Developed by

with contributions from

Supported by

2

STUDY GUIDE

Introduction What is FaceBC? Welcome to FaceBC, a youth digital video project! Created by Vancouver’s Pacific Cinémathèque and presented in association with Portrait Gallery of Canada, a programme of Library and Archives Canada, and the Vancouver Art Gallery, FaceBC is an exciting project funded by a Multiculturalism Program of Citizenship and Immigration Canada and community partner 2010 Legacies Now. Over two years, youth from across British Columbia participated in workshops and digital filmmaking intensives where they created short video portraits of themselves, their communities, their culture and their province. Fourteen communities from across the province took part in this extraordinary project. Guided by expert facilitators, participants engaged in critical dialogue about culture, landscape, identity, and how these ideas intersect. They visited galleries, discussed art and film, and developed their own ideas about creating meaningful digital art. Conversations led to scripts, scripts became shot footage, and over the years thousands of shots were molded into 57 distinct short videos and one behind-thescenes documentary. Each project explored its participants’ identities, and each community expressed its unique culture and perspective in an innovative and exciting way. Along the way, the face of BC started to take shape, burgeoning into a mosaic of places from around the province, and people and cultures from

around the world. We are thrilled to welcome you to this digital study guide, and hope that you will enjoy this resource. Your DVD contains films from the FaceBC project, a photo slideshow, and this PDF, which is paired closely with the Behind-theScenes documentary, The Making of a Video Self-Portrait. This resource gives you instructions for activities and learning exercises, and outlines the logistics of taking video production into the classroom. Through these practical resources, we hope to offer educators, community leaders and students the necessary tools to take part in thoughtful conversations, and to help them find meaningful ways to express themselves through the medium of digital video. Digital filmmaking is an exhilarating, exasperating, intensely meaningful experience for students and mentors, and if the idea of engaging youth in this educational experience intrigues you, you’ve come to the right place. The main rule of thumb is that no one size fits all – you know best what will work for you and your students. Whether your project is similar to FaceBC, or you’re simply looking for a way to integrate video into your existing curriculum, this study guide will provide activities and techniques that have worked for us, and hopefully will work for you too. We’ll give you some realistic ideas of what to expect if you embark on this creative adventure: the impact and lasting effects that can come from exploring self expression, storytelling, and team building through video production. We wish you the best in your projects, and welcome you to FaceBC. STUDY GUIDE

3

What is Pacific Cinémathèque? Pacific Cinémathèque is a not-for-profit institution dedicated to the understanding of film and moving images in both the Canadian and international contexts. Through screenings and the provision of educational services and resources, Pacific Cinémathèque fosters critical media literacy and advances cinema as an art and a vital means of communication in British Columbia and Canada. The Education Department at Pacific Cinémathèque is a national leader in the production of innovative film and media resources for the education community. Visit us at http://education.cinematheque.bc.ca.

A word from our partners at Vancouver Art Gallery The Vancouver Art Gallery was founded in 1931 and is today the largest art gallery in Western Canada. It presents major exhibitions from groundbreaking contemporary art to historical masters and has a permanent collection of 8,430 works reflecting art making in British Columbia set within a national and international context. The Gallery works to preserve its collection and make it and other visual art accessible to a wide range of audiences. The Gallery believes art is a site of discussion and debate and that one of the Gallery’s primary functions as a public institution is to provide a forum for the exchange of ideas. The Gallery is both a

4

presenter and a producer of art knowledge, creating original scholarship and providing tools for making sense of art. The Vancouver Art Gallery teen program was thrilled to participate in Face BC. The project provided the opportunity for students to be engaged with and challenged by original works of art, which addressed issues of identity, culture and a sense of place. In doing so, it offered a foundation for students to enrich and extend their own ideas, their own voice, about these subjects and to further expand the possibilities for the creation of their own video projects.

Study Guide Credits The FaceBC Study Guide was written and designed by Liz Schulze, with contributions from Maureen Zetler, Vancouver Art Gallery, and Pacific Cinémathèque’s website inpoint.org, written by Corin Browne, Stuart Poyntz, and Analee Weinberger. Liz Schulze is the Education Manager at Pacific Cinémathèque, and has been engaged in media literacy and video production for over a decade. Her BFA in Film from Simon Fraser University focused on documentary cinema, and her work with both Pacific Cinémathèque and the Royal Conservatory of Music’s Learning Through the Arts™ program have given her the opportunity to work extensively with youth and educators across the country in digital video production and media literacy.

STUDY GUIDE

Table of Contents 3

Introduction

6

Planning a Digital Filmmaking Project

11

Part 1: So You Want to Make a Movie…

26

Part 2: Different Learners, Different Styles

35

Part 3: The Funneling Process

39

Part 4: From Script to Screen

52

What People Had to Say About FaceBC

53

Additional Resources

54

FaceBC Film & Study Guide Credits

Curriculum Links The FaceBC Digital Study Guide can be used to achieve prescribed learning outcomes in the following subjects: English 11 & 12 Drama (Film and Television 11 & 12) Social Studies 11 & 12

STUDY GUIDE

5

Planning a Digital Filmmaking Project Starting any youth video project requires three main components: a good plan, digital filmmaking equipment, and an understanding of how youth-produced video will differ from mainstream media. Let’s get started with the plan.

The Plan The accessibility of digital filmmaking has made it possible to begin video projects quickly, cheaply and easily, which has led to both incredible successes and great disappointments. Achieving success is easy with a realistic, well-planned approach and an ability to be flexible and creative in the moment. We’re starting our study guide with a few considerations to help you create a project plan to support you throughout the process. A good digital filmmaking plan is like any other good plan: it has factored in a multitude of dynamics that will impact the process and the outcome, and contains backups and solutions ready for the inevitable problems which can, and do, occur. Your plan is going to be specific to you and your students, and should include the following components: o Project goals (for curriculum, technical, and artistic skill development) o Schedule (including research/instructional time, writing, production planning, filming, editing, exporting, and final exhibition) o Required Resources (technical, human, and other) o Budget (video tapes, DVDs, props, costumes, hardware, equipment purchase/rental, and final exhibition costs) Despite the best intentions, our experience with digital filmmaking has taught us that there are plenty of “unexpected” factors that affect a project, for which (with time and experience) we have learned to add time and consideration in our plan. The following page provides you with a chart exploring some of the most important elements to consider. This will help to set you up for a successful digital filmmaking project. 6

STUDY GUIDE

Factor

What Project Elements are Impacted?

What are the overall thematic and educational goals of your project?

- Length of allotted research/instructional time. - Length of allotted writing/pre-production time. - Length of videos – what and how much content needs to be covered? - Integration of activities/requirements into production (ex. video content needs to answer questions). - Content of technical workshops. - Project criteria and possible rubric. - Length of videos. (1 day project time = approx. 30 sec. fiction screen time or 20 sec. documentary screen time). - Production quality. - Editing software employed (use simple software for one-day to three-day projects, and ideally more professional programs for longer projects, depending on participant age). - Length of the videos. - Production quality. - Length of video workshops/activities. - Group size and dynamics. - Camera, sound, and computer equipment used. - Editing software employed (use simple software for youth 6-13, and ideally more professional programs for youth 14 and older). - Production quality. - Need for guest experts or technical support. - Production quality and youth/educator expectations. - Technical workshops required. - Need for guest experts or technical support. - Project duration (not surprisingly, technical issues can use up extensive amounts of time – planning ahead can significantly improve this issue). - Production quality (Lighting and sound equipment significantly affect the final product, and should be considered in project planning). - Project duration (if video or editing equipment need to be rented). - Length of videos (if video or editing equipment need to be rented and project duration is affected). - Production quality. - Project duration. - Need for guest experts or technical support. - Need for parent volunteers.

What specific skills (critical thinking, technical, artistic) do you intend to develop?

How many hours or days you have to devote to the project? NB. A good rule of thumb here is to assume that your project will take 1 1/2 - 2 times as long as you initially imagine, unless you and/or your group have engaged in video production before. What are the ages and capabilities of your participants?

What is your experience level in video production? What is your access to technical resources video equipment, sound equipment, computer editing stations and software – and where can you get help with this during technical troubleshooting? What is your budget? NB: Digital filmmaking can be done very cheaply, but there are some costs (tapes, DVDs, guest experts, or even purchased/rented equipment) that you should plan for. What are some problems you can expect to encounter, and how can you overcome them?

STUDY GUIDE

7

Digital Filmmaking Equipment With every passing year, high quality video equipment becomes more affordable and accessible to the average consumer, youth, and educator. This creates an exciting, if sometimes confusing, situation. Youth seem to be the experts as an endless stream of new technologies, equipment, and jargon are incorporated into our media-saturated lives. The key to remember is that while new gadgets and gear are exciting, they only add on to the fundamentals that have existed since the advent of photography in the early 19th Century. Technology also doesn’t change the structure of a successful youth-produced film. We’ll be exploring these fundamentals in detail in the Technical Skills and Visual Language section of this guide, and here will simply present a few broad categories to consider when choosing which equipment you’ll use:

Digital Video Camera There are many different types of affordable digital video cameras available, and in this everexpanding market it’s key to consider only a few factors: o Compatibility with your computer & editing system: the most important factor to consider is whether or not the camera you use is fully compatible with your editing system. The best way to find out? Test it in advance. For this reason, if youth bring their own cameras, insist that they connect their camera to the computer and import test footage before filming their project. This will help to ensure a smooth post-production process. o Recording medium: miniDV tape, internal hard drive, miniDVD, or DVD. If you’re choosing between cameras, we recommend either of the first two options, which don’t automatically compress (and reduce the quality of) the footage you take; o Image Quality: 3-Chip, HD, HDV, standard definition… so many options and so many technologies! Just remember that the best cameras for youth productions don’t offer extensive gimmicks, but instead offer good image quality and a nice optical zoom function. Ask an expert on this one, online or in a store, and definitely be sure to look for a good quality lens. And if you’re hoping to broadcast the videos on television, ensure that you do choose HD, the new basic standard; o Ease of use: Look for cameras where the White Balance, Manual Focus and Iris/Exposure buttons or menus are easy to access. Plan to have one camera for every group of three to six youth (this number is needed to adequately crew a video shoot), and ensure that everyone in the group knows how to use it.

