Filmmaking is the process of making a film, from an initial story idea or commission through scriptwriting, shooting, editing and finally distribution to an audience. Typically it involves a large number of people and can take anywhere between a few months and several years to complete. Filmmaking takes place all over the world in a huge range of economic, social and political contexts, using a variety of technologies and techniques.
Stages of filmmaking
- Filmmaking consists of five main stages:
- Development. The script is written and drafted into a workable blueprint for a film.
- Pre-production. Preparations are made for the shoot, in which cast and crew are hired, locations are selected, and sets are built.
- Production. The raw elements for the finished film are recorded.
- Post-production. The film is edited, sound effects, music and any computer effects are added, and the film is completed.
- Sales and distribution. The film is picked up by a distributor and reaches its audience.
Development
This is the stage where an idea is fleshed out into a viable script. The producer of the movie will find a story, which may come from books, plays, other films, true stories, original ideas, etc. Once the theme, or underlying message, has been identified, a synopsis will be prepared. This is followed by a step outline, which breaks the story down into one-paragraph scenes, concentrating on the dramatic structure. Next, a treatment is prepared. This is a 25 to 30 page description of the story, its mood and characters, with little dialog and stage direction, often containing drawings to help visualize the key points.
The screenplay is then written over a period of several months, and may be rewritten several times to improve the dramatization, clarity, structure, characters, dialogue, and overall style. However, producers often skip the previous steps and develop submitted screenplays which are assessed through a process called script coverage. A film distributor should be contacted at an early stage to assess the likely market and potential financial success of the film. Hollywood distributors will adopt a hard-headed business approach and consider factors such as the film genre, the target audience, the historical success of similar films, the actors who might appear in the film and the potential directors of the film. All these factors imply a certain appeal of the film to a possible audience and hence the number of “bums on seats” during the theatrical release. Films rarely make a profit from the theatrical release alone, therefore DVD sales and worldwide distribution rights need to be taken into account.
The movie pitch is then prepared and presented to potential financiers. If the pitch is successful and the movie is given the “green light”, then financial backing is offered, typically from a major film studio, film council or independent investors. A deal is negotiated and contracts are signed.
Pre-production
In pre-production, the movie is designed and planned. The production company is created and a production office established. The production is storyboarded and visualized with the help of illustrators and concept artists. A production budget will also be drawn up to cost the film.
- The producer will hire a crew. The nature of the film, and the budget, determine the size and type of crew used during filmmaking. Many Hollywood blockbusters employ a cast and crew of thousands while a low-budget, independent film may be made by a skeleton crew of eight or nine. Typical crew positions include
- The director is primarily responsible for the acting in the movie and managing the creative elements.
- The assistant director (AD) manages the shooting schedule and logistics of the production, among other tasks.
- The casting director finds actors for the parts in the script. This normally requires an audition by the actor. Lead actors are carefully chosen and are ften based on the actor’s reputation or “star power.”
- The location manager finds and manages the film locations. Most pictures are shot in the predictable environment of a studio sound stage but occasionally outdoor sequences will call for filming on location.
- The production manager manages the production budget and production schedule. He or she also reports on behalf of the production office to the studio executives or financiers of the film.
- The director of photography (DP or DOP) or cinematographer creates the photography of the film. He or she cooperates with the director, director of audiography (DOA) and AD.
- The art director manages the art department, which makes production sets, costumes and provides makeup & hair styling services.
- The production designer creates the look and feel of the production sets and props, working with the art director to create these elements.
- The storyboard artist creates visual images to help the director and production designer communicate their ideas to the production team.
The production sound mixer manages the audio experience during the production stage of a film. He or she cooperates with the director, DOP, and AD.
- The sound designer creates new sounds and enhances the aural feel of the film with the help of foley artists.
- The composer creates new music for the film.
- The choreographer creates and coordinates the movement and dance – typically for musicals. Some films also credit a fight choreographer.
Production
Sesame Workshop crews film an improvised segment of Sesame Street, a children’s series, on location in Washington Square Park in New York City.
In production the movie is created and shot. More crew will be recruited at this stage, such as the property master, script supervisor, assistant directors, stills photographer, picture editor, and sound editors. These are just the most common roles in filmmaking; the production office will be free to create any unique blend of roles to suit a particular film.
A typical day’s shooting begins with an assistant director following the shooting schedule for the day. The film set is constructed and the props made ready. The lighting is rigged and the camera and sound recording equipment are set up. At the same time, the actors are wardrobed in their costumes and attend the hair and make-up departments.
The actors rehearse their scripts and blocking with the director. The picture and sound crews then rehearse with the actors. Finally, the action is shot in as many takes as the director wishes.
Each take of a shot follows a slating procedure and is marked on a clapperboard, which helps the editor keep track of the takes in post-production. The clapperboard records the scene, take, director, director of photography, date, and name of the film written on the front, and is displayed for the camera. The clapperboard also serves the necessary function of providing a marker to sync up the film and the sound take. Sound is recorded on a separate apparatus from the film and they must be synched up in post-production.
