

•

hekople WId

.-.:led

10 nVIIk <btm

whoe-u-lhe~.who_~·

Ing DIll 01

me

lick 600<. would be shooting

I«w

..

d ()t tit <h.nIg fight. • _ aIso.-d

10 note I<I'hidl dioeclloi,lhe possing

lends-<:ape would be ITICI\IIng. (/rome Idtorframe

right) to preYent rriltekH In frame <irec.

Iion..tlen IheMNII shots """" CUI t~. k can alto h~p ~ ~sing thelra"",

dlrectlon while sholtIng other trawling

thots

or

pans.

"FOCMage" l i b !he ... ", ...

0-grapMr to m«k down. ..,.iQe from hiI

earner.

repons.lhe.mount

oIfOOUlogetNt

elapsed hom !he end

d

the I!tSI shot 10 the end

dlhe

""'YI-rded

Ihat. The little grid and code 1)'11 ... 1« "taka-II • V<!f)I fast

w-r

01 .eco.ding. for the tdito<. -

-

I

~~~~~~~~~~i;

good enough to

'*'

In the ~ Ide:tiof,

PfO(est. Fln/IIty. -"""" ~- hoIps !he d~ b)' des<:rlbing 1M ft"Itir1! _

oIlhe

thot.

camet.

~

what to

I

•••

';;;;'

~, i6u. on whllllKtion to manipulate

lor dHired effK\a and. ft~Dy. notes on

.,..oa

/

rleUL I<!"I

what happened and who! wItS caplu.ed duro p~ ~ L

1119

shootIns;.

The

organilllliof'l

01

a narratiw!

story-boafd form can VfJtY drl$i<:oiy. but Ihi5 WltI

pr~

to

be .. V<!f)I

coo'opod"oel'-

and effic\etII type /tom ""I ~~"' ... The

I .... MIII Is

detao1f:d

and Df~ and the

mIuIng lriormetlon II mNnt to

*'"

!he>

roughly~outbd'_~ltto

~.unIi"'lhe~form.Si ....

IIIIf IOtne doaImauryform, the tMnks.e

meant 10 be I ec0060:d """ rcfcned 10 by!he

endre

crew

.

The empty boo;

on

the top ~ is the

story-boiord

frame

.

k IIIIMII but ~resenough

room

!Of

..

rl"tlkulous <tnrw;ng of !he KIion. Al>oYe \he fr"""" I. "Props and!pe-del

dfecu.

:'

~ !he dif'KlOr .,. produc·

tion mIInlger fiR, In what p"rticuloor props .rod special effecu. madlinery are to be uM!d in this ponlcuIar ~ Thi5 penicula' IIC1J}'bo11<d is

01 •

spt<:Ial eff«u

sane

in

Swlog5 fJirIh<Uy F.~ a lall~

15-rn/nuI.e 1M tction _ aonimaIed

man-I8ge of ocience fIc(ion. $ 9,..,.,.0, through the )'!If" produced by STARLOO MIgazIr.e.

Note IhM the two""""e uM!d 10 cn!ate a

bright

10.000

_

fta$h and simulated bit-Io\oIing IImOke and debriI; ateliotNand ...

dra"", in ~Pllcemerol"

-

Pleeemene

-

ill the

""""",,,

,.

-eo.ar,,'or •• ,,

-

f(t,ry,

J~""'lfll!'

I

f"

",

~

~is

W,,.

e.c...n*"C'OcJ:..w.J~

a'

p1~51"j

""lE

mJ,U/Ol

Lens

sJ,.f

I

Ootly

uFr

_1

"

r1-SWI

":;

UI·

"""'

."

-

F'''.

shl''J

tH

Y

eM

fl,U

sc_ horn STARI..OG"s ~Im /IS an eum pIe.)OU.:on _ how simply aoch

elerrwent

II plotted. The IhMo ... r~ed ~

..cto<s' the ~ ma<:t>ine (contI$Iing 01

two M~, buI (uoc\kJn<ll carbon Me rods) "nd two

50

poIInd

c ..

<bon

dioloidI:

.... '" (Cfe.u"ij ... ss;... gust 01 mist) "'"

pIoI!ed bd>ind ~actcn OVIoIfr ... ~ II.

fIIOOd

~

""-

~ the

can-.

,

10