8

STUDY GUIDE

Sound Sound equipment is, sadly, most often overlooked. External microphones and boom poles make a big difference to the sound of a project, while on-board camera microphones can only - unfortunately - offer the worst option in sound quality. Work with the best you have, secure a quiet set, and make sure that filmmakers use headphones to monitor the sound. The key is to listen intently and record another take when the sounds they are intending to record (dialogue and natural sounds within the scene) are too quiet, too loud, or too muffled in the midst of other sounds in the environment.

Lighting Great lighting can transform a boring scene into a visually stunning sequence. At this phase, simply provide groups with bounce-boards (large white surfaces for reflecting soft light onto a dark area), practicals (lamps or other lights to use within the scene), and ideally a small video lighting kit for indoor shoots (if possible). Lighting can be as simple as choosing a frame with some dark areas, highlights, and in-between shades. This invites the eye to examine various areas of the screen, while not being overly distracting.

Editing System and Computer Hardware/Software Most of the time you use what you have access to, but no matter what your editing system, here are a few things to consider about editing software and hardware: o Editing Hardware: Mac or PC computers are equally capable of creating incredible projects. Just make sure that you are using computers with plenty of RAM and hard drive memory to ensure smooth editing (at least 50 Gigabytes per project, or more if necessary). If you’re using an external hard drive, another tip is to only edit using a Firewire 400/800 connection. Anything less stable (like a USB connection) can cause problems and can also crash or freeze your computer while you’re working. o Editing Software: We use simple software (such as iMovie or Moviemaker) for projects that span the equivalent length of one to three full days, and ideally more professional software (such as Final Cut Pro or Premiere) for longer projects, depending on participant age and skill levels. Other software exists, however the online support for these tools is extensive and they are easy to learn and use. If you haven’t got editing software, check out Open Source Cinema, in our Additional Resources section; o Back-ups for Work: Be sure that you create duplicate back-ups of work during or at the end of each project, using an external hard drive or by creating a Data DVD of the project files or final, exported QuickTime file. Prepare in advance by obtaining DVDs or an external hard drive with lots of room. STUDY GUIDE

9

Youth-Produced Film and Video While not a genre in the traditional sense of the word, youth-produced film and video has a distinctive set of characteristics when the production process does not follow traditional Hollywood structure and content. The following provides a set of guidelines for understanding and teaching youth-produced work from a youth-focused perspective:

What defines youth-produced film and video? o o o o o

o

o

o o

Self-conscious and reflective about the lives and experiences of young people. Presents a distinctively non-Hollywood, non-adult point of view. Provides a medium for youth to express their thoughts, feelings and views in a creative and expressive way. Produced collaboratively, with a focus on democratic production process. Mentored by experienced, trained peer video makers, and engaging, actionoriented instructors. Produced through principles of “situated practice” and youth focused pedagogy. Built around story - with an emphasis on exploring or challenging traditional narrative structure. Video is usually the medium rather than film. Short! Most youth-produced videos are under 10 minutes, largely due to the context in which most of them are produced (in-class or after-school programs with limited budget) which means the video makers must grapple with issues of character development, story arc, and verisimilitude in under 1/10th of the time of a feature length film. Youth can discover the freedom of this short format, and rather than feel limited by it, take the opportunity to explore single important events, or one or two central characters.

The main goal, for your purposes, is to help youth develop their own voice, independent of the mainstream media they often consume. Well-written satires and parodies are certainly engaging, but are simply one form of expression. Youth projects can also encourage truly personal stories that allow youth to explore unconventional means of visual storytelling on their own terms. Adapted from Characteristics of Youth-Produced Film and Video, inpoint.org

10

STUDY GUIDE

Part 1: So You Want to Make a Movie Technical Skills and Visual Language The beginning of any video project is an exciting time! Filmmakers are energetic and usually are filled with the indefinable essence of potential. There are always the basics to cover: introductions, icebreakers for new groups, group dynamics, project outlines, and the expectations and standards that you are setting. One of the things we always work towards – starting with our first moments with the group – is developing high standards for the project. Exceeding youth video standards can be tough; easy-to-use technology and online video sharing have generally decreased the production values that youth find acceptable. At this point, emphasizing quality over speed and quantity is key; it’s better to create a well-produced two-minute video than to produce four minutes that no one (not even you) is truly excited to watch. All of this notwithstanding, the creative process is always worthwhile. Expectations should guide the process, but the energy, effort and creativity put in with first-time video production is definitely the most important factor. This begins with the first hands-on component: technical training.

Camera Training Every camera system is different, but the fundamentals remain the same: camera anatomy, accessories, displays, and tripod use all need to be covered in guided educator workshops. Knowing the camera and how to use it is key to getting useable footage that new filmmakers can be proud of. One key point to remember is that all members of the group should learn every skill. This is not only a practical technique for ensuring everyone’s engagement and skill development, but it also builds a sense of inclusion and ownership over the project which will be invaluable as the video progresses.

STUDY GUIDE

11

Understanding the Equipment The beginning of camera training is learning all the components of the camera body, including the following: o The On/Off button – This powers the camera, and in some cameras also switches the camera between digital still and digital video record settings; o The Record button(s) – Often found in more than one place, and almost universally colored red; o Zoom In/Out Button(s) or Ring – Adjusts the zoom, or focal length, of the camera’s lens; o Auto/Manual setting switches, including the Auto/Manual Focus and Auto/Manual Iris buttons. The Iris button adjusts the aperture, and affects how much light enters the camera. It is measured in units called f-stops (f/1.4, f/2…f/16) where the somewhat confusing rule of thumb is that the greater the number, the smaller the aperture and the less light entering the camera; o Shutter Speed – Controls how long the shutter remains open to capture each frame. This can be used to allow more light into the camera (in low-light settings by setting the speed at 1/30 or 1/15 second) but which can also create a “flicker” effect in low shutter speeds (as with early films filmed at shutter speeds of 1/15 second and played back at 1/24 second). This is sometimes preferable to increasing the Gain, described below; o Gain Setting – Digitally boosts the amount of light in the resulting image. This creates a pixilated look in the image and its use is strongly discouraged; o ND (Neutral Density) Filter – Manually and neutrally (without color adjustment) reduces the amount of light in the resulting image. In bright, outdoor settings, the addition of the ND filter can be a lifesaver; o White balance – Adjusts the camera’s internal setting for color temperature to compensate for different light colors. For example, sunlight appears blue on-camera compared to indoor light, which appears orange. The white balance can be adjusted to preset indoor/outdoor settings or to a custom-setting (which we always do) to ensure that all the footage you take has the same hue; o Menu screen – This is where other universal record settings are adjusted (for example, standard or widescreen settings), and where further changes can be made. It’s best to consult the manual and experiment with these before your project begins. o Viewfinder & LCD screen – These are the visible verification of all the settings you adjust. Treat them as a double check for filmmakers, before pressing the Record button.

12

STUDY GUIDE

Ensure that all filmmakers learn and practice the following: o Safely inserting and ejecting the tape (if applicable); o Inserting and ejecting the battery; o Becoming familiar with all LCD Display Elements (no tape/tape length remaining icon, battery level icon, Auto/Manual Focus Indicator, Auto/Manual Iris Indicators, and the Audio Monitors & Frequency (N.B. This setting should be at 48K, and the levels should generally be between 2/3 to 3/4 of the meter, with just moments in the red. If the levels stay there, the audio levels need to be turned down.) In o o o o o

addition, learning how to use the Tripod is an important step. Need to know skills include: Raising and lowering the legs and any other areas of the tripod; How to attach the base plate to the camera and mount it on the tripod securely; How to level the tripod; How to secure the levels without moving the tripod’s location; Tripod safety when the camera is on the tripod – being 100% sure that the camera is properly secured, that tripod legs are stable and locked, and that there is no chance that the camera will fall off.

Once students have experimented with the camera and tripod, it’s time to move onto the basics of digital videography.

STUDY GUIDE

13

Keeping Your Eye on the Frame: Basic Cinematography Skills First we’ll start with the actual viewers that allow us to set the frame: the traditional viewfinder and the LCD display, which many young filmmakers prefer. It’s true, the creation of the LCD (liquid crystal display) viewfinder was an exciting moment in digital filmmaking. But as it can have hidden consequences for the process and the final product, virtually all digital video cameras still have traditional viewfinders; each tool comes with its own pluses and minuses that are useful to know.

LCD

Viewfinder

Benefits

Challenges

Collaborative filmmaking with your group; Larger screen for focusing; Information on display screen. More accurate framing; Ability to adjust the diopter (viewfinder’s small lens) for people with glasses to see clearly without glasses; Information on display monitor.

Rapid battery drain; Potential for issues with framing (not 100% accurate representation of the captured frame). Hard to share the shot, so often groups fight over control; Adjusted diopter can lead to out-offocus shots.

The next step in creating a fantastic image is to focus on building four key skills: focus, framing, white balance and exposure. Focus, framing, white balance and exposure: it’s a kind of a mantra to learn, which serves as a checklist to take into filming. Every one of these should be adjusted and verified before the Record button is ever pressed. 1. Focus – they key here is to adjust the camera to a manual setting and have the camera operator adjust the focus as necessary for each shot. While the tendency for first-time filmmakers is to assume that the camera’s auto-focus setting will do a better job (and make life easier), in almost all cases the opposite is true. One way to explain this is to remind the students that the camera has neither a brain nor psychic abilities – only the filmmakers themselves know where (and on what subject/object) they want their focus, and they should be the ones to set it. After the frame is set, simply zoom into 14

the subject, set the focus, and zoom back out to the original frame. 2. Framing – We will go over the framing in detail in the section on Cinematic Language, on the following page. The key in considering framing is to keep it simple: choose a type of shot, ensure that you follow the Rule of Thirds, and go with your gut. Most of us have a great sense of what looks good and what doesn’t; taking the time to really look at the frame as a group will give students a chance to create a beautifully composed image.

STUDY GUIDE

3. Exposure (Light & Darkness and the Iris) – As was mentioned earlier, the Iris adjusts the aperture, and affects how much light enters the camera. As with the focus, the same tendency for first-time filmmakers to assume that auto-iris best applies here, and is equally dangerous. There is a drastic difference between the camera’s iris and human eye. The best way to demonstrate this is to present a situation where the camera’s autolevels could work (two people sitting at a table indoors), and another where you must manually set levels (a window plus an indoor object near to it – you can’t expose for both, so the filmmaker must choose). Always encourage the Manual settings, but at the very least help new filmmakers to see when the auto-setting can destroy a shot. 4. Color (White Balance) – The easy trick here is simply to get youth to reset the White Balance every time they move the camera to a different lighting setup, no matter how subtle or insignificant it may seem. The phrase, “We’ll fix it in post [or editing],” is never more dangerous than here, where color-timing in post-production can take extended amounts of time… and still not match! To demonstrate all of these skills and why they’re each important, hook up the camera to a television’s RCA inputs (yellow, red, and white) and play with each setting to experientially show students how changes in settings look. It’s fun, engaging, and definitely the most efficient and effective way to teach these skills.

