FNB Guidebook

8/8/2019 FNB Guidebook

http://slidepdf.com/reader/full/fnb-guidebook 1/44

Filming A New Beginning A w o r k s h o p f o r c h i l d r e n b y c h i l d r e n





F i l m i n g A N e w B e g i n n i n g

A w o r k s h o p f o r c h i l d r e n b y c h i l d r e n

W ri t t en an d i l l u s t r a t ed b y A n n a Keu n e



Contact a n n a . k e u n e @ g m a i l . c o m

Support A a l t o U n i v e r s i t y, S c h o o l o f A r t a n d D e s i g n

A a l t o U n i v e r s t i y , S c h o o l o f S c i e n c e a n d T e c h n o l o g y

S r i s h t i S c h o o l o f A r t , D e s i g n a n d Te c h n o l o g y

Material Availability w w w . f i l m i n g a n e w b e g i n n i n g . b l o g s p o t . c o m

Copyright T h i s w o r k i s l i c e n s e d u n d e r t h e C r e a t i v e C o m m o n s A t t r i b u t i o n 3 . 0 U n p o r t e d L i c e n s e . T h i s

m e a n s a n y o n e i s f r e e t o s h a r e ( c o p y, d i s t r i b u t e a n d t r a n s m i t ) a n d r e m i x ( a d a p t ) t h e w o r k .

T o v i e w a c o p y o f t h i s l i c e n s e , v i s i t h t t p : / / c r e a t i v e c o m m o n s . o r g / l i c e n s e s / b y / 3 . 0 / ; o r s e n d a

l e t t e r t o C r e a t i v e C o m m o n s , 1 7 1 2 n d S t r e e t , S u i t e 3 0 0 , S a n F r a n c i s c o , C a l i f o r n i a , 9 4 1 0 5 ,

U S A .



Table Of Content P a r t 1 - B a s i c I n f o r m a t i o n

I n t r o d u c t i o n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

T h e A c t i o n P l a n . . . . . . . . . .. . . . . . . . . . . . . . . .. . . . . . . . . . . . . . .. . . . 1 0

W o r k s h o p t i m e l i n e . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . 1 2

N e e d e d E q u i p m e n t . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . 1 3

Ro le s I n A P roduc t ion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

F i l m C r e w . .. . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . 15

P ar t 2 - S t e p - b y - s t e p G u i d e

F i l m 1 “ R e m e m b e r ” . . . . . .. . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . 1 8

S t e p A “ A c c e s s ” . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9S t e p B “ R e f l e c t ” . . . . .. . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . 2 0

S t e p C “ D i s c o v e r ” . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . 2 2

F i l m 2 “ E n c o u n t e r ” . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . 2 3

S t e p A “ A c c e s s ” . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . 2 4

S t e p B “ R e f l e c t ” . . . . . .. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . 2 5

S t e p C “ D i s c o v e r ” . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . 2 6

F i l m 3 “ R e s o l v e ” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 7

S t e p A “ A c c e s s ” . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . 2 8

S t e p B “ R e f l e c t ” . . . . . .. . . . . . . . . . . . . . . . .. . . . . . . . . . . . . 2 9

S t e p C “ D i s c o v e r ” . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . 3 0

F i l m 4 “ B r o a d c a s t ” .. . . . . . . . . . . . . . .. . . . . . . . . . . . . . .. . . . . . . . . . 3 1

S t e p A “ A c c e s s ” . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 2

S t e p B “ R e f l e c t ” . . . . . .. . . . . . . . . . . . . . . . . .. . . . . . . . . . . . 3 3

S t e p C “ D i s c o v e r ” . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . 3 4

F i lm ing A New Beg inn ing C lo se s . . . . . . . . . . . . . . . . . . . . . . . . 35

P ar t 3 - L e a r n i n g R e s o u r c e s

S t o r y b o a r d Te m p l a t e . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . 3 8

U s i n g L o c a t i o n s A n d O b j e c t s . . . . . . . . . . . . . . . . . . . . . . . . 3 9

U s i n g T h e C a m e r a . . . . .. . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . .4 0

F i l m i n g A n d P r i v a c y. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Space Fo r F i lmmake r ’ s No te s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 3





Part 1 - Basic Information

Part 1



8

Part 1

S O M E O F T H E F N B D E S I G N T E A M M E M B E R S

A l l i m a g e s i n t h i s g u i d e b o o k a r e i l l u s t r a t i o n s o f a u t h e n t i c s i t u a t i o n s t h a t h a p p e n e d

w h i l e d e s i g n i n g a n d t e s t i n g t h e F N B w o r k s h o p .



9

Introduction The Filming A New Beginning (FNB) workshop was de-

signed in 2009 with children from Chennai, India for

every child in the world. Adults are warmly invited to

part icipate. Anyone, even children, can become FNB fa-

cil i tators.

In l i fe, everybody faces dif f icult s i tuations sometimes,

l ike when being shouted at for playing instead of study-

ing. Often, these si tuations are so tangled into the daily

routines that they are dif f icult to spot and speak about.

To pinpoint the si tuations, and know what to change,

day-to-day activi t ies have to be investigated and ques-

t ioned. This is called cri t ical thinking. I t is learned best

by hands-on action.