dolIw In ... the IIOgIo: CI'ICO<T'IPOHeS, !his Wrj ~ wh<> loeb 01 the plain I<rI<>ws whet will and will not be in f ... me, The I>ft' manent lighting fo< \hi$

sc:_

.nd .... ny

otMrsconsistedollK'. (IOOO .. an Ianero

0I"ft' I~ Iigtlls) Ini<Iog the .,.;Iing.co.nd

~"";ndoo;s

wiIIIn.

bk>egftsiO match lhe

quertz lighting with the incoming surAighL

Thne lights ore not diagrammed bec.use

It ... not M<6sory 10 plot the lighu the\ WOIJId not be touChed oncetl-..y _ e nung. The .ymbol ... Ioed "21\ is an effect 10

lIIII>I*o,oe.(

the ightning...mine: " " -the eo<pIosioo ~~ the 2000 ....,.

""-0 with • yellow gel w/IS ILHhed on and

off 10 add • hot "foeti' look.

The I"'ormalion along the top and down the right hand .-:Ie

01

the lor, ... I. ,.millr 10

whM was ~ined p<~, eJOCepI

-Llne!SeHlp, ...toOth rftorslO

_.,...ucu.

' --RC ... p" or urOque group

01I/'00I$

the

storyboofd II .. part

01,

To erule. set-up.

you Ulke, soy. till shots out 01 SC:lip! order.

(!he order In which tI-..y will be oeen) ond grOlJflIhern KWtding to then timo!;riiM

into -$I'o()(lijng oran" n..:... sb. thoU ""'Y

MYe •

large"";ndow in the background. or

an irt'lp<>lUln\ efI«lin cor ,omor, requiring

Il\tnI

to

be $hot all III once to _ brne.

Each go-ouping 01 ohot. must "Iso be

or!}llniLed InlO • 1ogic,,1 ohoolIng order,

lhne group'.e elll~ "!Oft.ups" I>t<:ause

thf:y

usuaItv

require . lighong...-.d e_ .

set-up IhM. is ditf_ from oUter t7O<JPS 01

Voo\S. The RC"'I"I .re given .. oode~

or leller. 100 a per-. can tIM:n look .. 1M

storybolord for Ihe RC-up "nd refer 10 the

set"", list. it nKeSSIItY- On ttus form "Shot

~pIion

Is

brokefl into th<ee major

clllagOt'if:t to keep the $hot

de"",,,"

strllighlforward end org<rired. "1"IOfe -.:on

_ many ImpoIUInt .oIes ... In the doco

u..-ury fotm. Here, for exa"""", bee .... ..,

this shot ... f,lmed fIrOS. (!he d!..ru Itwot

""""e

.--de<! 10 mokc the ..ction ... nd .... 1herItic had 10 be rew<ded ~""dy

oond tIM:n laid ... by the edtor. In "Notes the hI 01 r-oed IOUAd ...as...-.tten down <b.

Ing p<~ sothlotthf:yYoOUid not be

forgotter\.

From Script to Board

Now !hili )'OU ~ famiNt...Mh lhe layot.II end funcIion

oIlhe

doo:u~ and ....

fitM! !ilOtyboiIrd. the nell. ~

11

10

~

the SlOf)'boafds "om. scripllU" !ICripI

example $1111109"$ Borfhd"!J FdrtlJlsy wi.

be used (figure )).

"The flrst "'~ is to visit your ioclllJOn with

)IOUf script on I'wond. Me.

sIoeI<:horog

the ""'"

plan oond maIdng other noIes . . . ", dis-cus-=!, beginlO ... uc:h octne. You

might

MYe

..,.,oeor",'10<:'1 ~ out .. you "nd

Abo . . : A Ir~me blow UP trom Sr.flog. BII/May F.n/a.y . _ . .. TIE hgl1l~r .... ",nl

doIon P.r. Avenue outs,de Slarloa', ,.. .... V",. ol',ee B_ : A "Of"1board ot the •• rne $tQuence ._ . _ lhe s c _ ioo"e<:I ,,' lhe !)Iann,na Slajle The tloOl pion on lhe JetI

