How to set up a blog on blogger

Instructions

Create a new Gmail account - email me the log-in and the password. r.barton@ctksfc.ac.uk Everyone is your group must be able to access this to post their work.

1 Go to the Blogger website. https://www.blogger.com

2 Click on "Create your blog now." From that page you will create a Google account. If you already have a Google account, you can sign in to Blogger with your Google account. If you do not have a Google account, then fill out the form to create one. Click "Continue" when finished. 

3 Title your blog 'Level 3 Btec Short Film' & your Production Company name 

4 Choose your blog address after creating your title. Make it something easy you can remember.Once you have completed these steps, click "Continue."

5 Choose a template that you desire from their template gallery. Choose a color and style that will fit the mood of your blog. After this has been finished, click "Continue."

• 6
  Now, your blog has been created. From here, you can begin posting to your blog by posting information, little pieces of your life stories or instructions on how to make something. To post your first blog, click, "Start posting."

Photo-Storyboarding Task

Tutorial: AKVIS Sketch Creation of a Short-Film Storyboard  The author of this tutorial is T. Skaarup. This tutorial was created using the AKVIS Sketch plug-in with the Adobe PhotoShop photo editor. Motion Pictures, TV Commercials, You-Tube Videos, Music Videos, Stage Plays, and other productions that require extensive planning often use "Storyboards". Storyboards are similar to very basic "comic books" of the action with a few important differences. Storyboards: Take into account the POV (Point-of-View) of the Camera or Audience. The location and motion of the camera is represented. This helps the Cinematographer map out the course of the filming. It also helps determine if a crane, rail, hand-truck, or gyro-stabilizer will be needed. Take into account the necessary motion of the Actors or Props. This helps the Director tell the story without words. Storyboards can be very a powerful tool when used correctly. State the dialogue that needs to spoken during the Scene. Helps determine what is essential for the story and prevents mistakes such as making the actors speak dialogue while running, climbing, dancing, etc. Are black-and-white. Color is only used when an item in the scene absolutely requires (for the story) to have a color. When the color is not stated it gives the Set Designers, Costumer Designers, Prop Department and others a greater amount of freedom. When a color is given in the Storyboard then that color is essential to the story. Are Low-Resolution. The images should clearly convey the action in the scene. But the Storyboard image should not overpower the story itself. Clear and Simple images are the best. AKVIS Sketch can dramatically simplify and speed up the process of creating a storyboard by using low-resolution digital camera images to create the Storyboard scenes. Step 1. Plan out the necessary locations, scenes, motion and dialogue of your story. Once you have determined the story you want to tell try to reduce it into still images and then consider the motion. Try to put the story into a linear time-frame as it appears to the audience. Using a blank Storyboard page to scribble on can be helpful. You’ll find that you will change how you tell your story when you use a digital camera to walk through the major scenes by taking pictures. Here are some images (shown in the order they were taken) of two friends who want to get together after school to play piano. Step 2. Import your individual images into Adobe Photoshop. Now compress the images to a small size (about 20% the original size), in this case, about 975 pixels wide (Image -> Image Size). Compression is done to purposefully lose detail that would distract from the essential purpose of the scene. Step 3. Create a new layer and add annotation arrows and text if necessary. Arrows can be found in the Custom Shape Tool. Open the Custom Shape Tool. The Tool menu bar will show the currently selected shape. Click on the little drop menu which appears next to the Shape representation . Choose one of these arrows. Set the foreground color to a neutral gray. Draw an arrow using the Custom Shape Tool. Make the tip of the arrow slightly smaller and asymmetric using the Edit -> Transform -> Distort. Step 4. Set the foreground color to black. On this arrow use the Text tool to write the word "follow" in a hand script font such as Mistral. Merge the top two layers so that the arrow and text are on the same layer. Step 5. Apply a light effect to this layer by using Filter -> Render -> Lighting Effects. Set the foreground color to black. Now apply an outline of the arrow by using a outline stroke of 3 pixels Edit -> Stroke. Lighting effects give the arrow a sense of hand-drawn character and distinguish them from background images. Flatten the image. Step 6. Use AKVIS Sketch to convert it to a black-and-white sketch (Filter -> AKVIS -> Sketch). Use the following settings: Use similar steps to annotate and convert the remaining images. Save these final JPEG images under a unique name for easy retrieval. Step 7. Open the AKVIS Storyboard Template in Adobe Photoshop. Save it under a new name so that modifications do not alter the original template. The placeholders for the sketch in the Storyboard Template are 975 pixels wide by 650 pixels high. You can use the Rectangular Marquee Tool with a Fixed Size Style to select the exact size of the Template window. Open one of the final sketches, copy a selection the same size of the Template window to the clipboard, then return to the template and paste the image into it’s own layer. Move it to the bottom of the layers list. Copy each of the sketches as a separate new layer on the Template. Keep the sketch layers at the bottom of the Layers palette. Step 8. Once the sketch images have been placed, fill in all necessary information to complete the scene. Expand the ENTER Production Info and ENTER Cell Info and double-click on the text icon to edit the scene information. Storyboards will save you an enourmous amount of time and a ginormous amount of frustration when you’re planning any motion picture, television commercial, music video, You-Tube video, or stage play.

