Throughout the Single Camera Techniques unit I worked on 3 different short films. On 'No Good Deed Done' I was the Director and I was Director of Photography for both 'Exposure' and 'The Incident'.
Being a Director was challenging as it was a role I hadn't been in before other than making the Christmas adverts however they were very short pieces and only a few hours worth of shooting. Being Director meant I was in charge of the entire production. I would organise rehearsals and shooting times and I would have to sort out locations and other similar things. Other than our first shoot, which was badly organised and ended up overlapping with an 'Exposure' shoot, I personally feel like I did a good job, making sure all of the previously mentioned things were sorted well. I also think I did a fairly good job Directing the actors and crew, getting what I wanted from them. I feel that starring in the film also (due to a lack of actors) made directing more difficult and I wouldn't want to do the same again. Kane was my Director of Photography and I enjoyed working with him very much as he has a good understanding of the camera and managed to easily capture each shot I asked for with no issues. There wasn't a lot of co-operating or discussion about the shots, he just tended to follow instruction for the most part which was helpful in getting the shoot done. Becca was on Sound and she did a good job too. The sound captured wasn't great in the end but that was no fault of hers as we were in a noisy location so she did well working with what we had. Chloe was the AD and Rhys was the Production manager their roles both involved filling in paper work for example Chloe would get signatures for the location forms. Chloe helped keep the whole production organised and was very helpful in general. As a whole, I feel everyone working on the production of the film worked well together.
As for being Director of Photography, this was a role I'd had more experience in than directing, so I was more comfortable. I felt I did a much better job as DoP on both Exposure and The Incident. On The Incident I feel like I filled the role well doing everything I was required to do and working fluently with the rest of the team, especially Taylor, the director, as I think we have a good working relationship already from previously working together on the Music Video. We worked quite closely as we would discuss shots and create shot lists together before filming began. Having written the script for the short film and already having ideas for the visuals meant we could share ideas and come to a decision about what shots would be best. Taylor, being the Director, was in charge of the whole shoot and I think he did a great job controlling and organising the entire thing which, considering it was a party scene so we had a large amount of extras, is more difficult than controlling a normal shoot. Being on camera, I also worked closely with Jess who was on Sound. I was constantly working with her for the entire shoot as we had to co-operate making sure the sound was good for every scene, in some cases this took a lot of working together to avoid a lot of background noise and hissing. Also, as DoP i was in charge of lighting the scene and I think I also did a very good job of this. More so in the bedroom scene as I think I was quite creative with the lighting, coming up with solutions to light low light areas. As for the party scene, there are a few times when the shadow of the camera was in shot. Some of these I did not notice and some I did and we re-shot. The cause of the shadows was the use of normal house lighting and not using professional film lighting.
I was also DoP on 'Exposure', the film Kane was directing, I had a very similar experience as DoP on this film as I did when doing the same job on 'The Incident' however for this film there was less discussion about shots. I would maybe suggest a slightly different angle sometimes but more just setting up what Kane asked for. In a few scenes the camera can be seen in a reflection. Both me and Kane checked these shots before recording and still didn't notice. This is something to learn from and make sure we 100% check that there is no chance the camera could be seen in a reflection by positioning the camera correctly. Kane was very good as the Director, giving good instruction to everyone on set and letting them know exactly what he wanted which led to some very good scenes being filmed.
For 'No Good Deed Done' I was also in charge of the post production. I've actually really struggled with the editing of this short film, more so than other projects I've worked on. It's difficult because once all the footage we'd captured was put together, it didn't fit together as well as I'd hoped in some places, mainly because of the audio issues. The audio has unwanted music in the background and is not only distracting from what is happening but also makes cutting clips and putting clips together incredibly hard because the music noticeably changes. Despite the issues, certain parts of the film have turned out really well and look good when put together as full scenes.
12 April 2016
30 March 2016
Unit 22: Single Camera Techniques - Working Blog
9/3/16
Today we went to Lucia's in Yarm to film the diner/restaurant scene. We all met at college and headed over in a mini bus. On the way I realised I had forgot a prop for one of the scenes meaning we couldn't film it and it would have to be done in pickups (assuming the restaurant would let us film again). They had allowed us to film from 3pm however we arrived at 4pm meaning we didn't have as long. We set up as quick as possible and began filming. We managed to get the entire 1st scene done, a solid 5 minutes of the film, plus some other shots. I think this was a good day of filming and we got as much done as we could before the restaurant got too busy and loud.
