Understanding Filmmaking By Lucy Froud The 12 Stages

Understanding Filmmaking! By Lucy Froud

The 12 Stages. . There are 12 stages to film making. 1. The idea 7. The shoot 2. Development finance 8. Post production 3. Script development 9. Sales 4. Packaging 10. Marketing 5. Financing 11. Exhibition 6. Pre-production 12. Other windows

Stage 1. THE IDEA. . All films start with an idea, a moment of inspiration. Inspirations are all around us for example in books, newspapers and even something as simple as a conversation. Wherever and whoever the idea comes from its always the producer who decides to make the magical moment into reality. The directors take and visualise the script. They know how to put it onto the BIG screen! Next the writers define and clarify the idea, the plot, and the main characters. The writers then write a treatment, a one page description of the main story and characters of the film. A pitch contains all the information the producer needs in order to sell the idea to the financiers to commission a script. In general most film ideas come from making a film from a book or an idea from a newspaper, rarely a film is made from a completely fresh new idea. For example Harry Potter was made because of a book however, Avatar was a fresh idea.

. . E C N A IN F T N E M P STAGE 2. DEVELO All films cost money, a lot of it. The producer uses the treatment, pitch and persuasion to get money for the development of a script. Producers approach film production companies for development money but they don't always have time, they have projects of their own. Producers offer future sales and broadcast rights to the film in return for money to develop the script. Producers can also apply to a public funding body such as the UK film council for a development grant. Producers can pitch the film to a private investor In the hope for support for the project.

STAGE 3. SCRIPT DEVELOPMENT. . With the development finance secured its down to the writer to deliver the product that the producer and financiers want. First the writer produces a synopsis, he and the producer agree (or not) on they key scenes and events in the film. Most writers create a step outline to plan their script. Part of the writers fee is conditional on delivery of the first draft, this can be the hardest part of screenwriting. When the writer and producer are happy, the draft is sent to the financiers, all of whom will have their own ideas. When everyone Is happy, the script is locked and becomes the final draft, the writer is then paid.

. . g n i g a k c a P. 4 e g a St With the script complete, the director and producer decide how they want to film it and who they will employ to help them. The producer and director must package the script into a full commercial proposition ready for financing. A common way to make the project more commercial is to attach well known stars to the script. Commercially successful heads of department carry considerable clout with knowledgeable financiers. The producer must know how much it will cost before turning the film into a proper business proposition. Potential investors will want to know how the producer plans to raise the money, and how she plans to pay them back. The producer packages the film into a viable commercial proposition, now they need to see what people think of it. Liam Neeson

Stage 5. Financing. . Producers must secure enough funding to make the film to the highest standard possible. Financiers can be anywhere in the world and if the producers want to make enough money, they must travel. Private individuals. Production companies and public bodies all invest in films. The producer’s lawyer draws up contracts to seal the deals. Producers can also make money from pre-sales, selling the rights to film before it has even been made. There are departments of banks that specialise in film finance. Most financiers insist that a completion bond is in place before they agree to invest. It is insurance for the production. When all the insurance and funding is secured, the film gets the ‘green light’ and the producer celebrates.

Stage 6. Pre-production. . With everything secured, the full cast and crew are hired and detailed preparation for the shoot begins. When all heads of departments are hired, the shooting script is circulated, and pre-production begins in the earnest. The casting director, with the director and producer begins the long process of identifying and casting the actors. Storyboards are the blueprints for the film, where every shot is planned in advance by the director and DOP. The production designer plans every aspect of how the film will look, and hires people to design and build each part. Effects shots are planned in much more detail than normal shots, and can take months to design and build. The 1’st ad, the line producer and production manager make up the key logistics triangle of the production.

Stage 7. The shoot. . Film making can be a constant struggle to keep it on schedule and budget. Shooting begins, funding is released. The camera department is responsible for getting all the footage that the director and editor need to tell the story. Lighting, sound, hair and makeup must be done before the shot can be taken. Actors must create an emotional world and draw the audience into it. Every special effect is carefully constructed and must be filmed with minimum risk of injury to cast and crew. Film productions are run with military precision. If they fall behind schedule the financiers and insurers may step in. Mila kunis

. . n o i t c u d o r p t s o P. 8 p e St Post production usually starts during the shoot. As the processed footage comes in, the editor assembles it into scenes and creates a narrative sequence for the film. Once the picture is locked, the sound department works on the audio track laying, creating and editing every sound. Digital effects, titles and credits are added. Picture and colour are adjusted. Rough sound mix goes into dubbing theatre where sound mixer sets final levels. After final lock the film reaches full lock and is now finished and ready for duplication.

Stage 10. M arketing. . As finishing touches are being made, the distributors plan their strategy and begin to market It. The marketing team runs test screening to see how the film is received from the audience. Potential audience for the film is targeted by posters, cinema trailers, T. V spots and other marketing materials. T. V, newspapers and magazines all help spread word about the film. Digital media and internet has flooded the world with information but has also made niche marketing possible. To get the audience to see the trailers, distributors must negotiate a deal with cinemas to screen it.

. . s e l a S. 9 e g Sta The producer sells the film but not outright to the public, she needs a distributor. To help sell the film to the distributor, the producer secures the services of a sales agent. A trailer is made to advertise the film. The producer and sales agent collect everything they will need to sell the film to the distributors. Producers go to great lengths to attract attention to the product. High-profile screening at one of the top film festivals can be great for selling the film. The producer can now negotiate good deals with distributors around the world.

Stage 11. Exhibit ion. . Box office success equals finance success! A premiere is used to launch the film to the media and public. The UK has more than 3, 500 cinema screens, but not all are British. Distributors supply exhibitors with prints of the film. The more screens that the film is shown, on the more prints are needed. Exhibitors take there share of the box office receipts, after which the distributors recoup their marketing costs. When distributors have been paid the financiers recover their investments.

Stage . . s w o d n i W r e h t 12. O ‘Hospitality’ sales for hotel channels and flight entertainments can bring in millions. DVD’s can make up for box office failure. T. V is the final source of revenue. Rights are sold separately for pay-T. V showings and terrestrial broadcast. Computer games and other product licences can be extremely lucrative sources of additional revenue. Once the film has made profit, producers and key creative people can reap their rewards. The final income from a film is never known. Distribution continues in perpetuity, and it may even be re-released in the future.

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