COURSE MODULES

Advanced Film Applications - Screenwriting

• One-liners and bios of characters.
• The premise, the plot points, dramatic blocs.
• Concept and basic structure, Hero’s Journey, script perfection.
• Developing of a feature film screenplay.
• Film analysis – discovering screenplay structural elements.
• Literature works adaptation for screenwriting

Introduction to Film language – camera as narrator

• Writing of a synopsis for a scene, developing a scene.
• Developing a floor plan for one camera setup, blocking the scene.
• Film analysis – the visual elements of the feature film.

Creation of a 10-minute MASTERSHOT

Aims
To introduce the students to the role of the visual storytelling in film – using the camera as the narrator.

Syllabus
This course is a part of a larger program aiming at introducing the students to the tools they will be using in creating a narrative film.

Camera as the master-tool – the visual and psychological implications of using the uninterrupted camera movement while covering the scene – versus the ‘stop and go” method.

Writing a scene designed for the uninterrupted coverage – using the method of the Mastershot.

Analyzing the Mastershot method utilized in major film works – using the comparative method, the students will analyze the camera work as it adheres to the subject of the scene, the method of acting, the setting and atmosphere, the psychological impact on the audience.

Learning Outcomes

On successful completion of this module students will have acquired knowledge of:

• The technique of writing a scene for a specific coverage method.
• The theory and practice of the Mastershot method.
• The usage of Mastershot and coverage methods in major film works.
• Write a scene designed for specific camera coverage.
• Design camera movement within a scene aiming at achieving specific psychological effect.
• Choose the right type of coverage for a specific scene based on its theme, atmosphere, place in the narrative structure of a film.

Project analysis and development

Film analysis – narrative and aesthetic elements.
In-depth analysis of the pre-production process of a full length motion picture.
Casting professional and non-professional actors, rehearsing techniques, working with actors during pre-production.

Project Development and Management

Production scheduling – script breakdown, scheduling according to locations, scheduling according to actors’ availability, movie magic scheduling software.

Production budgeting – above-the-line and below-the-line budgeting, union and non-union, fringes, benefits, insurance; movie magic budgeting software.

Business and legal side of producing – copyright versus public domain, optioning rights, drawing up contracts, deals and negotiations, – pay or play, empty handed approach, getting the green light, short forms agreements, managers, entertainment lawyers, private funding – business models and financial strategies, accounting, models of project management, workflows, pipelines, productivity, artistic expression and satisfaction, quality assurance and quality management.

Working with Actors

Creation of a character, the art of improvisation, concentration techniques.
Performance – objective and motivation, inner voice, inner motive, relationship.
Working with actors in front of the camera, directing scenes

Cultural Style and Aesthetics

Decoding culture: communication, meaning and semantics.

Composition as narration, narrative elements in classic paintings, film as the continuation of art of painting – chiaroscuro, perspective, color and valor, composition, lenses, point of view.

Film analysis from the visual design point of view.

Fiction and Documentary course

AIMS:
“FICTION AND DOCUMENTARY” course will focus on the inter-connectivity between feature and documentary filmmaking – it will explore the techniques used in creating a documentary that can be utilized in the shooting of a feature film as well as the narrative devices developed specifically for feature film creation, including (surprisingly) the modern acting techniques of Adler and Strasberg – being used to create powerful documentary films. In the words of the profound feature and documentary filmmaker Agnes Varda: “There is no such thing as a “documentary”…

SYLLABUS:
The students will be introduced to the concept of film narrative structure, film editing, and visual composition used in the works by world-renowned filmmakers creating fiction as well as non-fiction films.

LEARNING OUTCOMES:

• The knowledge of narrative devices used in both fiction and non-fiction films.
• The awareness of the importance of Story and Structure in documentaries as well as in fiction films.
• The recognition of the narrative spine, the hook, and the telling detail in the non-fiction narrative.
• The ability to establish story arcs and character arcs in fiction and non-fiction narratives.
• The recognition of the influence of the feature films on documentary works and vice-versa.
• The familiarization with the major works of the most influential world’s filmmakers working with both – fiction and non-fiction narratives.