Cinematic Language The first step in learning cinematic language is to give names to the metaphorical letters of the filmmaker’s alphabet: the types of Shots. We’re going to start here with a list of the types of shots, and an explanation of why we use them. o

o

o

o

o

o o

o

Wide Shot (WS) – Wide shots show the full scene, allow the viewer to determine the landscape of the exterior/interior, and establish all the people in the scene. This is why a Wide shot at the beginning of a scene is called the Establishing Shot. Medium Shot (MS) – Medium shots generally frame the head and torso, to clearly identify the subject the audience should focus on. They also provide more detail to cue the viewer to what in the scene requires our attention. Close-Up (CU) – Close-ups show emotion or detail, and add significant emphasis to the subject of the close-up. Extreme Close-Up (ECU/XCU) – Extreme close-ups give extreme detail and are a rare, exaggerated shot to draw attention to something specific. Two-Shot – Two shots feature two subjects in the frame – generally in either a Wide or Medium Shot. Three-Shot – Three shots feature three subjects in the frame – generally a WS. The Western/Cowboy Shot – The Western is framed at the knees, slightly from below, and shot from far away so that mainly only the subject is in focus. This shot mimics the point of view of the showdown partner. Birds Eye View – This shot looks down on the subject, indicating the power dynamics of the scene.

STUDY GUIDE

15

o

o

Camera Movement Adding another layer to the cinematic language is the information conveyed through camera movement. Acting as our guide for where to look on-screen, the movement of the camera can enhance the viewing experience and allow filmmakers to give a specific focus to our audience. Here are the specifics of camera movement and why we use them: o Pan – Camera movement along a horizontal axis (left to right, right to left, or both). Pans are often used to show the audience new information contained in the direction the camera is moving, or to follow a moving subject. o Tilt – Camera movement along a vertical axis (up and down). Like the pan, this is often used to reveal information contained in the direction the camera is moving, or to follow a moving subject. o Zoom – Camera movement that zooms in or out on a subject or object. The zoom can be used to draw us into or out of a moment subtly (using a slow zoom), or to add dramatic emphasis or even comic value (zooming quickly). o Tracking Shot – Any shot which follows a subject using either a handheld or a wheeled device for the camera (make sure that there are at least four wheels 16

Worms Eye View – This shot looks up at the subject, also indicating the power dynamics of the scene. Over the Shoulder (OTS) – Over-the-Shoulder shots are symmetrical shots from the left and right, over the shoulder of one person, looking at another person in conversation or interaction. They are often used to indicate a relationship between the two subjects. on the dolly or wagon as two to three wheels definitely won’t work safely). In both cases, a spotter is required in addition to the camera and sound operators and actors. Tracking shots are usually chosen when the filmmaker wants to follow a subject (or object) to keep the story moving. The key rule of thumb is that while it always seems easy, properly filming a moving shot can take up to five times longer than the average still shot on set. It’s best to use camera movement sparingly, for practical reasons, and also to keep it fresh for the audience.

Rules of Composition The next factor to consider when planning a shot is to learn the basic rules of composition. The film frame is like a canvas, and as viewers we are accustomed to seeing that canvas organized in a specific way. Here are the rules that filmmakers usually follow in frame composition: o Rule of Thirds – Imagine Tic Tac Toe lines across the camera’s frame. Using this design, the subject’s eyes (and often their whole body in-frame) should fit along these lines. The human eye naturally gravitates towards the top

STUDY GUIDE

o

o

o

third of the frame, and framing using the rule of thirds allows us to easily make eye contact with the subject’s eyes along the upper horizontal line of the Tic Tac Toe grid. Lead Room – 2/3 of the frame ahead of a moving or looking subject should be empty space, allowing us to see what is coming up (in a moving frame) or what they are looking at. Negative space – Empty spaces within the frame will draw the eye and can create visual tension – we wonder if something is coming or someone is about to fill that space. As a result, this tension should be used well – either the space should be filled later in the shot, or the tension should be used intentionally. Eyeline – The direction the character is looking should match the reality created by the film, so if one character looks left in the frame, the person that they’re looking at should look right. This rule can be tricky in its application, so the best way to imagine it is if you were to pan back and forth between two people in conversation in front of you. Check out the example below:

o

o

o

o

Depth of Frame – Using the corners of the frame and using content in the foreground, middle ground, and background allows us to put the action on all planes. This allows us to efficiently use our frame to tell the story. It also better mimics the way that we see the world, in three rather than two dimensions. Leading lines – Lines within the frame can draw the eye toward the subject, clearly indicating the focus point in the frame. Planes of Focus – Manually shifting the focus in a frame can emphasize various elements in the foreground, middle ground, and background. Forced Perspective – This technique is achieved by shooting someone/ something far in the background and then placing an object or person extremely close up in the foreground. This forces the perspective, making the person/object in the background appear small and the object in the foreground appear much larger than anything else in the frame.

Shot 1: Subject #1 is framed in a Medium Shot, looking frame right.

Shot 2: Subject #2 is also framed in a Medium Shot, looking frame left.

Together, similar framing, and ensuring that Subject #1 and Subject #2 are looking “towards” each other in the two different frames, creates a matching eyeline. STUDY GUIDE

17

Scavenger Hunt Activity This activity gets filmmakers to apply all the skills learned about the basics of camera equipment and cinematography, and puts them to the test. Here are the Rules: 1. Your time limit is 30 minutes! 2. Each shot must be at least five seconds long, with five seconds of black recorded between each shot. 3. Compose each shot meaningfully, framing the shot carefully and remembering the Rule of Thirds. 4. Do not use camera movements unless indicated. 5. Use manual focus only – no auto focus allowed.

6. Remember that before you record, you must check all of the following: focus, framing, white balance and exposure.

Here are your Required Shots: ! CU of your group members’ names printed ! CU of water running ! CU of a bouncing ball (follow the ball) ! CU of a working clock ! XCU mouth smiling ! MS of a reflection ! MS “color bars” - something red, blue, and yellow ! WS of someone entering frame right, exit frame left ! WS of playground or swing set ! OTS of Person A - Person B approaches and tells a joke ! PAN of someone running like their pants are on fire! ! TRACK a student down the hall ! TILT from name of a building to someone walking towards camera ! WORM’S EYE VIEW of something interesting ! BIRD’S EYE VIEW of something interesting As • • •

a class, review the scavenger hunt footage and critique it based on: Focus Framing (Composition, the Rule of Thirds, and the successful use of tripods) Exposure (Light & Darkness and the Iris) • Color (White Balance) 18

STUDY GUIDE

Cultural Identity Workshop & Brainstorming Activities There are an endless variety of activities one can do to jump-start critical thinking in youth participants. Our project focus was on cultural and personal identity, and so our introductory activity on this topic worked to get youth thinking about personal and cultural identity in new ways. We have provided you here with a variety of activities we used, and while your project content may not be the same as ours, the basic principles can be applied to a variety of topics.

Cultural Identity – Introductory Activity o

o

o o

Participants will first think, then turn to a partner and share their answer to the following question: What do you think cultural identity means? Ideas will be shared with the group and charted to track the general ideas. Key points to make sure to cover include: o What defines you, what’s around you, and what contributes to who you are; o Nationality, regionalism, and the integration of those concepts into the concept of cultural identity. interpretation of that; o Interaction of cultures and the fusion of many cultures to form a mosaic of cultural identity; o Various interpretations of multiculturalism, including the melting pot and mosaic concepts. Brainstorm of all the cultures (national, racial, regional, or otherwise) that participants would use to self-identify. (eg: Newfie, Canadian, Micmac, German, British Columbian, South Asian, Asian, etc.) Choose one randomly selected color to stand for each. Explain the difference between the melting pot and the idea of a cultural mosaic. Invite participants to create a drawing that symbolizes their own individual cultural heritage in a mosaic, using only those colors from the charted list that connect to their own unique cultural identity. Have students use no more than 30 minutes to do this, acting spontaneously and intuitively to create an artistic image. o Once these creations are complete, each student will explain their work and their choices (colors, symbols, and drawings) to the rest of the group. Discussions of equality, representation, visibility, and selfidentification are encouraged.

STUDY GUIDE

19

Art Gallery Activities Part of the FaceBC experience was a visit to an art gallery or cultural institution, to allow participants the opportunity to see other artists’ work on identity, culture, and (most importantly for new filmmakers) how to translate abstract and theoretical ideas into concrete artistic practice. An exciting, inspiring, and creative visit, gallery trips significantly informed the videos produced in FaceBC. For students in the Lower Mainland, these visits occurred at the Vancouver Art Gallery, where facilitators guided tours and engaged youth in activities to feed concepts of identity into the creation of their videos. The activities below were provided by the Vancouver Art Gallery, examining visual art, and aimed at enhancing participants’ comprehension of artistic techniques and approaches.

Activity: Multiple Perspectives Objective: Students look at ways of constructing a non-realistic or imaginary landscape as a way to think about multiple perspectives and fictional landscapes. Discussion: The Group to Seven were artists who early on started to break down the picture plane, flattening and rearranging space through use of shape, color and brushstroke. We might find space compressed and flattened, or see multiple viewpoints simultaneously. Many artists working in photography today use digital technology to construct artificial landscapes. We read the resulting images as if they are real spaces, but on closer inspection we find that they cannot truly exist in space or time. Materials: • old magazines • paper, markers, crayons, pencil crayons, scissors, glue • the Internet: http://www.monteclarkgallery.com/artists/ScottMcFarland/Main.html http://www.scottcmcfarland.com/ Process: 1. Have the class look at some images by Scott McFarland. His photographs include numerous separate shots that he has “stitched together” digitally. 2. Ask students what tells them that this is not a single image (clues: shadows falling in multiple directions, the same figure recurring within one image, fruits and flowers signifying different seasons appearing on trees in the same image). 3. Ask students to think of ways to construct an outdoor scene containing conflicting elements. Examples could include kids dressed in snow gear in a beach scene, a car driving down a ski run, a baby in a bird’s nest... 4. Have students work in small groups to create an imaginary collaged landscape containing impossible elements, as seen from multiple perspectives. The aim is to make it look seamless and as real as possible. 20

STUDY GUIDE

5. Have students cut out images from magazines and construct their landscape. They can use markers or pencil crayons to shade and hide abrupt edges, and add extra details like shadows. 6. Display the work. Conclusion: Discuss the work using the following questions as guidelines. • Which parts of the landscapes look like real spaces? Which parts look fake? Which parts of the landscape look as if they could be inhabited? Why or why not? • What choices did you make about space when you were creating your work? Follow-up: Invite a proficient student or guest to demonstrate how to combine two or more digital images to make a new, seamless image.

