Tecnicatura y Licenciatura en Diseño Artístico … - ¿Los cineastas nacen o se hacen? - Las cinco etapas de la realización audiovisual (y las tres etapas propuestas por Bordwell)

Universidad Nacional de Río Negro

2017

INGLÉS III Tecnicatura y Licenciatura en Diseño

Artístico Audiovisual

Mg. Carina Llosa

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Sede y localidad Andina – El Bolsón

Carrera Licenciatura en Diseño Artístico Audiovisual

Programa de la asignatura

Asignatura: Inglés III

Año calendario: 2017 Cuatrimestre: 1°

Carga horaria semanal: 4 horas Créditos:

Carga horaria total: 60 horas

Horas semanales de consulta: 2

Horas de estudio recomendadas (extra clase): 4

Profesor: Carina Llosa Email: [email protected]

Programa Analítico de la asignatura

Contenidos mínimos establecidos por Plan de Estudio:

- Lectura de bibliografía en inglés, en especial referida a la tecnología básica para operar

instrumentos y programas.

- Comprensión de textos, redacción y conversación que les permita participar en ámbitos de

discusión e intercambio internacional, ya sea en congresos presenciales o virtuales, foros de

discusión, festivales o convenios de intercambio.

Objetivos de la asignatura:

- Promover la competencia comunicativa y la creatividad en el uso del idioma inglés, tanto en

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forma oral como escrita.

- Permitir el pensamiento crítico y la conciencia intercultural mediante el uso de materiales en idioma inglés.

- Exponer al alumno a materiales en idioma inglés para mejorar la comunicación sin descuidar sus estructuras formales.

- Exponer al alumno a material escrito y oral específico en terminología y contenido, y a situaciones donde deba aplicarlos.

Propuesta Metodológica de la asignatura:

Adherimos a la teoría de Krashen: una lengua extranjera se adquiere (de forma

subconsciente) y se aprende (de forma consciente). Ambos conocimientos interaccionan para

que el alumno se comunique. Por un lado, la habilidad de producir frases en una lengua

extranjera se debe a la competencia adquirida por el sistema de adquisición, el cual es el

iniciador del enunciado. Por otro lado, el sistema de aprendizaje realiza el papel del monitor,

corrigiendo y mejorando el mensaje.

Por lo tanto, las clases tendrán momentos de exposición e interacción con el idioma, para

que el alumno lo pueda adquirir, y momentos de sistematización del idioma, para que el

alumno lo pueda aprender. El material de exposición al idioma deberá ser comprensible

aunque un poco más difícil que lo que el alumno maneja. También es importante que el

alumno se encuentre en una situación relajada, que fomente su motivación y auto-confianza,

disminuyendo su ansiedad, ya que en caso contrario el alumno estará creando un filtro

afectivo que disminuye su capacidad para adquirir el lenguaje.

Por lo tanto, se priorizará la comunicación tanto oral como escrita sin descuidar sus

estructuras formales, promoviendo variadas instancias de práctica, tanto en clase como a

través de trabajos prácticos, necesarias para que el alumno adquiera e internalice las

herramientas que le permitan comunicarse en inglés. Se enfatizará en integrar los

conocimientos previos del campo audiovisual para poder expresarlos en inglés. También se

impulsará a los alumnos a seguir aprendiendo en forma autónoma más allá del curso,

haciendo uso de los materiales multimedia que los rodean.

Forma de aprobación: No promocional

Unidad N°1: Introducción a la realización audiovisual

Número de clase: 1, 2, 3, 4 y 5

Contenidos:

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- ¿Los cineastas nacen o se hacen?

- Las cinco etapas de la realización audiovisual (y las tres etapas propuestas por Bordwell).

- Utilizar el presente simple para hablar de situaciones habituales vs. presente continuo para hablar de situaciones que suceden en ese momento.

-Expresar opiniones, acuerdos y desacuerdos.

Bibliografía obligatoria de la Unidad:

- Film School Online, (2012). Filmmaking 101: Ten Essential Lessons for the Noob Filmmaker.

capítulos 10 y 1.

Bibliografía complementaria de la Unidad:

- LEBEAU, Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Coursebook and CD-ROM. Harlow, Pearson-Longman, unidad 1.

- LEBEAU Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Workbook with key and audio CD. Harlow, Pearson-Longman, unidad 1.

-RAYMOND, Murphy (2007) Essential Grammar in Use, A self-study reference and practice book for elementary students of English. With answers, Cambridge, Cambridge University Press.

- Artículos acerca de cómo filmar documentales:

http://documentaries.about.com/od/introtodocumentaries/Documentary_Film_101.htm

Unidad N°2: Desarrollo

Número de clase: 6, 7, 8, 9 y 10

Contenidos:

- Tipos de películas.

- La historia, el argumento, el guion.

- Planificar un programa de televisión (sugerir, llegar a un acuerdo).

- Profesiones y áreas relacionadas con la realización de películas.

- Uso del pronombre relativo.

- Escribir la crítica de un audiovisual.

http://documentaries.about.com/od/introtodocumentaries/Documentary_Film_101.htm

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- Film School Online, (2012). Filmmaking 101: Ten Essential Lessons for the Noob Filmmaker. Capítulo 2 y 3

- LEBEAU, Ian, KING, David y REES, Gareth (2009). Language Leader Pre-Intermediate. Coursebook and CD-ROM. Harlow, Pearson-Longman, unidad 3

-OXENDEN, Clive. (2008). New English File Iintermediate Students’ book, Oxford, Oxford University Press. Unidad nº6.

-OXENDEN, Clive y LATHAM-KOENIG, Christina (2000) English File Iintermediate Students’ book, Oxford, Oxford University Press. Unidad nº6

-EALES, Frances y OAKES, Steve (2011) Speak out elementary. Londres, Pearson. Unidad nº 8.3


- LEBEAU, Ian, KING, David y REES, Gareth (2009). Language Leader Pre-Intermediate. Coursebook and CD-ROM. Harlow, Pearson-Longman, unidad 2

- LEBEAU Ian, KING, David y REES, Gareth (2009). Language Leader Pre-Intermediate. Workbook with key and audio CD. Harlow, Pearson-Longman, unidad 2

- NAYLOR Helen y RAYMOND, Murphy (2007). Essential Grammar in Use Supplementary Exercises. With Answers. Cambridge, Cambridge University Press.

Unidad N°3: Pre-producción

Número de clase: 11, 12, 13, 14 y 15

Contenidos:

- Casting. Describir y elegir actores.