FNB is a f i lm production workshop to init iate change by

spending zero money. Neither f i lmmaking experiences,

nor computers or Internet are needed. You only need a

camera mobile phone, pencils, and pape r.

During the FNB workshop, you will become a f i l mmaker,

and turn a dif f icult real l i fe si tuation i nto a favorable one

while making 4 short mobile f i lms. To start meaningful

discussions, you will present your f i lms to an audience

of people on the street through the camera scree ns. This

way, you can test how realist ic your change is.

The goal of the FNB workshop is to develop a personal

f i lm language and a cri t ical thinking strategy that equips

you with the skil ls to start a change, and a voice to speak

more f luently about topics you truly care about. Through

a project of personal interest , you and other f i lmmaker s

learn about dif ferent subjects at the same t ime together.

You will grow into a more conscious minded and inde-

pendent person who can make a posit ive dif ference in

your own li fe and the l ives of others.

In the FNB workshop we learn f rom and with each other,

no matter our age or gender. Everybody is an equal f i lm-

maker and has the opportunity to practice responsibil i ty

by using the camera.

First , read Part 1 to get al l the information needed for

gett ing started. Then follow the steps in Part 2, one by

one, as you go along. Part 3 includes learning resourc-

es, such as a storyboard template, and addit ional infor-

mation.

Change can be as hands-on as makin g a f i lm.

Enjoy f i lming your new beginning!

Part 1



10

The Action Plan : 4 Films D u r i n g t h e F N B w o r k s h o p , 4 f i l m s a r e c r e a t e d . T h e f i l m s b u i l d o n o n e a n o t h e r , b u t t h e f i l m m a k e r s c h o o s e

t h e c o n t e n t .

F i l m 1 ‘ R e m e m b e r ’ F i l m 2 ‘ E n c o u n t e r ’ F i l m 3 ‘ R e s o l v e ’ F i l m 4 ‘ B r o a d c a s t ’

F I L M T H E M E S

A N E X A M P L E

S t a g e , a c t a n d f i l m d i f f i -

c u l t e v e r y d a y s i t u a t i o n s

t o u n d e r s t a n d y o u r r o l e

i n t h e m .

A c h i l d i s p l a y i n g a t

h o m e a n d t h e m o t h e r

s h o u t s a t t h e c h i l d .

T h e m o t h e r w o u l d

r a t h e r l i k e t o s e e t h e

c h i l d s t u d y i n g .

M o t h e r a n d c h i l d b o t h

t h i n k a c a l m t a l k c a n

b e a r e s o l u t i o n .

A s h o p o w n e r s t e l l s t h e

f i l m m a k e r s t h a t h e m a d e

s i m i l a r e x p e r i e n c e s a s a

c h i l d .

I d e a t e , s t a g e , a c t a n d

f i l m a r e s o l u t i o n f o r t h e

d i f f i c u l t s i t u a t i o n t o -

ge the r .

L e a r n h o w r e a l i s t i c y o u r

c h a n g e i s . S t a r t m e a n -

i n g f u l c o n v e r s a t i o n s b y

s h o w i n g y o u r f i l m s i n

pub l i c t o pa s se r sby .

S t a g e , a c t a n d f i l m t h e

m o t i v e s o f o t h e r p e o p l e

i n t h e s e s i t u a t i o n s t o

e m p h a s i z e w i t h t h e m .

Part 1



11

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E a c h o f t h e 4 f i l m s i s c r e a t e d f o l l o w s 3 s t e p s . E a c h s t e p l a s t s a b o u t 2 h o u r s . P a r t 2 o f t h i s g u i d e b o o k o f f e r s

a d e t a i l e d s t e p - b y - s t e p g u i d e f o r a l l 4 f i l m s . H e r e i s a n e x a m p l e :

+

=

+

S t e p A ‘ A c c es s ’

F i n d i n f o r m a t i o n

S t e p B ‘ R e f l e c t ’

M a k e s t o r y b o a r d s

S t e p C ‘ D i s c o v e r ’

F i l m s t o r y b o a r d s

F i l m 3 ‘ R e s o l v e ’

BE PAT IENT

E v e r y d a y s i t u a t i o n s c a n b e c o m p l e x , s e n s i t i v e a n d c h a l l e n g i n g t o a p p r o a c h . F o l l o w i n g t h e t h r e e

s t e p s f o r e a c h f i l m s u p p o r t s y o u t o f i n d y o u r o w n p a c e o f f i l m i n g . W a i t u n t i l e v e r y b o d y i s r e a d y

b e f o r e s t a r t i n g w i t h t h e n e x t f i l m .

TIP

Part 1



12

Workshop timeline

A p r e p a r a t i o n p h a s e p r e c e d e s t h e F N B w o r k s h o p . A r r a n g e t h e w o r k s h o p s c h e d u l e a n d e q u i p m e n t d u r i n g t h a t

t i m e . F o r e q u i p m e n t s e e t h e n e x t p a g e .