Short Film description of what the levels for Pre-production & Production/Post look like

Unit 22: Single Camera Techniques

M2:

learners will produce a narrative with some imagination and produce competent plans for production.

They will produce pre-production plans which are realistic and effective. Scripts and treatments will use appropriate formats.

Production schedules will be competently organised with realistic deadlines and some

contingency planning. Risk assessments will be realistic and contain some detail.

The narrative will show imagination in both, or either, content and form. The standard harmony-disruption-harmony structure might be used, but a story might have a twist that engages the audience, or narrative structures might use non-linear techniques to tell the story. However, aesthetic issues, such as location, ambient sound and lighting will not be fully explored.

M3:

learners will produce a single camera product to a good technical standard. They will show confidence and facility in their use of the equipment. The work will have been approached methodically and thoughtfully.

The product will show some imagination in its realisation with some evidence of experimentation in both editing and cinematography. For example, the use of high and low angle shots, showing vulnerability and dominance, will be used appropriately within the narrative. A mixture of shot sizes will be used to generate interest and create meaning. The lap-dissolve might be used as an appropriate alternative to the cut.

Attempts to use lighting as a method of generating mood, atmosphere or meaning might be apparent, but may be limited to certain shots, rather than being employed consistently throughout the production.

M2 and M3:

learners will still be working within recognisable generic conventions, but there will be some imaginative thought behind the work so that technical skills and codes and conventions will be employed with some inventiveness. When engaged in practical activities, learners will need little assistance, though typically they will still need some support when dealing with more complex technology or trying to apply more sophisticated techniques.

D2:

learners will produce creative scripts and plans that reflect professional practice. Pre-production

paperwork will be well organised showing good resource management and anticipation of potential difficulties.

Production schedules will be detailed and set realistic deadlines. Scripts and storyboards will be carefully prepared and thoroughly thought out. Contingency plans will be in place to cover unforeseen circumstances.

Risk assessments will be detailed taking into account all health and safety issues and addressing them properly. Aesthetic considerations will also be detailed, taking into account the fitness for purpose of all the locations used.

Alternative narrative structures might be used with flair to produce interesting or different formats.

D3:

learners will produce a finished product the technical quality of which reflects near-professional practice:

Cinematography, in terms of image size, camera angle and movement will be creative

and fluent.

Varied editing techniques, such as cross-cutting and montage, will be thoughtfully used to inform

the narrative and in such a way that the intention behind the use is clearly meaningful. Any dissolves and transitions will be employed effectively and for a reason that links to the story. Like cinematography, editing will be fluent with very few, if any, continuity errors.

Artificial lighting may be used creatively to generate mood, atmosphere or meaning.

D2 and D3:

learners will apply their technical and creative skills not just with imagination but with ingenuity

and even elegance, and codes and conventions will be used with occasionally surprising results. In all practical activity distinction grade learners will be capable of working autonomously and effectively.

The term ‘working independently’ means that they are able to work on their own initiative, do not need constant support or supervision, give the work their full commitment, work positively and cooperatively with others, and meet deadlines. In other words, they have the kind of self-management skills that would be expected of them in a professional context.

Unit 1: Pre-production Techniques

M2:

documentation will cover all the procedures relevant to the type of production being undertaken in some detail. It will be presented carefully and neatly, and will be organised clearly.

M3:

learners will demonstrate that they can undertake pre-production work that enables the efficient completion of the product. It should be noted that the quality of the resulting product is irrelevant to the assessment of this unit.

D2:

documentation will be comprehensive and thorough with a detailed breakdown of all procedures relevant to the type of production being undertaken. It will be very well-organised and presented to a standard that approaches professional practice.

D3:

learners will be able to apply their pre-production planning to the proposed production to a standard that approaches professional practice, for example, ensuring that all the resources are in the right place at the right time.