- Directores. Relatar biografías usando el pasado continuo, el pasado simple y el presente perfecto.


-EALES, Frances y OAKES, Steve (2011) Speak out elementary. Londres, Pearson. Unidad nº 8.2

OXENDEN, Clive, LATHAM-KOENIG, Christina y SELIGSON, Paul, (2005) New English File Pre-intermediate Students’ book, Oxford, Oxford University Press. Unidad nº7


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-Blog de la cátedra con práctica de todos los temas vistos: http://visualelbolson.wordpress.com/ingles-iii/


Unidad N°4: Producción

Número de clase: 16, 17, 18, 19 y 20

Contenidos:

- Descripción y elección de fotografías. Revisión de comparativos y superlativos.

- Uso expresivo de la óptica.

- Dirección de fotografía.

- El sonido en la filmación.

- Redactar un ensayo que compare y analice la fotografía de 2 películas a elección.



- Film School Online, (2012). Filmmaking 101: Ten Essential Lessons for the Noob Filmmaker.

Capítulo 4, 5 y 6

- Video: Film skills – How to shoot a scene part I. Disponible en: https://www.youtube.com/watch?v=y9_LW5H2EC4

-Video: A guide to basic cinematography. Disponible en:

https://www.youtube.com/watch?v=gQnKGXHbgMA

-Video session: The three keys to great audio for video. Disponible en: https://www.youtube.com/watch?v=FoW_a-D6AfE



http://visualelbolson.wordpress.com/ingles-iii/

https://www.youtube.com/watch?v=y9_LW5H2EC4

https://www.youtube.com/watch?v=gQnKGXHbgMA

https://www.youtube.com/watch?v=FoW_a-D6AfE

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- LEBEAU, Ian, KING, David y REES, Gareth (2009) Language Leader Pre-Intermediate. Coursebook and CD-ROM. Harlow, Pearson-Longman, unidad 4


- Práctica extra de los temas del libro “Language Leader”:

http://www.pearsonlongman.com/languageleader/pre-int.html

Unidad N°5: Post-producción

Número de clase: 21, 22 y 23

Contenidos:

-Cortes y transiciones.

-Efectos de sonido.

-ADR.

-Escribir un artículo analizando el montaje en un audiovisual propio o que admiren.


-APPLE, Wendy (2004). The cutting edge. The magic of movie editing (98 min)

-Free Film School.Org. “The Complete Online Filmmaking Reference”. Disponible en

http://www.4filmmaking.com/onlinefilmschool.html




Glosario de cinematografía: http://www.filmsite.org/filmterms1.html

Unidad N°6: Distribución

Número de clase: 24, 25, 26, 27 y 28

Contenidos:

http://www.pearsonlongman.com/languageleader/pre-int.html

http://www.filmsite.org/filmterms1.html

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- El financiamiento de películas.

-Películas de bajo presupuesto.

-Nuevas tendencias en la distribución. Expresar predicciones incluyendo diferentes grados de probabilidad.

- Escribir un artículo acerca del futuro del cine.


- Film School Online, (2012). Filmmaking 101: Ten Essential Lessons for the Noob Filmmaker. Capítulos 8 y 9.

- The future of indie films: direct distribution and keeping your rights. Disponible en: http://filmlifestyle.com/future-indie-films-direct-distribution/


- Práctica extra de vocabulario y gramática con ejercicios que se corrigen online:

http://www.englishlearner.com/beginner/index.shtm l

http://www.englishclub.com/

http://a4esl.org/

http://elt.oup.com/student/englishfile/preint3/?cc=ar&selLanguage=en

Evaluación del aprendizaje En la primera clase se hará una evaluación diagnóstica del grupo, para determinar si necesitan

mayor andamiaje para lograr los aprendizajes propuestos en esta cátedra, o si por el contrario se pueden profundizar los contenidos.

Habrá una evaluación continua de la producción oral del alumno en la clase, y de la escrita a través de los minitests y trabajos prácticos, para lograr un seguimiento de los alumnos que

permita tomar decisiones a tiempo acerca de qué temas se deben reforzar.

Habrá dos evaluaciones de corte (parciales) a mediados y fines del cuatrimestre para integrar los temas vistos. Estas tienen una instancia recuperatoria a fin del cuatrimestre.

Habrá una evaluación oral final integradora. Si el alumno tiene un promedio menor a 7 (siete) en los parciales, también tendrá una evaluación final escrita.

Formas de acreditación Para regularizar la materia el alumno deberá cumplimentar:

70 % de asistencia a las clases

Aprobación del 100% de los trabajos prácticos

Aprobación del 100% de los minitests

Aprobación de ambos parciales con una nota mínima de 6 (seis)

Criterios de evaluación

http://www.englishlearner.com/beginner/index.shtm

http://www.englishclub.com/

http://a4esl.org/

http://elt.oup.com/student/englishfile/preint3/?cc=ar&selLanguage=en

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Comunicación escrita y oral sin descuidar las formas Pronunciación y ortografía comprensibles Uso de vocabulario específico

Trabajos Prácticos Los trabajos prácticos son una herramienta esencial para que el alumno internalice y ponga en práctica los conocimientos vistos en la unidad. Se prevé la realización de 6 trabajos prácticos individuales, que podrán ser presentados en formato de boceto para que el docente pueda colaborar en el proceso de escritura antes de la presentación final. Se deben entregar en formato Word por mail como adjunto, nombre del archivo: APELLIDO ASSIGNMENT n°X TP Nº 1: Una charla sobre un audiovisual Elegir un audiovisual de autoría propia o uno que admiren para explicar detalles sobre su realización. TP Nº 2: Una crítica de un audiovusal Confeccionar la crítica de un audiovisual en aprox. cuatro párrafos. TP Nº 3: Una biografía de un director de cine Redactar en aprox. cuatro párrafos la biografía de un director de cine. Incluir ejemplos de su trabajo, estilo, anécdotas, etc. TP Nº 4: Un ensayo comparando dos películas Redactar un ensayo de aprox. cuatro párrafos que compare y analice la fotografía y el papel que cumple en 2 películas. Incluir conectores de texto, estructuras comparativas y vocabulario específico. TP Nº 5: Un ensayo analizando el montaje de una película Redactar un ensayo de aprox. cuatro párrafos que analice el montaje elegido en una película. Incluir conectores de texto, estructuras comparativas y vocabulario específico. TP Nº 6: Un artículo sobre el futuro del cine Escribir un artículo de aprox. cuatro párrafos acerca de sus predicciones para el futuro en el mundo del cine.