T h e F N B s c h e d u l e s h a p e s a s t h e w o r k s h o p p r o g r e s s e s , b e c a u s e t h e s c h e d u l e d e p e n d s o n t h e a v a i l a b i l i t y

a n d m o b i l i t y o f e v e r y o n e i n v o l v e d , t h e e q u i p m e n t a n d t h e f i l m l o c a t i o n s . T h i s i s u n i q u e f o r e v e r y s i t u a -

t i o n . S c h e d u l i n g l a n d m a r k s a r e p o i n t e d o u t i n P a r t 2 .

Yo u w i l l d e v e l o p c l o s e r a n d m o r e r e w a r d i n g r e l a t i o n s h i p s w i t h y o u r f i l m s , t h e m o r e r o u t i n e l y F N B w o r k s h o p

s e s s i o n s a r e s c h e d u l e d .

P r e p a r a t i o n F i l m 1 ‘ R e m e m b e r ’ F i l m 2 ‘ E n c o u n t e r ’ F i l m 3 ‘ R e s o l v e ’ F i l m 4 ‘ B r o a d c a s t ’

Part 1

A B C A B C A B C A B C



13

Needed Equipment

: : V i d e o c a m e r a , s u ch a s a c a m e r a m o b i l e p h o n e

: : Pape r

: : P e n c i l s

O f t e n , i t i s p o s s i b l e t o b o r r o w a c a m e r a m o b i l e p h o n e f r o m a f a m i l y m e m b e r o f a n F N B f i l m m a k e r . E x p l a i n

t h e a i m o f y o u r p r o d u c t i o n , h o w a n d b y w h o m t h e c a m e r a w i l l b e u s e d , a n d t h e a d v a n t a g e s o f t h e F N B

w o r k s h o p t o t h e m . S c h e d u l e t h e F N B w o r k s h o p w i t h t h e m a c c o r d i n g t o t h e i r a v a i l a b i l i t y .

L e a r n m o r e a b o u t u s i n g t h e c a m e r a a n d r e a d a b o u t r e c o m m e n d e d f i l m p r a c t i c e s i n P a r t 3 o f t h i s g u i d e -

b o o k .

Part 1



14

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Roles In A Production T h e F i l m D i r e c t o r T h e F i l m A c t o r s T h e C a m e r a p e r s o n

Yo u f i l m t h e a c t i o n s o f t h e

a c t o r s , a n d f o l l o w t h e f i l m

d i r e c t o r ’s g u i d a n c e .

You ac t s cenes and l i s t en

t o c o m m e n t s o f t h e d i r e c -

t o r a n d t h e c a m e r a p e r s o n .

Yo u g u i d e t h e a c t o r s a n d

t h e c a m e r a p e r s o n , a n d

c h e c k t h e r e c o r d i n g .

TIP

F R E E D O M T O S W I T C H R O L E S

C h o o s i n g a n d s w i t c h i n g r o l e s d u r i n g t h e F N B w o r k s h o p s u p p o r t s y o u r c r e a t i v e p r o c e s s a n d

y o u r d e v e l o p m e n t o f a p e r s o n a l f i l m l a n g u a g e .

Part 1



15

Film Crew A f i l m c r e w i s a g r o u p o f f i l m m a k e r s w o r k i n g t o g e t h e r . I t h a s 4 t o 6 m e m b e r s o f d i f f e r e n t a g e s a n d g e n -

d e r s . O n e w o r k s h o p c a n h a v e m o r e t h a n o n e c r e w . F or m y o u r f i l m c r e w s i n t h e b e g i n n i n g o f t h e w o r k s h o p .

F a c i l i t a t o r s j o i n a f i l m c r e w .

^F I L M C R E W S R E M A I N T H E S A M E

S t a y i n g i n t h e s a m e c r e w a l l o w s y o u t o t a k e f u l l o w n e r s h i p o v e r y o u r f i l m s a n d t h e p r o c e s s o f

m a k i n g t h e m . W h i l e t h i s i s r e c o m m e n d e d i t i s n o t e s s e n t i a l .TIP

Part 1





Part 2 - Step-By-Step Guide

Part 2



18

Film 1 “Remember”A c t a n d f i l m d i f f i c u l t e v e r y d a y s i t u a t i o n s , s u c h a s t h e c o n f l i c t o f a c h i l d w a n t i n g t o p l a y a n d t h e m o t h e r

s h o u t i n g a t t h e c h i l d .

L E A R N I N G O U T C O M E

: : R e a l i z e y o u r r o l e a n d p o s i ti o n i n t h e s i t u a t i o n s

: : L e a r n h o w t o i nv e s t i g a t e y o u r e v e r y d a y l i f e

: : S t a r t d e v e l o p i n g y o u r p e r s o n a l f i l m l a n g u a g e

Film 1

“Remember ”



19

^

^

Step A “Access”G a t h e r i n f o r m a t i o n a b o u t y o u r e v e r y d a y l i f e .

: : T h i n k o f d i f f i c u l t s i t u a t i o ns i n w h i c h y o u f e l t s c ar e d , s a d o r u n e q u a l

: : S t a g e , a c t an d f i l m t h e m w i t h y o u r c r e w

: : D e b r i e f w i t h e v e r y b o d y

CAMERA USAGE

U s e t h e c a m e r a l i k e a s k e t c h b o o k . F i l m a n y t h i n g t h a t c o m e s t o y o u r m i n d w i t h o u t p a y i n g a t -

t e n t i o n t o h o w y o u r f i l m s l o o k .

