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Aft158 story writing_for_animation_1

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krishn verma
krishn verma

Story and creativity within you, Understanding you and your creativity

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VISUAL NARATTIVE DEVELOPMENT (AFT158)
Course Description: L 0 T 0 P4  ―AFT58- Visual Narrative Development.‖ is a basic foundation for writing course in clubbed form may be in the form of animation film design or game design means script writing ,game documentation or software design in the the form of SRS document.  These fundamental concepts provide a basis for all the design/art disciplines as they are applied by the students regardless of their major area of interest.  This course is base of preparatory documentation course of this discipline.
Course Outcome:  analyze story and character development with reference to how animated film differs  describe elements of animated film construction (set-up, development/climax, ending etc  develop an original idea from concept through to story reel.  apply different approaches to storytelling
Four Cs of 21st Century Skills:  1.COLLABORATOR- Working with others  2.COMMUNICATOR- Understanding and communicating Ideas  3.CRITICAL THINKER- Solving Problems  4.CREATOR- Producing High Quality work IN BLOOM TAXANOMY :These are higher order of thinking in order of thinking DEPTH OF LEVEL DOK- leve1=Recall and Reproduction DOK-level2= Skills and Concept DOK-level3 =Strategic Thinking DOK-level4= Extended Thinking
What is DOK level CREATING EVALUATING ANALYZING APPLYING UNDERSTANDING REMEMBERING HIGHER ORDER OF THINKING LEVEL
TECHNOLOGY DEVELOPMENT PATTERN TIME TECHNOLOGY ART CRAFT ENGENEERING/DESIGING Esoteric Past Experien ce Unorganized Use of Past Experience Systematic Use of Past Experience and Scientific basis
Why Study software and design engineering ?  To acquire skill to develop large program and design  Exponential growth in complexity and difficulty level with size  Proverb "One thorn of experience is worth wilderness of warning‖  Ability to solve problems  How to break large project into smaller and manageable parts ? DESIGN CRISES  Fail to meet user requirement  Frequently crash  Expensive  Difficult to alter, debug and enhance  Often delivered late  Use resources non-optimally
PROJECT -MANAGMENT FEASIBILITY STUDY REQUIREMENT ANALYSIS AND SPECIFICATION HARDWARE SOFTWARE PARTITIONING HARDWARE DEVELOPMENT SOFTWARE DEVELOPMENT INTEGRATION TESTING
DOCUMENTATION OF DESIGN  SRS (Software Requirement Specification)- http://www.jaysonjc.com/progr amming/how-to-write-a- software-requirements- specification-srs- document.html  Software Design / Website Design  Game Design  GDD(Game Design Document )- https://www.gamasutra.com /view/feature/131632/creatin g_a_great_design_document .php  Animation Film Design  Script Writing for Any Film /Animation Film https://www.finaldraft.com/le
SRS (Software Requirement Specification)-  Software Requirement Specification (SRS) document usually contains a software vendor‘s understanding of a customer‘s software requirements.  This document ensures that the software vendor and the customer are in agreement as to the features required in the software system being built.  SRS is created after the initial requirement elicitation phase in which Software vendor interacts with the customer to understand the software needs.  Usually SRS documentation is prepared by a business analyst who has some technical background
SRS (Software Requirement Specification)-  Usually SRS documentation is prepared by a business analyst who has some technical background  An SRS is written in precise, clear and plain language so that it can be reviewed by a business analyst or customer representative with minimal technical expertise. However it also contains analytical models (use case diagrams, entity relationship diagrams, data dictionary etc.) which can be used for the detailed design and the development of the software system.  SRS is one of the most critical pieces of software development since it acts as the bridge betweens the software developers and business analysts. An incomplete or incorrect SRS can have disastrous effects on a software project.
Game Design Documentation  A game design document (often abbreviated GDD) is a highly descriptive living design document of the design for a video game. A GDD is created and edited by the development team and it is primarily used in the video game industry to organize efforts within a development team.  Will be study in details in further
Screen Play Writing/Script Writing  Screenplays written with a typical word-processing program or a free web-based screenplay template can‘t be used in professional film productions.  They often must be retyped or have to go through a complicated conversion process to get them ready for production.  Screenplays written in Final Draft and saved in the FDX format are ready for professional use.
Content YOU AND THE CREATIVE PROCESS a. The journey of the self b. Wanting to tell stories c. Self-exposure and giving support d. What is therapy and what is art? e. What stories mean f. Theme and variation g. Just do it h. Outline and expansion i. Collaboration
YOU AND THE CREATIVE PROCESS  How to develop New Version of Self  Count your Age : So, Don‘t be dead -wood (Judd –Chetan)  Visualization of your self : Each one of you is ca[able of multiplying your self results in 10x,100x or even 1000x  Make your luck  L-Labour  U-Under  C-Correct  K-Knowledge
YOU AND THE CREATIVE PROCESS  According to me and our scripture ,Human is the organism which is centre of all universe, where it can go any where ,whatever he wants, can create a new universe  You will have  Earning is proportional to learning  When learning is converted into performance  So learning is always a good orientation COLLABORATE CREATE EXPRESS LEARN CHOOSE P O W E R
YOU AND THE CREATIVE PROCESS  My responsibility as teacher is  To INSPIRE  To MOTIVATE  To GUIDE  To GROOM  To HELP TO ARCHIEVE THEIR GOAL NO GOAL –NO MOTIVATION MOTIVATION IS GOAL ORIENTATION ROOTS- CHARACTER TREE- COMPETENCE FRUITS- CONTRIBUTION
21st Centaury Learner COLLABORATION ENTREPRENEURSHIP DIGITAL LITERACY CRITICAL THINKING CRITIVITY COMMUNICATION SELF DIRECTION ENGAGEMENT LEADERSHIP CULTURE & GLOBAL AWARNESS INNOVATION SOCIAL RESPONSIBILITY
LETS SEE SOME PSHYCOLOGICAL FACTOR OF LEARNING APPROPRIATE LEARNING MINDSET  GROWTH MINDSET  HIGH SELF EFFICIENCY  SENSE OF BELONGINGNESS  SENSE THAT CLASS GOAL ARE VLUABLE  AWARE NESS OF MISCONCEPTION OR SHORTCOMING IN KNOWLEDGE  REALISATION OF LIMITATION OF NEW KNOWLEDGE
LETS SEE SOME PSHYCOLOGICAL FACTOR OF LEARNING YOURS FEAR AND MISTRUST  GRADING CRITERIA ARE ARBITRARY AND BIASED  TEACHER IS JUDGING ME AS A PERSON  READING AND ASSIGMENTS ARE POINTLESS  THERE IS NO RELATIONSHIP BETWEEN MY GRADE AND MY EFFORTS DEVELOPING A MIND SET FOR LEARNING  HAVE A GOOD IDEA OF EXISTING LEVEL OF SKILL AND KNOWLEDGE  YOU SHOULD HAVE PRIOR KNOWLEDGE ( MIX OF ACCURATE INFORMATION ,SIMPLIFIED INFORMATION,MISCONCEPTION AND GAPS IN UNDERSTANDING)
LETS SEE SOME PSHYCOLOGICAL FACTOR OF LEARNING MISCONCEPTION  WE USE ONLY 10% OF OUR BRAIN CAPACITY  PEOPLE BECOME BLIND, THEIR HEARING BECOMES MORE SENSITIVE TO COMPENSATE  MISSCONCEPTION IS VERY HARD TO ERASE IF EXISTS IN CONCIOUS MIND WHICH MAKES BELIEVE AND VALUE  THERE IS NO RELATIONSHIP BETWEEN MY GRADE AND MY EFFORTS BASIC LEARNING MODEL  OBSERVE-IMITATE- REPEAT or Read –Write -Remember LIFE SKILL:( 85%) 1. Expression 2. Emotional maturity 3.Personal productivity TECHNICAL SKILL (15%): Create new and better, cheaper faster easier, user and environment friendly
LETS SEE SOME PSHYCOLOGICAL FACTOR OF LEARNING ADVANCE LEARNING MODEL THINK- IMAGINE- EXPERIMENT- IMPROVE PICKING POINT Inner question(why ,what, how) Left brain to right brain Learn and unlearn Think- imagine and improve BASIC THINKS 1.Passion 2.Research 3. Capability 4.Jack of All 5.Mastry of One
YOU AND THE CREATIVE PROCESS
CREATE YOUR OWN STORY a. Generate an IDEA! b. Developing a premise c. Title d. Theme e. Logline f. Treatment SCRIPT a. Script Elements b. Formatting guidelines c. Format Sample
How to Structure A Story: The Eight- Point Arc You‘re a short story writer or flash fiction writer rather than a novelist, this structure still applies, so don‘t be put off by the title of Watts‘ book. The eight points which Watts lists are, in order: 1. Stasis 2. Trigger 3. The quest 4. Surprise 5. Critical choice 6. Climax 7. Reversal 8. Resolution
 1. Stasis This is the ―every day life‖ in which the story is set. Think of Cinderella sweeping the ashes, Jack (of Beanstalk fame) living in poverty with his mum and a cow, or Harry Potter living with the Dursley‘s.  2.Trigger Something beyond the control of the protagonist (hero/heroine) is the trigger which sparks off the story. A fairy godmother appears, someone pays in magic beans not gold, a mysterious letter arrives … you get the picture.  3.The quest The trigger results in a quest – an unpleasant trigger (e.g. a protagonist losing his job) might involve a quest to return to the status quo; a pleasant trigger (e.g. finding a treasure map) means a quest to maintain or increase the new pleasant state. Structure of A STORY
 4. Surprise This stage involves not one but several elements, and takes up most of the middle part of the story. ―Surprise‖ includes pleasant events, but more often means obstacles, complications, conflict and trouble for the protagonist. Watts emphasises that surprises shouldn‘t be too random or too predictable – they need to be unexpected, but plausible/apealable. The reader has to think ―I should have seen that coming!‖ Structure of A STORY
 5. Critical choice At some stage, your protagonist needs to make a crucial decision; a critical choice. This is often when we find out exactly who a character is, as real personalities are revealed at moments of high stress. Watts stresses that this has to be a decision by the character to take a particular path – not just something that happens by chance. In many classic stories, the ―critical choice‖ involves choosing between a good, but hard, path and a bad, but easy, one. In tragedies, the unhappy ending often stems from a character making the wrong choice at this point – Romeo poisoning himself on seeing Juliet supposedly dead, for example. Structure of A STORY
 6.Climax The critical choice(s) made by your protagonist need to result in the climax, the highest peak of tension, in your story. For some stories, this could be the firing squad levelling their guns to shoot, a battle commencing, a high-speed chase or something equally dramatic. In other stories, the climax could be a huge argument between a husband and wife, or a playground fight between children, or Cinderella and the Ugly Sisters trying on the glass slipper.  7.Reversal The reversal should be the consequence of the critical choice and the climax, and it should change the status of the characters – especially your protagonist. For example, a downtrodden wife might leave her husband after a row; a bullied child might stand up for a fellow victim and realise that the bully no longer has any power over him; Cinderella might be recognised by the prince. Structure of A STORY
Your story reversals should be inevitable and probable. Nothing should happen for no reason, changes in status should not fall out of the sky. The story should unfold as life unfolds: relentlessly, implacably, and plausibly.  8.Resolution  The resolution is a return to a fresh stasis – one where the characters should be changed, wiser and enlightened, but where the story being told is complete.  (You can always start off a new story, a sequel, with another trigger…)  I‘ve only covered Watts‘ eight-point arc in brief here. In the book, he gives several examples of how the eight-point arc applies to various stories. He also explains how a longer story (such as a novel) should include arcs-within-arcs – subplots and scenes where the same eight- point structure is followed, but at a more minor level than for the arc of the entire story. Structure of A STORY
END YOUR NOVEL/STORY THE CIRCULAR ENDING: It is the story that does a full circle and comes back to the beginning THE MORAL ENDING It is ending where by you see the character’s growth throughout the story or novel and how far they have some. THE SURPRISE ENDING Is where the story takes us to a place we least expected THE CAPTURE EMOTION ENDING Leaves the reader feeling emotional, whether that be happy or sad for the characters and the story
END YOUR NOVEL / STORY THE REFLECTION ENDING Where the character looks at everything they have achieved, experience and gone through. THE CLIEF- HANGER ENDING It is very common in novel or story series’s and is an ending that leaves the reader on the edge of their seat. THE HUMOUR ENDING Leaves the reader laughing at a line or an inside joke to the story. THE QUESTION ENDING It is an ending thet leave the reader thinking about what is going to happen next. THE IMAGE ENDING It is an ending that puts the show don’t tell rule to good use and describe a scene THE DIALOGUE ENDING It is and ending that finishes with dialog from a character
Tone – creepy, light-hearted, sentimental, etc. – what will the audience feel? SHAPE OF STORY- example triangular love story, square shape, straight ahead, spiral shape, circular whatever you want to make story.. Main Character – what does a viewer think about your main character? Subject Matter – is the film set in the world of nuclear physics or beauty pageants? Hooks – outside of plot and approach, what unique elements are there? Special Interests – does the film encroach on a world outside of itself? Source Material – is the film based on a book, short film or YouTube channel?
WHAT IS GAME NARRATIVE ? TRADINATIONAL NARRATIVE Hero is called to action Through a series of events And strives to overcome challenges To achieve their goal GAME NARRATIVE The Player(Hero) have to perform action That influence the events Learn to master the system/rules(challenges) To achieve their goal
ONCE MORE WITH FEELING THE PLAYER IS HERO
Initial Write Up  Premise - GO NUTS FOR 10 MINUTES  Player role- IS THE PLAYER SUPPOSED TO BE CHARACTER  Player goal- SIMPLE AND REALIBLE  Player conflict- WHAT OBSTACLE ARE IN PLAYER WAY,WHAT ARE THE BARRIER TO VICTORY  Player choice- TOUGH, MEANINGFUL ,STRATEGIC,TACTICAL  Player action- WHAT ARE PLAYER REGULAR VERBS  Resources- what are player world ,can use? Simple to understand but elegant, to give opportunity and challenges.  Game events what short of change take place? Are these changes scheduled or big milestone ,Is there an end ?
BUILDING THE STORY  Show the player their goal  Give meaning to the rules  Use characters as resources events and conflict  Grow the story events around the action CUTS THE STORY POINT THAT DON‘T  Reference or show case goal  Call the player to the action  Give player feedback for their choice  Provide a break /reward at every heavy action
Major platform categories of video game  Console:A game-playing box that connects to a television set or monitor, with a handheld controller for gameplay—such as the Wii, Xbox, or PlayStation (each platform having its own proprietary systems that aren‘t compatible with other platforms)  Handhelds: Such as the Game Boy, PlayStation Portable (PSP), or any game-playing device that is its own independent system that can be held in the hands while played  Mobile, wireless,Wi-Fi (wireless fidelity): Cell phones, PDAs (personal digital assistants), and other mobile/wireless devices  PC: A desktop computer or laptop (further divided into computers using Windows, Apple, and Linux operating systems)  Web-based games: Use the Internet and/or World Wide Web (and are therefore widely accessible to any computer)
Major videogame categories  Adventure, action-adventure (Prince of Persia, Splinter Cell)  Arcade games:-Games made specifically for large, stand-alone game-playing machines with a screen and a panel of buttons or other game-playing controls. They provide a set amount of game time for coins or tokens. So named because they are usually found in arcades.They are only a tiny slice of the market at this point.  Casual( Board game, card game, casino game  Educational: Zoo Tycoon, I Spy Fantasy.  FPS (first-person shooters):  MMOG (massively multiplayer online games)or MMORPG (massivelymultiplayer online role-playing games)  RPG (role-playing games):A game in which the player plays the role of a particular character from a third-person perspective Ex -Final Fantasy  RTS (real-time strategy): A game that progresses in ―real time‖ as the player plays, so that the action is continuous. Ex- Star-craft
Major videogame categories  Sandbox:A sandbox game provides the player with a virtual space or environment, provides a lot of ―toys‖ (objects, items that can be used), possibly some story, and then gives the player total freedom (as much as is possible) to do anything at any time to anyone or anything within that virtual environment.  Sims (simulators):The idea of a sim game is to create a virtual reality in which the player has various levels of control over how that virtual reality evolves  Sports: FIFA ,VIRTUA TENNIS… This doesn‘t cover every type of game out there, plus there will be games that combine elements of two or more types, but these are the significant categories
Create your own story Generate an IDEA Draw on ideas and inspiration around you to help develop a strong idea. Developing a premise 1.Title: Name the film. This doesn‗t have to be the film‗s final title, but a strong working title can help maintain focus of what the story is about. (1–5 words). 2.Theme: What is the ―moral of the story?‖ Beneath the story, plot, characters, and genre, what is the message you want to convey to the audience after they finish watching the movie? Make sure that every scene, every moment, and every character supports this theme. If you ever encounter writer‗s block, or don‗t know where a scene should go, refer to the theme and write a scenario that supports it. (5–15 words).