Today was the filming of the party scene for 'The Incident'. The filming was taking place at my house on the evening. The crew arrived at my house earlier than the actors so we could set everything up. I was DoP on this day so I was in charge of camera and lighting. This was a very long shoot but we managed to get nearly every shot we needed (the shot of Reece on the floor was the only shot we didn't get).
17/3/16
The filming on this day was for 'Exposure', Kane's film. We were filming at Pizza Express who were kind enough to let us film inside the restaurant. This was a great shoot to work on as everything was very simple and everyone worked well.
Today was first filming day for both 'No Good Deed Done' & 'Exposure'. To start with, we began filming 'Exposure' on which I was the DoP. For the first shoot, it all went well. Aside from some waiting around due to make up and a small schedule clash, the shoot was very organised and went smoothly.
As I mentioned before, there was a schedule clash. This was because I had scheduled my filming to start before Kane had finished on his. Luckily this was sorted quickly and I was allowed to leave to go and sort out my film. We also shared actors too, so the scenes with those actors were shot first so they would also be able to leave for make up.
My filming took place in the bathroom due to a fight scene in that location. We'd had the room closed off for us. By the time we began to film it was 8pm, meaning we only had an hour to shoot so I knew we wouldn't get everything. This meant I had to decide what scenes would be best to shoot at the time. As I had the bloodied face make up on, we shot the scenes that was required for first so I could then take it off and film the rest. These shots we're actually very difficult to get right so because of this we ended up spending most of the hour we had doing so, which wasn't good. We got some more shots before realising there wasn't much more time so we had to wrap up.
The shoot didn't go as well as I had hoped and we got even less footage than expected however what we did get was very good. We will have to get a lot of pick ups done for this scene.
The shoot didn't go as well as I had hoped and we got even less footage than expected however what we did get was very good. We will have to get a lot of pick ups done for this scene.
14/3/16
15/3/16
Today was the filming of the party scene for 'The Incident'. The filming was taking place at my house on the evening. The crew arrived at my house earlier than the actors so we could set everything up. I was DoP on this day so I was in charge of camera and lighting. This was a very long shoot but we managed to get nearly every shot we needed (the shot of Reece on the floor was the only shot we didn't get).
16/3/16
Today we filmed the scene in Joe's room from 'The Incident'. We used Taylor's room at his house as the location of this scene. Once again I was DoP. This time around there was a lot of lighting involved which had to be just right. I think I made good use of lighting in the scene to give it a professional look. The only actor in the shoot on this day was Dylan meaning it was a very simple shoot and Dylan was very easy to work with. We managed to get all the footage we wanted even filming extra shots which were not originally planned.
Today we filmed the scene in Joe's room from 'The Incident'. We used Taylor's room at his house as the location of this scene. Once again I was DoP. This time around there was a lot of lighting involved which had to be just right. I think I made good use of lighting in the scene to give it a professional look. The only actor in the shoot on this day was Dylan meaning it was a very simple shoot and Dylan was very easy to work with. We managed to get all the footage we wanted even filming extra shots which were not originally planned.
The filming on this day was for 'Exposure', Kane's film. We were filming at Pizza Express who were kind enough to let us film inside the restaurant. This was a great shoot to work on as everything was very simple and everyone worked well.
18/3/16
Today we filmed more scenes for 'The Incident'. In this scene we filmed at the college as in the film, for this scene, the characters are in college. This was a short scene to film however it took longer than expected since we had to make sure there was nothing unwanted in the background. There was only a few shots to film in total. Once again the actors were very easy to work with and extras also were good. They were very patient as they were doing very little.
22/3/16
This shoot day took place in the pick up week. First we shot pick up scenes for 'Exposure'. All this filming took place in SRC Two. There was a lot of waiting around for some actors due to them not being needed until later on but as a whole the day went really well and everything was finished.
After we finished filming on 'Exposure' we went to do the pick ups for the bathroom scene for 'No Good Deed Done'. We re shot most of what we got last time for continuity purposes and managed to get the rest of the footage we didnt get last time, finishing the scene.
After we finished filming on 'Exposure' we went to do the pick ups for the bathroom scene for 'No Good Deed Done'. We re shot most of what we got last time for continuity purposes and managed to get the rest of the footage we didnt get last time, finishing the scene.
23/3/16
On the 2nd and last day of pick ups we went back to Lucias to film the rest of the diner scene for 'No Good Deed Done'. We started filming at 3, earlier than last time, and actually covered everything in good time meaning we finished earlier than previously expected. Overall this was a good productive day of filming.