A D E B R I E F I S F O R S H A R I N G

G a t h e r w i t h e v e r y b o d y a n d s h a r e y o u r e x p e r i e n c e s . S p e a k a b o u t y o u r o b s e r v a t i o n s o n t o p -

i c s s u c h a s w o r k i n g i n y o u r c r e w , d i f f i c u l t i e s y o u r c r e w e x p e r i e n c e d , a n d h o w y o u o v e r c a m e

t h e m .

TIP

TIP

Film 1“Remember ”



20

^

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Step B “Reflect”C r e a t e s t o r y b o a r d s o f d i f f i c u l t s i t u a t i o n s t h a t y o u w i s h t o c h a n g e .

: : E v e r y o n e w a t ch e s t h e f i l m s f r o m t h e l a s t s e s s i o n b y p a s s i n g a r o u n d t h e c a m e r a s

: : I d e n t i f y d i f f i c u l t s i t u a t i o n s a n d d i s c u s s h o w t o f i l m t h e m b et t e r

: : C r e a t e s t o r y b o a r d s

T h e n e x t p a g e s h o w s a s i m p l e s t o r y b o a r d b y t h e f i l m m a k e r s o f t h e F N B d e s i g n t e a m , a n d a n e x p l a n a t i o n o f

w h a t s t o r y b o a r d s a r e u s e d f o r .

F i n d a n e m p t y s t o r y b o a r d t e m p l a t e i n P a r t 3 o f t h i s g u i d e b o o k .

A B O U T R E F L E C T I O N

T a l ki n g a b o u t v i s u a l i m p r o v e m e n t s o f y o u r f i l m s c a n l e a d i n t o c o n t e n t i d e a t i o n .

T r y t o c o m b i n e s i m i l a r e x p e r i e n c e s b y o t h e r f i l m m a k e r s o f t h e s a m e s i t u a t i o n i n t o o n e s t o r y -

b o a r d .

CREAT ING A STORYBOARD

I n c l u d e p o s i t i o n s o f a c t o r s , c a m e r a a n g l e s , l o c a t i o n s , c h a r a c t e r s , o b j e c t s , a n d d i a l o g u e p i e c e s

i n t o y o u r s t o r y b o a r d s . Yo u c a n b o r r o w i d e a s f r o m t e l e v i s i o n f i l m s y o u h a v e s e e n .

TIP

TIP




21

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A STORYBOARD FROM INDIA

S T O R Y B OA R D S A R E L I K E C O M I C S T R I P S

T h e y i n c l u d e i n s t r u c t i o n f o r a f i l m . M a k i n g s t o r y b o a r d s i s a c o m m o n p r a c t i c e o f f i l m m a k e r s .

I t i s u s e d a s g u i d e w h e n f i l m i n g a s c e n e , b e c a u s e t h e i n f o r m a t i o n i n c l u d e d i n t h e s t o r y b o a r d

m a k e s f i l m i n g a s c e n e e a s i e r .

TIP

Film title and description Film director :

Film actors :

Camera person :

Location :

Characters :

Props :

Dialogue / Sound :

Location :

Characters :

Props :

Dialogue / Sound :

Location :

Characters :

Props :

Dialogue / Sound :




22

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Step C “Discover”R e - f i l m y o u r d i f f i c u l t s i t u a t i o n s .

: : F i l m y o u r s t o r y b o a r d s

: : I d e n t i f y o t h e r p e o p l e i n t h e s i t u a t i o n s - T h e y w i l l b e t h e s u p p or t i n g f i l m m a k e r s o f y o u r f i l m s

: : C o n t a c t t h e s u p p o r t i n g f i l m m a k e r s , a n d a g r e e o n w h e n a n d w h e r e t o m e e t t h e m

: : D e c i d e w h i c h f i l m s i n w h a t o r d e r t o s h o w t o t h e m


R e m e m b e r t o u p d a t e t h e F N B s c h e d u l e

CAMERA USAGE

T h i s t i m e , u s e t h e c a m e r a l i k e a n a r t i s t i c m e d i u m . P a y a t t e n t i o n t o t h e w a y y o u r f i l m s l o o k .

F o r e x a m p l e , w a i t u n t i l y o u r f i l m i s d o n e b e f o r e m e n t i o n i n g n e w i d e a s , b e c a u s e i n s t r u c t i o n s

d i s t u r b y o u r f i l m .

SLOW APPROACH

O n l y y o u a n d y o u r c r e w c a n d e c i d e w h e n y o u r f i l m i s r e a d y a n d p r e s e n t a b l e t o a n a u d i e n c e .

S t a r t t h e d e b r i e f w h e n e v e r y o n e i s r e a d y b y w a t c h i n g a l l f i l m s . E v e r y o n e e x p r e s s e s t h e i r p o s i -

t i o n i n t h e i r f i l m .

