DESN3020 Cinematics Class 06

Project Check-In
Production Planning
Continuity + Shot Composition

Final Formatted Script and Pre-Production Package:

 DUE Wednesday October 10 by 10pm

Production Planning

The following post is again courtesy of the George Brown College Cinematics teaching material. I have made edits, but this material was not written nor compiled by me.  Please read this useful information, and make a great cinematic! 

• Schedule
• Critical Path Analysis
• Gantt Chart
• Asset List
• File Tracker
• Shot List + Frames
• File Organization, Structure, Naming

Schedule

• Important to plan ahead to know when each asset is due
• Helps identify relationships and dependencies between deliverables
• List out ALL of the tasks associated with your project
• Decide order and dependencies (what has to be finished before something else can start?)
• Decide which tasks can take place in parallel and which must be done in sequence.
• Set an end date for your project and work backwards to figure out how long you can spend on each task (this will take several passes to fine-tune)
• Set start dates for each task based on your calculations and assign a maximum length of time to work on a task.

Critical Path Analysis (CPA)

• Way of visualizing schedule to show dependencies, concurrent tasks and bottlenecks
• If too many tasks are dependent on one other task, consider breaking that task down to reduce bottlenecks (or think about assigning more people to the task)
• Create a Critical Path Analysis document:
• Draw a node for each task in your schedule
• Draw arrows from that task to sequential tasks
• Indicate maximum length of task in days on arrows
• Check for bottlenecks and reassess.

Gantt Chart

• Takes the tasks you have outlined in your work schedule and plots them on a project calendar
• Also allows you to assign team members to tasks
• Easily updatable to show current project status and alerts you to any delayed or dependent tasks.
• Can be created using Project Planning Software like MS Project, but can also be done using free software like Google Documents (Spreadsheet)
• For more info on creating Gantt Charts with Google Docs check this out : http://www.youtube.com/watch?v=dp6J6Bw92d4

Asset List

• Start here by listing EVERY asset that must be created for your piece
• Be as detailed as possible, considering:
• models (characters, sets, props etc) 
• rigs, 
• textures
• matte paintings
• audio effects
• special fx
• deliverables (storyboard, animatic etc)
• Once it’s all on paper (or digital) you will create a file tracking document

File Tracker

• This is a document that keeps track of every single file in use for your project.
• Start by taking your Asset List and fleshing it out into specific, individual files (jpgs for concept art, .mb / .max for models, .psd / .pdf for storyboard)
• Include working AND deliverable files
• You can categorize your Tracker for easy searching (Development, Pre-Production, Shot-Production, Post-Production) and sub-categorize as well (characters, sets, mattes etc...)
• Each time a new file is created, add it to the tracker, with who uploaded it, the file name, the file path and a quick description (if necessary)

Shot List + Frames

From your storyboard, you will have a list of numbered shots that will need to be produced.
While creating your 3D Animatic, you will work out how many frames each shot lasts on the master timeline of your scene file
It is very useful to keep track of the start and end frames as well as duration in frames of each of your shots.
Makes for an easy reference when you are trying to find where in a file to look for a certain frame from a given shot and through which camera you should be looking

File Organization, Structure, Naming

• Extremely important!
• Naming conventions and good file organization will save your life!
• In your CMS, decide on a file structure and stick with it.
• File naming can also be crucial (for example naming joints to be able to animate and script effectively). Make sure to communicate constantly with team members to figure out how files should best be organized and named.

A good rule of thumb:
Project Folder > Production Phase Folders > Asset Folders

Example: Rocket 5 Studios "5 Ps" of Production

• GhostHunter
• Planning > Asset Folders (Code, Characters, Environment, Objects, Animation, FX, SFX)
  
• Prototype > Asset Folders (Code, Characters, Environment, Objects, Animation, FX, SFX)
• Production > Asset Folders (Code, Characters, Environment, Objects, Animation, FX, SFX)
• Polish > Asset Folders (Code, Characters, Environment, Objects, Animation, FX, SFX)
• Publish > Asset Folders (Code, Characters, Environment, Objects, Animation, FX, SFX)
  

BAD FILE ORGANIZATION

• Shallow Hierarchy
• Nonsensical
• Disorganized

Bad File Structure

GOOD File Structure

Good File Structure

Continuity And Shot Composition

Any time we look at best practices, guidelines or rules, they can of course be ignored if there is a compelling reason to do so.
Having said that there are some tried and tested standards that exist for a reason

The Line of Action

• The most basic rule of camera placement
• Organizes camera angles to preserve consistent screen direction and space.
• Also useful for organizing the shooting plan.

Think of it as the imaginary partition running through the space in front of the camera.

Originally devised so that if multiple angles of a scene were shot, they could be cut together without a weird or jarring reversal or left and right screen space

Also called the “180 Degree Rule”
 

The Line of Action

In the image above, we want to maintain consistent screen direction of the 2 people seated at the table

• We draw an imaginary line between them.
• Line can be anywhere, but it’s usually the line of sight between characters
• Once established, a working space of 180 degrees is created.
• Only camera angles within the circle are permitted.
• Cameras A, B and C are permitted.  
• Cameras D, E and F would break the Line of Action

GOOD Line of Action

BAD Line of Action

The Triangle System

• When the Line of Action is in use, we use another technique (the Triangle System) as a shorthand way of describing camera positions on one side of the line.
• Proposes that all shots possible for any subject can be taken from 3 points within the 180 degree space.
• Connecting the 3 points, we have a triangle (of varying shape and size)
• Any shot can be joined to any other shot in the triangle system!
• This system includes all basic shot sizes and camera angles in the continuity style.
• Used for all types of situations : from single subjects to action scenes.