Activity: Oh! Canada Objective: Students look at the construction of a Canadian national identity through artworks as well as commercial advertising, and create their own version of what it means to be Canadian. Discussion: One of the Group of Seven’s primary concerns was to present a Canadian national identity through their paintings. Students will think about more contemporary (and perhaps more relevant) notions, perceptions and stereotypes of what it is to be Canadian. For many people the northern wilderness is viewed as an integral part of the Canadian identity. How the wilderness appears in our culture reveals a great deal about the ways we see and understand ourselves, as well as the places in which we live. Is it possible for images — from paintings to television advertising — to shape a sense of national identity? To what extent are cultures and nations identified by their artistic achievements? Materials: • Copies of the “I am Canadian” advertisement (see next page) • Access to the Internet and the following video: http://www.coolcanuckaward.ca/joe_canadian.htm • Images by Scott McFarland and the Group of Seven from books or the Internet STUDY GUIDE

21

Process: 1. Discuss with students, asking them: • What/who is a Canadian? • What does it mean to be Canadian? • What ideas/symbols/representations do you think are typically Canadian? • What stereotypes of Canadians do you think are true? Untrue? • Vancouver schools have the highest ratio of children of immigrants in the country. How are various ethnicities and cultural identities included—or in conflict with—this idea of a Canadian identity? 2. As a group, watch the Molson Canadian beer ad. Discuss with students, asking them: • What ideas in the previous discussion are in the ad? What is missing? • What would you add? Change? Leave out? 3. This has been one of the most popular advertisements of all time in Canada. Discuss with students, asking them: • Why do you think this ad has been so successful? • What are the components of this commercial? Break down words, visuals, sounds, music... • Can you think of other ways Canadian Identity is presented through contemporary advertising, music or other art form? 4. Have students look at some artworks by the Group of Seven and Scott McFarland. Ask them to discuss: • What notions of identity are represented in their art? • Are there any connections between this work and the Molson’s ad? What? How? • What symbols/representations/stereotypes might or might not have existed in these artists’ times? How are these shown in the artists’ work? • What ideas of Canada do you think come across successfully in their works? • Which ones do not come across at all? 5. In small groups, have students rethink what it means—for them as individuals—to be Canadian, and create their own piece of work. It could be in the form of a poem, a poster, a performance, a song, or whatever they choose. 6. Have them present their work to the class. Conclusion: Have students discuss what they discovered about the various interpretations and meanings of national identity as revealed by their classmates. Follow-up: There are some pretty funny—and sometimes raunchy—spoofs on the Molson’s ad on YouTube. Older students might want to check these out, or you might want to find some that you consider appropriate to share with the students. 22

STUDY GUIDE

I AM CANADIAN Hey, I’m not a lumberjack, or a fur trader... I don’t live in an igloo or eat blubber, or own a dogsled... and I don’t know Jimmy, Sally or Suzy from Canada, although I'm certain they’re really really nice. I have a Prime Minister, not a president. I speak English and French, not American. And I pronounce it “about,” not “a boot.” I can proudly sew my country’s flag on my backpack. I believe in peacekeeping, not policing, diversity, not assimilation, and that the beaver is a truly proud and noble animal. A toque is a hat, a chesterfield is a couch, and it is pronounced “zed.” Not “zee,” “zed”! Canada is the second largest landmass! The first nation of hockey! And the best part of North America. My name is Joe! And I am Canadian!

(This Molson Canadian ad first ran in 2000 and became an instant pop culture hit. Today the text appears on T-shirts, posters and hundreds of Internet sites.)

STUDY GUIDE

23

Screenings of Cultural Identity-Focused Short Videos & Films This section is crucial to youths’ understanding of the means of expressing cultural identity in a visual format. The key to a successful screening is the showing of videos that differ not only in content, but also in style and genre. Documentary, experimental, and narrative fiction can be shown, hopefully with different topics and visual styles to provide variety. This will help the youth to develop a broader palate than most of them have started with. The FaceBC Digital Study Guide offers some of our youth produced videos to get things started, and of course YouTube and TeacherTube are other fantastic resources. While there were a total of 58 FaceBC films, those included in the Digital Study Guide were selected to provide a broad variety of styles, genres, and subject matter to best support classroom screenings and discussions. Those included on the DVD include the following: Breathe – A video poem about making time in life for more than just To Do lists. Muse – The painter’s brush expresses the beauty of nature and the complexity of the city. Trick – Exploring the intense, rhythmic, and stylistic world of tricking. We Are Who We Ain't – Three young women find confidence in their own identities. Mo's Day – An intense day of bullying takes its toll. The Streets – A re-enactment of one immigrant youth’s real-life tragedy. Shadow Dance – Four diverse youth dance to their own drum. Seventh Generation – A fictional story of hope from one of Canada’s residential schools. When Love is Lost – One young woman copes with pain and solitude. Encounters – Music and culture connect a community. Communication – One youth aims to open the door to inter-generational communication. A Culture of Culture – A tongue-in-cheek analysis of culture at a microscopic level. Where Did Everything Go? – Nature and the city combine to create communities that inspire. Imperfect Fit – So many life choices… walk a mile in a few different shoes.

24

STUDY GUIDE

In their filmmaking groups, youth should watch short videos like those included on the FaceBC Digital Study Guide, and then engage in discussion to start thinking critically and analytically about video as a medium. Possible questions include: o Identify the main themes present in the video. Basically, what was this video about, in your opinion? o Explain how you feel this film/video addresses (or does not address) cultural or personal identity. What techniques are used to address these themes? o What do you think was the filmmaker’s intended message? Try to summarize the message in one sentence. o Do you think that the message of this video was best communicated by the style used? Why or why not? o If you were the Writer of this film, what would you keep the same and what would you change? Why? o If you were the Director of this film, what would you keep the same and what would you change? Why? o How did the use of landscape, colour, set decoration, sound, image, and dialogue support the expression of cultural identity in this short video? o Is the “voice” of the filmmaker present in this video? What devices are used to allow us to see and hear that voice? o Is the “voice” an honest and authentic voice? Why or why not?

STUDY GUIDE

25

Part 2: Different Learners, Different Styles Anybody’s who’s ever stood at the front of a class knows: no one method engages every student. But the exciting thing about video production is that there is room for everyone! Different styles of learners all have something they can focus on, becoming an expert and a valuable member of their filmmaking group. From our experience, the key strategy in keeping all your participants engaged in the process is to find out the strengths of each filmmaker and be prepared to create groups very strategically. Due to the relatively short timeline of most filmmaking projects, we often match the activities we’re assigning to the individual who can shine the most in that role. Of course, you may choose to do the opposite if you have an expanded process, or if you’re excited to work on skill development and you think that your participants are up for the challenge. All bets are off when a new group forms and undertakes a major creative project, but since you know your students, this section will help you to develop a plan that will work best for you. Each phase of production is crucial: Pre-Production, where the planning happens; Production, when groups record footage and sound, and; Post-Production, when editing and final project exporting occurs. At every phase, individual learners have a chance to shine, and groups of filmmakers are challenged to collaborate, communicate, and make decisions as a team. The documentary accompanying this guide gives you an overview of the entire filmmaking process so that you can best look ahead, strategically create your groups, and assign your activities as you see fit. This section aims to help you achieve that goal by providing details about the filmmaking process. We match the main steps (and their accompanying individual tasks) to the basic learning styles most often employed in filmmaking. Of course, there are various theories about learning styles that educators subscribe to – or don’t. No matter what your pedagogy, this section will hopefully help you in differentiating your instruction.

26

STUDY GUIDE

Pre-Production – Conceptualizing, Planning, and Preparing The Big Idea As you likely already know, the planning phase is perhaps the most important part of the filmmaking process. The planning is where the concept and its execution can come together and (if done right) become a practical and feasible plan to guide filmmakers in translating their vision into reality. It’s an exciting and sometimes stressful process, with incredible amounts of collaboration and communication – often in a very compressed timeframe. Our suggestion is to schedule a significant portion of the process to this phase - approximately 40% - 50%. While this may seem like a huge amount of time to sit in the classroom without filming, in our experience this leads to the greatest success. If the project’s foundations are well constructed, the creation that follows will be stable and will be far more likely to lead to a successful final product. This phase is when new filmmaking groups come together, discover their natural gifts, and develop new skills. From our experience, this phase requires the most hands-on facilitation, with very regular check-ins to ensure that groups are working well and on-track in developing their concept. This phase has a significant emphasis on interpersonal communication skills, which can definitely be tough for some participants. There’s no way out of it – if they’re going to make a movie together, they’ll have to collaborate, compromise, and come to a consensus. The key here is to keep all group members engaged and committed to the concept – if at least some part of it was their creation (or something that they can be excited by) it will help them to remain a contributing member throughout the process. Often intrapersonal learners and less-vocal participants need some space in this intense process. The exciting part is that they can be invaluable group members in researching, storyboarding, mastering technical skills, and production planning once the concept is decided upon. Helping them to see this upcoming role is a great way to invite them to listen, share, and start thinking ahead when groups are still in the heat of debating and finalizing the concept.

STUDY GUIDE

27

Steps

Tasks

Thinking of an Original Concept

Brainstorming

Group collaboration in The Funneling Process Making the Final Story Decision

Mastering Technical Skills

Camera & Cinematography Training

Sound Training

Developing the Concept Overview

28

Initial Scripting

Participant Skill Sets Communicating ideas verbally and visually; Translating abstract ideas into concrete words, images, and themes/concepts. Communicating and presenting ideas verbally; Discussing others’ ideas; Debating ideas with group members. Communicating verbally; Assessing the feasibility of various ideas; Assessing the strengths and weaknesses of various ideas; Compromising with group members.