On successful completion of this course, the students will be able to:

• Recognize the elements of non-fiction narration in the fiction films and feature films narration within the documentary works.
• Write fiction and non-fiction narrative, utilizing the tools necessary to build the structure of both types of films.
• Choose the adequate style of filming while producing their own fiction and non-fiction films – depending on the theme, the point of view, the narrative spine, and the film’s “hook”.

In-Depth Screenwriting Session – Developing a Feature Film

Structuring
Act I – first pages, exposition, the first plot point – in-class writing exercises.
Act II – conflict, the functions of dialogue, designing the first and second half of the Act II, establishing the second turning point – in-class writing exercises.
Act III – cathartic function of the Resolution, discovering the dramatic elements needed to resolve the story, designing the grand finale.

Project Development and Management – Preparing to Shoot the 25-minute Feature Film.

Pre-production; shooting scripts and storyboards,
Production Schedule, locations, cast.
Production: Rehearsing and Blocking scenes with the camera, Mastershot and Coverage shooting, technology of working on the film set.
Post-production: Dramatic Editing of the scenes, the Art of Juxtaposition, Establishing of a Point of View, the Rhythm and the Flow, the Power of the Close-up, Dialogue versus image.

Film set technology – making of the 25 min short films

Students shoot the films under faculty’s supervision – using the Mastershot and coverage technique with 100% sound.
They are divided into their respective functions – directors, cinematographers, producers, actors, etc. The set is a recreation of a professional movie set – with 1st AD giving specific commands, clapper markings, continuity, and the routine chain of command.
The goal of the exercise is not only to create a narrative film – but also to introduce the students to the proper routine of working on the movie set.

Advanced Editing Technologies – Picture and Sound Post Production of the Short Films

Re-introduction to the theory of film editing by Karel Reisz.
Introduction to the practice of modern film and digital editing.
Editing of students’ short films in accordance with modern theories, sound editing, and final mix technology.

3D and Compositing

TV Commercial – 30 seconds
Music Video

Further enhance skills in Film and TV production in preparation for a professional career by practicing on a short, tight and catchy TV commercial.

The diegesis of TVC – the cast for TV-commercials differs from a cast in a feature film – with only seconds on screen, the audience need crisp clear characters. Set design, locations, costumes need all to be clear and act as visual codes to create meaning and a strong message. This is theoretically discussed in this module, and put into practice by producing a TVC.

New digital technology has had a huge impact on advertising, and students put their skills in chroma keying-techniques and Compositing/After Effects into practice

Learning Outcome

On completion of this module the successful student will be able to:

• Analyze the compositing of objects into film and video material.
• Develop and implement the techniques of blue or green screen keying in a creative way. Have an understanding of present film and video compositing techniques.
• Use of a compositing software package After Effects. Follow a brief and develop a concept.
• Reflect on stereotypes in media.

A Visual Folder in preparation for Music Video clip containing:

• A timeline where beats, instruments and intensity are visually represented.
• Lyrics (if applicable)
• Visual research consisting of 5-15 chosen images to communicate the ‘mood’ of the video.
• Storyboard
• Costume sketches
• Timetable
• Call sheets
• A-Z budget

Learning Outcomes

Communication skills: Demonstrated ability to write a brief describing the style and tone of the clip, storyboard.
Film Production management skills: Demonstrated ability to make call sheets, secure locations, costumes, props and sets before shooting. Ability to schedule a shoot and write a preliminary budget.

WRITING A TV PILOT

Core Formats.
Protagonists
The story engine
The TV drama story map
TV pilot story map worksheet.

THE DEVELOPMENT OF A NETWORK MINISERIES

Analysis of the TV pilots – choosing the one to develop into miniseries – development of a long form story into a working series of episodes.
The Series Arc
Character development
Series Pitch

Upon the completion of these modules the student will be able to write and pitch his/her TV pilot/miniseries to a network (Netflix, Amazon, HBO and more).

PREPARATION FOR THE DIPLOMA FEATURE FILM

The in-depth analysis of different styles in cinema.
The in-depth analysis of different screenwriting styles.
The logline and treatment of the diploma feature film.
Writing one-liners and developing scenes of the feature film.
Combining the scenes into sequences and sequences into acts – creating the first draft of the final screenplay of the “Diploma feature film”.