24 March 2016
Unit 1: Pre-production Techniques for the Creative Media Industries - Task 1 - Part 2
FutureLearn Blog:
Week 1:
The first week of the course started with an introduction, letting you know how the course will work, what you will be learning about and what you can take from the course.
Next on the course, the site gave an overview of the different stages and aspects of pre-production in Film & TV. It went into detail in regards to what happens on day to day shoots and even briefly going into what happens during post-production.
It asked you to discuss with other people taking the course your favourite films and the people behind them before going through pre-production step by step.
Week 2:
In the second week, the course took a more in depth look at aspects that were just briefly looked at in the first week such as the different departments and industry terms were also looked at.
There was also a more detailed look into the specific roles in each aspect of pre-production such as special effects supervisors and a production managers. There were actual people from each job role who explained what each job consisted of and spoke about films they had worked on in the past.
Also, in the second week, the course looked at pre production paperwork, showing examples of what has been used on film sets.
Week 3:
The third week delved into getting an actual job in film & TV, specifically runners.
It explained the different types of runners on each set and looked into what sort of jobs runners are expected to do, even telling you how to be the best runner you can and stand out.
Career progression was also an aspect which was looked into briefly, helping you and giving information on how to progress in the Film and TV industry. This week even gave tips on making a CV and even going into what to do in an interview situation.
Week 1:
The first week of the course started with an introduction, letting you know how the course will work, what you will be learning about and what you can take from the course.
Next on the course, the site gave an overview of the different stages and aspects of pre-production in Film & TV. It went into detail in regards to what happens on day to day shoots and even briefly going into what happens during post-production.
It asked you to discuss with other people taking the course your favourite films and the people behind them before going through pre-production step by step.
Week 2:
In the second week, the course took a more in depth look at aspects that were just briefly looked at in the first week such as the different departments and industry terms were also looked at.
There was also a more detailed look into the specific roles in each aspect of pre-production such as special effects supervisors and a production managers. There were actual people from each job role who explained what each job consisted of and spoke about films they had worked on in the past.
Also, in the second week, the course looked at pre production paperwork, showing examples of what has been used on film sets.
Week 3:
The third week delved into getting an actual job in film & TV, specifically runners.
It explained the different types of runners on each set and looked into what sort of jobs runners are expected to do, even telling you how to be the best runner you can and stand out.
Career progression was also an aspect which was looked into briefly, helping you and giving information on how to progress in the Film and TV industry. This week even gave tips on making a CV and even going into what to do in an interview situation.
1 February 2016
Class Task - Writing - Sit Com
INT. FBI Offices – Day
We see an elevator, the floor
numbers getting higher. There is a ‘ding’ and the doors open. MARTIN, a 30
something desk jockey, steps out of the doors and ‘spy’ music begins to play.
He is dressed in a leather jacket and aviators along with a shirt, tie and
trousers. He passes a plaque on the wall reading ‘FBI Office 2’ and begins to
walk through the office. He passes his co-workers, winking and clicking his
fingers at them. They have little to no reaction, looking uninterested or confused.
He continues until he reaches his seat where he sits down and the music is cut
off. He removes his leather jacket and sunglasses, killing his ‘cool’ image. He
begins to type on his keyboard while we hear stereotypical office noises in the
background; keyboards, printers etc. NEIL walks up to Martin’s cubicle.
NEIL
Hey, you hear about the Moretti case?
MARTIN
What about it?
NEIL
They busted them last night! Some drug deal in a warehouse
downtown
MARTIN
No way! They got them? Who made it?
NEIL
The arrest? Frank and Johnny, those guys are like heroes man
MARTIN
7 years and they finally got them, think of the praise they’re
gonna get
NEIL
One job and they’re gonna get more than we’ll ever get in our
lifetime sitting at these desks
MARTIN
Right? If only we could
be the guys out there making arrests, huh?
NEIL
If only. And on that note I’ve got to get back to my tedious,
mind-numbing paperwork.
They laugh. Neil goes to leave but
turns back around.
Oh, by the way, the captain wanted to speak to you.
MARTIN
Oh, this ought to be good.
Martin gets up and approaches the
captain’s office. Just before he enters Neil shouts to him.
NEIL
Hey! If you’re fired I’m getting your desk!
Martin laughs and goes into the
room.