Can use one camera that moves to the 3 different angles defined in the Triangle (or 3 static cameras that are cut between).

Triangle System

Can be used to set up Over the Shoulder (OTS) shots. (Camera B is left to handle 2-shots)

OTS

Can be used for Point of View (POV) Close-ups. Camera A and C are moved just inside line of action (or the line of sight of characters).

• Note character offset remains to indicate direction

POV

Can also be used to create profile shots of each character. Dead on.

• Note: Camera angles and frame size can vary

Follow this link for an example of breaking the Line of Action and establishing a new sight line:

• http://www.youtube.com/watch?v=G4KFM_CLoQ0

Establishing a New Line of Action with a New Sight Line

Only time a camera can cross the line of action is when a new line is established.

• One way to do this is shown below

New Sight Line, new Line of Action

• In this last example, the Old Line was established between couple seated at the table.
• A second man approaches and the seated man turns to look at him.
• The New sight line established a new line of action (and corresponding 180 degree area) between the 2 men.

New line establishment usually set up with a shot of the person turning their attention to a new area, person, place or thing.

The pivot shot joins the 2 Lines of Action

Once the new line has been set up, the camera can move across the old line of action as long as the sight line remains with the 2 men (in the previous example)

Still sticking with that last example, you’ll notice the woman is in the new 180 degree space defined by the line of action between the 2 men.

• Even though it’s technically allowed, the next time the woman should be shot, it should be from the old line of action.
• This is the re-establishing shot.
• Usually we will re-use existing lines of action rather than create new ones wherever possible to keep continuity and reduce complication.

Establishing a New Line of Action when a Player Crosses the Line

• Second way to establish a new line is to have 1 of the players cross his/her own line of action.

Actor crosses the line.

• Line of Action was between seated couple
• Working space was on near side of the Line (A)
• Then the man moves into far side of Line (B)
• As soon as man re-establishes eye contact with the woman, the new line of action is established.
• New line overrules old, and again a working space of 180 degrees is created.
• Only rule is that actor’s relocation must be clearly seen in a shot that allows viewer to reorient themselves.

Another choice: Which side of new line of action to use?

• Here we see an alternate setup

Which side of the Line of Action should director choose?

Either of the previous examples is allowed as long as the new space agrees with the pivot shot taken from the previous line of action.

Establishing a New Line of Action when a Player Crosses the Line

Moving a Camera over the Line

• Not only actors, but cameras too can cross the line of action to a new space and new line of action (by pan, dolly, or crane)
• Fine so long as the camera move is uninterupted
• Eyeline does not have to be established and the camera can move from one side of the line of sight to the other without confusion

Moving a Camera over the Line

Cutaways and Bridge Shots

Another way to cross the line to another part of the scene is to interrupt the geography of a sequence with a shot that is clearly related to the action but not the geography of the scene.

• Ex – School Classroom scene with a line of action established.
• We want to cut to a new line of action but none of the other devices we’ve learned will work.
• Cut to close-up of student’s notebook or object of interest. This is the Pivot Shot
• When we return to the larger scene, we can establish a new line of action. This is generally used as quick fix when editing problems arise.

Line of Action for Moving Subjects and Action!

Line of Action generally considered most useful for staging multi-character dialogue.

• Although screen direction is crucial for fast-paced action sequences, unquestioning use of line of action may actually stand in the way of more interesting shot arrangements for this purpose.
• Other methods like Kinetic or Analytical editing may be in conflict with strict Continuity editing style.
• So sometimes more dynamic results are obtained in some sequences if the line is crossed, and screen direction reversed.

Action Sequences

• Commonly no line of Sight to establish the line of Action.
• So Line of Action follows the dominant motion of the subject in the shot.
• In a car chase, the line of action is the motion path of the cars.

In a car chase, the line of action is the motion path of the cars.

If the 2 cars in the above example are alongside one another, it creates another line, the implied line of sight

• The cars become the symbols of the drivers and their line of sight.
• Cars, boats, plane or any other mode of transport that has a driver.

The following images show that when the action is photographed from both sides of the line of motion (Camera positions A,C and B,D), this will result in reversal of screen direction when cut together.

Cuts together like this:

The implied sight line is a special case that overrides the line of motion temporarily.

Otherwise the line of motion is the prevailing rule.

So it may seem that this type of situation was what the 180 rule tried to prevent, it is a common editing pattern even in dialogue scenes where there is both Line of Motion and Implied Sight Line.

“Properly” crossing the line in non-dialogue sequences are essentially the same as those illustrated for dialogue scenes.

• Only difference is that principle line of motion is substituted for sight line.

So there are 3 basic ways to do this:

1. A subject can cross the line, establishing a new one by the direction of new line of motion
2. The camera can cross the line either following a subject to a new scene space or merely for graphic variety to a new view point
3. A new subject can enter the frame and become the dominant line of motion in contrast with the first. (as when the 2nd man arrived at the table earlier).

Crossing the Line while On the Line

• The closer the camera is to the Line of Action, the harder it is to detect when the camera has “crossed the line”.
• Editing 2 shots together that are close to the line of action will result in a reversal of screen direction.
• See the following example

Crossing the Line while On the Line

Crossing the Line while On the Line - camera view.

Traditionally, this would have been avoided, but today we understand and expect challenging editing.

• This reversal is somewhat more startling since the subject is in profile.
• When the line of sight is the same as the line of action, it can help the viewer differentiate between shots.

In Summary:

If you have a solid understanding of cinematic geography, a good overview of the scene and thorough notes on what you will shoot then you will probably not encounter any major difficulties with continuity!