Y3 Dp's Plan - Guidelines - 2009

Y3 DP's PLAN - GUIDELINES - 2009

These are the elements needed for your "DP's PLAN", which is required for review by Camera Tutors by the final production meeting. After we look it over, we will return it to you (please ask for it back if we haven't done so) so that you may refer to it do guide you during your shoot. You will then re-submit it with your essay by the due date specified on the Brief. This is for the mark.

1. ANNOTATED SCRIPT - Any and all notes you may make in the margins concerning such things as: precise time of day (if relevant); location; colour; lighting notes (e.g. - crunchy contrast; soft and dreamy; etc.); camera notes (e.g. - 1 foot above eyeline; wide & close; choppy moves; medium diffusion; etc.); pertinent Director's comments; etc.

2. SCENE BY SCENE JOURNAL - For each scene in the film, create a page (or pages), which contain(s) each of the following sections:

a. EXPLORATION / ANALYSIS (per director) - A short synopsis of each scene. [Explore such things as: who is the protagonist, what transpires in the scene, where does this scene fit into the overall story - or - what is the scene's effect on the story, at what stage in their journey does this scene find our main character(s), describe the emotional tone(s) that this scene communicates, what do the characters feel, what should the audience feel?] 50-200 words

b. DESCRIPTIONS of your OVERALL VISUAL AIMS for this scene and of each shot within it. (Narrative) 20-50 words each section c. DESCRIPTIVE PLANS for achieving these visual aims, shot by shot. (Itemized breakdown) (This is NOT the shot list. It may reference the shot list, but it is your own thinking about how you're going to accomplish what you've described in (b.) above.)

d. AERIAL PLAN of each scene with rough shooting plan (including: where action is staged; where key is motivated from; planned camera positions, etc.)

e. SCENE NOTES - A space for you to write any random photography-related thoughts from your or the Director's head, special requirements, general things to remember about the scene, etc.

3. WHOLISTIC VISUAL APPROACH a. FRAMING / COMPOSITION / MOVEMENT BRIEF (including overall approach to: focal lengths; lens heights; compositional balance; compression & space; depth of field; static or moving camera; quality of movement, if any; etc.)

b. LIGHTING / EXPOSURE BRIEF (including overall approach to: contrast ratio; light quality; filters; etc.) c. REFERENCE MATERIAL (such as photos, drawings or frame grabs from films) which inform and support your visual stylings. d. GENERAL NOTES - A space for you to write any random photography-related thoughts from your or the Director's head, special requirements, general things to remember about the look(s), etc.

4. LOCATION a. AERIAL PLAN of each location from recce. Please indicate at top the location's actual name and address, as well as the

b.

location's script name. Include cardinal directions (N, S, E, W). Indicate area(s) where scene(s) will be shot, and where equipment will be staged. If EXTERIOR: indicate sun path, any major permanent scenic elements (mountains, hills, buildings, etc.) plus any objects which may shadow the sun from your scene (such as buildings, trees, etc.). If there are obstructions which may hamper shooting, be sure to indicate when the optimal shooting times are, and when it would clearly be best to not shoot. If INTERIOR: your aerial plan must include circuit diagram, circuit detail and location of mains board; plus indicate windows (and any other natural light sources). LOCATION NOTES - any notes you may jot down from your own thoughts and/or conversations with the Director which facilitate your shooting in that location (such as best times to shoot towards window, major things that may need to be moved, colours of walls, which floor it's on, need to remove door to shoot from certain angle, that sort of thing).

c. DIGITAL PHOTOS - any digital photos you may have of the location from the recce. Print them and draw over them (on acetate we'll show you how) for discussions with the Director. If you can supply these photos from the rough positions of your planned shots, so much the better.

The above sections which are in left-brackets indicate the items which you'll need to actually sit down and write. Please get on

¾ these as soon as you can. Waiting until the last minute is only cheating yourself of valuable thinking-time.