21 January 2016
Unit 24: Writing For Television and Video - Task 1 - Working as a Writer
Legal & Ethical Considerations
As a writer in the film industry, you are obliged to follow certain rules and stick to some limitations in your work. These limitations can come due to obeying the law or, the more complicated, ethical reasons. Legal issues include copyright, libel and censorship.
Copyright can protect any original ideas or creations a writer has. Writer's can apply for copyright and once they have it must be displayed on both the cover and the foot of each individual page in the script. Having this on your script tells the reader that you are the owner of this script and it cannot be copied or stolen. If writers don't properly copyright their work then there is nothing stopping another writer stealing the content.
Copyrighted work can be re-used or edited as long as the person doing so receives permission from the original creator. The official copyright website states: "If you include quoted passages, illustrations, images or other items in your work which are not of your own creation. It is important to ensure that you have permission to use these before any publication or sale. If permission is given as a personal agreement, (rather than a formal contractual or licensing agreement), you should still ensure that you have some documentation, signed by the owner of the work to prove that permission has indeed been given."
Using someone else's work without their permission is plagiarism. If a writer commits plagiarism the original creator of that work can take legal action which would most likely end up with the writer who plagiarised the work getting sued. Often many scripts can just be similar to another script. This means it can sometimes be hard to tell if the script has been plagiarized or not.
Censorship is the suppression of film content which may be considered harmful to audiences. There are often guidelines for Film & TV which state whether the content is suitable for certain audiences or not. The classifications followed are U, PG, 12A, 12, 15, 18 & R18. These classification guidelines protect certain groups of people viewing unsuitable content. For example, a 12 year old should not be allowed to view a 15 because it is given that rating since it is too mature for them. All films and television programs and even adverts have to be classified to protect viewers and to. Along with the rating there also usually comes a short description of the content such as violence or nudity. These descriptions let people to know exactly what it is the film before watching it. This can be helpful as some content may offend certain audiences, even if they were old enough to watch the film.
Watersheds are the point of time at which adult programs may be broadcast on TV. Programs which count as 'adult' include things containing violence, nudity, bad language etc. These programmes aren't allowed to be shown before the watershed, only programmes suitable for a family. The watershed in the UK is 9:00pm.
When writer's write their script they have to take the watershed into account. The content of their script will determine whether they are allowed to be shown before watershed or not. It has to be considered that if a show is shown after watershed then it could get less people watching it that if it was on before. This can effect what writers will put in their scripts.
Libel is a false statement about a person that does damage to that person's reputation in the public eye. It may also cause embarrassment or humiliation, or affect a person's ability to make a living. Writers must avoid presenting any living person in a negative light or making negative actions without evidence to support it.
Writers also have to avoid being bias when it comes to writing factual pieces about a real person or event. The views/opinions shared in the script need to be balanced. It would be unethical of the writer to give one point of view and not the other. However, depending on the message the writer is trying to give the viewer/reader, one point of view can be expressed more than the other but only because there is still both point of views shown. If the writer is focusing on one point of view more than the other they still have to be careful and make sure they do it in an unbiased way. If it was bias it could seem that the script was trying to force ideas onto the reader.
Current Practice For The Commissioning Of Scripts
Commissioning scripts is a very complicated process. First off, every channel has its own commissioning body. So there is the BBC commissioning body and the Channel 4 commissioning body. These are some of the top channels in the country and the hardest to get a script produced by. If you were to pitch to a high up channel like BBC or Channel 4 then you would need to know their preferences of program and their branding. For example the sort of programs the BBC produce are completely different to the kind of programs Channel 4 show. So you would need to know which channel your script is better suited. If it was more of an edgy story then Channel 4 might be the best option since that is what people think about a lot of their programming.
However, if you are starting out as a writer then the higher up companies might not be the best place to start. There are smaller independent companies such as Bedlam Productions Ltd. or Hat Trick Productions. These smaller companies would have much less demand so you could have a better chance of not just getting a pitch but have your script commissioned too. There may also be an independent director who would want to pick up your script.
Once a script is picked up it will begin to enter production. Throughout the production the writer has a lot of role stays very important. Before the actual production starts there is pre-production planning which basically informs everyone of what needs to be done before the script can enter production. Next, if the production company wants the writer to make any changes they have to until they believe it is fit to the standard they want and it fits the target audience. The director and producer often get involved and share their thoughts and ideas with the writer on what they think could change or what could stay the same. The director and producer both have more power than the writer so these decisions most likely won't be ignored. Once the final draft of the script is put into place the shooting script is written. This is the exact same script but with shots and camera angles added in for extra information. Page lock-down is the final stage before shooting. The script is completely finalized and agreed upon by everybody and production begins. A lot of changes can also happen after the script is finalized and during shooting depending if something is working or not. If a scene isn't working then it can be scrapped or changed to fit the needs of the production.