The director will then decide if the take was acceptable or not. The script supervisor and the sound and camera teams log the take on their respective report sheets. Every report sheet records important technical notes on each take.
When shooting is finished for the scene, the director declares a “wrap.” The crew will “strike,” or dismantle, the set for that scene. The director approves the next day’s shooting schedule and a daily progress report is sent to the production office. This includes the report sheets from continuity, sound, and camera teams. Call sheets are distributed to the cast and crew to tell them when and where to turn up the next shooting day.
For productions using traditional photographic film, the unprocessed negative of the day’s takes are sent to the film laboratory for processing overnight. Once processed, they return from the laboratory as dailies or rushes (film positives) and are viewed in the evening by the director, above the line crew, and, sometimes, the cast. For productions using digital technologies, shots are downloaded and organized on a computer for display as dailies.
When the entire film is in the can, or in the completion of the production phase, the production office normally arranges a wrap party to thank all the cast and crew for their efforts.
Post-production
Here the film is assembled by the film editor. The modern use of video in the filmmaking process has resulted in two workflow variants: one using entirely film, and the other using a mixture of film and video.
In the film workflow, the original camera film (negative) is developed and copied to a one-light workprint (positive) for editing with a mechanical editing machine. An edge code is recorded onto film to locate the position of picture frames. Since the development of non-linear editing systems such as Avid, Quantel or Final Cut Pro, the film workflow is used by very few productions.
In the video workflow, the original camera negative is developed and telecined to video for editing with computer editing software. A timecode is recorded onto video tape to locate the position of picture frames. Production sound is also synced up to the video picture frames during this process.
The first job of the film editor is to build a rough cut taken from sequences (or scenes) based on individual “takes” (shots). The purpose of the rough cut is to select and order the best shots. The next step is to create a fine cut by getting all the shots to flow smoothly in a seamless story. Trimming, the process of shortening scenes by a few minutes, seconds, or even frames, is done during this phase. After the fine cut has been screened and approved by the director and producer, the picture is “locked,” meaning no further changes are made. Next, the editor creates a negative cut list (using edge code) or an edit decision list (using timecode) either manually or automatically. These edit lists identify the source and the picture frame of each shot in the fine cut.
Once the picture is locked, the film passes out of the hands of the editor to the sound department to build up the sound track. The voice recordings are synchronised and the final sound mix is created. The sound mix combines sound effects, background sounds, ADR, dialogue, walla, and music.
The sound track and picture are combined together, resulting in a low quality answer print of the movie. There are now two possible workflows to create the high quality release print depending on the recording medium:
In the film workflow, the cut list that describes the film-based answer print is used to cut the original colour negative (OCN) and create a colour timed copy called the colour master positive or interpositive print. For all subsequent steps this effectively becomes the master copy. The next step is to create a one-light copy called the colour duplicate negative or internegative. It is from this that many copies of the final theatrical release print are made. Copying from the internegative is much simpler than copying from the interpositive directly because it is a one-light process; it also reduces wear-and-tear on the interpositive print.
In the video workflow, the edit decision list that describes the video-based answer print is used to edit the original colour tape (OCT) and create a high quality colour master tape. For all subsequent steps this effectively becomes the master copy. The next step uses a film recorder to read the colour master tape and copy each video frame directly to film to create the final theatrical release print.
Finally the film is previewed, normally by the target audience, and any feedback may result in further shooting or edits to the film.
Distribution
This is the final stage, where the movie is released to cinemas or, occasionally, to DVD, VCD or VHS (though VHS tapes are less common now that more people own DVD players). The movie is duplicated as required for theatrical distribution. Press kits, posters, and other advertising materials are published and the movie is advertised.
The movie will usually be launched with a launch party, press releases, interviews with the press, showings of the film at a press preview, and/or at film festivals. It is also common to create a website to accompany the movie. The movie will play at selected cinemas and the DVD is typically released a few months later. The distribution rights for the film and DVD are also usually sold for worldwide distribution. Any profits are divided between the distributor and the production company.
Independent Filmmaking
Filmmaking also takes place outside of the studio system and is commonly called independent filmmaking. Since the introduction of DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot and edit a movie, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. However, the Internet has allowed for relatively inexpensive distribution of independent films; many filmmakers post their films online for critique and recognition. Although there is little profitability in this, a filmmaker can still gain exposure via the web.
Film
Film is a term that encompasses individual motion pictures, the field of film as an art form, and the motion picture industry. Films are produced by recording images from the world with cameras, or by creating images using animation techniques or special effects.
Films are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment, and a powerful method for educating — or indoctrinating — citizens. The visual elements of cinema give motion pictures a universal power of communication; some movies have become popular worldwide attractions, by using dubbing or subtitles that translate the dialogue.
