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Overview of the Interactive Film School
Farther down the screen is an area call What's Taught
Filmmaker Rajko Grlic was
approached about writing a textbook for a masters class in film
directing. But, his experience in the classroom showed that his students
weren't reading assigned textbooks. So he decided to produce a
multimedia text, enabling him to use film clips and sound to demonstrate
the techniques of film and video storytelling.
Like many educational CD-ROMs, this one is set in a virtual classroom
building with each room focusing on a different topic. Students can move
from room to room by clicking on doors and hallways using a computer
mouse.
A short film titled "Pasta Paolo" was written and produced for the
CD-ROM. From the original premise to the final cut, each step in the
production of "Pasta Paolo" is used to demonstrate the concepts and
techniques of filmmaking. Throughout the program, the user can discover
notes from the actual crew on the problems they encountered during the
production.
The film school environment that you enter is one of an actual film
school that's closed for the summer, allowing the user unlimited access
to the entire building, including nooks and crannies that hold the most
useful secrets of filmmaking. Once you enter the film school, you'll
find the deserted virtual classrooms, dilapidated walls are covered with
cobwebs, paint splotches, and graffiti, and chairs and podiums stand
empty. But, as the voice of a narrator explains, all the materials from
last year's film courses are lying around — lecture notes from
professors, completed assignments by students, and pieces of a
student-made film. There's also plenty of virtual equipment to play
with.
To create the film school environment, the team first photographed the
institution's empty rooms and litter-strewn halls. They then "painted"
in, one at a time, each of the papers, posters and objects that belong
in the school using Adobe Photoshop on Macintosh computers. Animations
were added, and over two thousand graphics were created to bring the
School to life. The designers paid plenty of attention to details in the
virtual environment. Some of the graffiti illustrates film-making
techniques, and posters for famous films abound. The paper-towel
dispenser in the bathroom rolls out film trivia.
"I chose the deserted film school to develop in each of the students the
spirit of discovery, of curiosity, and at the same time to offer them a
chance to find their own way," says Mr. Grlic. In fact, the environment
is based on an abandoned mental institution in Athens, Ohio. "It fits
perfectly," quips Mr. Grlic. "I started to think there must be some
secret connection between mental institutions and film schools."
The virtual film school is also a kind of critique on the practices of
some real film schools, says Mr. Grlic. "Many film schools are very
inflexible and kill the student's imagination so that they become
'technical artists,'" he says. The CD-ROM, he adds, "is a shelter which
protects its students and allows them to experience film and decide what
they really want to do."
The film school's course content is found in twelve interactive rooms on
four floors. It's made up of about 1200 pages of information on-screen,
and over 100 QuickTime movies. Rajko Grlic also contacted respected
professional filmmakers and instructors from the world's most famous
film schools. They agreed to write "guest lectures" (some sent video
clips) which are featured throughout the school.
The CD-ROM can also provide rich examples that would be impossible in a
printed textbook. A section on "film grammar" shows examples of what a
tilting shot looks like, as well as a low-angle shot, a zoom shot, and
many others. A lighting studio lets students turn on lights in various
positions to see how different combinations appear through the camera. A
sound-mixing board in the production room lets users hear how the
addition or subtraction of ambient sound and sound effects changes the
feel of a film.
On the second floor of the virtual film school, users walk through the
entire process of making a short student production: writing the script,
auditioning actors, shooting the film, editing it, even adding credits.
Although the abandoned-school conceit continues, this portion of the CD
is essentially an interactive documentary about an actual course Mr.
Grlic gave at Ohio University two years ago. Users can peek at the notes
his students wrote about the process, see what mistakes they made, and
enjoy photographs of zany moments in class.
The CD-ROM is also a reference tool for aspiring film makers, with
listings of film festivals, descriptions of popular camera and lighting
equipment, and a bibliography of recommended books.
The package contains four discs. Discs one and two hold the film school
building, and disc number three is a footage disc. It holds 40 minutes
of digital footage from the student film featured in the program. Music
and sound files are also included, allowing the user to edit his own
version of the film with any desktop editing software. Also on disc
three is a detailed academic syllabus for educators who wish to use the
program to teach a one-year production course. Disc four holds updated
programs and the production hand book in PDF format.