ADVANCED FILM APPLICATIONS

The development of the Diploma Feature Film Screenplay.

The analysis of students’ feature film screenplays.

Budgeting and scheduling of the screenplays ready for production, using the professional software.

Markets and Festivals

Introduction to the international network of film festivals and markets in connection to world-wide distribution. Sources of revenue and revenue projections from each territory, format and market.

The submission of the developed feature film screenplays to international screenplay competitions as well as to local and foreign production companies for possible co-production funding.

Cinematography

The film shot is a complex unit. By controlling mise-en-scene, the filmmaker fills the image with material, arranging setting, lighting, costume, and staging within the formal context of the total film. Similarly, the shot is shaped by the cinematographic options. Those options bear on photographic qualities: tonality, speed of motion, and the varieties of perspective created by lens lengths, depth of field, and special effects. The filmmaker can also reckon in the aspect ratio and decide how the image is framed. Other creative choices involve varying camera placement—the angle, level, height, and distance at which we see the subject. The filmmaker can decide to move the frame in a host of ways, and can choose to exploit the long take with or without camera movement. During the second year will be tracing the progress of a single technique, such as camera distance, through an entire scene to notice when a shot begins and ends, observing how a long take may function to shape the film’s form. We will be watching for camera movements, especially those that follow the action (because those are usually the hardest to notice). Once we notice cinematographic qualities, we will be able to move to an understanding of their various functions within the sequence and the film as a whole.

During our 2nd year cinematography course we will study:

• Tonality, contrast, exposure.
• Speed of motion, ramping.
• Perspective, focal length, depth of field, racking focus.
• Framing, frame dimensions and shape, functions of framing, subjective framings.
• The mobile frame, functions of frame mobility – space and time.
• Longer patterns of frame mobility.
• Computer Generated Imagining.
• Color Grading.
• Visual special effects.
• Onscreen and offscreen space.
• Functions of camera distance.
• Use of handheld camera and Steadicam.
• Duration of the image.
• Cameras and lighting equipment for the digital age

The students requiring to make cinematography as their specialization may choose to spend more time shooting their own cinematography exercises “Black & White and Color Films” up to 30mins in length using the most modern digital equipment during production and post-production under the supervision of the faculty.

They will also participate in the shooting of writers/directors films & Mastershots.

Barrandov Film School will also place the cinematography specialization students on professional sets being shot in and around Prague so they can familiarize themselves with the work within the film industry, gain experience and make their own connections.

The cinematography specialization students are also welcome to take part in all other lectures and exercises mentioned in the 2nd year syllabus, time and circumstances allowing.

Art Direction

2nd year is largely a continuation of 1st year, in terms of topics and format, but now with more interpersonal counselling on your own project(s).

We advance on further examination of Fine Art in cinema, and delve more deeply into the symbolism of props, color and subconscious implications.

We examine the simple, yet highly effectiveness, of locations; how to apply architecture and shadow-play cinematically, to accentuate or downplay scenarios — and even how certain times of day and year, light impacts the effectiveness of the narrative.

We further up the ante by interconnecting how subliminal psychology behind Art Direction affects (and manipulates) mass perception of geopolitical narratives, culture and the matrix we live in.

As mentioned, consulting is a big component to Part II curriculum. Far beyond our professional work in Art Direction, our rich and diverse knowledge of cinema, of both past and present, gives us the opportunity to offer the student an extensive array of personal references and inspiration they can utilize towards their own projects. Our philosophy is not to advise a different direction of your story, but to visually push the possibilities. We have a flair for bringing forth ideas on how to enhance the story without sacrificing storyline and budget.

Class participation also plays an important role by exploring each other’s screenplays, to rouse each other’s potential for the backdrops and character development.

We also more deeply examine the topic of self-promotion via Press-kits and Look-books, as we continue to review the tools that make these more effective. As instructors, we are also able to help oversee the development your unique project for self-promotion.

Again, the homework assigned in Part II is relevant to the coursework we analyze, with detailed critique after each submission.