Filmmaking
Filmmaking consists of five main stages:
Stages of development:
Includes the creation of film ideas, the purchase of book/play rights, the writing of plays, and the need to obtain financing.
Previous work:
Arrange and prepare for the shoot, such as hiring actors and crews, choosing locations, and building scenes.
make:
The original footage and other elements of the film were recorded during the film's shooting, including the main photography.
Post-production:
Images, sounds, and visuals from recorded movies are edited and combined into finished products.
issuance:
Finished films are distributed, marketed and screened in theaters or released to home videos.
Stages of development
This stage has general and specific components. Each year, each film studio has a retreat where their top creative executives meet and discuss the various areas and themes they hope to explore by working with producers and screenwriters, and then ultimately with directors and actors/actresses.
They choose hot topics from media and real life, as well as many other sources, to determine their annual agenda.
During the year when action is a hot topic, they may want to explore the field in film.
Sometimes, they buy the right to articles, best-selling novels, plays, remakes of old movies, stories that have a certain basis in real life through individuals or events, video games, fairy tales, comics, and graphic novels.
Studies conducted through surveys sometimes inform their decisions. They may already have blockbusters from the previous year and want to explore a sequel.
They will also receive a full film produced independently, with notable examples such as Miss Sunshine and The English Patient and Rome.
While studios/studios do hold plenary meetings of producers and screenwriters on original story ideas, "in my decade as a writer, all I know is that only a handful of original story ideas have been sold, and even fewer have made it to the screen," paraphrased to writer-director-writing professor Wayne Bowles (the italian job).
Alan Watt, writer and director and founder of the Los Angeles Writers Lab, also confirmed that the original script, completed, for sale, the so-called "specs," would be big news when sold, but that only a fraction of the film would eventually receive the "green light" produced by the studio president.
The executives returned from the retreat with fairly well-established marching orders. They disseminate these concepts of interest through the industry community, especially the producers with whom they have "deals" (traditional film studios will have their own producers). In addition, the agent of the screenwriter was also informed. The result is usually that pop producers pair up with pop writers, whether together or as individual writers, develop a "take" approach, a basic storytelling concept that leverages the established "stage", team up to meet studio executives and "sell" their "acceptance", which is itself a game.
Very little writing work is directly derived from original ideas brought to the studio by a producer or writer. Maybe only one movie a year, is the "canonical" script that buys.
Once the producers and/or writers sell their methods to the desired theme, they get to work. However, many writers and producers usually start working before they are given the "green light" to make films that realize a particular concept.
It took 15 years for "Unforgivable," which won the Oscars with director/star Clint Eastwood and screenwriter David Weber People, to get the "green light." Bowles said it took about eight years for "Italian Jobs" to go from concept to release, and as Bowers added, "that's average." Most of the concepts turned into paid scripts that ended up dusty on some executives' shelves and never seen the film being made.
Writers have different styles and creative processes; some have a stronger track record than others. As a result, how the development process proceeds from there and how much detail the writer returns to the studio to reveal before starting writing can vary greatly. Screenwriters are heavily protected by the Power Alliance American Writers Guild. The WGA allows screenwriters to sign a draft, a revision, and a contract for one polish. Writer and guild board member Bob Eisle said that "additional writing requires extending contracts and paying for additional work." After the first draft, they will receive 80% of the fee. Initial discussions with studio executives are rare, but there may be very detailed discussions with producers. However, a writer is a writer, and an effective producer does not impose anything, but creates a supportive creative atmosphere.
Next, the screenwriter will write the script in a few months, or no matter how long it takes. Deadlines are in their contracts, but they are not under pressure. Again, the process and speed of each writer is different. Screenwriters may rewrite the script multiple times to improve drama, clarity, structure, characters, dialogue, and overall style.
