Creative Project

Aims & context, film sequence or short film and reflective analysis (50 marks)

Candidates are required to create a film sequence or a complete short film that demonstrates how the micro features of film construct meaning. This comprises three elements:

(i) Aims and context (no marks)

A clarification of the aims and context of the sequence or short film to be completed on the appropriate cover sheet.

The 'Aims and Context' must be completed on the appropriate cover sheet, otherwise the Creative Project and accompanying Reflective Analysis cannot be adequately assessed.

(ii) Film Sequence or Short Film (40 marks)

The film sequence may either be an extract from longer film or a complete short film, with the emphasis on visual communication rather than on dialogue. It may take one of the following forms:

• an extended step outline of 1000 words (representing 5-8 scenes) (Template & Guidance in individual post)

• a photographed (digital) storyboard of between 15 and 25 different shots (some of which may be repeated) plus up to 5 found shots (shots which would be difficult to photograph or where locations need to be established). The 5 found shots must be acknowledged. (Storyboard Template can be downloaded in post)

• a film sequence or short film of approximately 2 minutes and containing between 15 and 25 different shots (some of which may be repeated).

Group work is permitted for the film making option (maximum 4). Groups of candidates should take primary responsibility for one or more micro features of the sequence (such as camera work, editing or sound). Each candidate must identify their role and the micro aspect they are responsible for on the appropriate coversheet.

(iii) Reflective analysis (750 words = 10 marks)

The reflective analysis should select key micro features of the sequence and demonstrate how they make meaning(s) and aim to provoke response(s) in audiences. Candidates working in a group should focus on the construction and impact of their chosen micro aspect.

The analysis should be presented as a continuous piece of writing, with or without illustrative material.

Weighting of FM1 Creative Project

Starting Point

Before you even begin to think about what project you are going to do, you should start by mindmap ideas for your film. Consider the following:

1. Is your film going to be mainstream or indie?
2. What genre is your film going to be?
1. Here you should consider codes and convention
3. Who is the audience for your film? This should massively impact on the construction of your narrative, characters etc  
4. What the narrative is about?
1. Apply Todorovs narrative theory - beginning, middle (conflict), end (climax)
2. Also consider if it is going to be linear or non linear
5. Who are the characters and how are you going to represent them?
1. Your characters need to be like 'real life' people. They need to have attitude, values, beliefs, past experiences, aspirations
2. Consider their family, life cycle, job, interests etc
3. How would they dress?
4. How would they talk?
6. Where will you set your film (location)?

An idea initially develops into an outline for a story, and as  such may well begin to grow characters. At this stage it is important to keep control of the idea to stop it spiralling off into unstructured developments. This can be done very easily by applying a simple set of questions:

1.  What is the situation? This opens the story and may well be disrupted.
2. Whose situation is it? This defines the lead character (or protagonist)
3. What is the central quest? This relates to the main body of the story and is often defined by a lead character trying to restore what has been disrupted. This is where most conflict and drama arises in a story (and is often described as the conflict)
4. Who stands in the way of success? This defines another principle character, who will be in a opposition to the lead character (the antagonist)

Aims and Context Support

This should be approached like a proposal for your film idea. You should include the following:

• Title: Aims and Context; Extended Step-outline/Digital Storyboard
• Genre: You need to outline the genre of your film. This should include an conventions you intend to adhere to/challenge
• Where are you are taking your sequence from? This should be in direct reference to Todorov’s narrative theory; introduction to the equilibrium/disruption/awareness of the disruption/overcoming the disruption/return to equilibrium
• Who is your target audience? This should include age, gender, other films they would have consumed, whether they like to be challenged, or for conventions to be followed
• What are the key stylistic elements? Consider how you are going to shoot the film; cinematography, editing, lighting etc

This should also be accompanied by a separate sheet which outlines the following:

1. Character development (who are they? What role do they play (villain, hero, helper, etc), what is their past history, their attitudes and beliefs etc)
2. What happens at each stage of Todorovs narrative theory

What is the situation? This opens the story and may well be disrupted

Whose situation is it? This defines the lead character (or protagonist)

What is the central quest? This relates to the main body of the story and is often defined by a lead character trying to restore what has been disrupted. This is where most conflict and drama arises in a story (and is often described as the conflict)
Who stands in the way of success? This defines another principle character, who will be in a opposition to the lead character (the antagonist)

Extended Step Outline

What is a ‘Step Outline’?

A Step outline is a detailed telling of a story intended to be turned into a screenplay for a motion picture. The step outline is used to detail every scene and ‘beat’ of a screenplay’s story, and often has indications of dialogue and character interactions.

Your extended step outline can be broken down in to acts and should follow a standard three-act structure (beginning/middle/end) and be either a complete scene, or an extract from a complete film.