Developing a premise 3.Logline: Describe the good guy, the bad guy, the setting, and the conflict. The logline is the basic premise of what the movie is about. Think about what a movie reviewer would write up in the newspaper when trying to describe the premise of the film in a clear, concise manner. After you describe the, who, what, why, when, and where, be sure to identify the conflict, or there‗s no story. (15–25 words). 4.Treatment: The treatment is a short-story form of the movie that describes what happens from the beginning to the end of the fi lm. It reads like a novel and serves as an easy way for the writer to understand the characters and events as they appear in the movie. Treatments are valuable writing tools that allow the writer to work out the story points in a short form before moving on to write the longer script. ( 2–3 pages).
Generate an IDEA:  Do you want the movie to make money?  Then develop a concept around the industry standard formula, with marketable actors, a tight three-act structure, and high production values. This can be the most expensive option.  Do you want to make a movie for the educational experience? If you want to learn filmmaking or practice your craft, produce a short fi lm and know that you won‘t recoup your investment.  Do you want to make art?  Producing an artistic fi lm that defies traditional Hollywood convention is risky because distributors tend to shy away from films they can‘t easily explain to viewers. If picked up for distribution, most art films will find homes in small art theaters and possibly on home video, although the odds of generating a profit are slim.
Draw on ideas and inspiration around you to help develop a strong idea.  Look at real-life moments for inspiration: childhood memories; interesting happenings at work; relationships with family, friends, and love interests. Think of family conflicts, your first job or your freshman year in high school, moving out on your own for the first time, and college experiences. Drawing on personal experiences leads to strong material because you‘ve lived and experienced it.  Read the newspaper, listen to the radio, and watch news stories that may captivate your imagination.  Keep a journal of interesting things that happen every day; an engaging conversation, a funny moment, an unusual or interesting person you may have encountered in public. These moments can be the seeds of not only good ideas, but also engaging characters, moments, and lines of dialog in the movie.  Brainstorm and write down anything and everything that comes to mind. You‘d be surprised what comes out. Listen to inspirational music, turn off the lights, let your mind roam free, and be ready to capture ideas as they strike.  Study political history and the lives of dictators, emperors, famous people, and serial killers. All these peoples‘ lives involved extraordinary circumstances that are full of drama and conflict.
 Surf the Internet. The knowledge of the world is at your fingertips and can provide outstanding ideas and motivation for a movie.  Try reading the yellow pages, magazines, and even advertisements for inspiration.  Get out of your house. Traveling to a new place, whether it‘s going out of town or visiting a local coffee shop can help spur the imagination.  Take breaks and don‘t force your imagination. A walk on the beach or through the woods can help clear your thoughts and open your mind to new ideas.  Write stories you‘re passionate about. Be excited and willing to explore the subject matter. Learn as much as you can about the world, people, and situations you‘re writing about.  Visit classic literature; listen to operas and read books. Stories of mythology, ancient romances, and tales of adventure and heroism are the root of storytelling.  Learn from people who resemble, or can provide insight into, your character. If you‘re writing a crime drama, contact a local police station and ask to shadow an officer for a week. Listen to how she talks, how she acts both casually and under pressure. Get a sense of the police environment so when it comes time to create it in a script, you can write a realistic and believable world.
Developing a premise • STEP 1: FICTION OR NONFICTION • STEP 2: GENRE: A genre is a category or type of story. Genres typically have their own style and story structure, and although there are several primary categories, movies can be a mixture of two or three different genres. • Some common genres include: ■ Action ■ Comedy ■ Crime ■ Drama ■ Family ■ Fantasy ■ Horror ■ Musical ■ Romance ■ Romantic Comedy ■ Science Fiction ■ Thriller ■ War ■ Western
STEP 3: FORMAT: Stories can be told in many different formats, each designed for a different purpose. Be mindful of your budget, the availability of resources, and time when you choose the format for your story.  Animation. Produced either by hand or using computer technologies, 2D or 3D movies still rely on traditional story structures, although the means of production lie strictly with the animator and rarely include live-action elements. Animated films are very time consuming and technically elaborate.  Commercials. Designed to advertise a product or service, television commercials incorporate a wide range of styles, techniques, animation, narrative, and hard-sell techniques into 10-, 15-, 30-, or 60-second time lengths. Commercials are a great way for filmmakers to showcase their style and story-telling and production capabilities and are among the most lucrative, well-paying forms of production.  Documentaries. Documentaries are intended to study a subject, occurrence, theme, or belief in an attempt to either explore the subject or arrive at a conclusion about the subject. Documentaries can either take on an investigative approach, in which the filmmaker tries to answer a question or research a subject, or follow a subject and allow the story to unfold during the production. Documentaries can, in some instances, be inexpensive but time-consuming to produce.
Feature films. The 90-minute narrative is the mainstay of Hollywood entertainment, and its production is the dream of millions of aspiring filmmakers. The riskiest style of production, feature films are expensive and time consuming and rarely recoup the monies invested. Industrial/corporate. These productions are typically marketing or how-to pieces for businesses. Although not very entertaining to watch or make, industrials are an outstanding way to make money in the production industry. Music videos. These highly stylized four-minute promotional videos for music artists are a great way for a filmmaker to explore unbridled creativity using any medium, any style of narrative or performance, and artistic editing. Music videos are terrific short-format pieces that easily demonstrate a filmmaker‘s abilities. Short films. Short films are movies that are shorter than 80 minutes. Ideally under 20 minutes, shorts are a terrific way of learning the process of making a movie, showcasing the talents of the filmmakers, and generating interest from investors in future projects. Despite the educational and career benefits, there is virtually no market for short films, making it nearly impossible to see a return on the investment. Although there are a few distributors who may release a compilation DVD of short films, filmmakers rarely see their money back or see distribution of a short fi lm by itself.
The Creative Inspiration/Finding Ideas –Here is 31 ways to find out ideas, better to feel pain around you which may be in family , society, school, college hospital, ,government, court, state, country ,future, past, tradition, inequality, crisis (finance, bank, political ),smell, sound, pollution, taste, feeling, hungry, Energy, knowledge, science, Pleasure) Overheard dialog Friends. Children Poetry. People watching Magazines Writing groups Exercise Shakespeare. Dream writing Movies The Book of Inspiration Religion Freewriting Blogs Forums Quotes. Newspapers Brainstorms Art. Nature Dreams Flickr Music. History Writing journal Breaking your routines Friends. Travel Magazines Del.icio.us. Success stories
Ways to record ideas for any creativity  1.Make your own library folder ,files in your hard disk means one in cloud one in pc/Laptop or any physical form.  2.BRAINSTORM by radiant thinking. During brain storming don’t edit , write down everything as fast you can and edit out unusable stuff later. Cartoonist used to make three columns: PEOPLE OR ANIMALS, PLACES, THINGS Evaluate your own ideas , it must be fit the current marketplace or in future and then develop Old man Chess king Mom Fairy princes Arjuna Bharat Africa Desert Circus North Pole Castle School Jail Red rose Table Cell phone Computer Toys
HUMAN DEVELOPMENT (THEIR FIVE NEEDS) 1. HUMAN have five needs: Classify it according to human age and sex means their like and dislikes: Male/Female AGE 1-3 Age 4-5 Age 6-10 Age 11-14 Age 15- 16/17 Age 18- 20 Age 21-24 Age 25-28 Age 29-33 Age 33-38 Age 39-45 Age 45-50 Age 50-60 Age 60-70 Age 70-80 Age 80-Infinity  Annamay ( Hungry of food,taste)  Pranmay (Hungry of Energy)  Gyanmay(Hungry of Knowledge)  Vigyanmay(Hungry of Research, invention, and apply  Anandmay(Hungry of Pleasure or Entertainment, rest, Idleness)
EMOTIONAL DESIGN in the form of entertainment film, edutainment, games, video games, business and marketing ads film  We are in industry of entertainment so we should have to always care about our goal FUN ,PLEASURE ,ENTERTAINMENT  Aspects of (Emotional) Design  Kinds of Pleasure  Conditions for Pleasure  Steps of Seduction  Motion of mood and Game play ecocycle
Aspects of (Emotional) Design A. Visceral: (appearance) -According to ESRB Ratings means Age group Example: Dead Space ,Darkspore,DeathSpank: Thongs of Virtue B. Behavioral: (pleasure and effectiveness of use): -Techniques is a desire to change peoples’ habits so that behavior change becomes permanent like AMATEUR-EXPERT-ADDICT-HABITUE Example: Game-Based Learning: What it is, Why it Works, and Where it's Going C. Reflective: (rationalization and intellectualization): -It turns out this is also an interesting way to explain the different applications of visual design in products. Example: Apps like physics based , maths based, magic maths etc
Kinds of Pleasure  1.Physio: Pleasures of the body  2.Socio: Pleasures from interactions with others  3.Psycho: pleasures from peoples reactions and psychological state  4.Ideo: pleasures from the reflections on the aesthetics, quality, … Positive state of affect also valuable in technology and design Conditions for Pleasure1.Context: functionality in specific circumstances 2.Familiarity: not matching expectations, adaptation 3.Timelessness: new perspectives, experiences IMPLICATIONS: rich, complex object and informed, reflecting viewer: interplay among elements :skill of designer and skill of perceiver
Steps of Seduction 1.Enticement: seduces by its aesthetics, novelty, … 2.Relationship: connects with people, speaks about owner and designer 3. Fulfillment: makes ordinary action extraordinary, every time it is used 4.Seductive Character : A:Siren: promise you infinite adventure and pleasure mainly for women B:Rake: promise you infinite adventure and pleasure mainly for man C:Dandy: promise you to live as master in art of living D:Natural: promise you to be childhood pleasure (golden year of person) E: Coquette: The ability to delay satisfaction is the ultimate art of seduction-while waiting, the victim is held in thrall F:Charmer: promise to make as smart as you can.. G:Charismatic: promise to increase your inner quality, self confidence, energy, sense of purpose-which most people lack as symbol Lamp H: Star: promise to make as GOD, it lives in their imagination.
THE JOURNEY OF THE SELF WHO AM I ? WHERE HAVE TO GO ? WHAT IS MY GOAL ? HOW TO DO IT? MY CAPACITY ? CALCULATIVE DESECISION ? CAN I LEARN LEADERSHIP? Looking for causes and effects in Your own life and grasping the nature of what you feel most deeply. The real people around you and the fictional ones you nurture into existence. The lesson from what you explore, that we can speed our progress by actively searching for how life has marked us.
For creativity you should have understanding of law of nature and understanding of who are you, where you have to go, where you have to stop, ability to take decision ,hidden power within you or awakens.  All these question I have tried to give from scripture and stories  Law of reaping and sowing : Planting and growing plant  Earth=Mind  Seed=Thought  Sunlight= Feeling  Right and wrong : flow of energy  Wrong is created by power not weakness  Wrong ; give greed of happiness, says that you have tried but fail due to others fault, does not take responsibility of fault
For creativity you should have understanding of law of nature and understanding of who are you, where you have to go, where you have to stop, ability to take decision ,hidden power within you or awakens.  So rules to do:  First to right  If you get fail to choose right without doing delay ,it becomes wrong  Don’t wait to do right  Try to fill with knowledge and then make it empty  Don’t loose opportunity  Most of right things are done by power people, not by weak people because of wrong decision
For creativity you should have understanding of law of nature and understanding of who are you, where you have to go, where you have to stop, ability to take decision ,hidden power within you or awakens.  So law of energy (Newton law) is life  If not make flower then it comes in the form of throne  If not make kind then it comes in the form of Anger  If not make ideal then it comes in the form of lust  If not make prayer then it comes in the form of Envy  So How you will decide ,what you do , what not , how will you get idea  Answer is DO UNSELFISH = SATISFACTION,SAY UNSELFISH = SATISFACTION -GO FOR DEFAULT SETTING  JAGAT HITAYAM ATMAN MOKSHATAM
POWER WITHIN US  Journey is the time spending with (I +MY) and its Purification  BY KAND OR YOGA( connection of YOU and HE ) 1.KARM KAND (purification of body) – mudd clean, Example by Yoga,Exercise, 2.UPASANA KAND (Purification by leaving means UPVAS )- cloud clean 3.GYAN KAND (Purification by knowing, reading )-unknowness  SO infinity is Brahman (SATYAM JNANAM ANANTAM), NO ANTAM = NO LIMIT=Infinity  Limits are DISA (SPACE),KALA(TIME), VASTU(OBJECT)- BRAHMSUTRA stanga 1  L=DESA PARICCHEDA SUNYAM = LENGHT  T=KALA PARICCHEDA SUNYAM = TIME  M=VASTU PARICHHEDA SUNYAM = MASS  W (We) = M (I / AHAM )x G (gravity of Place ,planet or thing/ Rules and regulation)
POWER WITHIN US  POWER OF CONCENTRATION ( I-Purush + My-Prakriti/Nature)  POWER OF DECISION ( I-Purush + My-Prakriti/nature)  POWER OF CONCEOUS(AWEKEN) means power of unselfishness  Which are in our mind (Power of Mind)  Mind(I) is flow of thought which is made of settled matter( white matter+ gray matter) So it exist within us in the form of MANN, BUDDHI,CHITTA,AHAMKAR BUDDHI ( imagination, observation, organization, capacity, creativity, sensitivity) CHITTA (memory) MANN( sankalp, emotion, love,faith,pain)  AHAMKAR( kam, krodh,moh) means desire or MY
POWER WITHIN US  POWER OF I (MANN+BUDDHI+CHITTA)—PURUSH – work ship of GOD having no shape  POWER OF MY (KAM +KRODHA +MOH)—PRAKRITI – work ship of GOD having shape  Whole war is balance of I and My which is just like of two wing of birds in the form of MALE and FEMALE ,if you want to get actual goal of life ,you have make it powerful and light so that you can free to move any where after transforming himself generation to generation.  And science is the knowing of pattern or formula (how to do, why to do, what to do) and produce to do in new way , which should be to make it more powerful and teach to maintain balance way so that existence of (I and My) sustain for long journey.
Speak your dream. One person listens while the other describes his or her perfect life for 15 minutes. “Just being heard without anybody giving his opinion brings you clarity,” she/he says. Afterward, the listener shares when she heard special passion in the speaker’s voice.
Keep your vision alive. Check in during the weeks and months that follow, either with yourself or your friend. Being accountable increases the chances of follow-through. On a group retreat, each person write a letter recapping what the other envisioned. Seal and address the letter immediately, then mail it a month later to remind the recipient about his vision.
SELF-EXPOSURE AND GIVING SUPPORT It means showing who you are to the people around you and trusting that it will lead somewhere. The raw material of your life in the sight of other people.
WHAT IS THERAPY AND WHAT IS ART? Therapy: Therapy, however, exists to reduce a person’s pain to manageable proportions and restore his appetite for living. Art: When a person’s emotional conflicts are so present and pressing that his daily living becomes a battle, he may have to put art-making aside and seek the help of a compassionate professional. Making art is not something you can or need to do if you are drowning.
Creative intelligence Your Creative Intelligence is your ability to come up with new ideas, to solve problems in original ways, and to stand head and shoulders above the crowd in terms of your imagination, your behavior, and in your productivity.
Minds do not naturally work in straight lines. Rather they consist of associations radiating out (or in) from many different connection points. Many connections in many different directions connect items together. We could say that the mind is simply a network of connections or associations. Creativity and problem solving will flow most smoothly when allowed to work freely and radiantly. Minds might in various ways have been imprinted with certain "correct" ways of thinking. That is very often simply limited, fixed ideas imposed by misunderstanding or by overwhelming experiences in life. Minds are freed up by expanding what was limited, by connecting up what was separate, by providing many options where there were few, by letting flow what was stuck. RADIANT THINKING
Create a mind map of the problem in question.
IMPROVISATION Improvisation Story is collaborative, focusing on an almost Dadaist form of collaborative fiction. This can take a variety of forms, from as basic as passing a notebook around a circle of writers with each writing a sentence, to coded environments that focus on collaborative story- writing,
Analyzing audience: Target audience: Particular group of people, identified as the intended recipient of an advertisement or message Film maker: ? Audience: ?
Categorized target audience for story/film
Genre :– a class or category of artistic endeavor having a particular form, content, technique, or the like. Example of film genre:- comedy, sci-fi, horror, etc. – look for a ‗unique‘ genre mix
Genre is any category of literature or other forms of art or entertainment, e.g. music, whether written or spoken, audio or visual, based on some set of stylistic criteria. Genres are formed by conventions that change over time as new genres are invented and the use of old ones are discontinued. Often, works fit into multiple genres by way of borrowing and recombining these conventions. GENRE The basic genres of film can be regarded as drama, in the feature film and most cartoons, and documentary. Most dramatic feature films, especially from Hollywood fall fairly comfortably into one of a long list of film genres such as the Western, war film, horror film, romantic comedy film, musical, crime film, and many others. Many of these genres have a number of subgenres, for example by setting or subject, or a distinctive national style, for example in the Indian Bollywood musical.