Script coverage is a freelancing exercise by recent college graduates, and it does not enter scripts that are ready for production or have already been made. "Coverage" is a way in which young screenwriters are read, and their ideas may be communicated to an executive or a prominent producer, facilitating a "meeting" and forming a relationship. But at first it wasn't the idea the studio was after in making films.
Studios are film distributors who, at an early stage, try to choose a range of concepts that may be market-appealing and potentially financially successful.
Hollywood distributors consider factors such as the genre of the film, the target audience and the assumed audience, the historical success of similar films, the actors who may appear in the film, and potential directors. All of these factors mean that the film has a certain appeal to potential audiences. Not all films only profit from theatrical releases, but the studio makes most of the domestic profits primarily for premiere weekends and second weekends.
Occasionally, the market for a film known as a "word-of-mouth movie" is not strong, but its success is passed on by word of mouth. It slowly won over the audience. These are special cases where these films may be released in theaters for 5 months, while typical movies show up close to 5 weekends. Pay-TV purchases, foreign market purchases, and DVD sales generate further revenue to build total revenue for the film's global distribution.
Once the script is given the "green light" and the director and actors are attached, the film enters the pre-production phase. Although the development phase and the pre-production phase often overlap.
Similar to almost all commercial risks, the financing of film projects treats filmmaking research as the management and procurement of investments. It includes the dynamics of the assets and liabilities needed to fund film production over a period of varying degrees of uncertainty and risk, from early development to post-allocation profit and loss management. The practical aspects of film production financing can also be defined as the science of fund management at all stages of film production. Film Finance aims to price assets based on their level of risk and expected rate of return based on expected profit and loss protection.
First semester production
In pre-production, every step of the actual production of a film is carefully designed and planned. This is the stage of narrowing down all options for production. This is where all the plans are made before the camera rolls and sets the overall vision of the project. A production company was established and a production office was established. The film was pre-visualized by the director and possibly made storyboards with the help of illustrators and concept artists.
Make a production budget to plan the film's spending. For large productions, buy insurance to prevent accidents. Pre-production also includes the determination of filming locations and casting processes. Producers hire a production manager or production manager to set a schedule and budget for the film.
The nature and budget of the film determine the size and type of staff used in the film's production process. Many Hollywood blockbusters employ hundreds of actors and crew, while low-budget independent films may be made by eight or nine (or fewer) "backbone crews." These are typical crew positions:
Storyboard artist: Create visual images that help directors and production designers communicate their ideas to the production team.
Director: Mainly responsible for the narrative, creative decision-making and performance of the film.
Assistant Director (ad): Manages the logistics of shooting planning and production, as well as other tasks. There are several types of ADs, each with different responsibilities.
Film producer: Hire a film crew.
Unit production manager: Manages production budgets and production plans. They also report on behalf of the production office to film studio executives or financiers.
Location Manager: Find and manage movie locations. Clips of almost all of the pictures were shot in a controlled environment of the studio sound field, while outdoor sequences needed to be shot on set.
Production designer: The person who creates the visual concept of the film, works with the artistic director to manage the art department that makes the production set.
Costume designer: Works closely with actors and other departments to design costumes for characters in a film.
Makeup and hair designer: Work closely with costume designers to create a certain look for a character.
Casting director: Looking for actors to fill in the roles in the script. This usually requires the actor to audition, either in front of the casting director, or in front of the camera, or in front of multiple cameras.
Choreographer: Composing and coordinating movements and dances – often used in musicals. Some films also owe it to action choreography.
Dop/director of photography: The head of photography for the entire film, supervising all cinematographers and camera operators.
Production sound mixe: Head of the sound department during the film production phase. They record and mix audio live – mono dialogue, live sense and sound, and stereo vibes. They work with boom operators, supervisors, da, dp and first ad.
Sound designe: Creates the auditory concept of the film, working with supervising sound editors. In Bollywood-style Indian productions, sound designers play the role of listening guides.
Composer: Composer: Composer of new music for the film. (Usually until post-production)
To be continued...