It must also be highlighted that your step outline should not contain any dialogue. The reason for this is to give you space to describe the setting and what is going on without worrying about what is being said or how it is being delivered. You must visualise the setting and the micro-elements without reliance on dialogue carrying the scene and means you will be focused on mise-en-scene, sound and how it may be shot and edited.

Support

Elements	Explanation/Support
The Scene Number	The number of the scene from the entire film.
Slugline	This is essential information, It begins with the designation of INT (Interior) or EXT (Exterior), the location, and whether it is day or night.
Endpoint of last scene	This usually consists of a few lines to ‘set the scene’, and serves as a context for the current scene. It is here that you will see whether scenes flow or not.
Characters in scene	Simply a list of characters (if they are mentioned here then they must be seen in the scene).
‘Point of scene’	This is key to the motivation of the scene and the direction it will take. Behind all scenes there is a key point that is the reason why the scene exists. If you cannot find a point to the scene then the scene should be deleted. The point can be character driven, narrative driven, or merely even structural (getting characters from A to B).
Conflict	Another essential piece of information. All scenes should have some form of conflict, as conflict drives scenes along. Without conflict a scene serves no purpose and so should be excised.
Ending/central question	This defines the motivation at the end of the scene towards which the scene should be written. The question posed serves as motivation for a subsequent scene where the question will be answered and may be resolved.
Key micro elements employed	A list of the ‘key micro elements’ you intend to use.
Scene description	The large section is devoted to ‘scene description (without dialogue)’. This can also be known as the ‘exposition’ This section should offer a concise but visually descriptive focus on the scene’s events. Dialogue is unnecessary here. You should always be wary of writing something that cannot be physically expressed – a thought, for example.

Extended Step Outline Template to Download

Extended Step Outline template from zlorhenley

Example Extended Step Outline

Example Extended Step Outline from zlorhenley

Digital Storyboard

What is a ‘Digital Storyboard’?

The purpose of your digital storyboard is to photograph each and every shot of a short film or extract with a list of key information written underneath so that a director can see how the finished film will look before shooting commences. This allows filmmakers to identify the technical requirements to shoot the film and also gives them the opportunity to revise sequences that seemed like a good idea initially.

Your own digital storyboards must be between 10 and 25 shots in length (some of which may be repeated) plus an additional 5 found shots. (Found shots are shots which are difficult to photograph or where locations need to be established).

You should plan your shots carefully and use the following terminology to clearly identify what type of shot you are presenting:

Angle/Shot Type		Movement/Focus
H/A	High Angle	Track/Dolly	Move camera on wheeled platform
L/A	Low angle	Crab	Sideways move
POV	Point of view	Pull Focus	Change in what is focused on
2-Shot	Two people in a shot	Fade	Shot fades in/out
OTS	Over the shoulder shot	Dissolve	Shot fades in/out and another fades in/out
ELS	Extreme long shot
Long Shot	Long shot
MS	Mid shot
CU	Close up
ECU/BCU	Extreme or Big close up

All digital photographs from your storyboard should be of a ‘standard’ size with each accompanied by an abbreviation identifying what type of shot it represents. The individual shots must also be labelled with the following relevant information:

Shot Number: Each shot must be numbered so that the shot sequence can be followed. Failing to do so can have serious consequences for shooting and editing if it is not adhered to.

Action: Brief description of what is happening in the shot. This allows one storyboard to represent a whole shot. If the shot is radically different from the beginning of the shot to the end you must use multiple storyboards to explain camera movement and label then as A, B, C etc (Storyboard 1a, 1b etc).

Camera: Indicate a shot size/type (ELS, CU etc) and clearly label what is being framed.

Dialogue: Single lines only. If part of a longer conversation only the first line of the conversation should be included.

Sound FX: Indicates specific sounds that will stand out against the sound scape of the scene.

Sounds Atmosphere: The over background sound of the shot used to create atmosphere of a fictionalised location.

Sounds Music: Soundtrack and non-diegetic sounds.

Shot Duration: This is a vital piece of information as it gives the storyboard a rhythm and indicates that the filmmakers have considered the shot-to-shot relationships and the overall relationship of individual shots.

Mise-en-Scene Support

Mise en-scene from zlorhenley

Digital Storyboard Template to Download

FM1 Digital Storyboard template from zlorhenley

Exemplar Work

A Grade Noir Film Storyboard from zlorhenley

Reflective Analysis

Guidance

You will need to prepare a reflective analysis of the complete process (story idea/cinematic techniques used/film sequence or photo-storyboard) involved in this Practical Application of Learning (750 words maximum).

A good reflective analysis is honest, detailed and will cover all aspects of the work you have produced in a concise manner whilst reflecting upon on how far it has met it’s aims. It should not be descriptive (“I did this …..then I did that”) but highlight what was good about it and what parts are weaker, you may also offer solutions to improve the work in light of its intended audience.