TIP

TIP




23

Film 2 “Encounter”F i l m d i f f i c u l t e v e r y d a y s i t u a t i o n s f r o m t h e s u p p o r t i n g f i l m m a k e r ’ s p o i n t o f v i e w . F o r e x a m p l e , t h e m o t h e r ’s

r e a s o n f o r s h o u t i n g a t t h e p l a y i n g c h i l d .


: : D e v e l o p e m p a t hy a n d u n d e r s t a n d i n g f o r t h e s u p p o r t i n g f i l m m a k e r s

: : L e a r n t h a t m u l t i p l e p o i n t s o f v i e w e x i s t a t t h e s a m e t i m e

: : F u r t h e r d e v e l o p y o u r p e r s o n a l f i l m l a n g u a g e

Film 2

“Encounter ”



24

^

^

Step A “Access”G a t h e r i n f o r m a t i o n a b o u t t h e s u p p o r t i n g f i l m m a k e r ’ s r e a s o n s .

: : M e e t t h e s u p p o r t i n g f i l m m a k e r s a n d s h o w y o u r f i l m s t o t h e m

: : S p e a k a b o u t t h e i r e x p e r i e n c e o f t h e s i t ua t i o n s i n y o u r fi l m w i t h t h e m

: : S t a g e , a c t a n d f i l m t h e i r m o t i v e s i n t h e s e s i t u a t i o n s t o g e t h e r

: : D e b r i e f w it h a l l f i l m m a k e r s

T a ke a s t e p t o w a r d s t h e s u p p o r t i n g f i l m m a k e r s a n d m e e t t h e m a t a l o c a t i o n o f t h e i r c h o i c e .

CAMERA USAGE

A g a i n , u s e t h e c a m e r a l i k e a s k e t c h b o o k . F i l m a n y t h i n g t h a t c o m e s t o y o u r m i n d w i t h o u t p a y -

i n g a t t e n t i o n t o h o w y o u r f i l m s l o o k .

PR IVACY CONCERNS

B e p o l i t e a n d r e s p e c t t h e p r i v a c y o f o t h e r s : A s k f o r p e r m i s s i o n b e f o r e f i l m i n g t h e s u p p o r t i n g

f i l m m a k e r s .

TIP

TIP

Film 2

“Encounter ”



25

^

^

Step B “Reflect”C r e a t e s t o r y b o a r d s o f t h e m o t i v e s o f t h e s u p p o r t i n g f i l m m a k e r s .

: : W a t c h t h e f i l m s f r o m t h e l a s t s t e p

: : I d e n t i f y t h e i n t e n t i o n s o f t h e s u p p o r t i n g f i l m ma k e r s a n d d i s c u s s h o w t o f i l m t h e m be t t e r


CREAT ING STORYBOARDS

C r e a t e t h e s t o r y b o a r d s a s b e f o r e , b u t t h i s t i m e f o c u s o n h o w t o r e p r e s e n t t h e m o t i v e s o f t h e

s u p p o r t i n g f i l m m a k e r s t h r o u g h t h e i r a c t i o n s . S i m i l a r i n t e n t i o n s c a n b e c o m b i n e d t o o n e s t o r y .

F i n d t h e s t o r y b o a r d t e m p l a t e i n P a r t 3 o f t h i s g u i d e b o o k .

I D E N T I F Y I N G A C T I O N S

R e c o g n i z e t h e a c t i o n s o f t h e s u p p o r t i n g f i l m m a k e r s t h a t a r e p a r t i c u l a r f o r y o u r s i t u a t i o n b y

s p e a k i n g a b o u t w h a t y o u s a w .

TIP

TIP

Film 2

“Encounter ”



26

^

^

Step C “Discover”R e - f i l m t h e m o t i v e s o f t h e s u p p o r t i n g f i l m m a k e r s .


: : S c h e d u l e a n o t h e r m ee t i n g t i m e a n d p l a c e w i t h t h e s u p p o r t i n g f i l mm a k e r s

: : C o n t a c t t h e s u p p o r t i n g f i l m m a k e r s a g a i n , an d a g r e e o n w h e n a n d w h e re t o m e e t t h e m

: : D e c i d e w h i c h f i l m s i n w h a t or d e r t o s h o w t o t h e m

: : D e b r i e f w i t h a l l f i l m ma k e r s

CAMERA USAGE

T h i s t i m e , u s e t h e c a m e r a l i k e a n a r t i s t i c m e d i u m a g a i n . P a y a t t e n t i o n t o t h e w a y y o u r f i l m s

l o o k . F o r e x a m p l e , w a i t u n t i l y o u r f i l m i s d o n e b e f o r e m e n t i o n i n g n e w i d e a s , b e c a u s e i n s t r u c -

t i o n s d i s t u r b y o u r f i l m .

SLOW APPROACH

A g a i n , o n l y y o u a n d y o u r c r e w c a n d e c i d e w h e n y o u r f i l m i s r e a d y a n d p r e s e n t a b l e t o a n a u -

d i e n c e . S t a r t t h e d e b r i e f w h e n e v e r y o n e i s r e a d y b y w a t c h i n g a l l f i l m s . E v e r y o n e e x p r e s s e s t h e

m o t i v e s o f t h e s u p p o r t i n g f i l m m a k e r s s h o w n i n t h e i r f i l m .