It an lCluai K~e "' .... onl of S",k'I:"' conlerenc:e room .n ... n"h lhe """"'" wn . _

The " ' _ nl 0111 .. TIE h,l1Ier IS lhe ~tory_d I'.me

Cu.r . . . " ... "

c

_ ...

(

....

UA

;'.'''.5

TIE

III . /

lY'ys

r.,U

fo

-

"17£

UI.r'r:

rs

.("",..,~

Y

I

,~-f

-

e)(

l

fr

(r

ll

",e

left:

TI£

fit

s

fa.s;'

..

,Iw. .. pM

Up

""""

_

3

s

t

C-

72

fr

..

s

- Q

S{~hl

D

;

C/y$

r!J

J.j

)IO<Ir cinematogr .. phc.-.. <>\ch 10 _ how~ L _ _ _ __ __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ - ' 10 ON£M/IGIC '/4

•

•

'""U be ~ by the Cameril. Take e.:h action and uy to find ... angle feels best.

is 11 ~ IOf the action? IJoes 11 help

~ !he IftIing thitt ~ be p<-.nt

to .... kethe ICeOI: WOtk?n..."""Y)'OU place

• ~.ocle' In !he frame is cruc;.I, _

sure )'OU_chfoo-the rlght..myto pr8HII

"~

_{'W'hiIe ~}

_{your &hots}

_{• ...,;d}

_..,mat·

IvIllNl camera angles or ~ For oampIo, IMlid p.nning a<;fO&'I an

KIIon-leu ~ In orderlOg8lOyour subject.

, ~ is noIhing 10 follow. don t

pen

simply 10 show

an

..mpty N>c8tion. 11 ";11

w,eIyprovetobebonng. TrytoltVOid"...,·

producing your Came-a Ih'O/k as ~I. ~

there is no motNe to move the camera

during • scoene. If:! the action carry the

moonent A¥OId ..-.Ing atOUnd for the

take 01_ ., _ _ -bec....-the

CIOmef'

wort<

,.;II cal IItImtian to

bel' and

your Ot>ditn<:'e I"iI be disuoaed from the per

'<lfn'WOCei .,.;I

""'og"".

Ute _ . ~ to help df_

you. ~e into whIII the dwIr.ocle' is

feding In the siw.tiOn.

for exa~

. 81 II point

01_

horTi¥ng

retlliultion. q.jtIdy_1I<

the c ... from II medium

shot

01

the

c;haraclC'r 10

an

~ c~

01

. .

tmnbllng I~. Thit

wi.

111I'l'>0''l at...ays

mow:

)'0\1' audience

With all

01

thilln mind. lake HCh sent·

ence 01 ac:tIon and decidI! n it needs i\5 0" n

shot 01 K k should be jnr;1uded in II shot with

othe.

eo;tlon. The ... most irnpon...nUy,

sean:h 101 .. tIM kind 01 anglo would

t>ave

the most a~ ;mp.:;t. AIlhou{to I

did I00@4l1lolOelllierlhll)'Oll5houldfed'

....t..M is _ . l~ is of

course

II Larg<e

.moun! oIl~ ~ ..,

CfNdng . . . komthe'"fitlcnwo<d.~

"'l*\clthecrM

i,de>

:')Joiooga_oI

.ooleACe

._enesI

by $Iud)W>g ""'"'" fcrm 01 ~ wW _ _ .. tIM <"In<llionaI

'""'"

1'0< uarnple. In the St.-flog scnpt. the

rop ~ne ,eads. "No<man .. t.;. eyn .re

InlenH. TIleYefYn .... ureofthedncnptk>n

Impl\el th ..

we

shoukl _ hi. floCe In II cloM-up lOS he WMct\H In_~ 101

ap-proaching dangl'l. ~ would not ~ a")'

other wily be<auR In a ~;lIm Of long

shoe)'O\l WOIIId not beableto ~"""'" hio

eyes WCfe looking and you could not """"

deled that hileyeswe<e int~ III'IItCipM

ing \he enemy. n.-t*Ig \he impIIct d \he

>hot. /I.noIIler ~ fact is that the

nm lohoIos 1M

ftrst

III'PfOI'Ch

01 a 5CI~.

Ing

