CCC Erasmus+

1. The filmmaking process
step by step (adım adım film yapım
aşamaları)
When you make a film, you need to follow
an organised filmmaking process. It’s best to think
of it as three distinct stages:
planning and getting ready to film (pre-production)
filming (production), and
completing the film and getting it ready to
show (post-production).

2. Planning (pre-production)
• In this stage you work out your filmmaking
idea and how you will tell your story. Your idea
should be simple.
• Once you’ve got your idea, write a script and
make storyboards or shot lists.
• Make sure you have all the people and all the
gear you need before you start shooting.

3. • Chosen a location? Don’t just assume it will be
OK. Visit it before the shoot. Check that you
can get permission to film there, if you need
it. Check the light. Check that there won’t be
any interruptions or distracting sounds. Check
there’s space to get all the camera positions
you need.

4. • Make sure you get any legal agreements – e.g.
actor release forms – signed before you start
shooting: you don’t want to be arguing about
these after you’ve completed your film.
• If your scenes are complex, you can
make storyboards to help work out how
you’re going to film them.

5. Filming (production)
• Make sure you’re confident with your
equipment before you start filming: spend
time practising on short films that don’t
matter before you start serious filmmaking.

6. • You should shoot a bit more than you need,
but if you shoot hours of footage it’ll take you
forever to sort through it to find the bits you
want. For a one-minute drama film you might
need to shoot between three and five minutes
of video. Documentaries – where you can’t
control what there is to film – will need much
more than this.

7. • Watch what you’ve filmed and check it’s OK
before you leave the location. Is the colour
right? Is the framing right? Have you got all
the shots you need?
• If you’re recording live sound, pay particular
attention to the sound quality and make sure
you’ve recorded some background sound or
‘ambience’ which will help with the editing.

8. Editing and sharing (post-production)
• Look through your footage before you start
editing. If you’ve got a lot of material, you
could log it and maybe create a paper edit
before you start putting it together. You could
also make a documentary script. There are
templates for these here.

9. • Do a ‘rough cut’ of the whole film (if it’s short) or
individual sequence so you can get a sense of the
bigger picture.
• Gradually refine your edit, then add titles,
sounds and effects if they’re needed. Remember
‘less is more’: most films can be improved by
shortening them. Keep saving your film as you
edit, unless your editing program does this
automatically. Even if it does, make sure you
backup your edits.

10. • Keep reviewing your film as you edit: check
that it makes sense, that the pace is right, and
that the sound is consistent.
• Next, you need to share your film.
• Now you need to fine-tune the edits, smooth
out the sound and make sure colours match
from shot to shot.
• When you’ve finished save and backup your
project.

11. Camera position and angle
(kamera pozisyonu ve açı)
• Different camera positions can help tell your
story
• Shoot from above or below, as well as from
eye level
• Film from different positions around the
subject as well
• Make sure your presenter or actors are
looking in the right direction

12. The 180 degree rule, looking space
and eyeline match
• Follow these rules so that your shots will
make sense together
• Keep all your camera positions on one side of
an imaginary line
• Frame your shots carefully to show where
people are looking

13. • When you film a scene using separate shots,
it’s important that people understand where
everything in the scene is. You can use the 180
degree rule, together with looking
space and eyeline match, to help them.

14. Line or axis of action

15. The 180 degree rule
Imagine you’re looking at a scene from the side. You can see the whole scene.
If you look at one character, they are on the left hand side of the scene facing
right. The other character is on the right side of the scene facing left.
You could just show your scene in long shot, but that would mean we couldn’t
see facial expressions, or details of what characters are doing, very well. It
would also be quite boring because the camera position doesn’t change.

16. • Imagine there’s a line between the two
characters (above). Keep your camera on one side
of that line. If you’re filming someone moving,
stay on the same side of the direction they’re
moving.
• If you cross the line then the shots may not fit
together. Your two characters will look as if
they’re facing the same way, rather than facing
each other.
• Or your moving person will look as if they’ve
changed direction.

18. 3 point lightning set-up
• the basic premise of the setup is to have:
A key-light that produces the most amount of
light and shines on your subject.
• A fill-light that ‘fills’ in any shadows left by
the key-light.
• A back light that beautifies the image with a
soft glow on the back of the subject’s
head/shoulders.

20. Sequence
Films are made up of sequences of shots. So if a single shot is
a bit like a sentence in a story, a sequence is like a paragraph.
When you’re filming, you should think about how the clips
will fit together into these sequences. You can follow some
simple systems and rules to help with this.

21. Coverage
• You need to film enough shots to show
everything you need to show
• Continuity
• You also need to make sure that your shots will fit
together properly. To do this, you need to
understand the continuity system. This is a set of
simple rules about where to put the camera, how
to frame the shots, and how to edit them. If you
follow the rules, it’ll be easier for your audience
to understand what’s going on. And your film will
seem to flow more smoothly, so viewers will
get more involved in the story

22. Gain
• Gain refers to the relationship between the input
signal and the output signal of any electronic
system. Higher levels of gain amplify the signal,
resulting in greater levels of brightness and
contrast. Lower levels of gain will darken the
image, and soften the contrast. Effectively, gain
adjustment affects the sensitivity to light of the
CCD or CMOS sensor. In a digital camera, this
concept is analogous to the ISO or ASA ratings of
silver-halide films.

23. Exposure triangle

24. Side 1: Aperture (diyafram)
• Aperture is a measure of how open or closed the lens’ iris is. A
wider aperture (or lower f-number) means more light will be let
in by the lens, simply because the opening is larger. A narrower
aperture (or higher f-number) allows less light to reach the
sensor.
• You might wonder why we would ever want less light to reach
the sensor. The answer the majority of the time is that we want
a larger depth of field. Depth of field is a byproduct of aperture.
Narrower apertures (higher f-numbers) give a greater depth of
field, allowing more of a scene to be in focus (think landscapes).
Wider apertures (lower f-numbers) create a narrow depth of
field, which can help isolate a subject and is one of the greatest
compositional tools at your disposal (think portraiture).
• You should also note that most lenses are their sharpest around
f/5.6 or f/8. However, many photographers are willing to trade
some sharpness for the subject-isolating effects of a wider
aperture.

26. Side 2: Shutter Speed (enstantane)
• Shutter speed is a measure of how long the shutter remains
open and thus, how long the sensor is exposed to light.
Faster shutter speeds give the sensor less time to collect
light and thus, result in a lower exposure. Slower shutter
speeds allow more time for the sensor to collect light and
result in a higher exposure.
• In this case, the reason we might want to use a higher
shutter speed is to stop motion, whether that be camera
shake or a subject that is moving, allowing us to maintain
sharpness. Remember, as long as the shutter is open, the
camera is essentially recording the position of elements in
the frame; if one of those elements moves, the result will
often be undesired blurriness.

27. Side 3: ISO
• The ISO determines how sensitive the camera
is to light. For example, an ISO of 100 means
the camera isn’t very sensitive—great for
shooting in the daylight. An ISO 3200 means
the camera is very sensitive to light, so you
can use that higher ISO for getting shots in low
light. The trade off is that images at high ISOs
appear to be grainy and have less detail. ISO is
balanced with aperture and shutter speed to
get a proper exposure.

28. Examples (örnekler)
• Let’s take a look at some pictorial examples of
the exposure triangle