TIP

TIP


Film 2“Encounter ”



27

Film 3 “Resolve”F i l m r e a l i s t i c r e s o l u t i o n s a n d f a v o r a b l e p r a c t i c e s f o r t h e d i f f i c u l t s i t u a t i o n s . F o r e x a m p l e , i n s t e a d o f s h o u t -

i n g a t t h e c h i l d f o r p l a y i n g , t h e m o t h e r a n d t h e c h i l d c a n s p e a k a b o u t t h e i r i n t e n t i o n s c a l m l y .


: : U n d e r s t a n d t h a t c h a l l e n g i n g s i t u a t i o ns c a n b e o v e r c o m e w i t h a ch a n g e o f p r a c t i c e

: : D i s c o v e r f av o r a b l e f u t u r e b e h av i o r


Film 3“Resolve ”



28

Step A “Access”G a t h e r i d e a s f o r r e a l i s t i c a n d f a v o r a b l e p r a c t i c e s .

: : M e e t t h e s u p p o r t i n g f i l m m a k e r s a n d wa t c h a l l o f y o u r f i l m s w it h t h e m

: : S t a g e , a c t a n d f i l m r e a l i s t i c a n d f av o r a b l e p r a c t i c e s w i t h t h e s u p p o r t i n g f i l m m a k e r s


^

^CAMERA USAGE

A g a i n , u s e t h e c a m e r a l i k e a s k e t c h b o o k . F i l m a n y t h i n g t h a t c o m e s t o y o u r m i n d w i t h o u t p a y -

i n g a t t e n t i o n t o h o w y o u r f i l m s l o o k .

DEBR IEF WITH EVERYBODY

T h e d e b r i e f h a p p e n s i n t h e s a m e w a y a s b e f o r e , b u t t h i s t i m e w i t h t h e s u p p o r t i n g f i l m m a k e r s .

S p e a k a b o u t t h e c o n f l i c t i n g p o i n t s o f v i e w . T h e m a i n q u e s t i o n t o d i s c u s s i s : W h o ’ s p r a c t i c e

s h o u l d c h a n g e a n d h o w ?

TIP

TIP






30

^

^

Step C “Discover”R e - f i l m t h e r e s o l u t i o n s , f i l m y o u r n e w b e g i n n i n g .


: : I d e n t i f y p u b l i c p l a c e s w h e r e yo u c a n s h o w y o u r f i l m s t o p as s e r s b y, a n d s c h e d u l e a t i m e f o r t h a t

: : D e c i d e w h i c h f i l m s i n w h a t o r d e r t o s h o w t o p a s s e r s b y


F I L M I N G Y O U R N E W B E G I N N I N G

Yo u r r e s o l u t i o n s a r e i d e a s f o r p o s s i b l e f u t u r e s , b u t t h e y a r e n o t p r a c t i c e d i n e v e r y d a y l i f e y e t .

B y s t a g i n g a n d f i l m i n g t h e m , y o u r r e s o l u t i o n s b e c o m e v i s i b l e a n d r e a l p o s s i b i l i t i e s f o r y o u r

e v e r y d a y l i f e .

CAMERA USAGE AND SLOW APPROACH

A g a i n , u s e t h e c a m e r a l i k e a n a r t i s t i c m e d i u m . P a y a t t e n t i o n t o h o w y o u r f i l m s l o o k .

R e m e m b e r, o n l y y o u a n d y o u r c r e w c a n d e c i d e w h e n y o u r f i l m i s r e a d y a n d p r e s e n t a b l e .

TIP

TIP





31

Film 4 “Broadcast”S h a r e t h e y o u r f i l m s i n p u b l i c , f o r e x a m p l e w i t h a l o c a l s h o p o w n e r o r p a s s e r s b y a t a p l a y g r o u n d . F i l m

t h e i r c o m m e n t s , c r i t i c i s m a n d a l t e r n a t i v e r e s o l u t i o n s .


: : U n d e r s t a n d t h a t y o u r f i l m s a r e a p ow e r f u l w a y t o e x p r es s y o u r s e l f

: : D i s c o v e r h o w r e a l i s t i c y o u r r e s o l u t i on s a r e f o r o t h e r p e o p l e


Film 4“Broadcast ”





33

^

^

Step B “Reflect”C r e a t e s t o r y b o a r d s o f t h e c o m e n t s y o u g o t .

: : W a t c h t h e f i l ms f r o m t h e l a s t s e s s i o n w i t h t h e s u p p o r t i n g f il m m a k e r s

: : I d e n t i f y t h e i d e a s o f t h e p a s s e r s b y a nd d i s c u s s h o w t o f i l m t h e m b e t t e r


CREAT ING STORYBOARDS

C r e a t e t h e s t o r y b o a r d s a s b e f o r e , t h i s t i m e f o c u s o n t h e i d e a s o f t h e p a s s e r s b y a n d h o w r e a l -

i s t i c y o u r r e s o l u t i o n s w e r e p e r c e i v e d b y t h e m . F i n d t h e s t o r y b o a r d t e m p l a t e i n P a r t 3 o f t h i s

g u i d e b o o k .