Minitests Al terminar cada unidad, los alumnos harán un minitest escrito con los temas gramaticales y de vocabulario de esa unidad. El propósito de esta actividad es que el alumno pueda incorporar los conocimientos de manera gradual.

Parciales Los alumnos tendrán un parcial al finalizar la unidad 3 y uno al finalizar la unidad 6, con el propósito de integrar los temas vistos. Las evaluaciones serán escritas e incluirán la gramática y vocabulario de las unidades en ejercicios de lectura y escucha comprensiva, uso del lenguaje y escritura de un texto de tres párrafos. Evaluación final El examen consistirá en la evaluación de las cuatro habilidades del idioma:

Expresión escrita Escucha Lectura comprensiva Expresión oral

También se evaluarán los contenidos gramaticales y temáticos y de vocabulario correspondientes al nivel. El examen consistirá en dos instancias, una escrita y una oral que se deberán aprobar con un mínimo de 60% y, de acuerdo a lo establecido en el artículo 33 del Reglamento de Estudios de Sede de la Universidad Nacional de Río Negro, la prueba escrita será previa y eliminatoria respecto de la prueba oral. El examen escrito consistirá en:

Un texto para realizar lectura comprensiva (inglés específico) Ejercicios que evalúen la precisión gramatical Un texto oral para evaluar la escucha La redacción de un texto para evaluar la producción escrita.

El examen oral consistirá en: Presentación de un tema general a elección: El alumno deberá elegir uno de los siguientes temas y

desarrollarlo durante dos minutos: o La biografía de un director de cine. o La crítica de un programa de televisión. o El análisis detallado de una película. o Comparar dos películas.

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o El futuro de la cinematografía: tus predicciones. Presentación de un tema específico a elección: el alumno deberá elegir un tema del libro

“Filmmaking” y deberá desarrollarlo en 2 minutos, utilizando vocabulario específico. El alumno deberá describir una imagen propuesta por la mesa, utilizando la técnica

correspondiente (unidad 4) y el vocabulario adecuado. Interacción entre alumnos: los alumnos deberán interactuar a partir de una temática propuesta por

la mesa examinadora, utilizando las expresiones adecuadas. Interacción con el profesor demostrando tener la habilidad de comunicarse oralmente en el idioma en el nivel correspondiente.

Asimismo, los alumnos (tanto regulares como libres) deberán presentar todos los trabajos prácticos de la materia. Promoción de la materia Los alumnos que hayan obtenido un promedio de 7 o más en los parciales de la cursada promocionarán la instancia escrita, teniendo sólo la oral.

CRONOGRAMA

Date Activity

7-3 Class 1

9-3 Class 2

14-3 Class 3

16-3 Class 4

21-3 Class 5 Revision and minitest

23-3 Class 6

28-3 Class 7

30-3 Class 8

4-4 Class 9

6-4 Class 10


13-4 Holiday

18-4 Class 12

20-4 Class 13

25-4 Class 14


2-5 Class 16 PARCIAL

4-5 Class 17

9-5 Class 18

11-5 Class 19

16-5 Class 20

18-5 Class 21

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23-5 Class 22 Revision and ministest

25-5 Holiday

30-5 Class 23

1-6 Class 24

6-6 Class 25 Revision and ministes

8-6 Class 26

13-6 Class 27


20-6 Holiday

22-6 Class 29 PARCIAL

Class 30 Revision for the final test

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Unit 1: An introduction to

filmmaking Assignment n°1: A talk about an audiovisual

Class 1: Is film school necessary? Filmaking 101- Chapter 10: Is Film School necessary?

1. Read and complete this table:

I agree with I agree up to a point I don´t agree with

2. Underline important vocabulary. Use it to write sentences about you.

Class 2: The five stages of

filmmaking 1. What vocabulary do you remember from last class?

2. Listening: Alejandro Irrañitú shares advice to aspiring filmmakers

1. Listen and answer the questions

1. What filmmaker does he mention?

2. What is the relationship between shooting a film and trying to write a

poem in a rollercoaster?

3. What is the difference between films and other arts?

4. Is a film controllable?

5. What is more important, the vision, mission and a great team or to be

on schedule and on budget?

6. What should you never surrender to?

2. Listen again and write down useful words to talk about filmmaking

3. What advice would you give to aspiring filmmakers?

3. Reading: the process of filmmaking – guided summary

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GUIDED SUMMARY (1) This book is an ……………………………… of the filmmaking process.

This process can be divided into ………………………(Nº) different ……………………… (steps)

DEVELOPMENT

The producer:

a) …………………………………………………………

b) ………………………………………..……………..

The story must be very good. The producer can get the story by:

a) Buying .……………………………………………

b) ………………………………………………………..

c) …………………………………………………………

d) ………………………………………………………..

PRE- PRODUCTION

This period takes place after / before making the film.

The activities they do during this ………………………. Are:

a) Hire…………………………

b) …………………………………

c) …………………………………

d) Find ………………………….

Class 3: The five stages of

filmmaking (2) 1. What vocabulary do you remember from last class? Make sentences using it.

Filmmaking 101 - CHAPTER 1: THE PROCESS OF FILMMAKING

GUIDED SUMMARY (2) PRODUCTION

The leader in the stage is the : …………………………………………………….

He coordinates different craft departments, such as:

…………………………………….: boss: ……………………………………

…………………………………….: boss:…………………………………….

…………………………………….: boss:…………………………………….

The director’s department is composed of: ……………………………………………………………

……………………………………………………………………………………………………………………..

POST-PRODUCTION

In this stage, the filmmakers ……………………………………………………

The sound designers are responsible for ……………………………………………………………

…………………………………………………………………………………………………………………

DISTRIBUTION

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When the film is finished, the film is distributed to different outlets for the public to see.

Some of the considerations of this stage are:

………………………………………………………………..

…………………………………………………………………………………………………………………

…………………………………………………………………………………………………………………

It is best to secure distribution ………………………………………………………………..(when)

CONCLUSION

It is essential to …………………………………………………………………………… to make a movie.

………………………………………………………………………………………………………………………

MY FAVORITE 12 NEW WORDS:

2. Game: guess the stage

3. What is, in your opinion, the easiest, most difficult, most/least enjoyable stage? Why?

Does your partner agree?

Class 4: Present simple vs. Present

continuous 1. Memory game Filmmaking 101 Chapter 1

2. Underline examples of present simple in the chapter you’ve read. Do you remember

the rule? Do you remember the difference between present simple and present

continuous?

