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SHORT TABLE OF CONTENTS:
Preface……………………………………………………………………………………….......................................….1
Introduction…………………………………………………………………………….......................................……….4
Part I
From the point of view of creative director
How a commercial is created…………………………………………………………....................................………14
An ad agency……………………………………………………………………………......................................…….35
Phase I – pre-production………………………………………………………………….....................................…...54
Phase II - production (the shoot)…........................................... ..............................................................….67
Phase III – post-production…………………………………………………….....…….............................................77
Part II
From the point of view of the film director
Advertising - film in a nutshell ..............................................................................................................…...84
The global aspects of the film ............................................... ....................................................................95
Visualization............................... ……………………………………………………………..................................99
Set design………………………………………………………………………………….........................................114
The image and styling of characters............................................... ...............................................……….153
Directing actors ................................................ ..............................................................…………………162
Staging............................................. .............. …………………………….....………...................................193
Camera coverage………………..............................................................………....................................…..227
Static scene filming……………………………………………………….............................................……………267
Directions of lookglance and action ...................................................................................................…….280
Visual elements……………………………………………………..………………….............................................291
Frame composition……………………………………………..………............................................………………331
Film director behind the camera or DOP as a film director.......................................................................….353
Film director in post-production………………………………………………..………...........................................401
Soundtrack..................................... ……………………………………..………………....................................441
Arranging film composition ..........................................................................…………...............................485
Analysis of student work ............................................................................................................………...505
Film crew – professions and crafts………………………………………………………….....................................535
Glossary of terms and jargon of advertising and film ......................................……………….........................551
Postscriptum……………………………………………………………………………......................................……607
TABLE OF CONTENTS:
Preface……………………………………………………………………………...........................................………..1
Introduction……………………………………………………………………………….............................................4
The most interesting profession……………………………………………………….....…………………..…….20
How to get into the profession………………………………………….....……………………….....................21
Specreel………………..……………………………….............................................................................22
Part I
From the point of view of creative director
How a commercial is created……………………………………………………......................................………14
Small budget
Strategy
Scenario
Production
Time for a shoot
Studio or real locations
Big budget
Advertising agency………….......................................………………………….............................................35
Creative department
TV production
Client service department
Planning department
Between the idea and broadcast
Ordeal
Treatment
Phase I – preproduction………………………………………........................................…………………………54
Casting
Crew
Recce
PPM
Phase II – the shoot (production) ................................................................... .......................................67
the location
Where do I start?
Camera ..... action!
How to deal with the agency and the client on the shoot
Phase III – postproduction………………………………………………….........................................…………...77
Time for the agency
Time for a client
Approval
When will you see your commercial on the screen?
Part II
From the point of view of the film director
Advertising - film in a nutshell ...............................................................................................................84
Why do we need a director?
Director on location
The working process on the shoot
Director’s commands
Getting Started - a handful of councils
The global aspects of the film................................................................ ............................................…95
Aspect of the narrative
Aspect of dramaturgy
Aspect of the aesthetics
Psychological aspect
Financial aspect
Natural aspect
Physical aspect
Technical aspect
Aspect of edditing and composition
Visualization.................................................................... ………………………………………………………..99
Shootingboard
Animatic
Short drawing course
Production Design ................................................. ..............................................................................114
Dramaturgy of set design
Set design elaboration
Set design sketches and plans
Selecting objects
Determining topography of the scene
Set designer’s routine steps
Equipment sets the props
Problems with props
Tricks in set design
Keying
Virtual set design
The image and styling of characters .................................................................. .......................... …...153
Costume
Mask
Directing actors ......................................................................................................................... ………162
Casting
Main types of acting
Working with actors – basics
Fragmentation of an actor’s scene
Rehearsal
Leading the actor
Ways to build a character
Realistic- psychological convention
Working on dialogue
Logical and emotional accents
Subtext
Staging..........................................................................................……………………………………………193
Static systems
Static systems with two actors
Static systems with three actors
Static system with four or more actors
Staging in motion
Changing the position of an actor before the camera ( mise en scene)
Changing the position of an actor in the frame ( mise en cadre )
Actors' movements and activities
Working with extras – mass scenes
Camera positioning ................................................ ................................................................…………227
Camera angle
Camera height
Eye height
The frog perspective
Bird's-eye view
Narrative - dramatic points of view
Objective
Subjective
POV (Point of View )
Film shots
Twelve-degree scale plans
Special field sizes
The movement
Movement in the frame
Frame move
Moving glance
Impact on the perception of the optical image
Normal lens
Wide-angle lens
Tele lens
Camera coverage of static scenes ………………………………...................................………………………267
A scene with one actor
A scene with two actors
A scene with three actors
Scene with a group of actors
Directions of action and lookglance............................................................... ......................................280
Static directions
Dynamic directions
Visual elements ...................................................................................................................................291
Line
Shape
Block
Value
Invoice
Color
Color of light and pigment-based inks
Color of items
Interaction of colors
Harmony of colors
Using color in practice
Frame composition………………………………………………………....................................…………………331
Frame format
Dynamic composition
Static composition - framing
The rules of static frame composition
Balance in the frame
Attracting attention
Image structure
Background
Perspective
Depth setting
The film director behind the camera or DOP as a film director............................................................353
Dramatic light
Expression of light
The character of light
Space and light
Creating a film light
Functions of light
Portrait light
Types of light (light temperature)
Balancing light (white balance, color balance)
Light strength, light sensitivity of a medium and optical clarity
Exposure
Film camera
Comparative test of three cameras
Basic lighting equipment
Types of lamps
Auxiliary lighting accessories
Operating strategy
The speed of work
Lighting a small shooting plan
Packshot
Tricks of advertising craft
Director in post-production ...................................................................................................................401
Cut
Film interpretation – editing switches
Director’s cut
A few hints for editing
Types of editing rhythm
Post- production studio
Computer-generated imagery (CGI)
Digital Animation - Motion Control
Animation quasi 3D (case study)
Stereoscopy - three-dimensional film (3D)
2D to 3D - Converting two-dimensional image to three-dimensional
Soundtrack............................................................………………………………………………………………..441
Speech
Dialogue
Monologue
Voice Over
Sound effects
Background sound
Synchro sound effects
Music
The use of music
Music in a commercial
The sound on the set
Sound editing
Sound processing
Sound mix
Film composition ................................................................................................... ………………………485
Dramaturgy
Action line
Rough cut
Tempo, rhythm and dynamics
Genre
Style
Production value
Analysis of student work (case studies) ................................................................................................505
Film crew…………………………………………………………...............................………………………………535
Production team
Directing
DOP
Electrical
Grip
Art Department
Costume Department
Hair and Make-up
Production Sound
Special Effects
Casting (Cast)
Stunt
Extras
Animals
Transport
Post production
Glossary of terms and jargon of advertising and film .......................................................................... 551
Postscriptum …………………………………………………………………………………………………….………. 603
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