You should include:

• A critical approach to the micro features you have used: cinematic techniques/film sequence or photo-storyboard.

• Be critical (positive & negative) of the stylistic techniques used (sound, editing, lighting, camera, mise-en-scene), what aspects do you consider worked well or not so well and why? Would these provoke an emotional response in the audience?

• Assess how well you have applied these. How could you have improved the work? Would your intended audience be capable of understanding your intended meaning/s or enjoy your work? This could be assessed through feedback sessions.

• Discussion of the narrative and how well your message/s were received. Could you have used a more effective structure or varied techniques? Did your audience find it difficult to follow or understand.

• Discussion of the appropriateness of the characters used and whether your choices could have been better. How would an audience respond to them?

• Discussion of the plot and how well your own initial ideas turned out. What improvements could you have made?

• What was your role in the team and what do you consider the strengths and weaknesses are of the aspect of work you produced.

Remember to consider the target audience for the genre of film you have worked within. How would they respond to your ideas?

Exemplar Work

Grade A Reflective Analysis for Extended Step Outline

Throughout my step outline I wanted to use the micro elements of the film noir genre to represent aspects of my key characters. I wanted use to use the cinematography to create visual symbolism as a way to express this, for example in ‘scene one’ I used overhead lighting and positioning of Detective Jones to suggest deceit by concealing half of his face in shadow. I did this to show the audience that this Detective - who is in a position of responsibility and justice - has a darker immoral side to his persona. This scene is the catalyst in the film; it begins the story and sets up the protagonist and his narrative development.

Scene two propels the story further by focusing upon sound. It begins with a ‘soundscape’ of city noise from an urban environment (a key convention of the noir genre), it also symbolises normality and everyday life. Later in the scene Mr S kills a hired gun, this juxtaposition from everyday life to murder and death is a stark realisation that under the veil of everyday life there are criminals that hide in plain sight. In this scene I also use a non-diegetic accentuated heartbeat as the hired man faces death, this is a stereotypical technique used in films such as ‘Crank’ when he is on the pavement in the face of an imminent death. However, upon reflection I wouldn’t have used this technique as it is too clichéd. Although it adds tension to the scene I think it makes the death too drawn out for a character of which the audience have no emotional connection with, I also don’t want to follow this stereotypical overly used technique as it has been used and copied many times. In this scene I also wanted to make the mechanisms such as the lighter, cigar cutter and gun louder and clearer than in reality. This cold, calculating and callus metallic sound is reflective of Mr S’s personality and almost detaches him from human emotions.

In scene three I focussed upon the mise en-scene. The main purpose of this scene was to represent the historical and social context of the film as well as showing the film noir genre conventions. Also another key aspect I wanted to explore was props and performance, using the conversation between Veronica and Jones to show a suggestive flirty side (as a femme-fatale would be represented) to them both and then the impact of his realization as he gets shot at. This gives a good contrast between emotions and I think this small scene works well showing the conventions whilst intertwining it with action and performance.

Scene four explores the use of editing, I wanted to use montage editing to show a distorted representation of time and space, this not only adds interest and pace to a scene but is also used to show the audience detective Jones feeling and memories. I wanted to show an insight into the detective and allow the audience to be able to comprehend and establish empathy with his character. I used white fade in and outs because I thought it worked well with the clinical and pure environments, perhaps not for the bar scene but both the wedding and hospital scene as it gives them an eerie dream like feeling. I like how the white pure memories clash with the dark entrance to his house which is the setting for death and the beginnings of insanity. Straight away the audience know this scene is not happy and pure by the juxtapositions preceding it. This also builds tension and dramatic impact for when the realization does come. Another visual representation I wanted to add in here is how his life is still dark and that in his dingy hotel room it still has the feel of his house from his memories, and that he can’t shake off the dark shadow of that event and his past.

In my final scene I wanted to show performance. I used parallel editing because I felt it gave me the chance to show the performance of two characters as they journey through their emotions and then eventually come together on a split screen, therefore visually symbolising the end to their emotional journey. I think this scene works well, showing both the transformation of detective Jones and the mercy shown by Mr S. This would hopefully give the audience a dilemma and make them question their opinions and stereotypical views based upon the opening scene. The performance here is key and the actors would need to be able to express themselves convincingly for the viewer to feel the gravity of the transformation that is taking place. Jones in an exaggerated and violent, physical performance would contrast with the subtle, but markedly different, manner of Mr S.

Marking Criteria & Cover Sheet

ASSESSMENT CRITERIA FOR FM1: Creative Project

There is a total of 50 marks to be awarded here:  
The sequence = 40 marks
The reflective analysis = 10 marks 

 1. Sequence (extended step outline, storyboard or film) - 40 marks

2. Reflective Analysis - 10 marks

Cover Sheet

FM1 Coversheet from zlorhenley

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