11E

fIg~ from &iII

"ars.

i~ an

t.>.poo~iweevdPark ... ~ .. IMT1E

iwoopl from the sky .... ~ up d Nor·

mIlO I ..:.ww.g eyes ju>d.a~ with tIM!

punch d • last moving _ shoe hai •

~C(l.lmpact foIlhe bf.ginningd D ~

acene and will till logootho-r .... 11. f"oIIowing Ihl. I"r\IInne' d r:otI$IruCtion. Ihal is. con·

sldering I>ow .. shol. wotI<s on its own ao well

.~ how ~ cuts with !he M.<I. >hoi. IMIW'es

imoolh and ~isti<: rutting.

Each llescripllon lasl$ IOf only a lew word. bdOft going on 10 ~ the ... 1

action. TN.

t¥e.

aIIhough choppy in """ IIMI IOfm. when property ~ onIO

the soeen&hould erNIe a 5pKlaculll,

fast·

pa«d twnIe ~.

n...

key is to see

thM. the thort ..en~ Imply thort each

action IhouId not sQyon the~ ~

than ~I<> 1 OO«Onds. v,,'ith tlusin mind.)OJ

IhouId

awtY

a ~ feeling to the

~)OJ"-byadding st-phigh Of

low angles. ~ close-ups """

ener·

~c;ame".~IOfevayaction,lO

~"""'" 1M quo:k CUlling.

Two panIcuIo, IIdjooning

""*"

can be

\/sed as an ~

d

carTl!'fa ~mIMII

adding power toeach $hoi """ aIsomaking the CIIt between two

shou

kinetic and

.mooIh.

f"Of uample. !he senteACf. he~

w,,", down the page. th<>l ,eads ··Dlrectly ilCfOIS the sued. .11£ sweeps right to Iefi. p"st !OWl 01 windowo:· This shot could be

inlerptfleci al ~ re<>ds. but~ would be a w.ry

static ... nln!ereoIlng II "",reo~ Inthe batI.Ie to

limply h_ the l1E """'" in and OUI of

""me.

In Ofdc< 10 g..-e ita ~uI feel.

a c _ . ~ was added inthest ...

~dIng'Of thot animatorlO n:ecute. The Iohot l\0III ... the TIE rrg~ lMIter ITa"",

righI and quoddy "",ke tIS "'""'1 <r<:n:I!6 the

IT ... as IMc_aanempcstopan with

it.

n...

l1E acreeches pas! !he building behind Ii. mit the c;amcra

ClII""""

pftn fast en<>II9h to kHp up .. ith h flyby. it

soon

loomli 0lIl Ira".., Iefl a. !he c;arne-a c ... no

fonoet

uao:!< it in centfl I",,,,,,. This 5IIbtle: n_'~t add . .. grelll amoont d rcall.m 10 the shoe while also hdp ng the ani I1"\Mion

look larger than life

The ne>1lmmed~e shot is ··KflT)'tracki

fiGURE .J

the T1E.liring III .... bIInts. •• f!he TIE moved fight to left. then KeITy ... st also Iwing 1m

chal' from right I<> loft as he trackt the

TIE.

ThIs shot aIJo needoed rTlO<e ~ I<>

enhoona! Keny"'

ot«ons

10 gd

a

dinect

hit. ...

Camotr. mo>elhellt

was

added lor tIvft ,UIOnS; to make the >hot ~ djnamk.

to Iet""'e 01 KefJy"f~.(his bad<~

be to the <:amc<. too long if the cameno

dodn·t ..-...!tIl him). and 10 match and

cany through the flghllO loft pan f.om the ~ $hOt. The :IhoI

was

~ wi\tl the

camera

dollying right to IcIt behind K"'"Y '" he $~ countorclockwiR In hit

chal. 10 calch the TIE. The dolt)'. when CIII

tog~ with the pftn 01 the 11E. gives the .mooth and capltllatlng ..tied of one con-~n\lOll' right to Iefl sweep th"""9h the action. See the SIO<)'t>oard!.