Their planning will enable the successful completion of the product

D2 and D3: learners will be capable of using their own initiative, will not need constant support or supervision, will give the work their full commitment, work positively and cooperatively with others, and meet deadlines.

Task 6 & 7: Production & Post Production: Deadline 8th May

Assignment:

Short Film Project

What you have to do

 

Task	Assessment Evidence	Responsibility
TASK 6: Production   a)    Shoot your film! But consider the following:   ·         Always use a marker (such as a clapper board on each take of each shot) ·         Check the camera settings – then check them again (including white balance, gain and sound settings) ·         Always have someone listening on headphones to make sure that the sound is good, clear and free from background noises ·         Check the light – use lights and reflectors – especially if the light is coming from behind your actors or part of their face is in shadow (unless you are specifically going for that effect) ·         Use a new tape for each shoot to avoid errors and to keep time coding consistent ·         Set up your shots carefully considering Mise-en-scene ·         One take is rarely enough!! Do 2 or 3 per shot to make sure and give your editor more choice ·         Make a record during the shoot of which takes worked well and which are bad	Tapes or files of your raw footage ready for editing (also called rushes)	Grading Criteria: Unit 1 P3/M3/D3 Unit 22 P3/M3/D3

 

Key Terms that you should be using in your work:

 

• Elements of production: logistics; finance; creative processes
• Project management: personnel management; resource management; time management; monitoring progress; risk management; crisis management; maintaining documentation
• Production process: rehearsals; shoot; shooting records; production logs; technical competencies; creative abilities; own work; teamwork
   
   
   
   
   
   

Assignment:

Short Film Project

What you have to do – NB: all work in this section is INDIVIDUAL not group (it is the same film, just your own cut)

 

Task	Assessment Evidence	Individual
TASK 7: Post Production Edit your final piece using Premiere and considering some of the following: The pace of the piece Continuity Sound quality and levels Image quality Appropriate use of transitions Soundtrack and balance The flow of the piece and how engaging it will be to an audience	A final edited film in AVI format and placed on the M: Drive	Grading Criteria: Unit 22 P3/M3/D3

Key Terms that you should be using in your work:

• Development: in-camera editing; following the action; multiple points of view; shot variation; manipulation of diegetic time and space; film, video; analogue; digital
• Purposes: storytelling, eg engaging the viewer, development of drama, relationship to genre, creating motivation; combining shots into sequences; creating pace
• Conventions and techniques: seamless; continuity; motivated; montage; jump-cutting; parallel editing; 180o rule; splicing; transitions, eg cut, dissolve, fade, wipe; cutaways; point of view shot; shot-reverse-shot; providing and withholding information; editing rhythm; crosscutting; cutting to soundtrack
• Preparation techniques: checking material for faults; synchronising rushes; producing a rushes log; marking up a script; labelling tapes; storing tapes or film; producing an edit decision list; creating bins; clarifying the purpose of the work with a client or director
• Preparing to edit: importing clips; bins; timelines; storage and folder management; online and offline editing; formats; resolution
• Editing technology: software applications; hardware, eg non-linear, linear; high definition; standard definition; tapes; hard disc; data transfer rates; exporting productions; file types, eg mov, avi, flv; compression
• Editing process: use appropriate techniques, eg seamless, continuity, motivated, montage, jump-cutting, parallel editing; use appropriate transitions, eg cut, dissolve, fade, wipe; use appropriate conventions, eg cutaways, cutting on action, creating juxtapositions, intercutting; pace effectively; convey information effectively; use sound to create impact; synchronise sound and vision; mix soundtracks; overlap sound; offline edit; online edit
• Post-production tools: on screen text; image editing; audio editing

 

Unit:

22: Single Camera Techniques

Assessment and Grading Criteria

In order to pass this unit, the evidence that you present for assessment needs to demonstrate that you can meet all the learning outcomes for the unit.

The assessment criteria for a PASS grade describe the level of achievement required to pass this unit.