Interpersonal Verbal/Linguistic Visual

Learning and exploring camera, tripod, and cinematography basics; Practicing technical skills; Communicating technical specifics to other members of the filmmaking team. Learning and exploring sound, microphone, and recording basics; Practicing technical skills; Communicating technical specifics to other members of the filmmaking team.

Intrapersonal Interpersonal Visual Spatial Technical/Logical

Communicating verbally and/or visually; Writing preliminary ideas; Compromising to form a mutually agreed-upon script; Identifying story or experimental structure: often with beginning, middle, and end; Developing story elements: characters, visuals, sounds, action, text/narration.

Interpersonal Verbal/Linguistic Visual

STUDY GUIDE

Interpersonal Verbal/Linguistic Visual

Interpersonal Intrapersonal Verbal/Linguistic Visual

Interpersonal Verbal/Linguistic Technical/Logical

Developing the Concept Overview continued…

Preparing the Pitch

Considering Audience Perspectives

The Pitch

Script Development

Research

Script Revisions

Visualizing the Concept

Shot List

Thinking about and imagining the audience: Why are you telling this story? What does the audience need to know? What do you want the audience to feel at each point? How can this be achieved visually or through on-screen dialogue? Communicating visually; Listening to, acknowledging and respecting the opinions of others; Incorporating feedback & suggestions. Visiting the library; Reading books and magazines Interviewing people; Viewing videos and films; Conducting surveys. Communicating verbally & visually; Writing concrete script ideas; Compromising to form a mutually agreed-upon script; Solidifying story or experimental structure (beginning, middle & end); Finalizing story elements: characters, visuals, sounds, action, text/narration, and other story elements for Post-Production. Visualizing and writing the shot-byshot production plan in order.

Storyboarding

Drawing the shot-by-shot production plan in order.

Production Design

Deciding on the overall “look” of the video: Color Spectrum/Design Elements Costumes/clothing & Props Locations & sets

STUDY GUIDE

Interpersonal Intuitive Verbal/Linguistic Visual Spatial

Interpersonal Verbal/Linguistic Visual

Intrapersonal Interpersonal Verbal/Linguistic Visual Interpersonal Verbal/Linguistic Visual

Visual/Spatial Intrapersonal Linguistic Visual Spatial Intrapersonal Kinesthetic Visual Verbal Intrapersonal

29

Conceptualizing the Soundscape

Sound Design

Production Planning

Shooting Logistics

Deciding on the overall sound of the video: Sound Effects & “Foley” (sounds which naturally occur within the scene but which often have to be specially recorded) Music Soundscape – more abstract elements Agreeing upon and gathering the following detailed logistics: Locations/Sets Schedule Transportation Cast (Actors or Interview Subjects) Props Costumes

Musical Aural Intrapersonal

Interpersonal Verbal/Linguistic Kinesthetic Technical/Logical

Production The next phase is Production. Students are usually very eager to get out the door, but it’s very important to take time to decide on group roles and to think about dynamics before filming begins. Your role here, with regards to different learning styles, will be to help groups to find a system that will work for them. The first task is to check in with each group and run through their completed production plan, storyboard, and shot list. This will allow you to find out who is aware of the details, which can be useful in suggesting (or even assigning) the Assistant Director and Director roles for the first part of the shoot. The next task, also of great importance, will be to figure out if group members are going to have set roles (that they’re all excited to try) or if they’ll be rotating to allow everyone a chance to learn each position. This seemingly small decision completely impacts the dynamics of the production phase, so in our experience it’s something to encourage groups to carefully consider. After this decision is made, create a check-in system; if there are personal issues that can’t be sorted out within the group, you can be there to offer guidance and suggestions. In this section, we’ll outline the key roles for Production, to better prepare you and your filmmakers to make these decisions. Through self-assessment and promoting self-awareness, you can also help participants to be aware of their own skills and help them to consciously develop new skill sets in working with their groups. 30

STUDY GUIDE

Roles

Tasks

Director

Guiding all crew and cast members to the project’s vision

Assistant Director

Running the set, keeping schedules, and organizing details

Camera Operator

Operating the digital video camera

Sound Recordist

Sound Recording

Boom/ External Microphone Operator

Sound Recording

Actor(s)/ Subject(s)

On-Camera Performance

Participant Skill Sets Communicating and negotiating ideas on-set; Making quick decisions in collaboration with the group; Guiding actors to specific performances and motivations; Guiding crew to their technical best; Deciding (with the crew) when it’s possible to move on to the next shot. Running the set – balancing the technical and personal needs of cast and crew; Keeping track of timelines and schedules; Helping the crew to make decisions and solve problems efficiently. Working with the director to set frames and capture shots; Assessing when goals are met and when it’s possible to move on to the next shot; Technical operations on the camera and tripod. Working with the camera operator to connect/work with sound equipment; Monitoring/listening to sound levels; Assessing when goals are met and when it’s possible to move on to the next shot; Collecting ambient sounds, sound effects, and any other on-location sounds. Working with the Sound Recordist to collect sounds using the Boom Pole or Microphone; Collecting ambient sounds, sound effects, and any other on-location sounds. Working with the Director and crew to deliver performances/dialogue.

STUDY GUIDE

Interpersonal Verbal/Linguistic Visual Aural

Interpersonal Verbal/Linguistic

Visual Kinesthetic Technical Multi-tasking

Interpersonal Verbal/Linguistic Aural Technical

Interpersonal Aural Kinesthetic

Interpersonal Intuitive Verbal/Linguistic Kinesthetic 31

Post-Production Post-Production is the phase when the vision of the film can really come together, especially when everyone works well and comes together as a team. No matter what your schedule in Post-Production, the key is to ensure that everyone has a role throughout the process. Editing systems, with one mouse and one keyboard, are intended for a single user, which can be challenging for collaboration. In an ideal situation, each group has two computers – one for image, and one for sound – so that work can be completed much more quickly, and to actively engage more group members at a time. Of course, most of us don’t always make videos under “ideal” circumstances, and there are many ways to achieve full group engagement no matter what your technical situation. For starters, we give filmmakers regular reminders (at times orders) to regularly switch editors - and to switch roles in general. There is always something to do – write narration, develop graphics, compile titles and credits – so that everyone can remain part of the process as the project nears completion, even if they’re not the one on the computer. In this section, we’ll go over all the required tasks of Post-Production to give you a good idea of what’s required from the participants. Our goal here is to guide you in helping your filmmakers find their role in the final stages of their digital filmmaking experience.

Steps

Tasks

Rough Assembly

Importing all footage, sounds, photographs, and raw materials

Working with computer and camera; Technical troubleshooting; Watching, critiquing, and selecting footage collaboratively with group members.

Visual Interpersonal Verbal/Linguistic Aural Kinesthetic Technical/Logical

Building the Rough Assembly

Learning and using editing software; Preliminary ordering of shots without significant changes to original script; Incorporating group feedback into technical process and footage selection.

Visual Interpersonal Verbal/Linguistic Aural Kinesthetic Technical/Logical

32

Participant Skill Sets

STUDY GUIDE

Rough Cut

Editing Rough Assembly

Preparing for the Rough Cut Screening

Rough Cut Screening(s)

Screening Rough Cut

Sound Design

Sound Effects

Music

Building of story based on script and any revisions created through filming process; Incorporating group feedback into technical process and footage selection/editing; Creating a coherent story with beginning, middle, and end, ready for audience feedback; Deciding on and adding preliminary narration points and possible text. Thinking about and imagining the audience reaction (as in Preparing the Pitch): What does the audience know at each point in the story? What should the audience feel at each point in the film? If any goals are not currently achieved, how can visual, narration, text, sound, or graphic elements create the desired effect? Making technical changes based on group feedback and anticipated audience reaction. Communicating visually; Listening to, acknowledging and respecting the opinions of others; Incorporating feedback & suggestions. Creating the video’s overall sound: Sound Effects & “Foley” (sounds which naturally occur within the scene but which often have to be specially recorded) Soundscape – more abstract elements of sound design Preparing for placement of music (if applicable) Recording missing elements of sound design. Collaborating with group members to select music and determine its placement in the video; Creating and recording music (if applicable).

STUDY GUIDE

Visual Interpersonal Verbal/Linguistic Aural Kinesthetic Technical/Logical

Visual Interpersonal Intuitive Kinesthetic Technical/Logical

Interpersonal Verbal/Linguistic

Aural Intrapersonal Technical/Logical Kinesthetic

Musical Aural Intrapersonal Interpersonal Technical/Logical Kinesthetic

33

Fine Cut

Uniting Picture & Sound

Exporting sound and importing it into the Visual timeline; Making technical changes as required to bring together picture and sound.

Visual Aural Kinesthetic Technical

Preparing for Fine Cut Screening

Watching repeated, full-group screenings; Collaborating with group on final creative and technical choices for video; Making technical adjustments in preparation for project completion; Adding graphical and text elements; Making technical changes based on previous audience feedback, group feedback and anticipated future audience reaction.

Interpersonal Verbal/Linguistic Aural Kinesthetic Technical/Logical

Fine Cut Screening(s)

Screening of Fine Cut

Communicating visually; Listening; Acknowledging and respecting the opinions of others; Incorporating feedback, ideas, and suggestions.

Interpersonal Verbal/Linguistic

Picture Lock

Completing Picture

Incorporating Fine Cut Screening feedback from audience; Adding final graphical, text, and title elements; Deciding on a final “lock” point as a group, after which picture is not changed.

Visual Interpersonal Technical/Logical

Sound Mix & Lock

Completing Sound

Incorporating Fine Cut Screening feedback from audience; Adding final sound design elements; Completing a final sound mix; Deciding on a final “lock” point as a group, after which sound is not changed.

Aural Interpersonal Technical/Logical

Project Completion & Export

Locking the Project

Making final review of video as a group; Deciding on a final “lock” point as a group, after which no element of the video is changed.

Interpersonal Visual Aural Technical/Logical

Final Project Export

Exporting project to required formats. (QuickTime, miniDV, Flash, etc.)