KeepIng the dcIaib

d

crutJng !he lIP"

p<oprn.te angles and c_rnera ~

In Mit>d wI"OIe p<actiting eIf~ .nd

Of~. !he Sjoryboording pnxes.s

lOOn be<omn oecond nlll>.weas lOtK0eli·

\Ne abilitles ..-.d irnagjr\IIbon ~ room 10

...

Sloryboards"e _ _ to HrrwnakIng.

Mer )'011 storyboard)'Oll' r ... 1iIm

JII'OIect..

)'011 ",II dllCOYt"f how storyboards are the

key to a >rod OfganlliNIand well rnado! film.

The key to crellllng $hots that wit truly iii' ab )'00' aud~ and

.-.ever

iellhem go.lie-I in ullng Slorybolo,d! ••• diKiplinllt)' 1trUC· lure IOf )'00' croWe thoughts lOS )'011

design !he Il)'Ie and mood of yoor film on

~~ ~

"

~N ... M. "Yo. au Inton . . . _ o n l y ,. _ up

•• tk A¥o~ • • • Tl. flg~t •• eooe. rwoopl"9 down out of

tho .~. ~~ •• tboob. ~1991. ~Ith antlelp.tlon ov.r

tile ."" r.. ••• Connon t<l990' INtton •• 0001 h . . . . Iroqo hh

chol. arO\lnd and lun. Into U .. vi ... '.000 up hrk

Av.nu. tho TIE too-. rl~ht at u •• Ilrll>q 0 .proy of I •••• blo.u __ .. Id. at fl.ot. thon .-19M Into tho ~I"""".

~ and tWO 0.01, • • • • e.o . . . . a bll""lroq •• plo.lon .nd

bill"". of • ...,t<e ro<:k tho .. Indo.. _ behind thu . dob.l.

.nd 91 . . . fly about. All th . . . dlv. for t~. floor. HUTCH

."" 0 atoffar hit tho floor • • _k • • nd dob.1o foil orounll

t~. tholr foe • • • ~ ••• 1 ponle. ~. fl ••• •• pld

Lo.o. blo.t •. DI.ectly aero •• tho . . . tho TIE ... , .

' I<;rht to lolt. po.' ~. 0' .. Ind"" •• ~ •• .oko the TIE. fl. I"" Inee bt . . . Lo<>klng ... h, .... TI. _ _ Up"o'"

...y

fro. tho d.f.n.l . . I ••• , bo •• ogo. KERaV fIr •• 00. I •••

.ho ••• 1 ••••• and turn • • ~rlly tO~""ho .tll1 coyo ••

und4. tho conf.r.nco toblo.

" yo~ . . . not 901f1C1 to u •• that '~'roq.

91vo It to ono of tho qlrlal

~" 90'. hi. no.v. up .nd ~Ino to ot.nd up. 9 •• opln9

th. bI . . . """""N turn. f.ora lookln9 I t IIJT'C1I to tho vl .... t. Se._ehl"" f.ooo ov . . • tho tOP 0' tlwl Pan""

CINEMAGIC

/

SVA SHORT

FILM SEARCH CONTEST RULES

ClNEMAG/C

and

New York

'

s School

of

Visual

Ms

have

once again combined

resources

t

o create a

unique

annual

co

mpetition for

science

fiction

.

horror and fantasy filmmakers. Read these

rules

carefully

. ..

and

good

lu

c

k!

EU<lIBIUl't' _~ <:an IUbmiI an orIg. lnal film. no matt"" ..tIM their deog_ 01 eoperien<:e or ~. indIope. odti~

~ IIChooI c\as5et. .nd Hmi-pfo. "'"

~ IO~.

buI

only

one

film

C<I<\

be ~ loom lOlly group 0(

indMcboI-10 pK::k)'OUr best ~

fdm

musI

twr....

t-n

completed ~thln tilt ",,11th ... )'9f11 [79.

'80. '61)

TECHNICAL REQ(JIREMENTS-Supo:<.fI

Of l6rnm foIm fOfmau only-ullin" """"

octJon. MiINlCion cr any combINtlon 01

spea.I rirects technicp.lH-1i1ent

cr

sound

(obviously sound It deW ... optiaII or

~.agnc6c \I.e!< on folrn,orsoepwiIMca_,,.