3. Present simple vs. Present continuous practice:

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4. Choose ten new technical words and use them in sentences in present simple or

Present continuous.

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5. Listening: Colour in storytelling (0.00-1.31)

a. Before watching: What do you know about colour in storytelling? What stages

are involved?

b. Is “what is color” easy to answer?

c. What is the narrator’s favorite answer to that question?

d. Complete Vittorio Storaro’s words: “film school, ………………. or institutions of

cinema and photography, they ……………. teach us in the knowledge of art

(…) but nobody ………………….. to us the meaning, the ………………… of art

My 5 favorite new words

Class 5: Revision and minitest 1. Complete the mindmap:

Tips for new filmmakers

Development

Preproduction

Production

Postproduction

Distribution

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2. Grammar revision: present simple and continuous

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Unit 2: Development Assignment Nº 2: A review of an audiovisual

Class 6: Developing a film 1. What activities are involved in the development stage?

2. Read this extract from. You’ll like this film because you’re in it. The be kind rewind

protocol (Michel Gondry)

a. What is the purpose of this club?

……………………………………………………………………………………………………………………

b. What is the objective of stage 1?

……………………………………………………………………………………………………………………

c. How long is this stage?

……………………………………………………………………………………………………………………

d. Summarize each step in one sentence

……………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………

e. What do you think of this method?

……………………………………………………………………………………………………………………

f. Let’s try it

My favouite 12 words

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Class 7: Reviews

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Class 8&9: Screenwriting

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Filmmaking 101-CHAPTER 3: SCREENPLAY

COMPREHENSION QUESTIONS

1. What are the main elements of a screenplay?

…………………………………………………………………………………………………………………………….

…………………………………………………………………………………………………………………………….

2. What balance should be achieved?

…………………………………………………………………………………………………………………………….

3. How can the writer achieve this balance?

…………………………………………………………………………………………………………………………….

…………………………………………………………………………………………………………………………….

4. What are the other two elements that cut the story through?

…………………………………………………………………………………………………………………………….

5. Can you explain the difference between inner and outer motivation?

…………………………………………………………………………………………………………………………….

…………………………………………………………………………………………………………………………….

6. What is the conflict in a story?

…………………………………………………………………………………………………………………………….

7. What is the difference between the manifestation of conflict in both, the inner and outer stories?

…………………………………………………………………………………………………………………………….

…………………………………………………………………………………………………………………………….

8. Why is it so important? Refer to the theme in a film.

…………………………………………………………………………………………………………………………….

…………………………………………………………………………………………………………………………….

9. What (with reference to the theme) can turn the story vulgar?

……………………………………………………………………………………………………………………………

My favorite 12 words

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a. What do you remember from this video?

……………………………………………………………………………………………………………………………………………

b. What did filmmakers do before color films to enhance their movies?

……………………………………………………………………………………………………………………………………………

c. What did they want to show initially by using color?

……………………………………………………………………………………………………………………………………………

d. What did they realize later about the importance of color?

……………………………………………………………………………………………………………………………………………

e. Was there only one way to colorize films?

……………………………………………………………………………………………………………………………………………

f. What could they achieve technically by tinting a film?

……………………………………………………………………………………………………………………………………………

g. How did Griffith use this artistically?

……………………………………………………………………………………………………………………………………………

h. What about the psychological effects of colors red, blue and yellow?

……………………………………………………………………………………………………………………………………………

i. What happened when the three strip color technique was developed?

……………………………………………………………………………………………………………………………………………

My favorite 5 new words

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Class 10: Planning a TV show

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! CORRECTION OF DOCUMENTARY ACTIVITIES: chapters 1 and 7

Class 11: revision and minitest

Write the vocabulary that you remember about:

Developing a film

Screenwriting

Suggesting

Agreeing

Disagreeing

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Unit 3: Pre-production Assignment Nº 3: A filmmaker’s biography

Class 12: Famous directors

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Class 13: Filmmaking jobs and

duties Filmmaking 101-CHAPTER 2: FILMMAKING JOBS AND DEPARTMENTS

ANSWER THE FOLLOWING QUESTIONS:

1. Why is filmmaking a collaborative process?

2. Is it necessary for the filmmaker to know the essential elements of each area? Why?

3. How many areas are there? Which are they?

4. What are the functions of an executive producer? Which are the vital two functions?

5. In what cases are assistants necessary?

6. Why is screenwriting important?

7. What are the conventions that the screenwriter must master?

8. Who is the creative leader? What is his function?

9. What can give the director a poor reputation?

10. What’s the job of a cinematographer?

11. Why is production sound a critical area?

12. How does the sound mixer get good quality sound?

13. What’s the job of the editor?

14. SPECIFIC VOCABULARY: REMEMBER

BUDGET- FILMMAKER- EXECUTIVE PRODUCER- ASSOCIATE PRODUCER- LINE PRODUCER- TO

RAISE FINANCING- SCREENWRITING- SCRIPT- SCREENPLAY- SCREEN -CHARACTER

DEVELOMENT- CONFLICT- SET DESIGNER- SCENE- SET- CINEMATOGRAPHER- CAMERA

OPERATOR- TO LIGHT THE IMAGE- SOUND MIXER- AUDIO FILTER- BOOM POLE- MIC/

MICROPHONE- EDITOR- EDITOR- PRINT- DISTRIBUTION- SHOT- SHOOTING- SOUND EFFECT-

MUSIC TRACK- TO RELEASE.

Game: Guess the job or the tool

Grammar: Relative pronouns Look at the examples and complete the rule

Who/that ……………………………………………………………………………………

Which/that …………………………………………………………….……………………

Invent more sentences using who/which so that your group guesses the job or tool

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Class 14: Casting 1. Have you ever organized/taken part of a casting? What do you know

about the casting process?

2. Listening: Language Leader Pre-intermediate 1.24

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……………………………………………………………………………………………………………………………………………

b. What can color separate?

……………………………………………………………………………………………………………………………………………

c. How can color set the atmosphere?

……………………………………………………………………………………………………………………………………………

d. What colors do you associate with cold and hopeless or gritty and dangerous?

……………………………………………………………………………………………………………………………………………

e. What are the different interpretations of red?

……………………………………………………………………………………………………………………………………………

f. What are the different interpretations of green?

……………………………………………………………………………………………………………………………………………

g. Are there rigid guidelines to using colors?