Technical/Logical

34

STUDY GUIDE

Part 3: The Funneling Process A Funneling Toolkit The writing process is exciting! And it’s difficult – whether you’re a new filmmaker or a veteran video producer. Sometimes there are too many ideas, sometimes too few. Sometimes there are just images, jumbles of thoughts, or totally abstract themes with no apparent connection to a structured video. Other times, there are clear story points, strong opinions, and excited youth with competing ideas, but as a group, they struggle to organically connect their ideas to create a linear outline. The next steps – transforming abstract concepts into one concrete, linear, visual plan – are what we call the funneling process. There’s no one method that works for everyone, but we have some strategies to help you mentor youth through this process. In our experience, youth filmmakers often start with many (often unclear) ideas that are tough to narrow down. This can be a very difficult situation with just one writer, let alone finding the path to go from idea to script in a group setting. As mentors, we’ve found that our most successful role at this point in the process is simply to ask questions. We try to leave most of our own ideas and suggestions out, and instead ask questions to help youth find common themes that unite their disparate ideas, and to get them thinking in a linear, visual, script-focused way. Questions can focus on clarifying the message, the order of events, or even audience perception. As an educator, your own tools and experience will surely guide you through this process, with the documentary in the digital study guide hopefully providing further insight. In addition, there are a variety of other tools and strategies that can be used to jump-start the funneling process, which can be helpful, especially in situations with tight-timelines. In this short section, we’ll present you with a sort of funneling toolkit, providing structure and techniques you can incorporate into your digital filmmaking project.

STUDY GUIDE

35

Structuring the Funneling Process Carefully structuring the writing process can be immensely helpful, especially for first-time filmmakers. While there are many effective methods and activities to guide writers and filmmakers to a completed script, here is an example of one way to structure the funneling process: o Initial Brainstorm: Begin with an initial brainstorm – emphasize collaboration and teamwork, with everyone contributing at least one idea and banning analysis or judgment at this point. Also encourage writers to document images, sounds, themes, real-life moments or events, real or fictional characters, or any other cinematic elements that come to mind; o Deciding on an Idea: Next, collaboratively decide (or even vote if absolutely necessary) on an idea that everyone is excited to produce. The key here is collaboration and compromise – the goal is to achieve commitment to and collective ownership of the concept by each group member. This can also be achieved by having groups form around ideas from the initial brainstorm; o Clarifying the Message: Groups should find the core of their video, deciding on the message, or point, of their project. Films, especially short ones, work best when they focus their attention on one subject or perspective and explore it richly. Too many concepts in one small film makes muddy confusion. The message should be crystallized into a concise statement which will be helpful in their decision-making process; o Brainstorming Specifics: Groups will continue by brainstorming specific stories, scenes, or visuals that could express that concept, theme, or message; o Creating a Visual Story: Following the theme-specific brainstorm is the development of a beginning, middle and end that express that message and theme visually and clearly; o Developing an Outline: Writers will need to completely build the events that occur at the beginning, middle, and end. Ask them to ensure that there is an introduction, conclusion, and enough story in-between to entertain an audience and express the topic and story; o Pitch and Feedback: Following this will come the pitch – we’ll go into detail in the following section, From Script to Screen, but the key here is to tell the story visually, rather than to start by explaining the message. If the people listening to the pitch don’t know the point of the story from the events you describe, your audience won’t either, and it’s time to re-write. o Re-Writes: Filmmakers are often hesitant (especially under tight timelines) to undertake script re-writes, although in the real world of filmmaking re-writes are a frequent and inevitable part of the process. If you schedule it into the process as a required step, the resulting films will better express the message. o Production Planning: The next steps in the funneling process take us into production planning, creating a Shot List, Storyboard, Production Design, Sound Design, and a concrete Production Plan which covers shooting logistics. With a clear script, all of these steps will further help filmmakers to decide upon the specific images and sounds which will bring their vision into reality. 36

STUDY GUIDE

Art and Filmmaking In the documentary video that accompanies this study guide, we provide two case studies where our video production mentors were able to solve two of the most common problems that occur in the funneling process: needing to sharpen themes, and breaking group inertia. The first problem, which we’ll tackle in this section, is often simply a matter of finding a way to connect abstract ideas to concrete ones. One way to do this is to connect a new filmmaker’s current creative pursuits to video genres and creative styles. Not everyone thinks that they are creative, but most people connect to at least one creative practice, and may not realize that every creative practice connects to a filmmaking genre or style. Film and video, despite being relative newcomers on the art scene, have seen incredible innovation and diversity in content, style, and approach. Filmmakers can reflect on their preferred creative practice, tie into its creative connection to filmmaking, look at the work of other people, and get inspired. We’ve compiled FaceBC examples in the chart below as a start, and highly recommend that you check out the Additional Resources section at the end of this study guide for websites and online video sites to supplement your viewing.

Creative Practice

Filmmaking Genre

FaceBC Examples to View

Journalism

Documentary Film/Video Classical Fiction Film Video Poem

Trick, A Culture of Culture

Journaling/Diary Writing Short Story/ Novella Writing Poetry

Theatre Performance Art

Dance Kinesthetics and/or Sports*

Music Visual Art

Classical Fiction Film/Video Video Poem Experimental Film/Video Classical Fiction Film/Video Classical Fiction Film/Video Experimental Film/Video Documentary Film/Video Classical Fiction Film Dance Film/Video Sports Videography Sport-based/Subject-based Documentary Classical Fiction Film Music Video Experimental Film/Video Experimental Film/Video Stop-Motion Film/Video

Communication, Encounters, We Are Who We Ain’t, Breathe, Where Did Everything Go? Mo’s Day, The Streets, Seventh Generation When Love is Lost, Breathe, Where Did Everything Go? When Love is Lost, Mo’s Day, The Streets, Seventh Generation When Love is Lost, Shadow Dance

Trick, Shadow Dance, Imperfect Fit Trick, Shadow Dance *Some may not consider sport a creative practice, but for the purposes of filmmaking, the kinesthetic and improvisational movement involved in sport can serve as an excellent avenue into videography.

Shadow Dance, Imperfect Fit, Encounters Muse, Where Did Everything Go?

STUDY GUIDE

37

Breaking Group Inertia So many times in group work, the energy stalls. Ideas dry up, people clam up, and the funneling process slows to a crawl. As an educator, you have techniques to deal with this situation, and we’re sure your students are grateful for them. We too have found and developed specific strategies to keep the funneling process moving forward, which we’re sharing here. The key is to get the creative juices flowing, and to open up new ideas that may otherwise be discarded before they’re spoken aloud. Those same ideas can lead to a fantastic video!

Index Cards Write story points on index cards and reorder them (or remove them as necessary) to create a linear narrative or outline.

What If? Come up with completely absurd and surreal whatifs and throw them into a stalling storyline. Get the creative juices flowing! (Even if nothing works, you’ll have opened the door to new ideas.)

38

Physical Activity Brainstorm while moving, walking, playing catch, or kicking a soccer ball. Hearts pump, minds become less stressed, and ideas flow!

Everyday Soundscape Go for a walk, and find sounds in the everyday world that you can incorporate into your video.

STUDY GUIDE

Tell a Story Start telling your film as a fairy tale. Begin with, “Once upon a time,” and take turns sharing story points out loud. Continue through the story, creating content where it’s missing.

Artistic Inspiration Discuss ideas while looking at other people’s work, or while creating abstract, expressionist art of your own.

Part 4: From Script to Screen This section of the study guide will provide you and your students with practical, printable tools and templates to use in your production and post-production process. Moving all the way from the Pitch to the Screening, you’ll find tips, tricks, and techniques to help you and your students in in taking your digital filmmaking from script all the way to the screen.

Moving From Outline to Pitch The Pitch. This really is the process that puts the filmmakers on the hot seat. What’s their film going to be about? Can they explain the film in cinematic language? Pitches describe scenes, images, sounds and key dialogue — not themes or explanations. For this reason they are the best way to gauge if the audience (in this case, you, and the other filmmakers) are going to understand the story independent of its creators and context: the true test of any mass media. The process of creating an outline is covered in detail in The Funneling Process. In this section we’re simply going to go over the guidelines and ground rules of a pitch session to keep it productive, exciting, and encouraging for everyone involved. It’s hard to share creative ideas amongst peers, but there can be a professional intensity to a pitch session that’s a great learning experience. The stakes are real. Honest, concrete and respectful feedback will help focus ideas and keep the creative energy flowing.

Preparing for the Pitch: Filmmaker Guidelines So what is a pitch? A pitch is a clear and succinct verbal presentation of your concept. It should be short, visual and specific, because a filmmaker is using it to get specific feedback to create the best possible video. In a traditional and more formal pitch, filmmakers discuss genre, themes, reference other films (“It’s When Harry Met Sally meets The Godfather!”), and are always looking to get funding for a project. Pitches are very different in an informal group or classroom context. For our purposes, pitches are used to explain the project to the group and get suggestions. It’s a great idea to have filmmakers practice pitching within their creative team before speaking to the whole group. Pitching really is an art form in itself. STUDY GUIDE

39

There are a few key points that filmmakers should focus on when preparing to deliver a basic, classroom-setting pitch: narrow it down to characters, images, and sounds. What happens? What do we see and hear that tells us a story or makes a point?. This is certainly trickier to describe with experimental and documentary video, but having a clear pitch is crucial! It demonstrates that filmmakers have thought through the topic and are ready to move on to script revisions and production planning. Filmmakers can start by getting a few sentences down on paper to get the ball rolling. Tell the visual story – first scene, second scene, third scene, and so on – with a beginning, middle, and end. The pitch should describe what the audience will see first, second, and onwards throughout the video, at no point explaining what something means or why it’s important.

•

• • •

Writing the pitch helps to clarify the answers to key questions that are often taken for granted when groups are writing together, but which can divisively split a group during filming: • What genre is the video? Comedy, horror, issue-based documentary, experimental, narrative-driven, character-driven, image-driven? • What is the story about? The story, action, images and sounds should reveal the big themes. Who are the main characters/protagonists? This isn’t always a person, but sometimes a landscape, a cityscape, a piece of music, or an object. What does the audience need to know? What do you want the audience to feel at each point? How can this be achieved visually or through on-screen? Where is the audience for your film? Who will want to watch the film, and does your project going to appeal to/work with this audience? What is unique or interesting about your project? Basically, why are you telling this story?

As groups practice their 30-60 second pitch, it will become easier and better, and the concept will flesh out along with each retelling. This can be an exciting, immensely helpful process that will inevitably make script revisions go much faster. Then, when every group is ready to pitch and gather feedback and suggestions, it’s time for an official pitch session.