.... 111 de_ 'yn<: mat1c$ and

InW\ldlonS)-pI"Q/oedlon~.

01

18 Of 24

,,,met

~

s«ond-color Of &.W. Produc~ using

opedaIientet {well as _ ' .... pI .... 1 mug

be ~ to 1tIppIy" lIO'eening lens for

tilt judgn.

r

~.

""'

other t«J>n;.

cal questioJN

m.c

arise should be .... 1><riI. ted to !he ClNEMA-OIC

MitorioI

oIIloet.

PROTECilNG VOORSElJ'-AI

should dIspIaoy

a

t!Op)righl ncti« (10,101 . •

1961 Wondetfull'r'o<luctloM) In !he till<!

fr .. mo!. and If

you

"';011, III theme! of the film.

~.

SUBJECT REQWREI'\EI'ITS-AII ~ PRI.Z£S AND AWARDS-c..h prizes wiI

muM.w:.I wid! ocIMI:e fICtion. IMusy Of be _ded In two <:OI;tgOrie$. Supot.fl

ho<ror ...

~ Of any comI>inIIbon 01 and 16mm. as I"..,..,.:

tIMeR

categOr\e$.

RIOHTS MD CI.EARANCES-f"CO'

judg-Ing p.orpo:tSeS. the '"""" Qtigi"ll/ the . .

... of rour

film.

!he ~. Wt are

_dIiIogto~.-1aImtonlheway

up- no!

Just

Ihox

..no

<:en snip and liII

clemenufrom 1V~ndOlhef 1IOUt<:eS. Which

i. no! to say thlll. you Canno! u~. fOf

instance.library musk.llImdips. ~C.-)'OU

Can. ~, • good prcI-w

ap-proadI .~ Nt )'011 oWl.., III the

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Electronic

SPECIAL FX

A Box Full of Sound

By

CHRIS E. STEVENS

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<Me soundttadls . e b<okcn

Into Ihr .... rNin <:~­

\he diiologuc.

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and the

sour><:! effects. E~n \he be$lo/

rnov\n would be dead ~ they didn't h~

thne bHka. C~n you l'-9ine what •

~ be ~Ioo! • you didn't

,-,\he

lighl$ab-~ In the Slar Wa", ~.? What 'I they

forget 10 add the

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poni<:uIor O(o:ne1E~ lhough

16 ClND4ItGIC '"/4

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cHSfullyto make upthe sound por1iond.

good 1T>O'Vie; ,",!ualty .a, the I .. ck 0( .. par· ticutM sound In 1M righlloPOt can blow the

pie<I"""'" 01 .. good """""' right out the

door. When I become _ e \hot .. scene Is

miHing the p<op!r .-xl ro«essIJry ..,...-"k thol add aedibility. I uWIIIIy ... out.

dls-gust ... the Lack 01 (ere.-.d ~1Ilion.

Nr!

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han«<!.mtI the proper dfeclS.

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it INC allhough

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ponlon. I petSQnlltIy think \hot this kill ..

mm IllS!,", thon anything, .nd .'1 all 100

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last min"'e Ihought In • last ditch effort 10

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with , descrlptlon on how to build thls

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torS, Tlle meW ImpOrt"'" thing to ~ in mind at all time. I,!hat you can'1 rush !hI.

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