……………………………………………………………………………………………………………………………………………

h. Is an artist greatest tool to greed in psychology?

……………………………………………………………………………………………………………………………………………


39

Class 15: Revision and minitest

40

41

Class 16: parcial

42

Unit 4: Production Assignment Nº 4: An essay comparing two films

Class 17: Subject size Filmmaking101- CHAPTER 4: Subject Size

Read chapter four and complete the mind map

TECHNICAL CONSIDERATIONS: It’s

best to .……………………………..

……………………………………………

……………………………………………

……………..

DEPTH PERSPECTIVE

DEPTH OF FIELD

43

Class 18: Describing images 1. Listening: Colour in storytelling (5.15-7.30)


……………………………………………………………………………………………………………………………………………

b. What are the three key elements to any colour?

……………………………………………………………………………………………………………………………………………

c. Explain each of them

……………………………………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………………………………

d. What happens when you change any of these elements?

……………………………………………………………………………………………………………………………………………

e. What are the 2 implications of color schemes?

……………………………………………………………………………………………………………………………………………

f. Copy the names of the balances

……………………………………………………………………………………………………………………………………………

g. Copy the names of the harmonies

……………………………………………………………………………………………………………………………………………

h. How does Wes Anderson use color?

……………………………………………………………………………………………………………………………………………

i. What other way of balancing colour apart from the analogous color scheme?

……………………………………………………………………………………………………………………………………………

j. How is color used in apocalypse now?

……………………………………………………………………………………………………………………………………………

k. How is color used in Pierrot Le Fou?

……………………………………………………………………………………………………………………………………………

l. What is the effect of the triadic color?

44

……………………………………………………………………………………………………………………………………………


Useful phrases to describe pictures in English

1. Introduction

The photo/picture shows ...

45

It was taken by/in ...

It's a black-and-white/coloured photo.

2. What is where?

In the foreground/background you can see ...

In the foreground/background there is ...

In the middle/centre there are ...

At the top/At the bottom there is ...

On the left/right there are ...

Behind/In front of ... you can see ...

Between ... there is ...

3. Who is doing what?

Here you decribe the persons in the picture or you say what is happening just now.

Use the Present Progressive.

4. What I think about the picture

It seems that ...

The lady seems to ...

Maybe ...

I think ...

... might be a symbol of ...

The atmosphere is peaceful/depressing ...

I (don't) like the picture because ...

It makes me think of ...

http://www.englisch-hilfen.de/en/grammar/pres_pro.htm

46

Class 19 & 20: Cinematography Filmmaking 101- CHAPTER 5: CINEMATOGRAPHY COMPLETE THE FOLLOWING FORM:

CINEMATOGRAPHY:………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………

CINEMATOGRAPHER: …………………………………………………………………………….................................

………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………

DIFFERENCE WITH THE CAMERA OPERATOR: ……………………………………………………………..

……………………………………………………………………………………………………………………

LIGHTING THE IMAGE:

FUNCTION:

………………………………………………………………………………………………………………..….

……………………………………………………………………………………………………………………

IT INVOLVES:

EQUIPMENT: ………………………………………………………………………..

SETUP: …………………………………………………………………………………………………

POSSIBLE VARIABLES: ……………………………………………………………………………………….

……………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………

CAPTURING THE IMAGE: …………………………………………………………………………………

………………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………………

DIFFERENCE BETWEEN:

PAST AND PRESENT LIGHTING EQUIPMENT: ……………………………………………………

……………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………

PAST AND PRESENT CAMERAS: …………………………………………………………………………

……………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………

47



……………………………………………………………………………………………………………………………………………

b. What happens when you throw something in that doesn’t fit the scheme?

……………………………………………………………………………………………………………………………………………

c. What are its effects?

……………………………………………………………………………………………………………………………………………

d. What is the relevance of discordance in the context of the story?

……………………………………………………………………………………………………………………………………………

e. Do we know why does color affect us?

……………………………………………………………………………………………………………………………………………

f. What is the relevance of discordance in the context of the story?

……………………………………………………………………………………………………………………………………………

g. What are the two uses of color? Explain them

……………………………………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………………………………

……………………………………………………………………………………………………………………………………………

a. So what does it imply to turn from red to green?

……………………………………………………………………………………………………………………………………………


48

Class 21: Micing techniques Filmmaking 101- CHAPTER 6: MICING TECHNIQUES MAIN RULES

…………………………………………………………………………………………

…………………………………………………………………………………………

…………………………………………………………………………………………

POSSIBLE PLACEMENTS IN ORDER OF CONVENIENCE:

MICING

TECHNIQUE

DESCRIPTION ADVANTAGES DRAWBACKS

Booming

Pistol grip

Plant

Lav

Camera

mounted mic

OTHER POSSIBILITIES

DESCRIPTION ADVANTAGES DRAWBACKS WIRELESS MICS

MULTIPLE MICS

My favorite 12 new words

Video session: The three keys to capture great audio for video Available at: https://www.youtube.com/watch?v=FoW_a-D6AfE

Ture or false?

Proper Equipment

1. He mentions three types of microphones: lavs, handheld the shotgun.

2. All shotguns are expensive.

3. XLR cables have four pins.

https://www.youtube.com/watch?v=FoW_a-D6AfE

49

4. The signal goes into the mic and need to get into the audio recording device,

which usually is your computer.

5. You attach the XLR cable to the microphone and to your audio recording

device.

6. All cameras have XLR inputs.

7. If your camera has an XLR input, you can use an adaptor.

8. You’ll have to use an audio recording device if your camera doesn’t have a

mic input or much memory.

9. It’s easier to record the audio in the audio recording device than in your

camera.

Proper Placement

1. Have your mic as close to the subject as you can.

2. His shotgun is attached to a pistol grip, which is attached to a boom pole, which

is attached to a boompole holder, which is attached to a grip head, which is

attached to a C-stand.

Proper Monitoring

1. You can you a bumeter to check the sound.

2. If the audio clips, or goes to the top of the meter, you get the best quality

sound.

3. You don’t need to wear headphone if you feel ridiculous with it.

4. The headphones must cover your ear completely and are designed for

D.J.s.

Class 22: Revision and minitest What do you remember from…

Subject Size Cinematography Micing techniques

Complete these useful phrases to describe the picture

50

The photo/picture ………...

…….. the foreground/background you can see / There …...

……… the middle/centre there are ...

………the top/At the bottom there is (...)

……… the left/right there are (...)

Behind/In ………. of ... you can see (...)