TIP

ADDIT IONAL BROADCASTS

S h a r e y o u r f i l m s w i t h m o r e p e o p l e t h r o u g h a d d i t i o n a l b r o a d c a s t s . I t i s m o t i v a t i o n a l , b e c a u s e

y o u r f i l m s w i l l h a v e a w i d e r a f f e c t a n d y o u c a n a c c e s s m o r e d i v e r s e c o m m e n t s .TIP




34

Step C “Discover”R e - f i l m t h e r e s o l u t i o n a n d c o m m e n t s o f t h e p a s s e r s b y.


: : O p t i o n a l l y, i d e a t e f u r t h e r p u b l i c p l a c e s o f wh e r e t o s h o w y o u r f i l m s a n d s c h e d u l e a t i m e f o r i t

: : D e b r i e f t h e F N B w o r k s h o p w i t h e v e r y b o dy

^

CAMERA USAGE AND SLOW APPROACH

A g a i n , u s e t h e c a m e r a l i k e a n a r t i s t i c m e d i u m . P a y a t t e n t i o n t o t h e w a y y o u r f i l m s l o o k .

R e m e m b e r, o n l y y o u a n d y o u r c r e w c a n d e c i d e w h e n y o u r f i l m i s r e a d y a n d p r e s e n t a b l e .

F N B W O R K S H O P D E B R I E F

W a t c h a l l 4 f i l m s a n d s p e a k a b o u t y o u r l e a r n i n g e x p e r i e n c e o f p a r t i c i p a t i n g i n t h e F N B w o r k -

s h o p . R e f l e c t o n y o u r f i l m i n g p r o c e s s a n d t h e s t e p s o f t h e w o r k s h o p . E x p r e s s w h a t w e n t w e l l

a n d w h a t w a s n o t e n j o y a b l e f o r y o u a n d y o u r c r e w .

TIP

TIP


^




35

Filming A New Beginning Closes W e , t h e c h i l d r e n f r o m C h e n n a i a n d I , h o p e t h a t y o u e n j o y e d t h e F N B w o r k s h o p .

T h e c r i t i c a l t h i n k i n g p r a c t i c e a n d t h e p e r s o n a l f i l m l a n g u a g e t h a t y o u l e a r n e d d u r i n g t h e F N B w o r k s h o p i s

y o u r s t o k e e p . I t i s n o t o n l y u s e f u l d u r i n g t h e w o r k s h o p , b u t y o u c a n p r a c t i c e i t i n y o u r e v e r y d a y l i f e a s

w e l l .

R e m e m b e r, m a k i n g a c h a n g e i s a s h a n d s - o n a s m a k i n g a m o v i e . E v e r y b o d y c a n d o i t !

Yo u a r e i n v i t e d t o b e c o m e a f a c i l i t a t o r o f y o u r o w n F N B w o r k s h o p . Yo u c a n u s e s t o r y b o a r d s a n d f i l m s t h a t

y o u a n d y o u r f e l l o w f i l m m a k e r s m a d e d u r i n g t h i s F N B w o r k s h o p a s e x a m p l e s f o r y o u r F N B w o r k s h o p .

H a v e a p o s i t i v e a f f e c t o n p e o p l e , a n d s h o w o t h e r s h o w t o f i l m t h e i r n e w b e g i n n i n g !






Part 3 - Learning Resources

Part 3



The Storyboard Template Page : __ / __

Film title and description :

Location :

Characters :

Props :

Dialogue and Sound :

Location :

Characters :

Props :


Location :

Characters :

Props :


Film director :

Film actors :

Camera person :



39

Using Locations And Objects

W e l l - k n o w n l o c a t i o n s , e v e r y d ay o b j e c t s , a n d c h a r a c t e r i s t i c c l o t h i n g c a n c o n v e y r e a l i s m t o y o u r a u d i e n c e ,

a n d e v o k e a f e e l i n g o f f a m i l i a r i t y i n t h e p e o p l e w h o w i l l s e e y o u r f i l m s . P e o p l e f r o m t h e c o m m u n i t y c a n

r e l a t e t o y o u r f i l m s a n d s e e t h e m s e l v e s i n t h e m m o r e e a s i l y .

A l s o , w e l l c h o s e n l o c a t i o n s a n d o b j e c t s c a n h e l p y o u t o g e t p r e p a r e d f o r f i l m i n g .

R e m e m b e r, n o p u r c h a s e s a r e n e e d e d t o f i n d r e a l i s t i c l o c a t i o n s a n d o b j e c t s .

RUBY, AN FNB F I LMMAKER FROM CHENNAI RECALLS

“ O n e c r e w a c t e d a n d f i l m e d a s i t u a t i o n c a l l e d ‘ w a t c h i n g t e l e v i s i o n a t h o m e ’ . T h e y w o r k e d o u t d o o r s , a n d

s p o n t a n e o u s l y d e c i d e d t o u s e t h e s c e n e , w h i c h w a s f i l m e d b y a n o t h e r c r e w i n d o o r s , a s t h e i r t e l e v i s i o n s e t .