Some professors are considering using the virtual film school in their
courses. "It's much better than the abstraction of a textbook," says
Larry Elin, an assistant professor of television, radio, and film at
Syracuse University. "It's not quite the same as having a real
experience with cameras and lights, but it's pretty darn close."
As a side note: the price of the Interactive Film School is $119.95; the
college (Ohio University) is offering a related on-line course, for
approx. $6,000.
What's taught in
the Interactive Film School?
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Film Grammar Room |
The Visual Units
Shots By Position In The Scene
Establishing Shot
Point-Of-View Shot
Reaction Shot
Shots By Number Of Subjects
Single (One-Shot)
Two Shot
Group Shot
Shots By The Type Of Lens
Wide-Angle Shot
Telephoto Shot
Zoom Shot
Shots By Camera Movement
Dolly Shot
Panning Shot
Tilting Shot
Shots By Camera Angle
High Angle
Low Angle
Bird’s-Eye View |
Shots By Camera Position
Over-The-Shoulder Shot
Head-On Shot
Scene
A Scene Composed Of a Series Of Shots
A Scene Shot (Integral Shot)
Sequence Shots
Coverage
Master Shot
Coverage Shots
Reverse Angle Shots
Triangle Principle
Continuity
Imaginary Line
Framing
Extreme Close-up
Close-up
Medium Shot
Medium Full Shot
Full Shot
Wide Shot
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Match Cut
By camera position
By subject movement
By dialogue
Film Punctuation
Fade Out
Fade In
White Out
Cutting To Black
Color Fade
Dissolve
Composition
Light, Color
Camera Angle
Camera Movement
Object/Character Placement
Recommended Reading |
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Equipment Room |
Scriptwriting Room |
Research Room |
Light Metering
Lighting Studio
Equipment Binders:
Cameras
35mm Cameras
16mm Cameras
Camera Distributors
Lenses
Video Cameras
Film Stock
Kodak
Fuji
Ilford Film
Film Labs
Sound
Nagra
Sennheiser Microphones
Sennheiser Distributors
Grip And Lighting
Arri Compact
Arri Daylight
Arrisun 12 Plus
Fresnels
Arrisoft
Arrilite
Kino Flos
Steadicam
Demos
16mm Bolex: parts & loading
Shutter, iris, & aperture -
Formats & aspect ratios
Recommended Reading |
Definitions
Scriptwriting Computer
Story
Pasta Paolo Story
Step Outline
Treatment
Step-outline Treatments
Literary Treatments
Pasta Paolo Treatment
Grande Illusion Treatment
Script - Pasta Paolo
First Draft
Final Draft
Script Format
Script Page Layout
Front Page Layout
Computer Software
Script Registration
Scriptwriting Exercise
Lectures
“How To Write Short Films”
by Lew Hunter
“Just For Laughs: Writing The
Short Comic Script”
by Andrew Horton
“Plotting Conventions”
by Kevin Scott
“On Aristotle’s Poetics”
by Wojtek Chojna
Recommended Reading |
Reading
Newspapers And Magazines
Books
Pasta Paolo Reading
Documentary Film
Body Language
Looking & Watching
People
Body Language
Television News
Documentary Films
P.P. Looking & Watching
Listening
People And Their Language
Music Of The Area
Pasta Paolo Listening:
Dialogue, Music
Experiencing
Videotaping
Video Exercises
#1 Camera As A Sketchbook
#2 Study Of Characters
Lectures:
“There are plenty of intriguing, funny and surprising ideas
buried in everybody’s memories” by Yvette Biro
“The Short Film: How To Prepare For It”
by Srdjan Karanovic
Recommended Reading |
|
Pre-Production |
Crew
Producer
Director
Editor
Assistant Director (AD)
Director Of Photography (DP)
Camera Assistants
Camera Operator
First Assistant Camera
Slate Person (Loader/Clapper)
Gaffer
Key Grip
Continuity Person
Sound Crew
Sound Recordist
Boom Operator
Sound Mixer
Storyboard Artist
Set Designer
Prop Person
Costume Designer
Makeup Artist
Casting
Where To Look For Actors
Where We Looked for Our Actors
Head Shot And Resume