Tone – creepy, light-hearted, sentimental, etc. – what will the audience feel? Main Character – what does a viewer think about your main character? Subject Matter – is the film set in the world of nuclear physics or beauty pageants? Hooks – outside of plot and approach, what unique elements are there? Special Interests – does the film encroach on a world outside of itself? Source Material – is the film based on a book, short film or YouTube channel?
CHARACTER The combination of qualities or features that distinguishes one person, group, or thing from another. A character is a person in a narrative work of arts such as a story.
CHARACTER  A character is a person or creature that interacts with others within a story.  There are different kinds of characters in stories, and different ways to describe them.  Character traits - elements of a character's personality that define who the character is. Shrek is grouchy and irritable, but kind- hearted; these are his character traits. In the Spider-Man movies, Peter Parker's character traits are his intelligence, his shyness, and his cautiousness. You can map out a character's physical and mental traits.
CHARACTER  Characterization – refers to a character‘s personality or the method by which the writer reveals this personality  Direct characterization – when an author tells you directly about the character‘s personality; “Dena was a kind, caring individual.” The author tells us what the character is like.  Indirect characterization – when an author reveals a character‘s personality through his or her actions or dialogue; “Dena felt so sad when she saw the hurt little chipmunk that she began to cry. She immediately approached it to try and help it get better.” The author shows us what the character is like.
Six Pillars create a character: Trustworthiness: - Be honest • don‘t deceive, cheat, or steal • be reliable — do what you say you‘ll do • Have the courage to do the right thing • Build a good reputation • be loyal — stand by your family, friends, and country Respect: - Treat others with respect; follow the Golden Rule • be tolerant and accepting of differences • Use good manners, not bad language • be considerate of the feelings of others • don‘t threaten, hit or hurt anyone • Deal peacefully with anger, insults, and disagreements
Responsibility: - Do what you are supposed to do • Plan ahead • persevere: keep on trying! • Always do your best • Use self-control • be self-disciplined • Think before you act — consider the consequences • be accountable for your words, actions, and attitudes • Set a good example for others Fairness: - Play by the rules • Take turns and share • be open- minded; listen to others • don‘t take advantage of others • don‘t blame others carelessly • Treat all people fairly Caring: - Be kind • be compassionate and show you care • Express gratitude • Forgive others • Help people in need Citizenship: - Do your share to make your school and community better • Cooperate • Get involved in community affairs • Stay informed; vote • be a good neighbor • Obey laws and rules • Respect authority • Protect the environment • Volunteer
TYPES OF CHARACTERS IN FICTION: Major or central characters are vital to the development and resolution of the conflict. In other words, the plot and resolution of conflict revolves around these characters. Minor characters serve to complement the major characters and help move the plot events forward. Dynamic - A dynamic character is a person who changes over time, usually as a result of resolving a central conflict or facing a major crisis. Most dynamic characters tend to be central rather than exterior characters, because resolving the conflict is the major role of central characters. Static - A static character is someone who does not change over time; his or her personality does not transform or evolve.
Round - A rounded character is anyone who has a complex personality; he or she is often portrayed as a conflicted and contradictory person. Flat - A flat character is the opposite of a round character. This literary personality is notable for one kind of personality trait or characteristic. Stock - Stock characters are those types of characters who have become conventional or stereotypical through repeated use in particular types of stories. Stock characters are instantly recognizable to readers or audience members (e.g. the femme fatale, the cynical but moral private eye, the mad scientist, the geeky boy with glasses, and the faithful sidekick). Stock characters are normally one-dimensional flat characters, but sometimes stock personalities are deeply conflicted, rounded characters (e.g. the "Hamlet" type).
Protagonist - The protagonist is the central person in a story, and is often referred to as the story's main character. He or she (or they) is faced with a conflict that must be resolved. The protagonist may not always be admirable (e.g. an anti-hero); nevertheless s/he must command involvement on the part of the reader, or better yet, empathy. Antagonist - The antagonist is the character(s) (or situation) that represents the opposition against which the protagonist must contend. In other words, the antagonist is an obstacle that the protagonist must overcome. Anti-Hero - A major character, usually the protagonist, who lacks conventional nobility of mind, and who struggles for values not believed universally admirable. Duddy, in Mordecai Richler's The Apprenticeship of Duddy Kravitz, is a classic anti-hero. He's vulgar, manipulative and self-centered. Nevertheless, Duddy is the center of the story, and we are drawn to the challenges he must overcome and the goals he seeks to achieve.
Foil - A foil is any character (usually the antagonist or an important supporting character) whose personal qualities contrast with another character (usually the protagonist). By providing this contrast, we get to know more about the other character. Symbolic - A symbolic character is any major or minor character whose very existence represents some major idea or aspect of society. For example, in Lord of the Flies, Piggy is a symbol of both the rationality and physical weakness of modern civilization; Jack, on the other hand, symbolizes the violent tendencies (the Id) that William Golding believes is within human nature.
Ten Direct/Indirect Ways in which a Character Can Be Revealed a) By psychological description. b) By physical description. c) By probing what s/he thinks. d) By what s/he says. e) By how s/he says it. f) By what s/he does. g) By what others say about him or her. h) By his or her environment. i) By her reaction to others. j) By his reaction to himself.
What ‗s the Audience demand ?  Take me to place I have never seen  Make me into someone I could never be  Let me so things I could never do. ONE EQUATION ENTERTAINMENT+ ENTERTAINMENT = FUN
MONO MYTH/HERO'S JOURNEY: The hero begins in the ordinary world, and receives a call to enter an unknown world of strange powers and events. The hero who accepts the call to enter this strange world must face tasks and trials, either alone or with assistance. In the most intense versions of the narrative, the hero must survive a severe challenge, often with help. If the hero survives, he may achieve a great gift or "boon." The hero must then decide whether to return to the ordinary world with this boon. If the hero does decide to return, he or she often faces challenges on the return journey. If the hero returns successfully, the boon or gift may be used to improve the world
The hole journey divided into 17 stage/ steps: Very few myths contain all 17 stages Some myths contain many of the stages, while others contain only a few; Some myths may focus on only one of the stages, while other myths may deal with the stages in a somewhat different order These 17 stages divided into three sections: Departure (sometimes called Separation) deals with the hero's adventure prior to the quest Initiation deals with the hero's many adventures along the way and Return deals with the hero's return home with knowledge and powers acquired on the journey.
Departure  The Call to Adventure The call to adventure is the point in a person's life when they are first given notice that everything is going to change, whether they know it or not.  Refusal of the Call Often when the call is given, the future hero refuses to heed it. This may be from a sense of duty or obligation, fear, insecurity, a sense of inadequacy, or any of a range of reasons that work to hold the person in his or her current circumstances.  Supernatural Aid Once the hero has committed to the quest, consciously or unconsciously, his or her guide and magical helper appears, or becomes known.
Departure The Crossing of the First Threshold this is the point where the person actually crosses into the field of adventure, leaving the known limits of his or her world and venturing into an unknown and dangerous realm where the rules and limits are not known. The Belly of the Whale The belly of the whale represents the final separation from the hero's known world and self. It is sometimes described as the person's lowest point, but it is actually the point when the person is between or transitioning between worlds and selves. The separation has been made, or is being made, or being fully recognized between the old world and old self and the potential for a new world/self. The experiences that will shape the new world and self will begin shortly, or may be beginning with this experience which is often symbolized by something dark, unknown and frightening. By entering this stage, the person shows their willingness to undergo a metamorphosis, to die to him or herself.
Initiation The Road of Trials the road of trials is a series of tests, tasks, or ordeals that the person must undergo to begin the transformation. Often the person fails one or more of these tests, which often occur in threes. The Meeting with the Goddess The meeting with the goddess represents the point in the adventure when the person experiences a love that has the power and significance of the all-powerful, all encompassing, unconditional love that a fortunate infant may experience with his or her mother. It is also known as the "hieros gamos", or sacred marriage, the union of opposites, and may take place entirely within the person. In other words, the person begins to see him or herself in a non-dualistic way. This is a very important step in the process and is often represented by the person finding the other person that he or she loves most completely. Although Campbell symbolizes this step as a meeting with a goddess, unconditional love and /or self-unification does not have to be represented by a woman.
Initiation Woman as the Temptress At one level, this step is about those temptations that may lead the hero to abandon or stray from his or her quest, which as with the Meeting with the Goddess does not necessarily have to be represented by a woman. For Campbell, however, this step is about the revulsion that the usually male hero may feel about his own fleshy/earthy nature, and the subsequent attachment or projection of that revulsion to women. Woman is a metaphor for the physical or material temptations of life, since the hero-knight was often tempted by lust from his spiritual journey.
Initiation Atonement with the Father In this step the person must confront and be initiated by whatever holds the ultimate power in his or her life. In many myths and stories this is the father, or a father figure who has life and death power. This is the center point of the journey. All the previous steps have been moving in to this place, all that follow will move out from it. Although this step is most frequently symbolized by an encounter with a male entity, it does not have to be a male; just someone or thing with incredible power. For the transformation to take place, the person as he or she has been must be "killed" so that the new self can come into being. Sometime this killing is literal, and the earthly journey for that character is either over or moves into a different realm.
Initiation Apotheosis to apotheosize is to deify. When someone dies a physical death, or dies to the self to live in spirit, he or she moves beyond the pairs of opposites to a state of divine knowledge, love, compassion and bliss. This is a god-like state; the person is in heaven and beyond all trouble. A more ordinary way of looking at this step is that it is a period of rest, peace and fulfillment before the hero begins the return. The Ultimate Boon The ultimate boon is the achievement of the goal of the quest. It is what the person went on the journey to get. All the previous steps serve to prepare and purify the person for this step, since in many myths the boon is something transcendent like the elixir of life itself, or a plant that supplies immortality, or the Holy Grail.
Return  Refusal of the Return so why, when all has been achieved, the ambrosia has been drunk, and we have conversed with the gods, why come back to normal life with all its cares and woes?  The Magic Flight Sometimes the hero must escape with the blessing, if it is something that the gods have been carefully guarding. It can be just as adventurous and dangerous returning from the journey as it was to go on it.  Rescue from Without Just as the hero may need guides and assistants to set out on the quest, often times he or she must have powerful guides and rescuers to bring them back to everyday life, especially if the person has been wounded or weakened by the experience. Or perhaps the person doesn't realize that it is time to return, that they can return, or that others need their boon.
Return The Crossing of the Return Threshold The trick in returning is to retain the wisdom gained on the quest, to integrate that wisdom into a human life, and then maybe figure out how to share the wisdom with the rest of the world. This is usually extremely difficult. Master of the Two Worlds In myth, this step is usually represented by a transcendental hero like Jesus or Buddha. For a human hero, it may mean achieving a balance between the material and spiritual. The person has become comfortable and competent in both the inner and outer worlds. Freedom to Live Mastery leads to freedom from the fear of death, which in turn is the freedom to live. This is sometimes referred to as living in the moment, neither anticipating the future nor regretting the past
STORY  Journey, < part >,  Stories fill our lives in the way that water fills the lives of fish  Like a river every turn/curve, give you a new excitement/anticipation but have a smooth travel
STORY  What is a story?  A narrative/story in its broadest sense is anything told/described; more narrowly, and more usually, something told/described in the form of a causally-linked set of events; account; tale,: the telling of a happening or connected series of happenings, whether true or fictional.  Story depends on :  Time: - Period/ day and night/ hr./ situation/ past/ present/ future …  Space: - geographical/ cultural/ religious/ society/ myth (believes) ………..  Person: - relation/ society/ group …………
STORY What is narrative meaning?  Narrative meaning is created by establishing that something is a part of a whole and usually that something is the cause of something else. It is usually combined with human actions or events that affect human beings. The meaning of each event is produced by the part it plays in the whole episode.  What something means is to say how it is related or connected to something else. To ask the meaning of an event is to ask how it contributed to the story in which it occurs. It is the connections or relations between events.
STORY  Meaning is a social phenomenon. Meaning is produced not only by individuals but by groups, communities, societies and cultures which maintain - through language and agreed understandings - knowledge of the connections between signifying sounds and signifying events.  Groups, communities, societies and cultures also preserve collections of typical narrative meanings in their myths, fairy tales, legends, histories and stories. To participate in a group, community, society or culture requires a general knowledge of these accumulated narrative meanings. The cultural stock of meanings are dynamic and are added to by new contributions from members and deleted by lack of use.  Narrative meaning is about connections. It links individual human actions and events into inter-related aspects of an understandable composite. Narrative displays the significance that events have for one another.  "The narratives of the world are without number...the narrative is present at all times, in all places, in all societies; the history of narrative begins with the history of mankind; there does not exist, and never has existed, a people without narratives:"
STORY Beyond storytelling: narrative intelligence The Secret Language of Leadership, I introduce the concept of narrative intelligence. "Storytelling" seems to point toward a one- way relationship -- "I tell the story and you are to listen." An expert use of narrative and storytelling takes place with in a two-way, interactive relationship.
STORY Structure of the story:-  a character, (Hero‘s journey/Monomyth/The Hero with a Thousand Faces)  in a situation,  with a problem,  who tries repeatedly to solve his problem,  but repeatedly fails, (usually making the problem worse),  then, at the climax of the story, makes a final attempt (which might either succeed or fail, depending on the kind of story it is), after which  The result is ―validated‖ in a way that makes it clear that what we saw was, in fact, the final result.
STORY  THE FIVE ESSENTIAL ELEMENTS OF A STORY:  A story has five basic but important elements. These five components are: the characters, the setting, the plot, the conflict, and the resolution. These essential elements keep the story running smoothly and allow the action to develop in a logical way that the reader can follow.  CHARACTERS: The characters are the individuals that the story is about.  SETTING: The setting is the location of the action.  PLOT: The plot is the actual story around which the entire film is based.  CONFLICT: Every story has a conflict to solve.  RESOLUTION: The solution to the problem is the way the action is resolved.
Three Act
Act I is the beginning of the story, when the audience is introduced to the main characters and their traits, personalities, likes and dislikes, problems, and challenges. The first 30 minutes establishes the setting, time period, and technology of the world in which the story takes place. In Act 1, the most liberty in setting the stage for the rest of the story, even though it may seem a little forced. The audience will accept and understand this Act 1is the first 30 minutes of a 120-minute film. Act 1 is about WHO the main characters are, WHERE the story takes place, WHEN the story takes place, WHAT is the story about, WHY the problem is occurring; and the drama begins when the characters figure out HOW to deal with the conflict.
Act II is the next movement in the story, in which the conflict is introduced. Stories are about conflict and whether that conflict is man vs. man, man vs. society, man vs. nature, or man vs. self, the conflict is the essence of the story. Without conflict, there is no story. Act 2 is usually the most weakly written act in the entire script. A poor second act will bring the story to a screeching halt, so as we write, it‘s important to raise the stakes and increase the jeopardy against the main character. The more pain, agony, hardship, trial, and tribulation you can throw at the main character, the more the audience will root for him. Turning point the most important part of the second act is called the turning point, which occurs at the middle of the story. The turning point is the instance in which the story and plot line take a severe turn and the characters are forced to compensate for this twist. Act 2 lasts for an hour, with the turning point occurring in the middle of the act.
Act III is the last quarter of the story, when the conflict becomes the most difficult for the character and she is forced to use her skill, wit, and ability to resolve or escape from the problem with the maximum possible risk. Late in Act 3 is the point of no return, at which the character chooses a path that will lead to her ultimate success or failure. The third act ends with the conclusion of the story when the character resolves the conflict. At this moment, the main character changes, either for the better or for the worse, through redemption, understanding the importance of love, learning to be kind and caring, or through any number ways. Act 3 is the last 30 minutes of a two-hour movie.
PLOT A story is all about the action and tension involved, both emotionally and physically. Plot: "In fiction, the story of a play, novel, romance, or poem, comprises a complication of incidents which are gradually unfolded, sometimes by unexpected means." Plot is the story - what happens to the characters, how they respond, how that leads to more action and why it is all important.
The most common plot format is Freytag's plot structure, which is divided into five sections: exposition, rising action, climax, falling action, and resolution.
The exposition is the section where all the characters are introduced, their relationships to one another are defined, and their personal emotions are teased out. Rising action, where the characters begin to struggle against one another and the protagonist begins to move towards his or her goal while overcoming smaller obstacles. Climax, the turning point of the story is introduced. The main character makes a single huge decision that not only defines his or her character, but also shapes the rest of the action in the story. Usually the protagonist and antagonist have direct, or nearly direct, contact which results in a line being firmly drawn. Falling action, the line is still drawn, but it almost always seems as though evil is winning. This when a story will have the most tension because the main character is fighting huge odds and falling short. Finally, in the Resolution, the protagonist and antagonist meet and the story comes to a decisive end, with either good or evil winning.