Traditional films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot see the flickering between frames due to an effect known as persistence of vision — whereby the eye retains a visual image for a fraction of a second after the source has been removed. Viewers perceive motion due to a psychological effect called beta movement.
The origin of the name “film” comes from the fact that photographic film (also called film stock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including picture, picture show, photo-play, flick, and most commonly, movie. Additional terms for the field in general include the big screen, the silver screen, the cinema, and the movies.
Mechanisms for producing artificially created, two-dimensional images in motion were demonstrated as early as the 1860s, with devices such as the zoetrope and the praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns) and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally, the images needed to be carefully designed to achieve the desired effect — and the underlying principle became the basis for the development of film animation.
With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. Early versions of the technology sometimes required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by a handcrank. The pictures were shown at a variable speed of about 5 to 10 pictures per second depending on how rapidly the crank was turned. Some of these machines were coin operated. By the 1880s, the development of the motion picture camera allowed the individual component images to be captured and stored on a single reel, and led quickly to the development of a motion picture projector to shine light through the processed and printed film and magnify these “moving picture shows” onto a screen for an entire audience. These reels, so exhibited, came to be known as “motion pictures.” Early motion pictures were static shots that showed an event or action with no editing or other cinematic techniques.
Ignoring Dickson’s early sound experiments (1894), commercial motion pictures were purely visual art through the late 19th century, but these innovative silent films had gained a hold on the public imagination. Around the turn of the twentieth century, films began developing a narrative structure by stringing scenes together to tell narratives. The scenes were later broken up into multiple shots of varying sizes and angles. Other techniques such as camera movement were realized as effective ways to portray a story on film. Rather than leave the audience in silence, theater owners would hire a pianist or organist or a full orchestra to play music fitting the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music for this purpose, with complete film scores being composed for major productions.
The rise of European cinema was interrupted by the breakout of World War I while the film industry in United States flourished with the rise of Hollywood. However in the 1920s, European filmmakers such as Sergei Eisenstein, F. W. Murnau, and Fritz Lang, along with American innovator D. W. Griffith and the contributions of Charles Chaplin, Buster Keaton and others, continued to advance the medium. In the 1920s, new technology allowed filmmakers to attach to each film a soundtrack of speech, music and sound effects synchronized with the action on the screen. These sound films were initially distinguished by calling them “talking pictures”, or talkies.
The next major step in the development of cinema was the introduction of so-called “natural” color. While the addition of sound quickly eclipsed silent film and theater musicians, color was adopted more gradually as methods evolved making it more practical and cost effective to produce “natural color” films. The public was relatively indifferent to color photography as opposed to black-and-white, but as color processes improved and became as affordable as black-and-white film, more and more movies were filmed in color after the end of World War II, as the industry in America came to view color as essential to attracting audiences in its competition with television, which remained a black-and-white medium until the mid-1960s. By the end of the 1960s, color had become the norm for film makers.
Since the decline of the studio system in the 1960s, the succeeding decades saw changes in the production and style of film. New Hollywood, French New Wave and the rise of film school educated independent filmmakers were all part of the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force in change throughout the 1990s and into the 21st century.
Film theory seeks to develop concise, systematic concepts that apply to the study of film as art. It was started by Ricciotto Canudo’s The Birth of the Sixth Art. Formalist film theory, led by Rudolf Arnheim, Bela Balazs, and Siegfried Kracauer, emphasized how film differed from reality, and thus could be considered a valid fine art. Andre Bazin reacted against this theory by arguing that film’s artistic essence lay in its ability to mechanically reproduce reality not in its differences from reality, and this gave rise to realist theory. More recent analysis spurred by Lacan’s psychoanalysis and Ferdinand de Saussure’s semiotics among other things has given rise to psychoanalytical film theory, structuralist film theory, feminist film theory and others.
Film criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media.
Film critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given film once and have only a day or two to formulate opinions. Despite this, critics have an important impact on films, especially those of certain genres. Mass marketed action, horror, and comedy films tend not to be greatly affected by a critic’s overall judgment of a film. The plot summary and description of a film that makes up the majority of any film review can still have an important impact on whether people decide to see a film. For prestige films such as most dramas, the influence of reviews is extremely important. Poor reviews will often doom a film to obscurity and financial loss.
The impact of a reviewer on a given film’s box office performance is a matter of debate. Some claim that movie marketing is now so intense and well financed that reviewers cannot make an impact against it. However, the cataclysmic failure of some heavily-promoted movies which were harshly reviewed, as well as the unexpected success of critically praised independent movies indicates that extreme critical reactions can have considerable influence. Others note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film. However, this usually backfires as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result.
It is argued that journalist film critics should only be known as film reviewers, and true film critics are those who take a more academic approach to films. This line of work is more often known as film theory or film studies. These film critics attempt to come to understand how film and filming techniques work, and what effect they have on people. Rather than having their works published in newspapers or appear on television, their articles are published in scholarly journals, or sometimes in up-market magazines. They also tend to be affiliated with colleges or universities.
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