 

To achieve a PASS grade your work must show that you are able to:	To achieve a MERIT grade your work must show that, in addition to the PASS criteria, you are able to:	To achieve a DISTINCTION grade your work must show that, in addition to the PASS and MERIT criteria, you are able to:
P1 describe the features of single camera production with some appropriate use of subject terminology	M1 explain the features of single camera production with reference to detailed illustrative examples and with generally correct use of subject terminology	D1 comprehensively explain the features of single camera production with reference to elucidated examples and consistently using subject terminology correctly
P2 generate outline plans for a single camera production working within appropriate conventions and with some assistance [CT]	M2 generate detailed ideas for a single camera production showing some imagination and with only occasional assistance	D2 generate thoroughly thought out ideas for a single camera production showing creativity and flair and working independently to professional expectations
P3 produce a single camera production working within appropriate conventions and with some assistance. [SM]	M3 produce a single camera production to a good technical standard showing some imagination and with only occasional assistance	D3 produce a single camera production to a technical quality that reflects near professional standards showing creativity and flair and working independently to professional expectations

 

 

LOOK HERE Production Portfolio Tasks & Links to Templates

Task	Assessment Evidence
TASK 5: Planning a)    A full script needs to be written for your short film including all shots, action and dialogue	A completed shooting script See 1st draft
b)    Identify the roles that each of you will take during the production process and write a full explanation and justification as to why each of you is taking on that role	A document justifying your choices for each production role Example
c)     List the actors for your film and justify why they were chosen to fill those roles	A document justifying your choices for each acting role (include photos/images of your casting decisions) Pass example
d)    From your script, produce a storyboard and shot list	A Storyboard (this can be a Photostoryboard using Photoshop to annotate directions for Dist)  and Shot List (in order of shooting)
e)    Perform a location recce and fill in both Location reports and risk assessments.  From this a shooting schedule can be created including details of all cast, crew, equipment, costume and props for each individual shoot. See here: How to Recce	Location reports, risk assessments for each location. A shooting schedule with full details of  all elements required Call Sheets
f)     Create actor and location release forms to be signed during filming g) A production diary, discussing contribution to all stages of the film, creative decisions and revisions, what your role has been	Actor and Location release documents Production Log/Diary this can be a dated, (at least) biweekly blog post or group video diary  Example

pre production paperwork for media from billyrowlinson



Example of how to complete a risk assessment

Hazard	Persons who may be harmed	Property which may be damaged	Risk controls already in place	Risk Assessment LOW, MODERATE, HIGH, EXTREME (see table)	Further action required to control risk ***
Getting hit by a car	Actors or Crew	Camera, headphones or any of the equipment.	No risk controls are currently in place	Low / Moderate	Do not work on or near busy roads and any roads near by are clearly identified and the whole crew will be notified.We will not work near busy roads however any roads that are close will be known and we will not have any of the crew close enough to the road that they could cause themselves or others any harm.
Tripping over curbs or other possible hazards like tree roots or wired equipment.	Actors or Crew	Camera, headphones or any other equipment.	No risks controls are currently in place	Low/Moderate	All potential tripping hazards will be noted before the recording date and then double-checked on the actual date. All of the crew will be aware of the tripping hazards and they will be marked with a light coloured tape so they are clearly visible and will hopefully help prevent the chance of someone tripping. All the wired equipment will be taped down so that it will prevent the chance of tripping. We have a first aider on hand so if anything of this kind does occur, we have a team member who will be able to help in the situation.
Damage to body when lifting equipment.	Actors or Crew	Camera, headphones or any other equipment	No risk controls are currently in place	Moderate	When lifting heavy objects the crew will take care and try to avoid any rushing as these could contribute to the crew damaging themselves or the equipment.If something is needed moving and is too heavy then either a vehicle or more than one person will have to contribute to the moving of the object.
Risk of rain damage to equipment	Crew and equipment	Camera, headphones or any other electrical equipment.	If the weather is bad before filming on the production day then we will either wait for a more convenient time or use plan b.	Moderate	We will have some waterproof sheet with us so if it rains we can protect the equipment before it gets wet. The water proof sheet will give us more time to move equipment safely and correctly. We also have a car on hand so we can put the equipment in there when it rains to make sure no serious damage is caused.
Slipping on wet surfaces.	Actors and Crew	Camera, headphones or any other equipment.	As we are using a puddle of water in one of our scenes we will make sure that the surface under the water is not slippy and will not have any chance to damage the actor or any of the equipment on the set.	Moderate	At our location there is a chance there is no puddles if this is the case then we will make a puddle with some water we bring with us and if we will make sure the surface is suitable so the actor or crew wont fall over.
Getting disturbed by members of the public	Actors and Crew	None	We are filming on a week day and at 11am so due to the time and day there is less chance of us getting interrupted and if we do happen too then will we re-film and shots interrupted.	Low	If someone does interrupt us when recording we will wait for them to pass and then continue with our recording.
Risk of falling over when recording	Actors and crew	Camera, headphones or any other equipment.	We will be filming on a flat surface to help prevent the chances of this happening.	Low	If someone does fall over and is inured we have a first aider in our crew who will be able to help with the situation.