PLOT TYPE: the core of every great movie is a great idea, but an idea by itself is rarely unique. Every idea you can think of has already been written, produced, told, packaged, marketed, and reconstituted a thousand times throughout history.  Plot structure is the backbone of the story: Overcoming the adversary. The hero must find a way to overcome a danger presented by another person, society, nature, him- or herself, a supernatural force, technology, or religion. The quest. The hero undergoes a search for something, someone, or an idea. The perils he encounters and whether the hero meets his objective are up to the writer The journey and return. The hero undergoes a journey from home and experiences a change in character along the way. Comedy. Events in the story keep the characters apart, only for a happy reunification at the end. Tragedy. Events in the story lead to the death of a character. This usually unhappy ending is not often seen in Hollywood movies. Resurrection. The hero is oppressed until events in the story free her. Rags to riches. The life of a character evolves from a life of nothingness to one of bounty, be it family, wealth, or fame.
Title: Name the fi lm. This doesn‘t have to be the film‘s final title, but a strong working title can help maintain focus of what the story is about. (1–5 words).
Theme: What is the ―moral of the story?‖ Beneath the story, plot, characters, and genre, what is the message you want to convey to the audience after they finish watching the movie? Make sure that every scene, every moment, and every character supports this theme. If you ever encounter writer‘s block, or don‘t know where a scene should go, refer to the theme and write a scenario that supports it. (5–15 words).
Logline: Describe the good guy, the bad guy, the setting, and the conflict. The logline is the basic premise of what the movie is about. Think about what a movie reviewer would write up in the newspaper when trying to describe the premise of the film in a clear, concise manner. After you describe the, who, what, why, when, and where, be sure to identify the conflict, or there‘s no story. (15–25 words).
Treatment: The treatment is a short-story form of the movie that describes what happens from the beginning to the end of the fi lm. It reads like a novel and serves as an easy way for the writer to understand the characters and events as they appear in the movie. Treatments are valuable writing tools that allow the writer to work out the story points in a short form before moving on to write the longer script. ( 2–3 pages).
Writing Formats Script: a. Script Elements b. Formatting guidelines c. Format Sample
Script The script is the blueprint for the story and contains dialog, character movements, and scene descriptions (90–120 pages). “If it isn’t on the page, it isn’t on the stage.” Once the outline is finished and every plot point is described, begin fleshing out each plot point into a scene, adding dialog and detailed descriptions. Remember that one page of a properly formatted script roughly equates to one minute of screen time. Complete the first draft of the script, regardless of how good or bad it is. Once you have a complete draft of the script in front of you, you can begin the revision process. Shorten, edit, alter, tighten, and scrutinize every line of every page until you are satisfied with the script.
Script Elements These are the unique margin, case, and position attributes that give feature film script text the format and consistency expected by all participants. Once you are accustomed to them you'll be able to tell your story the way an industry reader is accustomed to seeing it. The elements for a script are: •Scene Heading •Action •Character Name •Dialogue •Parenthetical •Extensions •Transition •Shot
Scene Heading The Scene Heading, sometimes called Slug line, tells the reader of the script where the scene takes place. Are we indoors (INT.) or outdoors (EXT.)? Next name the location: BEDROOM, LIVING ROOM, at the BASEBALL FIELD, inside a CAR? And lastly it might include the time of day - NIGHT, DAY, DUSK, DAWN... information to "set the scene" in the reader's mind. The Slug line can also include production information like CONTINUOUS ACTION, or ESTABLISHING SHOT or STOCK SHOT. Here are examples of Scene Headings: INT. BEDROOM – MORNING EXT. LAS VEGAS STRIP – SUNSET INT. OFFICE - NIGHT - CONTINUOUS ACTION EXT. KEY WEST MARINA - DAWN – ESTABLISHING EXT. PASADENA - ROSE PARADE - STOCK FOOTAGE
Action The moving pictures we see on screen. Also, the direction given by a director indicating that filming begins. Every moment in a screenplay takes place NOW. Use the active voice (a window slams shut) not the passive voice (a window is slammed shut). Always write in PRESENT TIME, not the past. Keep your paragraphs short... don't let them go on and on over 4 or 5 lines. The reader may scan long action paragraphs without really reading them.
Character Name The CHARACTER NAME is formatted in uppercase letters and indented 3.5" from the left margin. A character name can be an actual name (JOHN) or description (FAT MAN) or an occupation (DOCTOR).
Dialogue DIALOGUE margin is indented 2.5" from the left margin. A line of dialogue can be from 30 spaces to 35 spaces long, so the right margin is a bit more flexible, usually 2.0" to 2.5". Great dialogue is a window into the soul of your character. It sounds real... It's conversational. The audience feels like a fly on the wall, hearing natural interplay between characters. Great dialogue may use common language but express great passion, and even become a catch phrase in popular culture, as the line from Clint Eastwood's Dirty Harry Callahan "Go ahead. Make my day.“ It's not a bad idea to read your dialogue aloud to see how it really sounds. If you have a difficult time reading a line, it may not be good dialogue. You'll definitely be able to tell if you organize a reading of your script and hear it that way.
Parenthetical Parentheticals are left indented at 3.0" and the right margin is 3.5" although that is a bit flexible. As seen in our examples, a Parenthetical remark is NOT centered under the character name. A Parenthetical remark can be an attitude, verbal direction or action direction for the actor who is speaking the part. Parentheticals should be short, to the point, descriptive, and only used when absolutely necessary. These days, Parentheticals are generally disfavored, because they give direction to an actor that may not be appropriate once on the set
Extensions An Extension is a technical note placed directly to the right of the Character name that denotes HOW the character's voice will be heard by the audience. An Off- Screen voice can be heard from a character out of the camera range, or from another room altogether. •O.S. - Off-Screen: Some writers use O.C. (off camera) in place of O.S. The "beat" used above simply denotes that Frankie pauses (perhaps formulating his next thought) before uttering his next bit of dialogue. •V.O. - Voice Over: Another common extension is V.O. That stands for Voice Over. Think of a V.O. as a narration, or a character speaking while s/he isn't in the scene. Or s/he can be in the scene, but also acting as narrator, reflecting on and describing some time gone by. This dialogue is recorded and then laid in over the scene in editing
Transaction  CUT TO: 1st shot ends cleanly and 2nd shot begins  DISSOLVE TO: end of 1st shot and beginning of 2nd shot overlap briefly  WIPE: Wipes are dynamic. They happen when one shot pushes the other off frame.  SMASH CUT: the smash cut usually occurs at a crucial moment in a scene where a cut would not be expected  FADE IN – OUT (never at the end of the script)  IRISH: when a circulars masking closes the picture to a black screen
Cinematography Cinematography is the art of lighting and photographing a scene. Much like photography, which involves taking single photographic images, cinematography refers to cinema or a series of moving images over time.
Shot Types There is a convention in the video, film and television industries which assigns names and guidelines to common types of shots, framing and picture composition. The exact terminology varies between production environments but the basic principles are the same. Shots are usually described in relation to a particular subject.
 EWS (Extreme Wide Shot) The view is so far from the subject that he isn't even visible. Often used as an establishing shot.
VWS (Very Wide Shot) The subject is visible (barely), but the emphasis is still on placing him in his environment.
WS (Wide Shot) The subject takes up the full frame, or at least as much as comfortably possible. AKA: long shot, full shot.
MS (Mid Shot) Shows some part of the subject in more detail while still giving an impression of the whole subject.
MCU (Medium Close Up) Half way between a MS and a CU.
CU (Close Up) A certain feature or part of the subject takes up the whole frame.
ECU (Extreme Close Up) The ECU gets right in and shows extreme detail. Variation: ECU 1, ECU 2, ECU 3 And Choker
Cut-In Shows some (other) part of the subject in detail.
CA (Cutaway) A shot of something other than the subject.
Two-Shot A shot of two people, framed similarly to a mid shot.
(OSS) Over-the-Shoulder Shot Looking from behind a person at the subject.
Point-of-View Shot (POV) Shows a view from the subject's perspective.
Weather Shot The subject is the weather. Can be used for other purposes, e.g. background for graphics.
Camera Angles The term camera angle means slightly different things to different people but it always refers to the way a shot is composed. We will concentrate on the literal interpretation of camera angles, that is, the angle of the camera relative to the subject.
Camera Angles Bird‘s eye view High view Neutral view Low view Worm‘s eye view
Bird's Eye The scene is shown from directly above. This is a completely different and somewhat unnatural point of view which can be used for dramatic effect or for showing a different four-dimensional perspective. In drama it can be used to show the positions and motions of different characters and objects, enabling the viewer to see things the characters can't. The bird's-eye view is also very useful in sports, documentaries, etc.
High Angle A high angle shows the subject from above, i.e. the camera is angled down towards the subject. This has the effect of diminishing the subject, making them appear less powerful, less significant or even submissive.
Eye-Level This is the most common view, being the real-world angle that we are all used to. It shows subjects as we would expect to see them in real life. It is a fairly neutral shot.
Low Angle This shows the subject from below, giving them the impression of being more powerful or dominant.
Worm's-eye view A worm's-eye view is a view of an object from below, as though the observer were a worm; the opposite of a bird's-eye view. A worm's eye view is used commonly for third perspective, with one vanishing point on top, one on the left, and one on the right.
Camera Movements  Pan Horizontal movement, left and right.  Tilt Vertical movement of the camera angle, i.e. pointing the camera up and down (as opposed to moving the whole camera up and down).  Crab A less-common term for tracking or trucking.  Truck Another term for tracking or dolling.  Follow The camera physically follows the subject at a more or less constant distance.  Dolly The camera is mounted on a cart which travels along tracks for a very smooth movement. Also known as a tracking shot or trucking shot.  Dolly Zoom A technique in which the camera moves closer or further from the subject while simultaneously adjusting the zoom angle to keep the subject the same size in the frame.  Pedestal (Ped) Moving the camera position vertically with respect to the subject.  Track Roughly synonymous with the dolly shot, but often defined more specifically as movement which stays a constant distance from the action, especially side-to-side movement.  Zoom Technically this isn't a camera move, but a change in the lens focal length with gives the illusion of moving the camera closer or further away.
Arc Shot An arc shot is a camera move around the subject, somewhat like a tracking shot. In mathematics, an arc is a segment of the circumference of a circle. A camera arc is similar — the camera moves in a rough semi-circle around the subject. Some definitions of the arc shot describe it as being tracking and dolling at the same time, i.e. simultaneous side-to-side and in- and-out movement.
Camera Pan: Horizontal movement, left and right. A pan is a horizontal camera movement in which the camera moves left and right about a central axis. This is a swiveling movement, i.e. mounted in a fixed location on a tripod or shoulder, rather than a dolly-like movement in which the entire mounting system moves. To create a smooth pan it's a good idea to practice the movement first. If you need to move or stretch your body during the move, it helps to position yourself so you end up in the more comfortable position. In other words you should become more comfortable as the move progresses rather than less comfortable.
Camera Tilt Vertical movement of the camera angle, i.e. pointing the camera up and down (as opposed to moving the whole camera up and down). A tilt is a vertical camera movement in which the camera points up or down from a stationary location. For example, if you mount a camera on your shoulder and nod it up and down, you are tilting the camera. Tilting is less common than panning because that's the way humans work — we look left and right more often than we look up and down. The tilt should not be confused with the Dutch Tilt which means a deliberately slanted camera angle. A variation of the tilt is the pedestal shot, in which the whole camera moves up or down.
Tracking Shot Roughly synonymous with the dolly shot, but often defined more specifically as movement which stays a constant distance from the action, especially side-to-side movement. The term tracking shot is widely considered to be equal with dolly shot; that is, a shot in which the camera is mounted on a cart which travels along tracks. However there are a few variations of both definitions. Tracking is often more narrowly defined as movement parallel to the action, or at least at a constant distance (e.g. the camera which travels alongside the race track in track & field events). Dolling is often defined as moving closer to or further away from the action. Some definitions specify that tracking shots use physical tracks, others consider tracking to include hand-held walking shots, Steadicam shots, etc. Other terms for the tracking shot include trucking shot and crabbing shot.
Crabbing Shot A less-common term for tracking or trucking. The term crabbing shot is a less-common version of tracking, trucking and/or dollying. These terms are more or less interchangeable, although dollying tends to mean in-and-out movement whereas the others tend to mean side-to-side movement at a constant distance from the action.
Dolly Shot The camera is mounted on a cart which travels along tracks for a very smooth movement. Also known as a tracking shot or trucking shot. In many circles a dolly shot is also known as a tracking shot or trucking shot. However some professionals prefer the more rigid terminology which defines dolly as in-and-out movement (i.e. closer/further away from the subject), while tracking means side-to-side movement. Most dollies have a lever to allow for vertical movement as well (known as a pedestal move). In some cases a crane is mounted on the dolly for additional height and flexibility. A shot which moves vertically while simultaneously tracking is called a compound shot. Some dollies can also operate without tracks. This provides the greatest degree of movement, assuming of course that a suitable surface is available. Special dollies are available for location work, and are designed to work with common constraints such as doorway width.
Trucking Shot Another term for tracking or dollying. Trucking is basically the same as tracking or dollying. Although it means slightly different things to different people, it generally refers to side-to-side camera movement with respect to the action. The term trucking is not uncommon but is less widely-used than dollying or tracking. Yet another equivalent term is crabbing. The example pictured here shows a simple, very mobile set of tracks used with a standard tripod to create smooth trucking shots.
Formatting guidelines The following are guidelines to formatting a feature-length screenplay. ■ Use 12-point Courier font (the typewriter font), which is the standard script font. When this font is used, one page of properly formatted script is roughly equal to one minute of screen time. ■ Begin each scene in capital letters and describe whether it is interior or exterior (INT or EXT), the location where the scene takes place in the story, and the time of day (DAY, NIGHT, DAWN, DUSK, LATER). For example: INT. AWANDA‘S TRAILER—DAY Once the script is finished and each scene is numbered, add numbers to the beginning and end of the scene header line. For example: 46. INT. AWANDA‘S TRAILER—DAY 46
■ Type all screen directions in the same margin as the scene header. Screen directions should explain where and how the characters move and what is happening in the scene. Use the screen directions to describe to the reader/audience what they will see on screen. For example: 46. INT. AWANDA‘S TRAILER—DAY 46 Awanda walks to the refrigerator and pulls out a pitcher of water, all the while watching Bobby from the corner of her eye. Bobby, unaware of her gaze, stares out the window. ■ when writing dialog, write the name of the character who is speaking in capital letters and center it in the page. ■ Descriptions that indicate how a line must be said (for example: sarcastically, coyly, under his breath, and so on) must be placed in a margin 3½ inches from the left side of the page. ■ all character dialog appears under the name of the character who speaks the line. This is to be written 4¼ inches from the left side of the page. For example:
46. INT. AWANDA‘S TRAILER—DAY 46 Amanda walks to the refrigerator and pulls out a pitcher of water, all the while watching Bobby from the corner of her eye. Bobby, unaware of her gaze, stares out the window. AMANDA (Quietly) I heard you needed a place to stay. ■ don‘t use camera directions—Camera directions indicate where the camera needs to be placed within the scene. This is not the writer‘s job, but that of the director and the cinematographer. Write the script as a story, focusing only on the characters and what they are doing and saying in each scene. ■ don‘t break scenes up into shots—a change in scene reflects a change in location in the story. Shots are individual camera positions within the scene that are designed by the director and cinematographer. Break up the script only into scenes.
■ don‘t number your scenes—Scenes are to be numbered by the first assistant director after the screenplay is finished. If you number the scenes in advance, rewriting the script will constantly change the scene numbers and throw off the script breakdown and any department working off the breakdowns. Assign scene numbers once the script is locked. ■ Check your spelling—correct spelling and grammar are essential in presenting a professional screenplay for consideration by agents, managers, studios, and production companies. ■ Covers and binding—present the script with a white cover that states the title, the writer(s), date completed, writer(s) and/or agent contact phone numbers, WGA registration number, and copyright information. The script should be punched with three holes and ―bound‖ with two gold clasps. ■ First page—always begin the script with ―Fade in‖ and end with ―Fade to black.‖ ■ Scene headings—at the beginning of every scene, establish INT/EXT, the location where the scene takes place, and the time of day. Always type these in capital letters.
Format Sample
Reffrence Book  How to Write Great Screenplays and Get Them Into Production  Power Filmmaking Kit  Developing Story Ideas  The Power of Creative Intelligence  Animation Writing and development: From Script Development to Pitch  Your Life ……………… THANK YOU

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Aft158 story writing_for_animation_1

  • 2. Course Description: L 0 T 0 P4  ―AFT58- Visual Narrative Development.‖ is a basic foundation for writing course in clubbed form may be in the form of animation film design or game design means script writing ,game documentation or software design in the the form of SRS document.  These fundamental concepts provide a basis for all the design/art disciplines as they are applied by the students regardless of their major area of interest.  This course is base of preparatory documentation course of this discipline.
  • 3. Course Outcome:  analyze story and character development with reference to how animated film differs  describe elements of animated film construction (set-up, development/climax, ending etc  develop an original idea from concept through to story reel.  apply different approaches to storytelling
  • 4.