Throughout the whole commissioning process there are all sorts of jobs and positions surrounding it. Of course, there is the writer who comes up with the initial script. Working closely with the writer is the script editor. They give advice to the writer to make the script as successful as possible. Of course there is the Director, who takes the script and creates the visuals of the story. The Commissioning Editor decides if the idea will go into production or not, which is the biggest decision. Helping out the Commissioning Editor is the Executive Producer and the Editorial Assistant. They work by the side of the Commissioner to assure his needs are met and give support. The centrepiece of the whole production is the Producer. The Producer brings each department of the production together is involved in each of them.
Contracts & Employer Expectations
Being a writer in Film & TV is a job with a lot of responsibility. A writer is the person who creates the script and the script is what supports the entire production of a film or TV show. Without the script the production couldn't happen. A popular phrase is: “A bad movie can be made from a good screenplay, but not the other way round.”. This emphasises the importance of a screenwriter. It shows that without a good script to begin with, there is no way the finished production can work or be successful. A writer is completely crucial to the film making process.
To be a writer you have to be able to create original concepts and ideas, be able to write an entire screenplay from a simple idea and keep adding to the screenplay until it is as good as possible or the producers are happy with it. Also, writers have to be able to stay focused when they need to be because most writers work from home or at least work independently. Writers have deadlines to finish their scripts by and to meet that deadline they have to write so much per day. Without the right dedication and focus they won't achieve this which is why these are the traits needed by a writer.
As a writer in the film industry, you are obliged to follow certain rules and stick to some limitations in your work. These limitations can come due to obeying the law or, the more complicated, ethical reasons. Legal issues include copyright, libel and censorship.
Copyright can protect any original ideas or creations a writer has. Writer's can apply for copyright and once they have it must be displayed on both the cover and the foot of each individual page in the script. Having this on your script tells the reader that you are the owner of this script and it cannot be copied or stolen. If writers don't properly copyright their work then there is nothing stopping another writer stealing the content.
Copyrighted work can be re-used or edited as long as the person doing so receives permission from the original creator. The official copyright website states: "If you include quoted passages, illustrations, images or other items in your work which are not of your own creation. It is important to ensure that you have permission to use these before any publication or sale. If permission is given as a personal agreement, (rather than a formal contractual or licensing agreement), you should still ensure that you have some documentation, signed by the owner of the work to prove that permission has indeed been given."
Using someone else's work without their permission is plagiarism. If a writer commits plagiarism the original creator of that work can take legal action which would most likely end up with the writer who plagiarised the work getting sued. Often many scripts can just be similar to another script. This means it can sometimes be hard to tell if the script has been plagiarized or not.
Censorship is the suppression of film content which may be considered harmful to audiences. There are often guidelines for Film & TV which state whether the content is suitable for certain audiences or not. The classifications followed are U, PG, 12A, 12, 15, 18 & R18. These classification guidelines protect certain groups of people viewing unsuitable content. For example, a 12 year old should not be allowed to view a 15 because it is given that rating since it is too mature for them. All films and television programs and even adverts have to be classified to protect viewers and to. Along with the rating there also usually comes a short description of the content such as violence or nudity. These descriptions let people to know exactly what it is the film before watching it. This can be helpful as some content may offend certain audiences, even if they were old enough to watch the film.
Watersheds are the point of time at which adult programs may be broadcast on TV. Programs which count as 'adult' include things containing violence, nudity, bad language etc. These programmes aren't allowed to be shown before the watershed, only programmes suitable for a family. The watershed in the UK is 9:00pm.
When writer's write their script they have to take the watershed into account. The content of their script will determine whether they are allowed to be shown before watershed or not. It has to be considered that if a show is shown after watershed then it could get less people watching it that if it was on before. This can effect what writers will put in their scripts.
Libel is a false statement about a person that does damage to that person's reputation in the public eye. It may also cause embarrassment or humiliation, or affect a person's ability to make a living. Writers must avoid presenting any living person in a negative light or making negative actions without evidence to support it.