It ………….

The atmosphere …….

It makes me ……………. of (...)

3. Listening: Colour in storytelling (11.40)


……………………………………………………………………………………………………………………………………………

b. How can color show the protagonist relationship with another character?

……………………………………………………………………………………………………………………………………………

c. How can you associate characters and colors?

……………………………………………………………………………………………………………………………………………

d. What happens when the character changes colors?

……………………………………………………………………………………………………………………………………………

e. What should you pay attention next time you think about color in your film?

……………………………………………………………………………………………………………………………………………

f. What do you think about Roger Deakin’s phrase: it’s easier to make color look good but

harder to make it serve his story?

……………………………………………………………………………………………………………………………………………


51

Unit 5: Post-production Assignment Nº 5: An essay analyzing the montage of a film

Class 23: Editing image and

sound Video session: The cutting edge: The magic of movie editing (0.00-6.31)

1. Why is editing important?

…………………………………………………………………………………………………………………………………………

2. How were movies made before editing existed?

…………………………………………………………………………………………………………………………………………

3. Why did the Lumiére brothers say “the cinema is an invention without a future?

…………………………………………………………………………………………………………………………………………

4. Why is Edwin Porter important in the history of filmmaking?

…………………………………………………………………………………………………………………………………………

5. What can you do with editing?

…………………………………………………………………………………………………………………………………………

Reading

1. Choose one of the articles:

A: Film editing,

B: Film sound design,

C: Film music,

D: Foley for film.

2. Underline the most important parts of it and get ready to give a talk to

explain your article.

3. Get together with the students that read your same article. Share your

views and design an activity for your classmates who didn’t read the

article and will only listen to your explanations (a true or false? Multiple

choice questions? A crossword?)

4. Share your talk and activities with the class.

52

A: Film editing Making the film after you make the film The film editor gets the final say in telling the story. Now that the pressure of production

is over and the money outflow has slowed from a deluge to a trickle the editor can take

his/her time. Scenes that were shot that are less than perfect can be improved, or at

least the flaws can be hidden.

The best way to learn about editing is to watch lots of good movies. Just like writing a

screenplay every scene is a little story in itself and every scene must be absolutely

essential or is doesn't belong in the movie. The editor must understand the point of each

scene just as well as the director (if they aren't the same person) so they are trying to

accomplish the same thing.

The first step is logging the film. This means watching every scene that was shot and

taking notes on such things as performance quality and technical flaws. Using a non-

linear editing system makes it easy to move the clips associated with different parts of

the movie into directories or bins to begin creating the first rough edit.

Cuts and Transitions Non-linear editing systems typically support hundreds of different transitions and effects.

The only transitions used in movies, with rare exception, are the plain cut and the

dissolve. Other transitions just become distracting to the audience.

Generally, each scene starts with an establishing shot or coverage shot then cuts to

closer shots of the actors and action. During the most dramatic moments the most

extreme close-ups emphasize the drama. As the action speeds up the length of clips

should get shorter. Cuts between clips should be made at the point the actors move.

This tends to hide any slight inconsistency between the shots.

The first rough cut may take several months to complete and there may be several

versions of the rough cut before the director and editor are in agreement.

The sound designer and music composer generally get involved at this point. The

process continues for several more months as unnecessary scenes are removed and the

remaining scenes are tightened. The sound designer and music composer join in for the

final cut, adding sound effects and the musical score.

B: Film sound design Postproduction - Sound Editing A lot can go wrong with your film's sound. Sound is every bit as important to your movie

as the images but almost always get much less attention. Sound is also hard to deal with

because you can't see it and most people don't understand the language of the audio

experts who are trained to work with sound.

An important issue to keep in mind is that in order to sell a film you must not only have

sound that is clear, pure and natural sounding but the various elements of your sound

must also be on separate tracks that synchronize perfectly. The dialog must be on one

track all by itself with as little sound effects and ambient noise as possible and absolutely

no music. The sound effects must be on another track with no music or dialog except for

background voices that do not contribute to the story. All music, including casual street

music and overheard radios and televisions, must be entirely on a separate track. The

reason for this is that in order to show a film in many foreign countries the dialog will

need to be dubbed into the local language. In some cases, it may also be necessary to

use different music if licensing or other local sensibilities require it.

If you don't follow these rules you will likely not be able to sell your film. This should be

too hard if you plan ahead and use a computer NLE editing system that supports

multiple sound tracks.

Common film sound problems Sound is too soft. If the sound was captured from your camera to your computer using

FireWire (i.Line/IEEE1394) then you recorded the sound at too low a volume in your

53

camera. You should have done more tests or been monitoring the sound better. You may

still be able to salvage the sound by boosting the sound levels.

The probably causes were too low a sound volume setting on the camera (or other

recording device), or there may have been a microphone distance problem. If the

microphone was too far from the subject then the sound will be too soft, but even worse,

the quality of the sound will probably be very poor with too much background noise or a

lot of echo.

Very little can be done to save the sound if its quality is poor regardless of the overall

loudness of the sound.

Sound is too loud. When the sound is captured and played it is too loud and sounds

distorted or has crackling noise at the loudest spots.

C: Film music Your film's musical score You're probably going to want to add background music to your film. A basic rule of

filmmaking is that a good music track goes a long way to heighten emotions provoked

by the imagery on the screen and by the dialogue.

In big films the music is performed by orchestras, which can vary in size from a small

chamber ensemble to a large ensemble, even including a choir. The orchestra is either a

studio pickup orchestra, hired by the studio especially for the film, or an established

professional orchestra. Professional musicians in Hollywood make it their living to join

pickup orchestras formed to add the music for a single film. They become very proficient

at sight-reading and can perform almost flawlessly on a first run-through.

The cost of hiring a live orchestra is far beyond the budget of nearly all independent

filmmakers. However, even the smallest films with even smaller budgets can utilize

sampling technology to re-create the sound of an orchestra. This is generally much

cheaper, although many filmmakers try to avoid this since some synthesized music

doesn't have the richness of live acoustical instruments.

A quick search on Google will turn up dozens of companies offering to sell you music you

can use in your film at very low cost. Most sites let you preview the music before you

buy it so you know exactly what you're getting.

Some filmmakers are tempted to use popular music as the primary musical component,

but this can become an extremely expensive proposition. Buying rights to use popular

music can quickly become as expensive as hiring a composer and live musicians. Popular

music gets dated quickly and your idea of a great song is often not everyone's idea of a

great song. Most popular music also tends to draw attention to itself rather than

complementing the action of the film.