  • 5. Four Cs of 21st Century Skills:  1.COLLABORATOR- Working with others  2.COMMUNICATOR- Understanding and communicating Ideas  3.CRITICAL THINKER- Solving Problems  4.CREATOR- Producing High Quality work IN BLOOM TAXANOMY :These are higher order of thinking in order of thinking DEPTH OF LEVEL DOK- leve1=Recall and Reproduction DOK-level2= Skills and Concept DOK-level3 =Strategic Thinking DOK-level4= Extended Thinking
  • 6. What is DOK level CREATING EVALUATING ANALYZING APPLYING UNDERSTANDING REMEMBERING HIGHER ORDER OF THINKING LEVEL
  • 7. TECHNOLOGY DEVELOPMENT PATTERN TIME TECHNOLOGY ART CRAFT ENGENEERING/DESIGING Esoteric Past Experien ce Unorganized Use of Past Experience Systematic Use of Past Experience and Scientific basis
  • 8. Why Study software and design engineering ?  To acquire skill to develop large program and design  Exponential growth in complexity and difficulty level with size  Proverb "One thorn of experience is worth wilderness of warning‖  Ability to solve problems  How to break large project into smaller and manageable parts ? DESIGN CRISES  Fail to meet user requirement  Frequently crash  Expensive  Difficult to alter, debug and enhance  Often delivered late  Use resources non-optimally
  • 9. PROJECT -MANAGMENT FEASIBILITY STUDY REQUIREMENT ANALYSIS AND SPECIFICATION HARDWARE SOFTWARE PARTITIONING HARDWARE DEVELOPMENT SOFTWARE DEVELOPMENT INTEGRATION TESTING
  • 10. DOCUMENTATION OF DESIGN  SRS (Software Requirement Specification)- http://www.jaysonjc.com/progr amming/how-to-write-a- software-requirements- specification-srs- document.html  Software Design / Website Design  Game Design  GDD(Game Design Document )- https://www.gamasutra.com /view/feature/131632/creatin g_a_great_design_document .php  Animation Film Design  Script Writing for Any Film /Animation Film https://www.finaldraft.com/le
  • 11. SRS (Software Requirement Specification)-  Software Requirement Specification (SRS) document usually contains a software vendor‘s understanding of a customer‘s software requirements.  This document ensures that the software vendor and the customer are in agreement as to the features required in the software system being built.  SRS is created after the initial requirement elicitation phase in which Software vendor interacts with the customer to understand the software needs.  Usually SRS documentation is prepared by a business analyst who has some technical background
  • 12. SRS (Software Requirement Specification)-  Usually SRS documentation is prepared by a business analyst who has some technical background  An SRS is written in precise, clear and plain language so that it can be reviewed by a business analyst or customer representative with minimal technical expertise. However it also contains analytical models (use case diagrams, entity relationship diagrams, data dictionary etc.) which can be used for the detailed design and the development of the software system.  SRS is one of the most critical pieces of software development since it acts as the bridge betweens the software developers and business analysts. An incomplete or incorrect SRS can have disastrous effects on a software project.
  • 13. Game Design Documentation  A game design document (often abbreviated GDD) is a highly descriptive living design document of the design for a video game. A GDD is created and edited by the development team and it is primarily used in the video game industry to organize efforts within a development team.  Will be study in details in further
  • 14. Screen Play Writing/Script Writing  Screenplays written with a typical word-processing program or a free web-based screenplay template can‘t be used in professional film productions.  They often must be retyped or have to go through a complicated conversion process to get them ready for production.  Screenplays written in Final Draft and saved in the FDX format are ready for professional use.
  • 15. Content YOU AND THE CREATIVE PROCESS a. The journey of the self b. Wanting to tell stories c. Self-exposure and giving support d. What is therapy and what is art? e. What stories mean f. Theme and variation g. Just do it h. Outline and expansion i. Collaboration
  • 16. YOU AND THE CREATIVE PROCESS  How to develop New Version of Self  Count your Age : So, Don‘t be dead -wood (Judd –Chetan)  Visualization of your self : Each one of you is ca[able of multiplying your self results in 10x,100x or even 1000x  Make your luck  L-Labour  U-Under  C-Correct  K-Knowledge
  • 17. YOU AND THE CREATIVE PROCESS  According to me and our scripture ,Human is the organism which is centre of all universe, where it can go any where ,whatever he wants, can create a new universe  You will have  Earning is proportional to learning  When learning is converted into performance  So learning is always a good orientation COLLABORATE CREATE EXPRESS LEARN CHOOSE P O W E R
  • 18. YOU AND THE CREATIVE PROCESS  My responsibility as teacher is  To INSPIRE  To MOTIVATE  To GUIDE  To GROOM  To HELP TO ARCHIEVE THEIR GOAL NO GOAL –NO MOTIVATION MOTIVATION IS GOAL ORIENTATION ROOTS- CHARACTER TREE- COMPETENCE FRUITS- CONTRIBUTION
  • 19. 21st Centaury Learner COLLABORATION ENTREPRENEURSHIP DIGITAL LITERACY CRITICAL THINKING CRITIVITY COMMUNICATION SELF DIRECTION ENGAGEMENT LEADERSHIP CULTURE & GLOBAL AWARNESS INNOVATION SOCIAL RESPONSIBILITY
  • 20. LETS SEE SOME PSHYCOLOGICAL FACTOR OF LEARNING APPROPRIATE LEARNING MINDSET  GROWTH MINDSET  HIGH SELF EFFICIENCY  SENSE OF BELONGINGNESS  SENSE THAT CLASS GOAL ARE VLUABLE  AWARE NESS OF MISCONCEPTION OR SHORTCOMING IN KNOWLEDGE  REALISATION OF LIMITATION OF NEW KNOWLEDGE
  • 21. LETS SEE SOME PSHYCOLOGICAL FACTOR OF LEARNING YOURS FEAR AND MISTRUST  GRADING CRITERIA ARE ARBITRARY AND BIASED  TEACHER IS JUDGING ME AS A PERSON  READING AND ASSIGMENTS ARE POINTLESS  THERE IS NO RELATIONSHIP BETWEEN MY GRADE AND MY EFFORTS DEVELOPING A MIND SET FOR LEARNING  HAVE A GOOD IDEA OF EXISTING LEVEL OF SKILL AND KNOWLEDGE  YOU SHOULD HAVE PRIOR KNOWLEDGE ( MIX OF ACCURATE INFORMATION ,SIMPLIFIED INFORMATION,MISCONCEPTION AND GAPS IN UNDERSTANDING)
  • 22. LETS SEE SOME PSHYCOLOGICAL FACTOR OF LEARNING MISCONCEPTION  WE USE ONLY 10% OF OUR BRAIN CAPACITY  PEOPLE BECOME BLIND, THEIR HEARING BECOMES MORE SENSITIVE TO COMPENSATE  MISSCONCEPTION IS VERY HARD TO ERASE IF EXISTS IN CONCIOUS MIND WHICH MAKES BELIEVE AND VALUE  THERE IS NO RELATIONSHIP BETWEEN MY GRADE AND MY EFFORTS BASIC LEARNING MODEL  OBSERVE-IMITATE- REPEAT or Read –Write -Remember LIFE SKILL:( 85%) 1. Expression 2. Emotional maturity 3.Personal productivity TECHNICAL SKILL (15%): Create new and better, cheaper faster easier, user and environment friendly
  • 23. LETS SEE SOME PSHYCOLOGICAL FACTOR OF LEARNING ADVANCE LEARNING MODEL THINK- IMAGINE- EXPERIMENT- IMPROVE PICKING POINT Inner question(why ,what, how) Left brain to right brain Learn and unlearn Think- imagine and improve BASIC THINKS 1.Passion 2.Research 3. Capability 4.Jack of All 5.Mastry of One
  • 24. YOU AND THE CREATIVE PROCESS
  • 25. CREATE YOUR OWN STORY a. Generate an IDEA! b. Developing a premise c. Title d. Theme e. Logline f. Treatment SCRIPT a. Script Elements b. Formatting guidelines c. Format Sample
  • 26. How to Structure A Story: The Eight- Point Arc You‘re a short story writer or flash fiction writer rather than a novelist, this structure still applies, so don‘t be put off by the title of Watts‘ book. The eight points which Watts lists are, in order: 1. Stasis 2. Trigger 3. The quest 4. Surprise 5. Critical choice 6. Climax 7. Reversal 8. Resolution
  • 27.  1. Stasis This is the ―every day life‖ in which the story is set. Think of Cinderella sweeping the ashes, Jack (of Beanstalk fame) living in poverty with his mum and a cow, or Harry Potter living with the Dursley‘s.  2.Trigger Something beyond the control of the protagonist (hero/heroine) is the trigger which sparks off the story. A fairy godmother appears, someone pays in magic beans not gold, a mysterious letter arrives … you get the picture.  3.The quest The trigger results in a quest – an unpleasant trigger (e.g. a protagonist losing his job) might involve a quest to return to the status quo; a pleasant trigger (e.g. finding a treasure map) means a quest to maintain or increase the new pleasant state. Structure of A STORY
  • 28.  4. Surprise This stage involves not one but several elements, and takes up most of the middle part of the story. ―Surprise‖ includes pleasant events, but more often means obstacles, complications, conflict and trouble for the protagonist. Watts emphasises that surprises shouldn‘t be too random or too predictable – they need to be unexpected, but plausible/apealable. The reader has to think ―I should have seen that coming!‖ Structure of A STORY
  • 29.  5. Critical choice At some stage, your protagonist needs to make a crucial decision; a critical choice. This is often when we find out exactly who a character is, as real personalities are revealed at moments of high stress. Watts stresses that this has to be a decision by the character to take a particular path – not just something that happens by chance. In many classic stories, the ―critical choice‖ involves choosing between a good, but hard, path and a bad, but easy, one. In tragedies, the unhappy ending often stems from a character making the wrong choice at this point – Romeo poisoning himself on seeing Juliet supposedly dead, for example. Structure of A STORY
  • 30.  6.Climax The critical choice(s) made by your protagonist need to result in the climax, the highest peak of tension, in your story. For some stories, this could be the firing squad levelling their guns to shoot, a battle commencing, a high-speed chase or something equally dramatic. In other stories, the climax could be a huge argument between a husband and wife, or a playground fight between children, or Cinderella and the Ugly Sisters trying on the glass slipper.  7.Reversal The reversal should be the consequence of the critical choice and the climax, and it should change the status of the characters – especially your protagonist. For example, a downtrodden wife might leave her husband after a row; a bullied child might stand up for a fellow victim and realise that the bully no longer has any power over him; Cinderella might be recognised by the prince. Structure of A STORY
  • 31. Your story reversals should be inevitable and probable. Nothing should happen for no reason, changes in status should not fall out of the sky. The story should unfold as life unfolds: relentlessly, implacably, and plausibly.  8.Resolution  The resolution is a return to a fresh stasis – one where the characters should be changed, wiser and enlightened, but where the story being told is complete.  (You can always start off a new story, a sequel, with another trigger…)  I‘ve only covered Watts‘ eight-point arc in brief here. In the book, he gives several examples of how the eight-point arc applies to various stories. He also explains how a longer story (such as a novel) should include arcs-within-arcs – subplots and scenes where the same eight- point structure is followed, but at a more minor level than for the arc of the entire story. Structure of A STORY
  • 32. END YOUR NOVEL/STORY THE CIRCULAR ENDING: It is the story that does a full circle and comes back to the beginning THE MORAL ENDING It is ending where by you see the character’s growth throughout the story or novel and how far they have some. THE SURPRISE ENDING Is where the story takes us to a place we least expected THE CAPTURE EMOTION ENDING Leaves the reader feeling emotional, whether that be happy or sad for the characters and the story
  • 33. END YOUR NOVEL / STORY THE REFLECTION ENDING Where the character looks at everything they have achieved, experience and gone through. THE CLIEF- HANGER ENDING It is very common in novel or story series’s and is an ending that leaves the reader on the edge of their seat. THE HUMOUR ENDING Leaves the reader laughing at a line or an inside joke to the story. THE QUESTION ENDING It is an ending thet leave the reader thinking about what is going to happen next. THE IMAGE ENDING It is an ending that puts the show don’t tell rule to good use and describe a scene THE DIALOGUE ENDING It is and ending that finishes with dialog from a character
  • 34. Tone – creepy, light-hearted, sentimental, etc. – what will the audience feel? SHAPE OF STORY- example triangular love story, square shape, straight ahead, spiral shape, circular whatever you want to make story.. Main Character – what does a viewer think about your main character? Subject Matter – is the film set in the world of nuclear physics or beauty pageants? Hooks – outside of plot and approach, what unique elements are there? Special Interests – does the film encroach on a world outside of itself? Source Material – is the film based on a book, short film or YouTube channel?
  • 35. WHAT IS GAME NARRATIVE ? TRADINATIONAL NARRATIVE Hero is called to action Through a series of events And strives to overcome challenges To achieve their goal GAME NARRATIVE The Player(Hero) have to perform action That influence the events Learn to master the system/rules(challenges) To achieve their goal
  • 36. ONCE MORE WITH FEELING THE PLAYER IS HERO
  • 37. Initial Write Up  Premise - GO NUTS FOR 10 MINUTES  Player role- IS THE PLAYER SUPPOSED TO BE CHARACTER  Player goal- SIMPLE AND REALIBLE  Player conflict- WHAT OBSTACLE ARE IN PLAYER WAY,WHAT ARE THE BARRIER TO VICTORY  Player choice- TOUGH, MEANINGFUL ,STRATEGIC,TACTICAL  Player action- WHAT ARE PLAYER REGULAR VERBS  Resources- what are player world ,can use? Simple to understand but elegant, to give opportunity and challenges.  Game events what short of change take place? Are these changes scheduled or big milestone ,Is there an end ?
  • 38. BUILDING THE STORY  Show the player their goal  Give meaning to the rules  Use characters as resources events and conflict  Grow the story events around the action CUTS THE STORY POINT THAT DON‘T  Reference or show case goal  Call the player to the action  Give player feedback for their choice  Provide a break /reward at every heavy action
  • 39. Major platform categories of video game  Console:A game-playing box that connects to a television set or monitor, with a handheld controller for gameplay—such as the Wii, Xbox, or PlayStation (each platform having its own proprietary systems that aren‘t compatible with other platforms)  Handhelds: Such as the Game Boy, PlayStation Portable (PSP), or any game-playing device that is its own independent system that can be held in the hands while played  Mobile, wireless,Wi-Fi (wireless fidelity): Cell phones, PDAs (personal digital assistants), and other mobile/wireless devices  PC: A desktop computer or laptop (further divided into computers using Windows, Apple, and Linux operating systems)  Web-based games: Use the Internet and/or World Wide Web (and are therefore widely accessible to any computer)
  • 40. Major videogame categories  Adventure, action-adventure (Prince of Persia, Splinter Cell)  Arcade games:-Games made specifically for large, stand-alone game-playing machines with a screen and a panel of buttons or other game-playing controls. They provide a set amount of game time for coins or tokens. So named because they are usually found in arcades.They are only a tiny slice of the market at this point.  Casual( Board game, card game, casino game  Educational: Zoo Tycoon, I Spy Fantasy.  FPS (first-person shooters):  MMOG (massively multiplayer online games)or MMORPG (massivelymultiplayer online role-playing games)  RPG (role-playing games):A game in which the player plays the role of a particular character from a third-person perspective Ex -Final Fantasy  RTS (real-time strategy): A game that progresses in ―real time‖ as the player plays, so that the action is continuous. Ex- Star-craft
  • 41. Major videogame categories  Sandbox:A sandbox game provides the player with a virtual space or environment, provides a lot of ―toys‖ (objects, items that can be used), possibly some story, and then gives the player total freedom (as much as is possible) to do anything at any time to anyone or anything within that virtual environment.  Sims (simulators):The idea of a sim game is to create a virtual reality in which the player has various levels of control over how that virtual reality evolves  Sports: FIFA ,VIRTUA TENNIS… This doesn‘t cover every type of game out there, plus there will be games that combine elements of two or more types, but these are the significant categories
  • 42. Create your own story Generate an IDEA Draw on ideas and inspiration around you to help develop a strong idea. Developing a premise 1.Title: Name the film. This doesn‗t have to be the film‗s final title, but a strong working title can help maintain focus of what the story is about. (1–5 words). 2.Theme: What is the ―moral of the story?‖ Beneath the story, plot, characters, and genre, what is the message you want to convey to the audience after they finish watching the movie? Make sure that every scene, every moment, and every character supports this theme. If you ever encounter writer‗s block, or don‗t know where a scene should go, refer to the theme and write a scenario that supports it. (5–15 words).
  • 43. Developing a premise 3.Logline: Describe the good guy, the bad guy, the setting, and the conflict. The logline is the basic premise of what the movie is about. Think about what a movie reviewer would write up in the newspaper when trying to describe the premise of the film in a clear, concise manner. After you describe the, who, what, why, when, and where, be sure to identify the conflict, or there‗s no story. (15–25 words). 4.Treatment: The treatment is a short-story form of the movie that describes what happens from the beginning to the end of the fi lm. It reads like a novel and serves as an easy way for the writer to understand the characters and events as they appear in the movie. Treatments are valuable writing tools that allow the writer to work out the story points in a short form before moving on to write the longer script. ( 2–3 pages).
