This document discusses the process of creating documentaries for television. It begins by noting that documentaries have a unique fiction unlike other forms, and are meant to raise awareness of important issues. It then discusses why engaging in television production through documenting real stories and issues in a compelling way that inspires and moves people. The bulk of the document outlines the three stages of planning, producing, and post-producing a documentary television program - from developing the initial idea, writing a screenplay or treatment, planning production elements, filming, and finally editing and finalizing the finished program.

1. From script to screen Fr. JoselitoJopson

2. DOING DOCUMENTARIES Documentaries are fictions unlike any other Task of documentaries is to awaken to certain important issues

3. Why engage in TV production? Because we want to – our passion and hobby Because we need to – It is a powerful tool of reaching out It inspires people It touches peoples’ hearts

4. Where is the place of TV in the Church? To provide footage for secular media In TV Maria and Catholic stations In the Church, 5 mins. Before the mass In DVDs to be distributed to homes and communities

5. What does TV do to us and to the Church? It engages us It brings messages in compelling ways It gives Jesus a human face It deepens our faith It is a source of income

6. PRODUCTION PLANNING 3 stages of planning: Preproduction Production Post-production

7. Pre-production Developing the program idea or “pitch” Program format / treatment Visual potential / feasibility Formal program proposal and shooting schedule

8. A screenplay is “a story told in pictures, in dialogue and description, and placed within the context of a dramatic structure” What is a screenplay?

9. Story concept: should be expressed in a single sentence called LOG: It is a story about a __________ who wants to ____________. Sources of story ideas: Adaptations of books, plays and short stories Contemporary true stories Historical events Headlines Personal experience Start if: “What if …?” Before you write …

10. An opening that hooks the audience A final climax that satisfies their sense of storytelling In between: A protagonist the audience relates to A central conflict around which all actions revolves A central emotional line that determines the mood and viewpoint of the film All necessary main and supporting characters Essential structure and content of every scene from beginning to end Components of a good script

11. Introduction: the world of paradigm or models, like genre What is structure: a linear arrangement of related incidents, episodes, and events leading to a dramatic resolution. Act 1: beginning; introduction Act 2: middle; conflict Act 3: end; resolution In-between: Plot points – an incident, an episode, or an event that “hooks” into the action and spins it around into another direction or line of development. The three-act structure

12. SCRIPT

13. FACTORS OF PRODUCTION Technical – lights / sounds, etc. Legal and safety factors Aesthetic factors Access to location Initial surveys Arrangements

14. RELEASES AND LEGAL ISSUES Talent release – adults and children Location release Location safety Use of copyrighted music, film or tape Stock footage, sound effects and music Obtaining original music

15. PRODUCTION PLANNING Equipment needs Crew assignments Labeling tapes in the field

16. EQUIPMENT CHECKLIST Video – camcorder, tripod, filters Audio – microphones, connectors, wind screens, headphones, microphone batteries, audio mixers Lighting – spotlights, soft lights, light stands, barn doors, replacement bulbs Power – batteries, extension cords Legal – talent release, location permits Monitors – headphones, AV cables Others – pocket knife, gaffer’s tape, makeup kit, props, set dressing, clothing and costume

17. PRODUCTION CHECK ALL THE EQUIPMENT YOU NEED Crew assignments Labeling tapes in the field

18. Ikaw ba to?

19. LIGHTS

20. LIGHTING Lighting: 3 point lighting: backlight, separate the agent from the background Key light – main light, most powerful light Fill light – less powerful

21. LIGHTS

22. SHOOT TO CUT/ EDIT Principle of Blinking Zooming Panning Dolly Don’t cut on anybody while they’re blinking / always open eyes 5 secs Before, 5 secs. After

23. WHITE BALANCE

24. DEPTH OF FIELD Also, note: Foreground Middleground Background Rule of 3rds

25. KINDS OF SHOTS XLS LS MS MCU CU ECU 2 SHOT

26. HEADROOM

27. FOREGROUND/ BACKGROUND ERRORS

28. MORE HEADROOM

29. WHERE NOT TO CUT

30. CAMERA RULES LEAVE ENOUGH HEADROOM LEAVE THE FRAME

31. 180 DEGREE RULE 180 DEGREE RULE, DON’T CROSS EXCEPT … LINE OF SIGHT

32. CUTAWAYS

33. CUTAWAYS

34. POST-PRODUCTION Log the tapes Rough cuts / edit worksheet Final edit – sweetening, rendering copyrighting

35. THE TAPE LOG

36. SAMPLE EDIT LIST