P.P. Headshots And Resumes
Auditions
Callbacks
Making Callbacks for Pasta Paolo
Rehearsals
Video Exercises
Casting
Improvisation |
Set And Costume
Design
Location Scouting for Pasta Paola
Set Design for Pasta Paolo
Set Designer Notes
Props
Hand Props
Pasta Paolo Props
Set Props
Costume Design
Pasta Paolo Costumes
Makeup
Pasta Paolo Make-up
Script Visualization
Shooting Script
Pasta Paolo Shooting Script
Storyboards
Examples Of Other Storyboards
Pasta Paolo Storyboards
Shot List
Pasta Paolo Shot List
Video Exercises
One Scene Shot In Two Ways
Video Storyboard
Lectures
“Legal Basics For Independent Filmmakers” by Susan H. Bodine and
Jose I. Luzurrango
“Steps In Preparation Of A Short Dramatic Film From The Producer’s Point
Of View” by Robert Nickson
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Scheduling And Budgeting
Script Breakdown for Pasta Paola
Scheduling for Pasta Paola
Budgeting for Pasta Paolo
Blank Production Forms
Location Survey Checklist
Camera Report
Budget
Script Breakdown
Crew Deal Memo
Cast List
Crew List
Contact List
Location Release
Talent Release
Script Supervisor Report
Cast/Scene No. Breakdown
Daily Call Sheet
Pasta Paolo Producer’s Notes
Recommended Reading |
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Library |
Film
Festivals |
Film
History Room |
Resources
Course Outline
Printable Files
Websites
Film Schools
Film Commission Offices
Books
Recommended Reading |
List of
Festivals Worldwide
List of Student Festivals
Lecture:
“Some Remedies For Festival Fever”
by Arsen Anton Ostojic
Scene from “The Bird Lover” |
Lecture:
“The Speedy Gonzales History of Film”
by Dan Muggia
Recommended Reading |
|
Production Room |
Post Production |
Blocking The
Actor
Pasta Paolo Blocking
Staging The Camera
Camera/Sound Setup
Rehearsing The Shot
Shooting
Director’s Commands
Phrases To Inspire Your Crew
Takes
Lecture
“How I Made My First Professional
Short Film” by Goran Dukic
Recommended Reading |
Editing
technology
Film
Video
Digital
Editing process
Assembly
Rough Cut
Final Cut
Editing Exercise
Sound
Building Sound Tracks
Sound Effects
Pasta Paolo Sound Effects
Music - Pasta Paolo Music
Mix Questionnaire
Mixing
Interlock - Pasta Paolo Mix |
Titles
Laboratory
Negative Conforming
Negative Timing
Optical Sound
Answer Print
Release Print
Lectures
“Music For Films & Film Music
Editing” by Suzana Peric
“The Mysterious Law of 2-1/2”
by Walter Murch
“Clear Density/Dense Clarity”
by Walter Murch
Recommended Reading |
|
Restroom |
Academic Syllabus |
Disc
3 Footage |
Film Trivia Game
Persistence of Vision Demo |
Included on Disc 3 is a
course syllabus for running a one-year film production class
based on this CD-ROM set |
Disc 3 contains
QuickTime video footage and sound files for creating your own
edit of the film created for this CD-ROM, “Pasta Paolo.” These
files may be copied and used with any QuickTime editing
software.
Assembly Cut (24:00 min.)
Rough Cut (8:32 min.)
Final Cut (7:46 min.)
Sound Files:
Sound effects and music for use in creating your edit of “Pasta
Paolo |
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Screening Room |
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Film: “Pasta Paolo”
Two reviews of the film
Diploma |
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Click Here to Return to Interactive Film School Main Page
What Is Your
Refund Policy On the Master Film School?
Since CD's and DVD's can be
copied and then returned (which we have had some problems with people
doing), there are no refunds on the Master Film School. Defective items
will items will be exchanged for the EXACT same item. There are NO
exceptions to this policy.
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