  • 44. Generate an IDEA:  Do you want the movie to make money?  Then develop a concept around the industry standard formula, with marketable actors, a tight three-act structure, and high production values. This can be the most expensive option.  Do you want to make a movie for the educational experience? If you want to learn filmmaking or practice your craft, produce a short fi lm and know that you won‘t recoup your investment.  Do you want to make art?  Producing an artistic fi lm that defies traditional Hollywood convention is risky because distributors tend to shy away from films they can‘t easily explain to viewers. If picked up for distribution, most art films will find homes in small art theaters and possibly on home video, although the odds of generating a profit are slim.
  • 45. Draw on ideas and inspiration around you to help develop a strong idea.  Look at real-life moments for inspiration: childhood memories; interesting happenings at work; relationships with family, friends, and love interests. Think of family conflicts, your first job or your freshman year in high school, moving out on your own for the first time, and college experiences. Drawing on personal experiences leads to strong material because you‘ve lived and experienced it.  Read the newspaper, listen to the radio, and watch news stories that may captivate your imagination.  Keep a journal of interesting things that happen every day; an engaging conversation, a funny moment, an unusual or interesting person you may have encountered in public. These moments can be the seeds of not only good ideas, but also engaging characters, moments, and lines of dialog in the movie.  Brainstorm and write down anything and everything that comes to mind. You‘d be surprised what comes out. Listen to inspirational music, turn off the lights, let your mind roam free, and be ready to capture ideas as they strike.  Study political history and the lives of dictators, emperors, famous people, and serial killers. All these peoples‘ lives involved extraordinary circumstances that are full of drama and conflict.
  • 46.  Surf the Internet. The knowledge of the world is at your fingertips and can provide outstanding ideas and motivation for a movie.  Try reading the yellow pages, magazines, and even advertisements for inspiration.  Get out of your house. Traveling to a new place, whether it‘s going out of town or visiting a local coffee shop can help spur the imagination.  Take breaks and don‘t force your imagination. A walk on the beach or through the woods can help clear your thoughts and open your mind to new ideas.  Write stories you‘re passionate about. Be excited and willing to explore the subject matter. Learn as much as you can about the world, people, and situations you‘re writing about.  Visit classic literature; listen to operas and read books. Stories of mythology, ancient romances, and tales of adventure and heroism are the root of storytelling.  Learn from people who resemble, or can provide insight into, your character. If you‘re writing a crime drama, contact a local police station and ask to shadow an officer for a week. Listen to how she talks, how she acts both casually and under pressure. Get a sense of the police environment so when it comes time to create it in a script, you can write a realistic and believable world.
  • 47. Developing a premise • STEP 1: FICTION OR NONFICTION • STEP 2: GENRE: A genre is a category or type of story. Genres typically have their own style and story structure, and although there are several primary categories, movies can be a mixture of two or three different genres. • Some common genres include: ■ Action ■ Comedy ■ Crime ■ Drama ■ Family ■ Fantasy ■ Horror ■ Musical ■ Romance ■ Romantic Comedy ■ Science Fiction ■ Thriller ■ War ■ Western
  • 48. STEP 3: FORMAT: Stories can be told in many different formats, each designed for a different purpose. Be mindful of your budget, the availability of resources, and time when you choose the format for your story.  Animation. Produced either by hand or using computer technologies, 2D or 3D movies still rely on traditional story structures, although the means of production lie strictly with the animator and rarely include live-action elements. Animated films are very time consuming and technically elaborate.  Commercials. Designed to advertise a product or service, television commercials incorporate a wide range of styles, techniques, animation, narrative, and hard-sell techniques into 10-, 15-, 30-, or 60-second time lengths. Commercials are a great way for filmmakers to showcase their style and story-telling and production capabilities and are among the most lucrative, well-paying forms of production.  Documentaries. Documentaries are intended to study a subject, occurrence, theme, or belief in an attempt to either explore the subject or arrive at a conclusion about the subject. Documentaries can either take on an investigative approach, in which the filmmaker tries to answer a question or research a subject, or follow a subject and allow the story to unfold during the production. Documentaries can, in some instances, be inexpensive but time-consuming to produce.
  • 49. Feature films. The 90-minute narrative is the mainstay of Hollywood entertainment, and its production is the dream of millions of aspiring filmmakers. The riskiest style of production, feature films are expensive and time consuming and rarely recoup the monies invested. Industrial/corporate. These productions are typically marketing or how-to pieces for businesses. Although not very entertaining to watch or make, industrials are an outstanding way to make money in the production industry. Music videos. These highly stylized four-minute promotional videos for music artists are a great way for a filmmaker to explore unbridled creativity using any medium, any style of narrative or performance, and artistic editing. Music videos are terrific short-format pieces that easily demonstrate a filmmaker‘s abilities. Short films. Short films are movies that are shorter than 80 minutes. Ideally under 20 minutes, shorts are a terrific way of learning the process of making a movie, showcasing the talents of the filmmakers, and generating interest from investors in future projects. Despite the educational and career benefits, there is virtually no market for short films, making it nearly impossible to see a return on the investment. Although there are a few distributors who may release a compilation DVD of short films, filmmakers rarely see their money back or see distribution of a short fi lm by itself.
  • 50. The Creative Inspiration/Finding Ideas –Here is 31 ways to find out ideas, better to feel pain around you which may be in family , society, school, college hospital, ,government, court, state, country ,future, past, tradition, inequality, crisis (finance, bank, political ),smell, sound, pollution, taste, feeling, hungry, Energy, knowledge, science, Pleasure) Overheard dialog Friends. Children Poetry. People watching Magazines Writing groups Exercise Shakespeare. Dream writing Movies The Book of Inspiration Religion Freewriting Blogs Forums Quotes. Newspapers Brainstorms Art. Nature Dreams Flickr Music. History Writing journal Breaking your routines Friends. Travel Magazines Del.icio.us. Success stories
  • 51. Ways to record ideas for any creativity  1.Make your own library folder ,files in your hard disk means one in cloud one in pc/Laptop or any physical form.  2.BRAINSTORM by radiant thinking. During brain storming don’t edit , write down everything as fast you can and edit out unusable stuff later. Cartoonist used to make three columns: PEOPLE OR ANIMALS, PLACES, THINGS Evaluate your own ideas , it must be fit the current marketplace or in future and then develop Old man Chess king Mom Fairy princes Arjuna Bharat Africa Desert Circus North Pole Castle School Jail Red rose Table Cell phone Computer Toys
  • 52. HUMAN DEVELOPMENT (THEIR FIVE NEEDS) 1. HUMAN have five needs: Classify it according to human age and sex means their like and dislikes: Male/Female AGE 1-3 Age 4-5 Age 6-10 Age 11-14 Age 15- 16/17 Age 18- 20 Age 21-24 Age 25-28 Age 29-33 Age 33-38 Age 39-45 Age 45-50 Age 50-60 Age 60-70 Age 70-80 Age 80-Infinity  Annamay ( Hungry of food,taste)  Pranmay (Hungry of Energy)  Gyanmay(Hungry of Knowledge)  Vigyanmay(Hungry of Research, invention, and apply  Anandmay(Hungry of Pleasure or Entertainment, rest, Idleness)
  • 53. EMOTIONAL DESIGN in the form of entertainment film, edutainment, games, video games, business and marketing ads film  We are in industry of entertainment so we should have to always care about our goal FUN ,PLEASURE ,ENTERTAINMENT  Aspects of (Emotional) Design  Kinds of Pleasure  Conditions for Pleasure  Steps of Seduction  Motion of mood and Game play ecocycle
  • 54. Aspects of (Emotional) Design A. Visceral: (appearance) -According to ESRB Ratings means Age group Example: Dead Space ,Darkspore,DeathSpank: Thongs of Virtue B. Behavioral: (pleasure and effectiveness of use): -Techniques is a desire to change peoples’ habits so that behavior change becomes permanent like AMATEUR-EXPERT-ADDICT-HABITUE Example: Game-Based Learning: What it is, Why it Works, and Where it's Going C. Reflective: (rationalization and intellectualization): -It turns out this is also an interesting way to explain the different applications of visual design in products. Example: Apps like physics based , maths based, magic maths etc
  • 55. Kinds of Pleasure  1.Physio: Pleasures of the body  2.Socio: Pleasures from interactions with others  3.Psycho: pleasures from peoples reactions and psychological state  4.Ideo: pleasures from the reflections on the aesthetics, quality, … Positive state of affect also valuable in technology and design Conditions for Pleasure1.Context: functionality in specific circumstances 2.Familiarity: not matching expectations, adaptation 3.Timelessness: new perspectives, experiences IMPLICATIONS: rich, complex object and informed, reflecting viewer: interplay among elements :skill of designer and skill of perceiver
  • 56. Steps of Seduction 1.Enticement: seduces by its aesthetics, novelty, … 2.Relationship: connects with people, speaks about owner and designer 3. Fulfillment: makes ordinary action extraordinary, every time it is used 4.Seductive Character : A:Siren: promise you infinite adventure and pleasure mainly for women B:Rake: promise you infinite adventure and pleasure mainly for man C:Dandy: promise you to live as master in art of living D:Natural: promise you to be childhood pleasure (golden year of person) E: Coquette: The ability to delay satisfaction is the ultimate art of seduction-while waiting, the victim is held in thrall F:Charmer: promise to make as smart as you can.. G:Charismatic: promise to increase your inner quality, self confidence, energy, sense of purpose-which most people lack as symbol Lamp H: Star: promise to make as GOD, it lives in their imagination.
  • 57. THE JOURNEY OF THE SELF WHO AM I ? WHERE HAVE TO GO ? WHAT IS MY GOAL ? HOW TO DO IT? MY CAPACITY ? CALCULATIVE DESECISION ? CAN I LEARN LEADERSHIP? Looking for causes and effects in Your own life and grasping the nature of what you feel most deeply. The real people around you and the fictional ones you nurture into existence. The lesson from what you explore, that we can speed our progress by actively searching for how life has marked us.
  • 58. For creativity you should have understanding of law of nature and understanding of who are you, where you have to go, where you have to stop, ability to take decision ,hidden power within you or awakens.  All these question I have tried to give from scripture and stories  Law of reaping and sowing : Planting and growing plant  Earth=Mind  Seed=Thought  Sunlight= Feeling  Right and wrong : flow of energy  Wrong is created by power not weakness  Wrong ; give greed of happiness, says that you have tried but fail due to others fault, does not take responsibility of fault
  • 59. For creativity you should have understanding of law of nature and understanding of who are you, where you have to go, where you have to stop, ability to take decision ,hidden power within you or awakens.  So rules to do:  First to right  If you get fail to choose right without doing delay ,it becomes wrong  Don’t wait to do right  Try to fill with knowledge and then make it empty  Don’t loose opportunity  Most of right things are done by power people, not by weak people because of wrong decision
  • 60. For creativity you should have understanding of law of nature and understanding of who are you, where you have to go, where you have to stop, ability to take decision ,hidden power within you or awakens.  So law of energy (Newton law) is life  If not make flower then it comes in the form of throne  If not make kind then it comes in the form of Anger  If not make ideal then it comes in the form of lust  If not make prayer then it comes in the form of Envy  So How you will decide ,what you do , what not , how will you get idea  Answer is DO UNSELFISH = SATISFACTION,SAY UNSELFISH = SATISFACTION -GO FOR DEFAULT SETTING  JAGAT HITAYAM ATMAN MOKSHATAM
  • 61. POWER WITHIN US  Journey is the time spending with (I +MY) and its Purification  BY KAND OR YOGA( connection of YOU and HE ) 1.KARM KAND (purification of body) – mudd clean, Example by Yoga,Exercise, 2.UPASANA KAND (Purification by leaving means UPVAS )- cloud clean 3.GYAN KAND (Purification by knowing, reading )-unknowness  SO infinity is Brahman (SATYAM JNANAM ANANTAM), NO ANTAM = NO LIMIT=Infinity  Limits are DISA (SPACE),KALA(TIME), VASTU(OBJECT)- BRAHMSUTRA stanga 1  L=DESA PARICCHEDA SUNYAM = LENGHT  T=KALA PARICCHEDA SUNYAM = TIME  M=VASTU PARICHHEDA SUNYAM = MASS  W (We) = M (I / AHAM )x G (gravity of Place ,planet or thing/ Rules and regulation)
  • 62. POWER WITHIN US  POWER OF CONCENTRATION ( I-Purush + My-Prakriti/Nature)  POWER OF DECISION ( I-Purush + My-Prakriti/nature)  POWER OF CONCEOUS(AWEKEN) means power of unselfishness  Which are in our mind (Power of Mind)  Mind(I) is flow of thought which is made of settled matter( white matter+ gray matter) So it exist within us in the form of MANN, BUDDHI,CHITTA,AHAMKAR BUDDHI ( imagination, observation, organization, capacity, creativity, sensitivity) CHITTA (memory) MANN( sankalp, emotion, love,faith,pain)  AHAMKAR( kam, krodh,moh) means desire or MY
  • 63. POWER WITHIN US  POWER OF I (MANN+BUDDHI+CHITTA)—PURUSH – work ship of GOD having no shape  POWER OF MY (KAM +KRODHA +MOH)—PRAKRITI – work ship of GOD having shape  Whole war is balance of I and My which is just like of two wing of birds in the form of MALE and FEMALE ,if you want to get actual goal of life ,you have make it powerful and light so that you can free to move any where after transforming himself generation to generation.  And science is the knowing of pattern or formula (how to do, why to do, what to do) and produce to do in new way , which should be to make it more powerful and teach to maintain balance way so that existence of (I and My) sustain for long journey.
  • 64. Speak your dream. One person listens while the other describes his or her perfect life for 15 minutes. “Just being heard without anybody giving his opinion brings you clarity,” she/he says. Afterward, the listener shares when she heard special passion in the speaker’s voice.
  • 65. Keep your vision alive. Check in during the weeks and months that follow, either with yourself or your friend. Being accountable increases the chances of follow-through. On a group retreat, each person write a letter recapping what the other envisioned. Seal and address the letter immediately, then mail it a month later to remind the recipient about his vision.
  • 66. SELF-EXPOSURE AND GIVING SUPPORT It means showing who you are to the people around you and trusting that it will lead somewhere. The raw material of your life in the sight of other people.
  • 67. WHAT IS THERAPY AND WHAT IS ART? Therapy: Therapy, however, exists to reduce a person’s pain to manageable proportions and restore his appetite for living. Art: When a person’s emotional conflicts are so present and pressing that his daily living becomes a battle, he may have to put art-making aside and seek the help of a compassionate professional. Making art is not something you can or need to do if you are drowning.
  • 68. Creative intelligence Your Creative Intelligence is your ability to come up with new ideas, to solve problems in original ways, and to stand head and shoulders above the crowd in terms of your imagination, your behavior, and in your productivity.
  • 69. Minds do not naturally work in straight lines. Rather they consist of associations radiating out (or in) from many different connection points. Many connections in many different directions connect items together. We could say that the mind is simply a network of connections or associations. Creativity and problem solving will flow most smoothly when allowed to work freely and radiantly. Minds might in various ways have been imprinted with certain "correct" ways of thinking. That is very often simply limited, fixed ideas imposed by misunderstanding or by overwhelming experiences in life. Minds are freed up by expanding what was limited, by connecting up what was separate, by providing many options where there were few, by letting flow what was stuck. RADIANT THINKING
  • 70. Create a mind map of the problem in question.
  • 71. IMPROVISATION Improvisation Story is collaborative, focusing on an almost Dadaist form of collaborative fiction. This can take a variety of forms, from as basic as passing a notebook around a circle of writers with each writing a sentence, to coded environments that focus on collaborative story- writing,
  • 72. Analyzing audience: Target audience: Particular group of people, identified as the intended recipient of an advertisement or message Film maker: ? Audience: ?
  • 73. Categorized target audience for story/film
  • 74. Genre :– a class or category of artistic endeavor having a particular form, content, technique, or the like. Example of film genre:- comedy, sci-fi, horror, etc. – look for a ‗unique‘ genre mix
  • 75. Genre is any category of literature or other forms of art or entertainment, e.g. music, whether written or spoken, audio or visual, based on some set of stylistic criteria. Genres are formed by conventions that change over time as new genres are invented and the use of old ones are discontinued. Often, works fit into multiple genres by way of borrowing and recombining these conventions. GENRE The basic genres of film can be regarded as drama, in the feature film and most cartoons, and documentary. Most dramatic feature films, especially from Hollywood fall fairly comfortably into one of a long list of film genres such as the Western, war film, horror film, romantic comedy film, musical, crime film, and many others. Many of these genres have a number of subgenres, for example by setting or subject, or a distinctive national style, for example in the Indian Bollywood musical.
  • 76. Tone – creepy, light-hearted, sentimental, etc. – what will the audience feel? Main Character – what does a viewer think about your main character? Subject Matter – is the film set in the world of nuclear physics or beauty pageants? Hooks – outside of plot and approach, what unique elements are there? Special Interests – does the film encroach on a world outside of itself? Source Material – is the film based on a book, short film or YouTube channel?