In fact, one of the little known secrets of low-budget filmmaking is that you can

frequently get your own music custom composed for your film for little or no cost. There

are starving but talented musicians and composers everywhere who would love the

chance to get a film credit and will work for free if the challenge seems interesting

enough. Start by asking all your friends about what their favorite local bands are. Most

musical groups have sites on MySpace that you can search for.

You will probably want to get someone who understands music on your creative,

filmmaking team. They will probably have some great ideas about how to create the

emotional impact for your film through music.

D: Foley for film Movie sound effects for realism Sound effects, along with music and dialog, go a long way to create the realism

and drama of a movie.

Try watching an action movie with the sound turned off and you'll see what I mean. The

best sound effects are often very subtle such as the crunch of footsteps on gravel or a

key jingling in a lock. Such touches add greatly to the realism of your movie.

54

Movie sound effects should not be recorded during production. Because your film

may be distributed internationally and the dialog could be dubbed in the local language

you should record the sound effects separately. Try to get very clean dialog with no

background sounds during production.

Movie sound effects should always be added during post production. The real sound you

record on location will never sound as real as a good sound effect recorded with

professional gear and enhanced for maximum impact. Actual gun shots sound like a little

pop compared to the roaring cannons we hear in movies.

Good sound effects also enhance your movie's production values. If you can't afford to

film a car crash you can afford to film the hero's reaction to the car crash as the

audience hears the recorded sound of a crash (also enhanced for maximum impact).

Follow that up with a shot of a lone tire bouncing down a hill and you've sold the effect.

A regular source of effects for filmmaking is a stock library, where sounds are stored on

CD. Many common sounds from gunshots to toilets flushing to airplane flying over are

available from these stock library CDs. Almost any sound you can imagine is available

for free or very inexpensively from a sound-effects library.

The rest of the sound effects have to be recorded after the film has been edited. Get

ahold of the best microphone and recorder you can beg, borrow or steal, along with a set

of good headphones. A highly directional microphone, like a shotgun, is best. Experiment

with getting closer and farther from the source of the sound. Closer is usually better.

Trying to find an unusual and original sound? Record the sound of just about any object

being hit, scraped, dropped or otherwise manipulated to create a noise. Also changing

the speed of a recording. You'll soon have that special alien blaster sound.

Ambience as a sound effect Every room and location has a sound. No place is truly silent. Whether it's the sound

an electric appliance or a distant dog barking, we live with sounds all the time. During or

after production your sound recordist should always record a few minutes of the sound

of each filming location to have the background "ambience" available for the sound

mixer.

A constant ambience sound does a lot to cover and smooth out the cuts edited together

from different takes of a scene.

The mixer may also choose to use ambience from a sound library if that better expresses

the drama of a scene.

Personal question: Have you done any of these activities? Did you like

them/Would you like to do them? Why?

Class 24: Video session

! CORRECTION OF DOCUMENTARY ACTIVITIES: chapters 2, 4, 5 and 6

! What do you remember from editing?

The cutting edge: The magic of movie editing (6.32) Why one frame counts

1. What percentage of footage is usually used in the final cut?

………………………………………………………………………………………………………………………

2. How long is a frame?

………………………………………………………………………………………………………………………

55

3. Why didn´t the director and editor of “Jaws” agree?

………………………………………………………………………………………………………………………

4. What experiment did James Cameron do in “Terminator 2”?

………………………………………………………………………………………………………………………

5. Who was Griffith? How did he help the evolution of editing?

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

6. What about editors at that time?

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

Cutting Suspense

7. What elements help suspense?

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

Making the Actor a Star

8. Why does the actor’s performance depend on the editor?

………………………………………………………………………………………………………………………

9. Is it a good idea to invite actors into the editing room?

………………………………………………………………………………………………………………………

10. Why does Spielberg say that the editor is the most objective member of the crew?

………………………………………………………………………………………………………………………

11. How can editing influence a dialogue scene?

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

12. How can editing shape minds?

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

56

The rules

13. What were the typical rules in the 40s and 50s?

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

Breaking the rules

14. How did the French break the rules?

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

15. What about Easy Rider? (till 1.10.05)

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

Fragmenting time and space (1.16.42)

16. How did Griffith’s technique about time and space changed?

………………………………………………………………………………………………………………………

17. How has cubism influenced editing?

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

The 21st Century faster and faster

18. How has the video clip influenced society? What are the different views about it?

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

The Digital Revolution: Cutting within the frame

19. Why does George Lucas say now you can direct the film in the editing room?

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

57

Image editing

Sound editing

Music

Foley

The cutting edge

20. What about previsualizations?

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

The Final Re-write

21. How can editing change the script?

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

………………………………………………………………………………………………………………………

Class 25: Revision and minitest Complete the mind maps with the vocabulary you remember:

58

Unit 6: Distribution Assignment Nº 6: An article about the future of distribution

PERSONAL QUESTION: How do you finance your films? How do you distribute them?

Class 26: new trends in

distribution

Read the article.

Underline the most important ideas

Highlight the new vocabulary

Circle the sentences that express future

THE FUTURE OF INDIE FILMS: DIRECT DISTRIBUTION AND KEEPING YOUR RIGHTS The typical independent film cycle goes like this: project financing, creation, submission to film festivals, promotion by sales agents, pick up by distributors, further exhibitor/theatrical release, then DVD release and video on demand (VOD). For each step in the chain beyond creation, another hand reaches into the pile of revenue a film makes, leaving less money and fewer rights for the creators.

A MAJOR SHIFT IN FILM DISTRIBUTION

Fortunately for us, a major shift in distribution began with the rise of YouTube in 2005 and Netflix Instant Streaming in 2008. YouTube made uploading video accessible, while Netflix had built up enough finance and legal support to make VOD viable. Unfortunately, neither is good enough for independent film. Netflix prefers not to interact with individuals, opting to make large contracts with distributors of films that have massive marketing campaigns. YouTube is, well, YouTube, monetization only becomes viable for a rare few.

FIND YOUR AUDIENCE FIRST

You need to have a specific audience in mind and advertise effectively to them if you plan on using your own VOD website or a platform like Vimeo. Get people excited in a trailer, or elevator pitch.

The reason distributors want to buy your rights is that they think they can sell your film to an appropriate audience better than you can. In many cases, they may be right. But look at Justin Simien. He tested the idea for his film Dear White People in a well-made trailer. This went viral, which drove massive support to his campaign later. When it came to studios

http://filmlifestyle.com/crafting-message-audience/

http://www.dearwhitepeoplemovie.com/

59

and distributors, he was able to choose a financier that let him keep the most creative control.