40

STUDY GUIDE

Pitch Session Every pitch session is going to be different, but there are several rules that should be followed to keep filmmakers open to their peers’ constructive criticism (which can be difficult to hear). Start the pitch session by reminding everyone that the reason for pitching to the group is so that everyone can contribute to making each project as good as it can be. The rules are as follows: • Be kind and supportive! Taking a creative risk is challenging, and it will be each group’s turn soon enough. • Pitch sessions should be kept positive, constructive, and encouraging! Negative comments must be followed by suggestions or ideas to better communicate the main message of the video. • Questions, rather than just comments, are strongly encouraged. If something is unclear, ask what was intended. If the explanation is still unclear, go back to the message and suggest a way to make the scene better reflect that message. • Someone in the group must write down all the comments. The groups may not use any of the suggestions in the final work, but the opposite could also be true. One little comment could be the key to a whole new level for the project. Pitches should be followed by script re-writes, and ultimately by the creation of shot lists, storyboards, and production schedules. This phase gets you ready to head into Production!

Heading into Production Once the script is locked, camera and sound training are complete, and filming is in sight, it’s usually a sprint to the finish line. Some groups will know exactly what to do and quietly go about doing it, while others need lots of support to keep on track. To simplify your digital filmmaking project, we’ve included a variety of printable templates that will jump-start and streamline the production planning process. You’ll find Shot List, Storyboard, Production Schedule, and Production Checklist templates on the next few pages, ready to print and use. Before they embark on their production adventures, insist that each group must complete all four, and you should be sure to look them over. Be sure to keep the production plan modest, realistic, and achievable. Insisting on this will ensure that your filmmakers don’t get so focused on one exciting shot that they have no time to film anything else. No matter what the creative limitations, always keep the available shooting locations close to home base—you can keep track of everyone, check in on groups and stop any major disasters in the making. STUDY GUIDE

41

Production Planning Essentials: Developing the Shot List & Storyboard Writing the shot list is an essential part of the production planning process, and there are some tips to keep in mind to help filmmakers with this all-important step. To craft effective scenes, classical narrative films order their shots in roughly the same way sentences are ordered in a paragraph. So, for instance, in a paragraph we begin with an introductory statement, which is often called the topic sentence. In a movie, the establishing shot has the same function as the topic sentence of a paragraph. After the topic sentence in a paragraph, we move to explanatory sentences that fill in the ideas that are being conveyed. Likewise, in a film, the establishing shot leads to a series of medium shots, close-ups, and extreme close-ups that reveal the scene’s actions or events. At the conclusion of a scene, a final long shot or extreme long shot is used again to act as a kind of punctuation mark, telling viewers that the scene is now complete. It’s an hourglass structure – scenes start and end wide, narrowing for emotional intensity and focus in the middle of the scene. Sample Basic Hourglass Scene Structure Wide Shot Medium Shot Close Up Medium Shot Wide Shot Needless to say, filmmakers (and writers) play with this sequence all the time. But this provides a rough guide for starting to think about how shots are edited together into movie scenes, and thus what students will need to consider when planning what to shoot. Two other key rules apply when planning shot lists and drawing storyboards for scenes: • 180 Degree Rule – When filming an interaction, draw an imaginary line between the noses of the two facing characters. The camera operator must always stay on one side of the line and aim the camera from behind the line at the actors/subject on the other side. • 30 Degree Rule – When changing the angle of a shot within the same scene, ensure that you change it by at least 30 degrees from one shot to another.

42

STUDY GUIDE

SHOT LIST Type of Shot

Description

(Framing, Angle, Movement)

(Visual Content, Action)

Dialogue/Sound

STUDY GUIDE

43

STORYBOARD

44

STUDY GUIDE

PRODUCTION SCHEDULE Shot #

Shot/Scene

Location

Start/End Date & Time

Equipment

STUDY GUIDE

Characters

Costumes/Props

45

PRODUCTION CHECKLIST Production Team Name: Project Name: Crew/Actors Name

Role

Locations

Date/Time

1. 2. 3. 4. Props and Costumes Description

Equipment Description

Don’t Forget: 46

Scene

Date/Time

! Script

! Storyboard STUDY GUIDE

Who Brings It?

! Production Schedule

Post-Production The next stop on the whirlwind adventure is Post-Production. Part 2 of this study guide goes over the Post-Production steps in detail, so here we’ll discuss visual and sound editing theories to help you guide your filmmakers through this challenging and rewarding process. At this point, filmmakers will learn first hand how shortcuts taken earlier will now cost them in post-production. Continuity or sound issues can ruin a scene, and depending on your timeline and your group’s capabilities, re-shoots (employing non-editing team members) are likely. This is another way to keep group members engaged and committed to the quality of the project, and a hard-earned lesson about taking the time to do things right the first time. Post-Production is also a great time to learn the importance of planning and teamwork. Excitement and pressure always mount as groups become deeply invested in their films, and work hard to make their collective vision a reality.

Editing Software & Hardware While we use Final Cut Pro, a professional editing program, you can use the best software you have on hand. As is often the case with new filmmakers, the question here is how much technology to teach, and when? We’ve learnt that young filmmakers pick up editing skills very quickly. They don’t need to know all the buttons to start editing; they just want enough information to jump in and start cutting. We recommend that you show them the basics: how to open and save their project, how to use the basic editing tools, and – very important -- where to save their files, and how to undo. Focus on importing all the raw materials and having filmmakers create a rough assembly edit first. Save things like fine-tuning, color correction, effects, and audio mixing for later. As questions come up, they’ll be sure to ask. When it comes to editing software (and computer hardware, for that matter), it’s best to know the basics of how to troubleshoot the technology. When problems come up – which they will – it will unfortunately be your job to fix them, or have someone on the team (often a youth) who can. Never fear: try Googling your question, or asking a group to experiment, and nine times out of ten you’ll find an easy answer in a few minutes.

STUDY GUIDE

47

The Art of Editing: Transforming Raw Footage Into a Masterpiece The word edit is derived from the French word, montage, which means to cut. In editing, a cut is the point when one image stops and another begins, with shots compiled in a sequence to make a montage. When you edit, you select images and sounds and compile and manipulate them into a chosen order, creating a system that is ordered by its own logic and rhythms. As with all other aspects of film production, there are rules and conventions in the language of editing. The common thread among many of these is the creation of a sense of continuity — linking shots together to portray an event without literally showing the entire event. Two of the most common types of editing are Continuity Editing and Montage Editing: Continuity Editing orders shots so that actions move seamlessly from one point to the next, keeping a logical and continuous sequence of events in scenes and between scenes. The primary idea behind this kind of editing strategy is to maintain a continuous flow of psychologically motivated connections between each shot and scene. By maintaining these connections it appears as though the film is a contained world all on its own. Even in movies that clearly take place beyond our own lives, the effect of this style of editing is to create a world we might wish to inhabit, even if they may be practically impossible. Continuity editing works by maintaining a clear cause-and-effect relationship between each of the shots of a scene. It is the most familiar style of editing, found in most movies and television programs. Montage Editing shots are put together so that audiences have to make their own connections between the images. The filmmaker doesn’t show the viewer a clear cause-and-effect connection, instead assembling shots to create an idea for the audience. The audience has to determine what the idea is. For example, let’s say a filmmaker wants to suggest the feeling of thirst. Because thirst is a feeling rather than an object, the filmmaker could do the following: • Show a picture of a basketball player bent over in exhaustion, sweat on his brow. • The next shot shows an iceberg floating in Baffin Bay on a bright sunny morning. • In the final shot, the filmmaker shows a bottle of pop dripping with small bits of ice, as though it has just been pulled out of a cooler. Individually, none of these shots clearly suggest a feeling of thirst, but together they tell a story, a story that we see all the time today in televisions advertisements. Most fiction films today use a combination of both continuity and montage edits. Usually continuity editing dominates mainstream Hollywood films, while montage editing is used to portray the passage of time or action sequences. Parts excerpted and adapted from Visual Storytelling and the Grammar of Filmmaking, Part I Study Guide

48

STUDY GUIDE

Editing Techniques When individual shots are edited together, filmmakers have a number of editing techniques at their disposal. The importance of these techniques is that they often happen so quickly that we don’t notice them at all. Becoming aware of where these techniques are used in movies is important in order to understand the constructed nature of all moving images. Some of the most common editing techniques include: • Simple cuts — which are breaks from one shot to the next. Cuts carry the continuity of action forward in a straightforward manner, from action to action or place to place. • Jump cuts — which are confusing cuts from one shot to the next that do not follow the obvious rules of cause and effect. These cuts are usually used to disrupt the audience’s attention in order to create shock. In Steven Soderbergh’s film The Limey (1999), jump cuts are used intentionally to suggest the main character’s unbalanced state of mind. • Fade-downs — which show the screen fade from an image to a black screen. • Fade-ups — which show the screen fade from black to an image. Both fade-ups and fade-downs are used to suggest the passage of time and generally work to give the audience a chance to take a breath in preparation for the next scene. • Dissolves — which show one image slowly disappear as a new image is introduced. Dissolves are used to indicate the end of one event and the beginning of a new event or scene. • Wipes — which show one part of the screen literally wipe over the rest of the screen. One image disappears as it is replaced by a new image. This kind of edit is not often seen in movies, largely because it looks comic-bookish. For this very reason, wipes were used throughout Star Wars to suggest the comic-book origins of the movie. Parts excerpted and adapted from Visual Storytelling and the Grammar of Filmmaking, Part I Study Guide, Pacific Cinémathèque

Adding Titles and Visual Effects This is one area of video production that we’re going to suggest you leave to the very end of the process, and also leave to the filmmakers themselves, while following one guiding principle: less is more. Adding a title and end credits are obviously required, but often adding much more can be distracting at best. The strategy to employ is to remind filmmakers that while it may look fun, the goal is to create a high-quality project that they can be proud of. The best way to do this is to use any effects subtly, sparingly, and only when necessary.