  • 77. CHARACTER The combination of qualities or features that distinguishes one person, group, or thing from another. A character is a person in a narrative work of arts such as a story.
  • 78. CHARACTER  A character is a person or creature that interacts with others within a story.  There are different kinds of characters in stories, and different ways to describe them.  Character traits - elements of a character's personality that define who the character is. Shrek is grouchy and irritable, but kind- hearted; these are his character traits. In the Spider-Man movies, Peter Parker's character traits are his intelligence, his shyness, and his cautiousness. You can map out a character's physical and mental traits.
  • 79. CHARACTER  Characterization – refers to a character‘s personality or the method by which the writer reveals this personality  Direct characterization – when an author tells you directly about the character‘s personality; “Dena was a kind, caring individual.” The author tells us what the character is like.  Indirect characterization – when an author reveals a character‘s personality through his or her actions or dialogue; “Dena felt so sad when she saw the hurt little chipmunk that she began to cry. She immediately approached it to try and help it get better.” The author shows us what the character is like.
  • 80. Six Pillars create a character: Trustworthiness: - Be honest • don‘t deceive, cheat, or steal • be reliable — do what you say you‘ll do • Have the courage to do the right thing • Build a good reputation • be loyal — stand by your family, friends, and country Respect: - Treat others with respect; follow the Golden Rule • be tolerant and accepting of differences • Use good manners, not bad language • be considerate of the feelings of others • don‘t threaten, hit or hurt anyone • Deal peacefully with anger, insults, and disagreements
  • 81. Responsibility: - Do what you are supposed to do • Plan ahead • persevere: keep on trying! • Always do your best • Use self-control • be self-disciplined • Think before you act — consider the consequences • be accountable for your words, actions, and attitudes • Set a good example for others Fairness: - Play by the rules • Take turns and share • be open- minded; listen to others • don‘t take advantage of others • don‘t blame others carelessly • Treat all people fairly Caring: - Be kind • be compassionate and show you care • Express gratitude • Forgive others • Help people in need Citizenship: - Do your share to make your school and community better • Cooperate • Get involved in community affairs • Stay informed; vote • be a good neighbor • Obey laws and rules • Respect authority • Protect the environment • Volunteer
  • 82. TYPES OF CHARACTERS IN FICTION: Major or central characters are vital to the development and resolution of the conflict. In other words, the plot and resolution of conflict revolves around these characters. Minor characters serve to complement the major characters and help move the plot events forward. Dynamic - A dynamic character is a person who changes over time, usually as a result of resolving a central conflict or facing a major crisis. Most dynamic characters tend to be central rather than exterior characters, because resolving the conflict is the major role of central characters. Static - A static character is someone who does not change over time; his or her personality does not transform or evolve.
  • 83. Round - A rounded character is anyone who has a complex personality; he or she is often portrayed as a conflicted and contradictory person. Flat - A flat character is the opposite of a round character. This literary personality is notable for one kind of personality trait or characteristic. Stock - Stock characters are those types of characters who have become conventional or stereotypical through repeated use in particular types of stories. Stock characters are instantly recognizable to readers or audience members (e.g. the femme fatale, the cynical but moral private eye, the mad scientist, the geeky boy with glasses, and the faithful sidekick). Stock characters are normally one-dimensional flat characters, but sometimes stock personalities are deeply conflicted, rounded characters (e.g. the "Hamlet" type).
  • 84. Protagonist - The protagonist is the central person in a story, and is often referred to as the story's main character. He or she (or they) is faced with a conflict that must be resolved. The protagonist may not always be admirable (e.g. an anti-hero); nevertheless s/he must command involvement on the part of the reader, or better yet, empathy. Antagonist - The antagonist is the character(s) (or situation) that represents the opposition against which the protagonist must contend. In other words, the antagonist is an obstacle that the protagonist must overcome. Anti-Hero - A major character, usually the protagonist, who lacks conventional nobility of mind, and who struggles for values not believed universally admirable. Duddy, in Mordecai Richler's The Apprenticeship of Duddy Kravitz, is a classic anti-hero. He's vulgar, manipulative and self-centered. Nevertheless, Duddy is the center of the story, and we are drawn to the challenges he must overcome and the goals he seeks to achieve.
  • 85. Foil - A foil is any character (usually the antagonist or an important supporting character) whose personal qualities contrast with another character (usually the protagonist). By providing this contrast, we get to know more about the other character. Symbolic - A symbolic character is any major or minor character whose very existence represents some major idea or aspect of society. For example, in Lord of the Flies, Piggy is a symbol of both the rationality and physical weakness of modern civilization; Jack, on the other hand, symbolizes the violent tendencies (the Id) that William Golding believes is within human nature.
  • 86. Ten Direct/Indirect Ways in which a Character Can Be Revealed a) By psychological description. b) By physical description. c) By probing what s/he thinks. d) By what s/he says. e) By how s/he says it. f) By what s/he does. g) By what others say about him or her. h) By his or her environment. i) By her reaction to others. j) By his reaction to himself.
  • 87. What ‗s the Audience demand ?  Take me to place I have never seen  Make me into someone I could never be  Let me so things I could never do. ONE EQUATION ENTERTAINMENT+ ENTERTAINMENT = FUN
  • 88. MONO MYTH/HERO'S JOURNEY: The hero begins in the ordinary world, and receives a call to enter an unknown world of strange powers and events. The hero who accepts the call to enter this strange world must face tasks and trials, either alone or with assistance. In the most intense versions of the narrative, the hero must survive a severe challenge, often with help. If the hero survives, he may achieve a great gift or "boon." The hero must then decide whether to return to the ordinary world with this boon. If the hero does decide to return, he or she often faces challenges on the return journey. If the hero returns successfully, the boon or gift may be used to improve the world
  • 89.
  • 90. The hole journey divided into 17 stage/ steps: Very few myths contain all 17 stages Some myths contain many of the stages, while others contain only a few; Some myths may focus on only one of the stages, while other myths may deal with the stages in a somewhat different order These 17 stages divided into three sections: Departure (sometimes called Separation) deals with the hero's adventure prior to the quest Initiation deals with the hero's many adventures along the way and Return deals with the hero's return home with knowledge and powers acquired on the journey.
  • 91. Departure  The Call to Adventure The call to adventure is the point in a person's life when they are first given notice that everything is going to change, whether they know it or not.  Refusal of the Call Often when the call is given, the future hero refuses to heed it. This may be from a sense of duty or obligation, fear, insecurity, a sense of inadequacy, or any of a range of reasons that work to hold the person in his or her current circumstances.  Supernatural Aid Once the hero has committed to the quest, consciously or unconsciously, his or her guide and magical helper appears, or becomes known.
  • 92. Departure The Crossing of the First Threshold this is the point where the person actually crosses into the field of adventure, leaving the known limits of his or her world and venturing into an unknown and dangerous realm where the rules and limits are not known. The Belly of the Whale The belly of the whale represents the final separation from the hero's known world and self. It is sometimes described as the person's lowest point, but it is actually the point when the person is between or transitioning between worlds and selves. The separation has been made, or is being made, or being fully recognized between the old world and old self and the potential for a new world/self. The experiences that will shape the new world and self will begin shortly, or may be beginning with this experience which is often symbolized by something dark, unknown and frightening. By entering this stage, the person shows their willingness to undergo a metamorphosis, to die to him or herself.
  • 93. Initiation The Road of Trials the road of trials is a series of tests, tasks, or ordeals that the person must undergo to begin the transformation. Often the person fails one or more of these tests, which often occur in threes. The Meeting with the Goddess The meeting with the goddess represents the point in the adventure when the person experiences a love that has the power and significance of the all-powerful, all encompassing, unconditional love that a fortunate infant may experience with his or her mother. It is also known as the "hieros gamos", or sacred marriage, the union of opposites, and may take place entirely within the person. In other words, the person begins to see him or herself in a non-dualistic way. This is a very important step in the process and is often represented by the person finding the other person that he or she loves most completely. Although Campbell symbolizes this step as a meeting with a goddess, unconditional love and /or self-unification does not have to be represented by a woman.
  • 94. Initiation Woman as the Temptress At one level, this step is about those temptations that may lead the hero to abandon or stray from his or her quest, which as with the Meeting with the Goddess does not necessarily have to be represented by a woman. For Campbell, however, this step is about the revulsion that the usually male hero may feel about his own fleshy/earthy nature, and the subsequent attachment or projection of that revulsion to women. Woman is a metaphor for the physical or material temptations of life, since the hero-knight was often tempted by lust from his spiritual journey.
  • 95. Initiation Atonement with the Father In this step the person must confront and be initiated by whatever holds the ultimate power in his or her life. In many myths and stories this is the father, or a father figure who has life and death power. This is the center point of the journey. All the previous steps have been moving in to this place, all that follow will move out from it. Although this step is most frequently symbolized by an encounter with a male entity, it does not have to be a male; just someone or thing with incredible power. For the transformation to take place, the person as he or she has been must be "killed" so that the new self can come into being. Sometime this killing is literal, and the earthly journey for that character is either over or moves into a different realm.
  • 96. Initiation Apotheosis to apotheosize is to deify. When someone dies a physical death, or dies to the self to live in spirit, he or she moves beyond the pairs of opposites to a state of divine knowledge, love, compassion and bliss. This is a god-like state; the person is in heaven and beyond all trouble. A more ordinary way of looking at this step is that it is a period of rest, peace and fulfillment before the hero begins the return. The Ultimate Boon The ultimate boon is the achievement of the goal of the quest. It is what the person went on the journey to get. All the previous steps serve to prepare and purify the person for this step, since in many myths the boon is something transcendent like the elixir of life itself, or a plant that supplies immortality, or the Holy Grail.
  • 97. Return  Refusal of the Return so why, when all has been achieved, the ambrosia has been drunk, and we have conversed with the gods, why come back to normal life with all its cares and woes?  The Magic Flight Sometimes the hero must escape with the blessing, if it is something that the gods have been carefully guarding. It can be just as adventurous and dangerous returning from the journey as it was to go on it.  Rescue from Without Just as the hero may need guides and assistants to set out on the quest, often times he or she must have powerful guides and rescuers to bring them back to everyday life, especially if the person has been wounded or weakened by the experience. Or perhaps the person doesn't realize that it is time to return, that they can return, or that others need their boon.
  • 98. Return The Crossing of the Return Threshold The trick in returning is to retain the wisdom gained on the quest, to integrate that wisdom into a human life, and then maybe figure out how to share the wisdom with the rest of the world. This is usually extremely difficult. Master of the Two Worlds In myth, this step is usually represented by a transcendental hero like Jesus or Buddha. For a human hero, it may mean achieving a balance between the material and spiritual. The person has become comfortable and competent in both the inner and outer worlds. Freedom to Live Mastery leads to freedom from the fear of death, which in turn is the freedom to live. This is sometimes referred to as living in the moment, neither anticipating the future nor regretting the past
  • 99. STORY  Journey, < part >,  Stories fill our lives in the way that water fills the lives of fish  Like a river every turn/curve, give you a new excitement/anticipation but have a smooth travel
  • 100. STORY  What is a story?  A narrative/story in its broadest sense is anything told/described; more narrowly, and more usually, something told/described in the form of a causally-linked set of events; account; tale,: the telling of a happening or connected series of happenings, whether true or fictional.  Story depends on :  Time: - Period/ day and night/ hr./ situation/ past/ present/ future …  Space: - geographical/ cultural/ religious/ society/ myth (believes) ………..  Person: - relation/ society/ group …………
  • 101. STORY What is narrative meaning?  Narrative meaning is created by establishing that something is a part of a whole and usually that something is the cause of something else. It is usually combined with human actions or events that affect human beings. The meaning of each event is produced by the part it plays in the whole episode.  What something means is to say how it is related or connected to something else. To ask the meaning of an event is to ask how it contributed to the story in which it occurs. It is the connections or relations between events.
  • 102. STORY  Meaning is a social phenomenon. Meaning is produced not only by individuals but by groups, communities, societies and cultures which maintain - through language and agreed understandings - knowledge of the connections between signifying sounds and signifying events.  Groups, communities, societies and cultures also preserve collections of typical narrative meanings in their myths, fairy tales, legends, histories and stories. To participate in a group, community, society or culture requires a general knowledge of these accumulated narrative meanings. The cultural stock of meanings are dynamic and are added to by new contributions from members and deleted by lack of use.  Narrative meaning is about connections. It links individual human actions and events into inter-related aspects of an understandable composite. Narrative displays the significance that events have for one another.  "The narratives of the world are without number...the narrative is present at all times, in all places, in all societies; the history of narrative begins with the history of mankind; there does not exist, and never has existed, a people without narratives:"
  • 103. STORY Beyond storytelling: narrative intelligence The Secret Language of Leadership, I introduce the concept of narrative intelligence. "Storytelling" seems to point toward a one- way relationship -- "I tell the story and you are to listen." An expert use of narrative and storytelling takes place with in a two-way, interactive relationship.
  • 104. STORY Structure of the story:-  a character, (Hero‘s journey/Monomyth/The Hero with a Thousand Faces)  in a situation,  with a problem,  who tries repeatedly to solve his problem,  but repeatedly fails, (usually making the problem worse),  then, at the climax of the story, makes a final attempt (which might either succeed or fail, depending on the kind of story it is), after which  The result is ―validated‖ in a way that makes it clear that what we saw was, in fact, the final result.
  • 105. STORY  THE FIVE ESSENTIAL ELEMENTS OF A STORY:  A story has five basic but important elements. These five components are: the characters, the setting, the plot, the conflict, and the resolution. These essential elements keep the story running smoothly and allow the action to develop in a logical way that the reader can follow.  CHARACTERS: The characters are the individuals that the story is about.  SETTING: The setting is the location of the action.  PLOT: The plot is the actual story around which the entire film is based.  CONFLICT: Every story has a conflict to solve.  RESOLUTION: The solution to the problem is the way the action is resolved.
  • 107. Act I is the beginning of the story, when the audience is introduced to the main characters and their traits, personalities, likes and dislikes, problems, and challenges. The first 30 minutes establishes the setting, time period, and technology of the world in which the story takes place. In Act 1, the most liberty in setting the stage for the rest of the story, even though it may seem a little forced. The audience will accept and understand this Act 1is the first 30 minutes of a 120-minute film. Act 1 is about WHO the main characters are, WHERE the story takes place, WHEN the story takes place, WHAT is the story about, WHY the problem is occurring; and the drama begins when the characters figure out HOW to deal with the conflict.
  • 108. Act II is the next movement in the story, in which the conflict is introduced. Stories are about conflict and whether that conflict is man vs. man, man vs. society, man vs. nature, or man vs. self, the conflict is the essence of the story. Without conflict, there is no story. Act 2 is usually the most weakly written act in the entire script. A poor second act will bring the story to a screeching halt, so as we write, it‘s important to raise the stakes and increase the jeopardy against the main character. The more pain, agony, hardship, trial, and tribulation you can throw at the main character, the more the audience will root for him. Turning point the most important part of the second act is called the turning point, which occurs at the middle of the story. The turning point is the instance in which the story and plot line take a severe turn and the characters are forced to compensate for this twist. Act 2 lasts for an hour, with the turning point occurring in the middle of the act.
  • 109. Act III is the last quarter of the story, when the conflict becomes the most difficult for the character and she is forced to use her skill, wit, and ability to resolve or escape from the problem with the maximum possible risk. Late in Act 3 is the point of no return, at which the character chooses a path that will lead to her ultimate success or failure. The third act ends with the conclusion of the story when the character resolves the conflict. At this moment, the main character changes, either for the better or for the worse, through redemption, understanding the importance of love, learning to be kind and caring, or through any number ways. Act 3 is the last 30 minutes of a two-hour movie.
  • 110. PLOT A story is all about the action and tension involved, both emotionally and physically. Plot: "In fiction, the story of a play, novel, romance, or poem, comprises a complication of incidents which are gradually unfolded, sometimes by unexpected means." Plot is the story - what happens to the characters, how they respond, how that leads to more action and why it is all important.
  • 111. The most common plot format is Freytag's plot structure, which is divided into five sections: exposition, rising action, climax, falling action, and resolution.
  • 112. The exposition is the section where all the characters are introduced, their relationships to one another are defined, and their personal emotions are teased out. Rising action, where the characters begin to struggle against one another and the protagonist begins to move towards his or her goal while overcoming smaller obstacles. Climax, the turning point of the story is introduced. The main character makes a single huge decision that not only defines his or her character, but also shapes the rest of the action in the story. Usually the protagonist and antagonist have direct, or nearly direct, contact which results in a line being firmly drawn. Falling action, the line is still drawn, but it almost always seems as though evil is winning. This when a story will have the most tension because the main character is fighting huge odds and falling short. Finally, in the Resolution, the protagonist and antagonist meet and the story comes to a decisive end, with either good or evil winning.