T h e a c t o r s s a t d o w n i n f r o n t o f t h e d o o r a n d t h e t e a m s t a r t e d f i l m i n g . ”

Part 3



40

Using The Camera

T o b o o s t e v e r y b o dy ’ s c o n f i d e n c e i n t a k i n g u p a n y r o l e i n t h e F N B w o r k s h o p , e v e r y o n e s h o u l d l e a r n h o w t o

u s e t h e c a m e r a . E x p l o r i n g a n d t e s t i n g a l l c a m e r a f u n c t i o n s i s a g o o d w a y t o d o t h a t .

E a c h c a m e r a h a s a s l i g h t l y d i f f e r e n t n a v i g a t i o n m e n u , b u t t h e p r i n c i p l e f u n c t i o n s a r e t h e s a m e f o r a l l :

: : Tu r n i n g t h e c a m e r a o n : : V i e w a m o v i e

: : S t a r t i n g a r e c o r d i n g : : A u t o m a t i c s a v e

: : P a us i n g a r e c o r d i n g : : D e l e t e a m o v i e

: : S t o p p i n g a r e c o r d i n g

A N N A , A N F N B F I L M M A K E R F R O M C H E N N A I R E C A L L S

“ A t f i r s t I w a s c o n c e r n e d a b o u t p r o v i d i n g m y o w n c a m e r a t o t h e c h i l d r e n . B u t t h e y a l w a y s t r e a t e d t h e

t e c h n o l o g y a t t e n t i v e l y. T h e c h i l d r e n k n e w t h a t i f t h e p h o n e w o u l d b r e a k , w e w o u l d n o t b e a b l e t o c o n t i n u e

w o r k i n g . T h ey d i d n o t w a n t t o c o m p r o m i s e o n t h a t . ”

Part 3



41

L E N G T H O F F I L M S

S o m e c a m e r a s a u t o m a t i c a l l y s t o p r e c o r d i n g a n d s a v e y o u r f i l m s a f t e r a c e r t a i n t i m e . T h e a m o u n t o f t i m e

d e p e n d s o n y o u r c a m e r a ’ s a va i l a b l e m e m o r y s p a c e a n d t h e d e f i n e d r e c o r d i n g s i z e o f y o u r c l i p s . T h e s i z e

o f y o u r f i l m c l i p s c a n b e c h a n g e d t h r o u g h y o u r c a m e r a m e n u .

MEMORY SPACE

O n l y a l i m i t e d a m o u n t o f f i l m s c a n b e s a v e d o n o n e c a m e r a a t a t i m e . S a v e o n l y y o u r f i n a l f i l m s . Th e y a r e

n e e d e d u n t i l F N B c l o s e s . D e l e t e p o o r l y p r e s e n t e d f i l m s , b e c a u s e f i l m i n g a s c e n e i s q u i c k a n d e a s y . F o r f u -

t u r e r e f e r e n c e s , y o u c a n n o t e i n t e r e s t i n g i d e a s t h a t w e r e i n c l u d e d i n y o u r p o o r l y p r e s e n t e d f i l m s d o w n i n

y o u r s t o r y b o a r d s .

Part 3



42

Filming And Privacy

T h e F N B w o r k s h o p i s a b o u t i n i t i a t i n g a n d p r a c t i c i n g c h a n g e b y e x p r e s s i n g y o u r d i s c o n t e n t w i t h a s i t u a -

t i o n , a n d f i l m i n g a n e w b e g i n n i n g . T h e F N B w o r k s h o p i s n o t a b o u t m a k i n g a n o t h e r p e r s o n f e e l g u i l t y, o r

c r i t i c i z i n g i n d i v i d u a l s . I t i s i m p o r t a n t t o r e s p e c t t h e p r i v a c y o f o t h e r p e o p l e , a n d m a k e s u r e t o t r e a t e v e r y -

b o d y y o u f i l m p o l i t e a n d k i n d .

V I E W I N G F O R M A S M A L L S C R E E N

I n t h e F N B w o r k s h o p , y o u d o n o t n e e d a c o m p u t e r t o s h a r e a n d v i e w y o u r f i l m s w i t h o t h e r p e o p l e . F o r

t h i s , t h e c a m e r a s i s p a s s e d o n b e t w e e n p e o p l e . T h i s m e a n s t h a t o n l y a l i m i t e d a m o u n t o f p e o p l e c a n w a t c ho n e f i l m a t t h e s a m e t i m e . V i e w i n g b e c o m e s a v e r y p e r s o n a l e x p e r i e n c e . A c r i t i q u e o f a n i n d i v i d u a l c a n b e

h u r t f u l .

P R A D E E P, A N F N B F I L M M A K E R F R O M C H E N N A I R E C A L L S

“ M y c r e w a n d I e n a c t e d s c e n e s w i t h o u t t a r g e t i n g p a r t i c u l a r i n d i v i d u a l s . W e o n l y e n a c t e d g e n e r a l c h a r a c -

t e r s . W e w a n t e d t o t e l l o u r o p i n i o n b u t d i d n ’ t w a n t t o a t t a c k a n y b o d y p e r s o n a l l y . ”

Part 3





Filming A New Beginning

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FNB Guidebook