STUDY GUIDE

49

Sound Editing Sound is by far the most underrated and forgotten element of youth film production and postproduction, with dire consequences. While there are many theories and approaches to sound editing, really it’s a wide-open playing field. There is room to create a whole world through what is called “soundscape,” and drastically enhance the realism (or the surrealism) of the world inside the film. The key is to take time adding, mixing, listening, and re-mixing the sound in your video (ideally on good-quality headphones) until the sounds of the video feel as finished as the images. There are two categories of sound in film: Diegetic and Non-Diegetic. Diegetic Sound refers to all those audio elements that come from sources inside the world we see on the screen, including sounds like dialogue, doors slamming, or footsteps. Non-Diegetic Sound refers to all those audio elements that come from outside of the fictional world we see on screen, including the narration, musical score, and sound effects. There are five elements of sound which contribute to a video’s soundscape: • Dialogue – Character dialogue is often key to understanding the story. Ensure that the sound level for all dialogue is generally even throughout the entire video; • Narration – Many films, especially documentaries, employ narration to help tell the story or guide the viewer to conclusions about what is being shown onscreen. The key is to keep it simple and to record it in an extremely quiet space; • Foley – Foley includes sounds which naturally occur within the scene, but which often have to be specially recorded and added to the video because they don’t sound quite loud enough; • Ambience – This term is used in sound to refer to the subtle, quiet, and complex sounds that fill a space. For example, outdoor ambience and indoor ambience are drastically different, even without any specifically audible sounds. Adding ambience is one way to help shape a soundscape; • Music – The key with music is to remember that it shapes the emotional response of the audience, whether by informing us of the mood of a scene, creating suspense or foreshadowing, or even playing against our emotions (like in scenes were cheery music plays in a horror film). We strongly recommend that filmmakers either create their own music (using available instruments, voices, or software) or that they find a local or student musician willing to donate their music for free. Using copyright music eliminates the possibility of submitting the project to youth video festivals, and after all the work to create a great project, it’s great to have this as a possibility.

50

STUDY GUIDE

After the soundscape is complete, filmmakers have the task of fine-tuning their sound mix by making sure that the levels of each sound are neither too quiet nor too loud. It’s crucial to do this with wrap-around headphones (bud-style headphones let in too much external sound), and to get feedback from other people during this part of the process. This is also the time to add fades, dissolves, and any other sound effects that help to polish the film into the masterpiece it can be.

Exporting The final step in the digital filmmaking process is the exporting of the final project into whichever medium works best for you. It might be a QuickTime file or a miniDV tape, but remember that files stored only on a computer get deleted easily. It’s important to have a few back-up copies in full quality that can be kept on DVDs, hard drives, or carefully-stored miniDV tapes. You never know where a video project can end up screening, and it’s best to keep a few copies in the best quality possible.

Community Screenings Last, but certainly not least is the opportunity for youth to share their work: the community screening. YouTube and DVDs are great ways to quickly reach a wider audience, but nothing compares to gathering friends, family and community together in one space to watch the films on the big screen. There’s lots of nervous energy before a screening; watching their own creation with their community helps filmmakers to see their film through other people’s eyes. It’s a significant and powerful moment, one that will stay with them and weave its way into future forms of self-expression.

STUDY GUIDE

51

What People Had to Say About FaceBC I believe that the most valuable, lasting influence of the project is the experience to view the habitual in a new light – to earn a perspective that deviates from the everyday norm. - Jason Peng, Student Killarney Secondary, Vancouver, BC

Students were able to express themselves creatively through digital video in a way that writing would inhibit them. - Vasso Feretos, Teacher Stride Avenue Community School, Burnaby, BC

I feel that this project brought the topic of “who we are” into perspective. This project made me realize how unique I am and how I am changing every day. - Tiffany Mo, Student Crofton House School, Vancouver, BC Doing this project allowed me to see other people’s perspectives and points of view, which made me think and feel differently about my world and what matters to me. - Selina Beltran, Student Sherwood Park Elementary, North Vancouver, BC 52

STUDY GUIDE

Additional Resources http://education.cinematheque.bc.ca Pacific Cinémathèque’s Education Department Website www.inpoint.org Pacific Cinémathèque’s Online Production Resource www.lafcp.org Los Angeles Final Cut Pro User Group – Online help for Final Cut Pro www.opensourcecinema.org Open Source Cinema – Online, free video editing shareware www.youtube.com YouTube – Online Video Resource www.teachertube.com TeacherTube – Online Community for Sharing Instructional Videos www.nfb.ca National Film Board of Canada – Access to Hundreds of Online Videos and Lesson Plans www.media-awareness.ca Media Awareness Network – Online media literacy activities

STUDY GUIDE

53

FaceBC Credits FaceBC – Study Guide Films Breathe Creators: Devon Busswood, Ericsson Chu, Karen Sun Cast: Devon Busswood Muse Creators: Irene Peng, Jason Peng Music: Kaoru Wada Cast: Peter Wong Trick Creator: Bernie Yao Cast: George Boutros We Are Who We Ain’t Creators: Selina Beltran, Whitney Schooner, Mahtab Soleimanian Cast: Selina Beltran, Whitney Schooner, Mahtab Soleimanian Mo’s Day Creators: Mo Chen, Dani Cooper, Nicholas Kofi Cast: Mo Chen, Nicholas Kofi, Gabriel Forsythe The Streets Creators: Yuki He, Meynard Marilla, Thavin Nou, Kao Taniguchi Cast: Sam Sharhan, John Shadow Dance Creators: Gordon Didzena, Danyelle Kotchea, Samm Tollifson, Zane Wiebe Cast: Gordon Didzena, Danyelle Kotchea, Samm Tollifson, Zane Wiebe

54

Seventh Generation Creators: Ayla Coltman, Nina Sidorczuk, Sheldon Stenning Cast: Maggie Birmingham, Haley Hughes, Alana Caleanu, Taylore Campfell-Viani, Katjana Johnson, Alex Jensen, Bruce Kennedy, Ethan Denton, Emma McMillan, Emily Jones, Marla Selski, Taylor Hill, Steve Griffith, Rebeka Phillips, Ellen McMillan, Patrick Harrison, Skye Griffith, Marian Hardy When Love is Lost Creator: Jamica Stewart Cast: Karl Blumhagen, Brittany K Encounters Creators: Alice Maundrell, Judith Nguyen, Christopher Preston Cast: Alice Maundrell, Judith Nguyen, Christopher Preston, Dominic Thibault, Voices of: Mike Glendale, Travis Glendale, Tara Jordan Communication Creator: Jade Diamond Alexcee Doolan A Culture of Culture Creators: Brian Baek, Joon Baek, Ivan Leonov Cast: Robin Shier Where Did Everything Go? Creators: Liam Kinders, Polina Shapiro, Yuna Wang Cast: Liam Kinders, Polina Shapiro, Yuna Wang Imperfect Fit Creators: Chloe Beange, Ashlynn Blackwell, Scarlett Smith Cast: Scarlett Sith, Nicole Wade, Claire Hampson Music: Samm Todd STUDY GUIDE

Behind FaceBC Documentary, Website & Study Guide Documentary Director, Cinematographer, Screenwriter Jen Rashleigh

FaceBC Coordinators Liz Schulze Sally Stubbs

Editors Jen Rashleigh David Henderson-Hean

FaceBC Technical & Administrative Assistant Gabriel Forsythe

Intro & Outro Video Design Kial Natale

FaceBC Lead Instructor Gabriel Forsythe

Composer Kial Natale

FaceBC Instructors Teresa Alfeld David Brigden Evan Crowe Brian Ganter Patrick Harrison David Henderson-Hean Krista Stusiak

Assistant Filmmakers Teresa Alfeld Mangla Bansal Carmine McCutcheon Kial Natale Still Photographers Aaron Campbell Harris Taylor Jen Rashleigh DVD Study Guide Writer & Script Consultant Liz Schulze DVD Design & Mastering Gabriel Forsythe Kial Natale FaceBC.ca Website Dennis Smith, Creative Director Noni Maté, Co-Director Greg Burnham, Lead Technologist 7th Floor Media, Simon Fraser University

Pacific Cinémathèque Education Directors Liz Schulze Sally Stubbs Annalee Weinberger Stuart Poyntz Pacific Cinémathèque Staff Steve Chow Sue Cormier Hazel Currie Gabe Forsythe Mauree Matsusaka Amber Orchard Jessica Parsons Jim Sinclair Sonya William

STUDY GUIDE

55

Supporting Partners Julie Papaioannou Multiculturalism Program, Citizenship & Immigration Canada Merilyn Read Martin Lajoie Alea Cardarelli Elizabeth Todd-Doyle Dominique Hébert Library and Archives Canada Barb McLean Legacies 2010 Now Province of British Columbia

Dan Blake BC Association for Media Education Rina Fraticelli National Film Board of Canada, Pacific & Yukon Studio Dr. David Vogt Mobile MUSE Network Lisa Parsonson Burnaby School District Vancouver School Board

Community Partners

FaceBC Site Partners & Organizers

Vancouver Art Gallery Partners & Facilitators Susan Rome Natalie Doonan Terra Long M. Simon Levin Fiona Mowat Jaimie Robson Nettie Wild

Mike Shumiatcher Burnaby Mountain Secondary School

Simon Fraser University Partners Stuart Poyntz, Associate Professor School of Communication Greg Burnham, Lead Technologist Noni Maté, Co-Director Dennis Smith, Creative Director 7th Floor Media, Continuing Studies Dr. Sharon Wahl SFU Professional Programs, Faculty of Education

56

Allison Kerr King George Secondary School Massimo Rocchette Killarney Secondary School Trina Moulin Byrne Creek Secondary Jean Woo Burnaby School District Sandy Pond Farley Stewart Kaien Island Alternate School Vasso Feretos Mark Harding Stride Elementary School

STUDY GUIDE

Chantal Drolet Crofton House School

Tara Jordan Campbell River and Area Multicultural & Immigrant Services Association

Amir Ali Alibhai John Rice North Vancouver Office of Cultural Affairs Melanie Clark District of West Vancouver

Linda Hogarth Campbell River Museum Nuu Chah Nulth Artists BC Ferries

Linda Feil North Vancouver Community Arts Council

David Prytula Thompson Rivers University

Annie Mauboules Alice To District of North Vancouver

Dan Saul Secwepemc Museum

Andrew Van Eden Tsleil-Waututh Nation

Colin Preston CBC Vancouver Visual Resource Centre

Iris Yong North Shore Multicultural Society

Chantelle Hedin Connie Larochelle Christine Harwood Kim Brake Debbie LaBonte Fort Nelson Aboriginal Friendship Society Fort Nelson Youth Center Fort Nelson Hotel John Tech Phoenix Theatre

Tasha Bassingthwaighte Mosaic Beeta Jafarzadeh Tuoi Nguyen Judith Robson Kim Ton Ian Weniger Gladstone Secondary School Vancouver School Board Patrik Parkes Moscrop Secondary School

Jim Crescenzo Nick Akrap Corin Browne Summer Visions Film Institute for Youth Templeton Secondary School

STUDY GUIDE

57