  • 113. PLOT TYPE: the core of every great movie is a great idea, but an idea by itself is rarely unique. Every idea you can think of has already been written, produced, told, packaged, marketed, and reconstituted a thousand times throughout history.  Plot structure is the backbone of the story: Overcoming the adversary. The hero must find a way to overcome a danger presented by another person, society, nature, him- or herself, a supernatural force, technology, or religion. The quest. The hero undergoes a search for something, someone, or an idea. The perils he encounters and whether the hero meets his objective are up to the writer The journey and return. The hero undergoes a journey from home and experiences a change in character along the way. Comedy. Events in the story keep the characters apart, only for a happy reunification at the end. Tragedy. Events in the story lead to the death of a character. This usually unhappy ending is not often seen in Hollywood movies. Resurrection. The hero is oppressed until events in the story free her. Rags to riches. The life of a character evolves from a life of nothingness to one of bounty, be it family, wealth, or fame.
  • 114. Title: Name the fi lm. This doesn‘t have to be the film‘s final title, but a strong working title can help maintain focus of what the story is about. (1–5 words).
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  • 116. Theme: What is the ―moral of the story?‖ Beneath the story, plot, characters, and genre, what is the message you want to convey to the audience after they finish watching the movie? Make sure that every scene, every moment, and every character supports this theme. If you ever encounter writer‘s block, or don‘t know where a scene should go, refer to the theme and write a scenario that supports it. (5–15 words).
  • 117. Logline: Describe the good guy, the bad guy, the setting, and the conflict. The logline is the basic premise of what the movie is about. Think about what a movie reviewer would write up in the newspaper when trying to describe the premise of the film in a clear, concise manner. After you describe the, who, what, why, when, and where, be sure to identify the conflict, or there‘s no story. (15–25 words).
  • 118. Treatment: The treatment is a short-story form of the movie that describes what happens from the beginning to the end of the fi lm. It reads like a novel and serves as an easy way for the writer to understand the characters and events as they appear in the movie. Treatments are valuable writing tools that allow the writer to work out the story points in a short form before moving on to write the longer script. ( 2–3 pages).
  • 119. Writing Formats Script: a. Script Elements b. Formatting guidelines c. Format Sample
  • 120. Script The script is the blueprint for the story and contains dialog, character movements, and scene descriptions (90–120 pages). “If it isn’t on the page, it isn’t on the stage.” Once the outline is finished and every plot point is described, begin fleshing out each plot point into a scene, adding dialog and detailed descriptions. Remember that one page of a properly formatted script roughly equates to one minute of screen time. Complete the first draft of the script, regardless of how good or bad it is. Once you have a complete draft of the script in front of you, you can begin the revision process. Shorten, edit, alter, tighten, and scrutinize every line of every page until you are satisfied with the script.
  • 121. Script Elements These are the unique margin, case, and position attributes that give feature film script text the format and consistency expected by all participants. Once you are accustomed to them you'll be able to tell your story the way an industry reader is accustomed to seeing it. The elements for a script are: •Scene Heading •Action •Character Name •Dialogue •Parenthetical •Extensions •Transition •Shot
  • 122. Scene Heading The Scene Heading, sometimes called Slug line, tells the reader of the script where the scene takes place. Are we indoors (INT.) or outdoors (EXT.)? Next name the location: BEDROOM, LIVING ROOM, at the BASEBALL FIELD, inside a CAR? And lastly it might include the time of day - NIGHT, DAY, DUSK, DAWN... information to "set the scene" in the reader's mind. The Slug line can also include production information like CONTINUOUS ACTION, or ESTABLISHING SHOT or STOCK SHOT. Here are examples of Scene Headings: INT. BEDROOM – MORNING EXT. LAS VEGAS STRIP – SUNSET INT. OFFICE - NIGHT - CONTINUOUS ACTION EXT. KEY WEST MARINA - DAWN – ESTABLISHING EXT. PASADENA - ROSE PARADE - STOCK FOOTAGE
  • 123. Action The moving pictures we see on screen. Also, the direction given by a director indicating that filming begins. Every moment in a screenplay takes place NOW. Use the active voice (a window slams shut) not the passive voice (a window is slammed shut). Always write in PRESENT TIME, not the past. Keep your paragraphs short... don't let them go on and on over 4 or 5 lines. The reader may scan long action paragraphs without really reading them.
  • 124. Character Name The CHARACTER NAME is formatted in uppercase letters and indented 3.5" from the left margin. A character name can be an actual name (JOHN) or description (FAT MAN) or an occupation (DOCTOR).
  • 125. Dialogue DIALOGUE margin is indented 2.5" from the left margin. A line of dialogue can be from 30 spaces to 35 spaces long, so the right margin is a bit more flexible, usually 2.0" to 2.5". Great dialogue is a window into the soul of your character. It sounds real... It's conversational. The audience feels like a fly on the wall, hearing natural interplay between characters. Great dialogue may use common language but express great passion, and even become a catch phrase in popular culture, as the line from Clint Eastwood's Dirty Harry Callahan "Go ahead. Make my day.“ It's not a bad idea to read your dialogue aloud to see how it really sounds. If you have a difficult time reading a line, it may not be good dialogue. You'll definitely be able to tell if you organize a reading of your script and hear it that way.
  • 126. Parenthetical Parentheticals are left indented at 3.0" and the right margin is 3.5" although that is a bit flexible. As seen in our examples, a Parenthetical remark is NOT centered under the character name. A Parenthetical remark can be an attitude, verbal direction or action direction for the actor who is speaking the part. Parentheticals should be short, to the point, descriptive, and only used when absolutely necessary. These days, Parentheticals are generally disfavored, because they give direction to an actor that may not be appropriate once on the set
  • 127. Extensions An Extension is a technical note placed directly to the right of the Character name that denotes HOW the character's voice will be heard by the audience. An Off- Screen voice can be heard from a character out of the camera range, or from another room altogether. •O.S. - Off-Screen: Some writers use O.C. (off camera) in place of O.S. The "beat" used above simply denotes that Frankie pauses (perhaps formulating his next thought) before uttering his next bit of dialogue. •V.O. - Voice Over: Another common extension is V.O. That stands for Voice Over. Think of a V.O. as a narration, or a character speaking while s/he isn't in the scene. Or s/he can be in the scene, but also acting as narrator, reflecting on and describing some time gone by. This dialogue is recorded and then laid in over the scene in editing
  • 128. Transaction  CUT TO: 1st shot ends cleanly and 2nd shot begins  DISSOLVE TO: end of 1st shot and beginning of 2nd shot overlap briefly  WIPE: Wipes are dynamic. They happen when one shot pushes the other off frame.  SMASH CUT: the smash cut usually occurs at a crucial moment in a scene where a cut would not be expected  FADE IN – OUT (never at the end of the script)  IRISH: when a circulars masking closes the picture to a black screen
  • 129. Cinematography Cinematography is the art of lighting and photographing a scene. Much like photography, which involves taking single photographic images, cinematography refers to cinema or a series of moving images over time.
  • 130. Shot Types There is a convention in the video, film and television industries which assigns names and guidelines to common types of shots, framing and picture composition. The exact terminology varies between production environments but the basic principles are the same. Shots are usually described in relation to a particular subject.
  • 131.  EWS (Extreme Wide Shot) The view is so far from the subject that he isn't even visible. Often used as an establishing shot.
  • 132. VWS (Very Wide Shot) The subject is visible (barely), but the emphasis is still on placing him in his environment.
  • 133. WS (Wide Shot) The subject takes up the full frame, or at least as much as comfortably possible. AKA: long shot, full shot.
  • 134. MS (Mid Shot) Shows some part of the subject in more detail while still giving an impression of the whole subject.
  • 135. MCU (Medium Close Up) Half way between a MS and a CU.
  • 136. CU (Close Up) A certain feature or part of the subject takes up the whole frame.
  • 137. ECU (Extreme Close Up) The ECU gets right in and shows extreme detail. Variation: ECU 1, ECU 2, ECU 3 And Choker
  • 138. Cut-In Shows some (other) part of the subject in detail.
  • 139. CA (Cutaway) A shot of something other than the subject.
  • 140. Two-Shot A shot of two people, framed similarly to a mid shot.
  • 141. (OSS) Over-the-Shoulder Shot Looking from behind a person at the subject.
  • 142. Point-of-View Shot (POV) Shows a view from the subject's perspective.
  • 143. Weather Shot The subject is the weather. Can be used for other purposes, e.g. background for graphics.
  • 144. Camera Angles The term camera angle means slightly different things to different people but it always refers to the way a shot is composed. We will concentrate on the literal interpretation of camera angles, that is, the angle of the camera relative to the subject.
  • 145. Camera Angles Bird‘s eye view High view Neutral view Low view Worm‘s eye view
  • 146. Bird's Eye The scene is shown from directly above. This is a completely different and somewhat unnatural point of view which can be used for dramatic effect or for showing a different four-dimensional perspective. In drama it can be used to show the positions and motions of different characters and objects, enabling the viewer to see things the characters can't. The bird's-eye view is also very useful in sports, documentaries, etc.
  • 147.
  • 148. High Angle A high angle shows the subject from above, i.e. the camera is angled down towards the subject. This has the effect of diminishing the subject, making them appear less powerful, less significant or even submissive.
  • 149.
  • 150. Eye-Level This is the most common view, being the real-world angle that we are all used to. It shows subjects as we would expect to see them in real life. It is a fairly neutral shot.
  • 151. Low Angle This shows the subject from below, giving them the impression of being more powerful or dominant.
  • 152. Worm's-eye view A worm's-eye view is a view of an object from below, as though the observer were a worm; the opposite of a bird's-eye view. A worm's eye view is used commonly for third perspective, with one vanishing point on top, one on the left, and one on the right.
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  • 154.
  • 155. Camera Movements  Pan Horizontal movement, left and right.  Tilt Vertical movement of the camera angle, i.e. pointing the camera up and down (as opposed to moving the whole camera up and down).  Crab A less-common term for tracking or trucking.  Truck Another term for tracking or dolling.  Follow The camera physically follows the subject at a more or less constant distance.  Dolly The camera is mounted on a cart which travels along tracks for a very smooth movement. Also known as a tracking shot or trucking shot.  Dolly Zoom A technique in which the camera moves closer or further from the subject while simultaneously adjusting the zoom angle to keep the subject the same size in the frame.  Pedestal (Ped) Moving the camera position vertically with respect to the subject.  Track Roughly synonymous with the dolly shot, but often defined more specifically as movement which stays a constant distance from the action, especially side-to-side movement.  Zoom Technically this isn't a camera move, but a change in the lens focal length with gives the illusion of moving the camera closer or further away.
  • 156. Arc Shot An arc shot is a camera move around the subject, somewhat like a tracking shot. In mathematics, an arc is a segment of the circumference of a circle. A camera arc is similar — the camera moves in a rough semi-circle around the subject. Some definitions of the arc shot describe it as being tracking and dolling at the same time, i.e. simultaneous side-to-side and in- and-out movement.
  • 157. Camera Pan: Horizontal movement, left and right. A pan is a horizontal camera movement in which the camera moves left and right about a central axis. This is a swiveling movement, i.e. mounted in a fixed location on a tripod or shoulder, rather than a dolly-like movement in which the entire mounting system moves. To create a smooth pan it's a good idea to practice the movement first. If you need to move or stretch your body during the move, it helps to position yourself so you end up in the more comfortable position. In other words you should become more comfortable as the move progresses rather than less comfortable.
  • 158. Camera Tilt Vertical movement of the camera angle, i.e. pointing the camera up and down (as opposed to moving the whole camera up and down). A tilt is a vertical camera movement in which the camera points up or down from a stationary location. For example, if you mount a camera on your shoulder and nod it up and down, you are tilting the camera. Tilting is less common than panning because that's the way humans work — we look left and right more often than we look up and down. The tilt should not be confused with the Dutch Tilt which means a deliberately slanted camera angle. A variation of the tilt is the pedestal shot, in which the whole camera moves up or down.
  • 159. Tracking Shot Roughly synonymous with the dolly shot, but often defined more specifically as movement which stays a constant distance from the action, especially side-to-side movement. The term tracking shot is widely considered to be equal with dolly shot; that is, a shot in which the camera is mounted on a cart which travels along tracks. However there are a few variations of both definitions. Tracking is often more narrowly defined as movement parallel to the action, or at least at a constant distance (e.g. the camera which travels alongside the race track in track & field events). Dolling is often defined as moving closer to or further away from the action. Some definitions specify that tracking shots use physical tracks, others consider tracking to include hand-held walking shots, Steadicam shots, etc. Other terms for the tracking shot include trucking shot and crabbing shot.
  • 160.
  • 161. Crabbing Shot A less-common term for tracking or trucking. The term crabbing shot is a less-common version of tracking, trucking and/or dollying. These terms are more or less interchangeable, although dollying tends to mean in-and-out movement whereas the others tend to mean side-to-side movement at a constant distance from the action.
  • 162. Dolly Shot The camera is mounted on a cart which travels along tracks for a very smooth movement. Also known as a tracking shot or trucking shot. In many circles a dolly shot is also known as a tracking shot or trucking shot. However some professionals prefer the more rigid terminology which defines dolly as in-and-out movement (i.e. closer/further away from the subject), while tracking means side-to-side movement. Most dollies have a lever to allow for vertical movement as well (known as a pedestal move). In some cases a crane is mounted on the dolly for additional height and flexibility. A shot which moves vertically while simultaneously tracking is called a compound shot. Some dollies can also operate without tracks. This provides the greatest degree of movement, assuming of course that a suitable surface is available. Special dollies are available for location work, and are designed to work with common constraints such as doorway width.
  • 163. Trucking Shot Another term for tracking or dollying. Trucking is basically the same as tracking or dollying. Although it means slightly different things to different people, it generally refers to side-to-side camera movement with respect to the action. The term trucking is not uncommon but is less widely-used than dollying or tracking. Yet another equivalent term is crabbing. The example pictured here shows a simple, very mobile set of tracks used with a standard tripod to create smooth trucking shots.
  • 164.
  • 165. Formatting guidelines The following are guidelines to formatting a feature-length screenplay. ■ Use 12-point Courier font (the typewriter font), which is the standard script font. When this font is used, one page of properly formatted script is roughly equal to one minute of screen time. ■ Begin each scene in capital letters and describe whether it is interior or exterior (INT or EXT), the location where the scene takes place in the story, and the time of day (DAY, NIGHT, DAWN, DUSK, LATER). For example: INT. AWANDA‘S TRAILER—DAY Once the script is finished and each scene is numbered, add numbers to the beginning and end of the scene header line. For example: 46. INT. AWANDA‘S TRAILER—DAY 46
  • 166.
  • 167.
  • 168. ■ Type all screen directions in the same margin as the scene header. Screen directions should explain where and how the characters move and what is happening in the scene. Use the screen directions to describe to the reader/audience what they will see on screen. For example: 46. INT. AWANDA‘S TRAILER—DAY 46 Awanda walks to the refrigerator and pulls out a pitcher of water, all the while watching Bobby from the corner of her eye. Bobby, unaware of her gaze, stares out the window. ■ when writing dialog, write the name of the character who is speaking in capital letters and center it in the page. ■ Descriptions that indicate how a line must be said (for example: sarcastically, coyly, under his breath, and so on) must be placed in a margin 3½ inches from the left side of the page. ■ all character dialog appears under the name of the character who speaks the line. This is to be written 4¼ inches from the left side of the page. For example:
  • 169. 46. INT. AWANDA‘S TRAILER—DAY 46 Amanda walks to the refrigerator and pulls out a pitcher of water, all the while watching Bobby from the corner of her eye. Bobby, unaware of her gaze, stares out the window. AMANDA (Quietly) I heard you needed a place to stay. ■ don‘t use camera directions—Camera directions indicate where the camera needs to be placed within the scene. This is not the writer‘s job, but that of the director and the cinematographer. Write the script as a story, focusing only on the characters and what they are doing and saying in each scene. ■ don‘t break scenes up into shots—a change in scene reflects a change in location in the story. Shots are individual camera positions within the scene that are designed by the director and cinematographer. Break up the script only into scenes.
  • 170. ■ don‘t number your scenes—Scenes are to be numbered by the first assistant director after the screenplay is finished. If you number the scenes in advance, rewriting the script will constantly change the scene numbers and throw off the script breakdown and any department working off the breakdowns. Assign scene numbers once the script is locked. ■ Check your spelling—correct spelling and grammar are essential in presenting a professional screenplay for consideration by agents, managers, studios, and production companies. ■ Covers and binding—present the script with a white cover that states the title, the writer(s), date completed, writer(s) and/or agent contact phone numbers, WGA registration number, and copyright information. The script should be punched with three holes and ―bound‖ with two gold clasps. ■ First page—always begin the script with ―Fade in‖ and end with ―Fade to black.‖ ■ Scene headings—at the beginning of every scene, establish INT/EXT, the location where the scene takes place, and the time of day. Always type these in capital letters.
  • 172.
  • 173. Reffrence Book  How to Write Great Screenplays and Get Them Into Production  Power Filmmaking Kit  Developing Story Ideas  The Power of Creative Intelligence  Animation Writing and development: From Script Development to Pitch  Your Life ……………… THANK YOU