Course Updates: Week 8

We had a great session last week with Marco and the actors from Truthful Acting Studios. Many of you have expressed the value of these sessions, and I've made sure to pass on the thanks to them. I am also going to do whatever I can to recommend further collaboration with Truthful, hopefully to ensure future courses on directing are a valuable experience for students.

Good luck to Nathan, Jason, Justin Lance, Nick Izvernari and everyone working on their sets this weekend! Let's hope this streak of (mostly) good productions continues!

Happy rehearsals and locking down last minute details to Group D!

Group E - I look forward to seeing more completed notebooks from you all! Don't forget, I won't approve your equipment check-out unless all forms are fully filled out! Keep me posted if anything has changed on your productions, for better or worse.

NEXT WEEK:
Group A will be screening work! Everyone in Group A is required to show something as part of your grade. This can be a rough cut of your film or a longer scene. If you are not that far along, cut together all the dailies from a major scene in your film.

DELIVERY OF FOOTAGE:
The preferred delivery method is a private vimeo link that I can pull up in class. This wastes less materials and takes less time. If you upload to vimeo, please proof-watch your upload and email me the link and password by 9am on Wednesday. If you wish to bring a DVD to class, you may do so. DVDs will be due at class time, Noon.

No footage will be accepted late. "But it's just burning now! I'll have it in a few more minutes" - nope, I won't accept it.

As a class we will be providing feedback, so attendance is important for everyone (aside from being part of your grade)! The opportunity to give and receive feedback is one of the most valuable resources you have as a film student, so take it seriously and support your classmates' work.

For the next month, class time will be devoted to production updates and footage screenings. Though there will be no formal lectures or assignments, attendance is still required and recorded. Screening footage will be required for each group, as noted on the calendar. All group screenings are part of your overall grade.

Next Week: Directing Workshop Continued...

Next week we will continue to work with actors from Truthful Acting Studios, but this time you will be the ones directing the actors!

Here is the neutral scene we will be working with. Please come prepared with several workable scenarios for the scene that you'd like to direct. Keep in mind that the best scenarios are ones which specify the actors' relationship to one another in the scene.  

Also due next week is Group D's production notebooks. GROUP D: you must have every required form completely filled out and signed in order to be approved to rent equipment.

Group A: Heads up! Week after next, we will be screening your dailies or rough cuts!

October 2 - Workshop with Actors, pt. 1!

Tomorrow we begin a two week workshop with Marco and Robb of Truthful Acting studios!

Class will be meeting on the UCF Main campus soundstage, at our usual time. This week, they will go through some directing exercises with actors from their studio. Next week, those of you who would like to step up to the plate, can prepare a blank scene to direct.

Before we begin our work with actors, we will be hearing from Group A about their shoots this past weekend! So Group A, come prepared to dish about your production.

Group C, a reminder that your production notebooks are due tomorrow! All paperwork MUST be signed to be approved for shooting!!

See you tomorrow!

URGENT: VOLUNTEER DEAL MEMO

This form - VOLUNTEER DEAL MEMO has just come down from UCF legal and is now a production requirement for all sets. I'm sorry to throw more paperwork at you, but this covers everyone on your set under UCF's worker's compensation policy. We have been required to have all film students in production use these forms. Even Capstone just got these to add to their paperwork. 

EVERYONE MUST HAVE THE VOLUNTEER DEAL MEMO SIGNED BY ALL VOLUNTEERS (UNPAID) ON YOUR SET - THIS MEANS CREW AND CAST. This does not substitute for your crew and cast deal memos, but is an additional document. 

The form is long, but you need to fill in everything. Accidents happen and these forms will help you and your team if someone gets hurts. 

GROUP A & B: Bring copies to your rehearsals and shoots and fill them out there. 

12 Tips for Working with Non-Pro Teens

12 Tips For Working with Non-Professional Teen Actors

Found the above article today and thought it would be useful for those of you working with teens and especially non-actor teens in your cast. As I prepare my lecture on directing non-actors, I'm finding a lot of the advice is the same as working with professionals. I also think the advice in this article about working with teens could easily translate to working with adults and children.

! Added bonus: Scroll to the bottom of the article for a few good exercises you could try on your sets or in rehearsals to warm up your actors.

See you all tomorrow! Group B, hope you got those notebooks ready for me! : )

Week 5 Recap / Production Book Requirement Changes

Happy Friday!

I hope everyone enjoyed class this week and got a lot out of Tim's lecture, our in-class activity, and John's visit. Below, I have transcribed some of the tips and ideas he touched on in class.

BUT FIRST - A CHANGE TO THE PRODUCTION NOTEBOOK REQUIREMENTS!
It has come to my attention that though you are required to provide proof of your professional cast member in your notebooks, I neglected to write it out as part of the actual notebook requirements. It is stated in the Vow of Chastity but nowhere else. I apologize for this lapse!

From this point forward, make sure to include a headshot and resume (or just resume) of your professional cast member in your notebooks. This can be placed in the section with your cast deal memos. Groups C, D & E will be required to have this element in their notebooks in order to be approved for shooting. Group A & B get a little slack since it's such short notice.

Please email me with questions or concerns. Below are John Goshorn's notes:

BOOK TO GET:

Directing Actors: Creating Memorable Performances for Film and Television by Judith Weston

-Be aware of the emotional strains that go along with directing actors. For those of you directing dramatic performances, be prepared to “go there” with your actors. Think about how you would treat the living, breathing character, if they were in the setting you created and responding to the obstacles you’ve put before them. Working in this way gives your actors the trust and security to let their guard down and give you truthful, affecting performances. Working in this way will also create a bond between you and your actors - this bond can sometimes lead to personal drama on set or down the road - just be aware of this context. 

-Remember that, unlike the other aspects of the film, there is no backup for the director. You alone are responsible for the performances of the actors. John says this (and I second it!) so that you remember that it’s okay to trust your crew to make sure the lighting, camera, sound, etc. is good - but you must make directing the actors your first priority. 

-Some practical production tips to help you get better takes:

1. Consider shooting in sequence, if the option is available to you. It will help your actors maintain their momentum and save time getting into the moment. 
2. Get as close to the action as possible, preferably right next to the camera. As the director, you are the one watching performance, so you must be there to catch every detail! This also helps you stay in the moment with your actors. 
3. Do a HH master shot early on, in addition to your planned coverage. A HH master can often be a safety net in the editing room. Some actors may become tired as you work through your coverage set ups. The HH allows your DP to move in and follow, as certain moments require. It also gives the actors to freedom to do the entire scene and move around as they wish. 
4. Give yourself 30 seconds of pre-roll and 30 seconds of post-roll, if time allows. You can catch so much magic before and after the lines or action. If needed, give your actor something to do in that 30 seconds - like what would the character being doing right before the scene kicks in? What would they be doing right after?
5. Indulge your actors when possible. If you can prevent conflict or tension through diplomatic use of this idea, then do so! Even if every idea the actor gives you on set is crap, find a scene somewhere in your day to let them try it out. 

I hope these tips work for some of you! See you next week!

On Set Direction Tips by Tim Ritter

Here is Tim's presentation from today's class:

Directing Actors

Next week, I will follow this up with additional info about set procedure and tips for directing non-actors!