Writers also have to avoid being bias when it comes to writing factual pieces about a real person or event. The views/opinions shared in the script need to be balanced. It would be unethical of the writer to give one point of view and not the other. However, depending on the message the writer is trying to give the viewer/reader, one point of view can be expressed more than the other but only because there is still both point of views shown. If the writer is focusing on one point of view more than the other they still have to be careful and make sure they do it in an unbiased way. If it was bias it could seem that the script was trying to force ideas onto the reader.
Current Practice For The Commissioning Of Scripts
Commissioning scripts is a very complicated process. First off, every channel has its own commissioning body. So there is the BBC commissioning body and the Channel 4 commissioning body. These are some of the top channels in the country and the hardest to get a script produced by. If you were to pitch to a high up channel like BBC or Channel 4 then you would need to know their preferences of program and their branding. For example the sort of programs the BBC produce are completely different to the kind of programs Channel 4 show. So you would need to know which channel your script is better suited. If it was more of an edgy story then Channel 4 might be the best option since that is what people think about a lot of their programming.
However, if you are starting out as a writer then the higher up companies might not be the best place to start. There are smaller independent companies such as Bedlam Productions Ltd. or Hat Trick Productions. These smaller companies would have much less demand so you could have a better chance of not just getting a pitch but have your script commissioned too. There may also be an independent director who would want to pick up your script.
Once a script is picked up it will begin to enter production. Throughout the production the writer has a lot of role stays very important. Before the actual production starts there is pre-production planning which basically informs everyone of what needs to be done before the script can enter production. Next, if the production company wants the writer to make any changes they have to until they believe it is fit to the standard they want and it fits the target audience. The director and producer often get involved and share their thoughts and ideas with the writer on what they think could change or what could stay the same. The director and producer both have more power than the writer so these decisions most likely won't be ignored. Once the final draft of the script is put into place the shooting script is written. This is the exact same script but with shots and camera angles added in for extra information. Page lock-down is the final stage before shooting. The script is completely finalized and agreed upon by everybody and production begins. A lot of changes can also happen after the script is finalized and during shooting depending if something is working or not. If a scene isn't working then it can be scrapped or changed to fit the needs of the production.
Throughout the whole commissioning process there are all sorts of jobs and positions surrounding it. Of course, there is the writer who comes up with the initial script. Working closely with the writer is the script editor. They give advice to the writer to make the script as successful as possible. Of course there is the Director, who takes the script and creates the visuals of the story. The Commissioning Editor decides if the idea will go into production or not, which is the biggest decision. Helping out the Commissioning Editor is the Executive Producer and the Editorial Assistant. They work by the side of the Commissioner to assure his needs are met and give support. The centrepiece of the whole production is the Producer. The Producer brings each department of the production together is involved in each of them.
Contracts & Employer Expectations
Being a writer in Film & TV is a job with a lot of responsibility. A writer is the person who creates the script and the script is what supports the entire production of a film or TV show. Without the script the production couldn't happen. A popular phrase is: “A bad movie can be made from a good screenplay, but not the other way round.”. This emphasises the importance of a screenwriter. It shows that without a good script to begin with, there is no way the finished production can work or be successful. A writer is completely crucial to the film making process.
To be a writer you have to be able to create original concepts and ideas, be able to write an entire screenplay from a simple idea and keep adding to the screenplay until it is as good as possible or the producers are happy with it. Also, writers have to be able to stay focused when they need to be because most writers work from home or at least work independently. Writers have deadlines to finish their scripts by and to meet that deadline they have to write so much per day. Without the right dedication and focus they won't achieve this which is why these are the traits needed by a writer.
Writers do not necessarily need qualifications for their job. All that is needed is a skill in writing. You could attempt to start writing without practise however it is beneficial to read previously successful scripts from the industry to get an idea what works and what you need to do in your own writing. There are also many books which you can read to give you tips and ideas for your scripts.
While some writers are issued to write scripts for a production many writers can write a script in their own time to sell it on. This means they have no deadline and are free to write whenever they want or need. These writers, when finished the script, will sell the rights onto a production company who then have the rights to produce the script themselves. Doing this doesn't guarantee the script will ever be made into a film or TV show but the writer does still get paid. Many writers sell their scripts and never hear of them again or they might even see them being made years later.
Another way to be employed as a writer in the film industry is pitching your idea to a production company. Doing this requires a lot confidence in your idea because you have to make the people you're pitching to see the greatness in the idea. If you aren't confident about the pitch then there is very little chance you will get it approved.
Subscribe to:
Posts (Atom)