MAKE AN EFFECTIVE CROWDFUNDING CAMPAIGN

It can serve a dual purpose of raising money and getting promotion. You need to focus on making your video engaging instead of simply asking for money. You can also be more specific: Seed and Spark lets you specify items you need on the set, or services you need from professionals. If crowdfunding is not what you’re looking for, there are often local and international grants.

FILM FESTIVALS STILL RULE

To tell you the truth, you have a big chance that the biggest players like Sundance and Cannes will not pick it up, but if they do, you may have a major distributor approaching you. So perhaps you should take a chance. Depending on the project, you might aim for smaller, local film festivals.

LIFE AFTER THE FESTIVAL CIRCUIT

1.) KEEP SEEKING YOUR AUDIENCE

Viewster is perfect for anime and non-English language films. Fandor can help with more art-house and experimental films. If you have factual/educational material, you may find Curiosity Stream useful. These sites already seek a specific type of audience, which you can use to your advantage.

2.) EXCLUSIVE OR NON-EXCLUSIVE?

Whichever site you choose, you will be forced to decide if you want to agree to use that service exclusively.

How much faith do you have that they will successfully find a target audience for your piece?

How many people go there for content?

The most flexible sites will offer you the opportunity to decide for yourself, so you can keep your video on Vimeo, or your own website.

KEEP AN EYE OUT FOR NEW OPPORTUNITIES

The landscape for direct distribution is changing daily. One newcomer to the scene is ShowUp.

KEEP TRYING

Your grandfather is still right: it takes dedication and time to ensure success. Even with a great idea, it’s not as simple as uploading it somewhere and watching money roll in. You’ll have to be persistent.

Go to local Meetup groups; find others with a passion for film. The best asset in the film industry is friends, and even better, friends with equipment and skills.

ADAPTED FROM http://filmlifestyle.com/future-indie-films-direct-distribution/

http://www.seedandspark.com/

http://www.corp.viewster.com/

https://www.fandor.com/company/about

https://curiositystream.com/#/about

http://www.vimeo.com/

http://www.showup.media/

http://www.meetup.com/

http://filmlifestyle.com/future-indie-films-direct-distribution/

60

61

Class 27: new trends in

distribution

Thoughts on the future of filmmaking and film distribution (available at:

https://www.youtube.com/watch?v=bR0pi1FzLIM)

How do you picture the future of filmmaking and film distribution? Think of:

development, prep, production, post, and distribution

Listen to the video and answer the questions:

1. How does he picture filmmaking in twenty years’ time?

2. What about video games?

3. What about genres?

4. What about distribution?

5. What about DVDs?

6. What about theaters?

Do you agree with his predictions? Write one sentence about each question

(I agree (with the idea) that … because / I agree up to a point with …)

remember to use will-may or might according to how sure you feel about it.

Discuss your predictions with your group

Class 28: Revision and minitest

What vocabulary do you remember about:

https://www.youtube.com/watch?v=bR0pi1FzLIM

62

Class 29: parcial

Class 30: Revision for the final test 1.Talk for about two minutes about your favourite assignment

(LIBRES) Practice at home. Take your time, is it too short? Is it too long? Check the pronunciations of

the words you are not sure about (www.dictionary.com)

While you are talking, it is normal to make mistakes, you can just correct yourself. And it’s also

usual to hesitate and need time to think; remember the time fillers: well, let me think, let me

see, wait a minute, in other words, I guess, I think, in my opinion, etc.

2.Talk for about two minutes about your favourite unit from

Filmmaking 101 Practice at home. Take your time, is it too short? Is it too long? Check the pronunciations of

the words you are not sure about (www.dictionary.com). Remember the PPT can serve you

as a summary.

3.Describe a picture (LIBRES) Practice at home with any picture. Remember that describing the weather and the

appearance of the people that appears in the picture can help you fill the time. Speculate

about the picture.

Useful vocabulary:

o In the background - foreground

o On the left - right of the picture,

o In the middle of the picture

o There are - We can see - They look

o I like the way this one

o It makes you feel

o I think – it seems

4.Interaction Planning a documentary

A discussion:

o “In the future people will only watch films on the net.

Cinemas will disappear.”

o “The relationship between editing and mind shaping.” Useful vocabulary:

o What do you think about…? What’s your opinion about …?

o How about…?

o Do you agree?

o I guess / I believe / In my opinion / Personally, I think

o Yes, definitely – I suppose it is

o I’m not sure – I don’t know

http://www.dictionary.com/

http://www.dictionary.com/

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o I understand your opinion, but

o Personally, I completely disagree

o That’s a good/interesting idea/point, but

o Not at all

o ……….because …..

5.Personal questions The more you talk, the less we ask you… Take advantage of your time to plan a very

complete answer that shows how much you know.

1. Who is your favourite director? Why?

2. What is your favourite genre? Why?

3. What documentary would you recommend? Why?

4. Have you ever organized/been to a casting? Tell us.

5. What type of documentaries do you prefer? Why?

6. What, in your opinion, should a good film director be like?

7. What, in your opinion, should a good film producer be like?

8. What jobs have you done as a filmmaker? Which is your favourite and

why?

9. How do you picture your career as a filmmaker?

10. What, in your opinion, should a good film sound mixer be like?

11. What jobs do you think you’ll never do as a filmmaker? Why?

12. Why did you decide to study here?

13. What film would you recommend? Why? Tell us about the script,

cinematography, soundtrack, montage, etc.

14. What TV programme wouldn’t you recommend?

15. What, in your opinion, should a good actor be like?

16. What kind of TV programmes do you prefer? Mention its characteristics.

17. Have you ever made a film? Tell us.

18. What, in your opinion, should a good screen player be like?

19. What, in your opinion, should a good cinematographer be like?

20. What director do you like the least? Why?

21. What, in your opinion, is the best way to make a film with a low budget?

22. What kind of TV programmes do you prefer? Mention its characteristics.

23. What, in your opinion, should a good editor be like?

24. What film wouldn’t you recommend? Why? Tell us about the script,

cinematography, soundtrack, montage, etc.

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Documents

Tecnicatura y Licenciatura en Diseño Artístico … - ¿Los cineastas nacen o se hacen? - Las cinco etapas de la realización audiovisual (y las tres etapas propuestas por Bordwell)