SKENARIO DAN

PEMBUATAN FILM

SOURCE: MATTHEW T. JONES, JOHN M. GRACE

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PRODUCTION PHASES

• There are five phases of production common to most

professionally produced motion pictures. These are:
• Development
• Pre-production
• Production
• Postproduction
• Distribution
 PRODUCTION PHASES

• We will concern ourselves with three of these:

Development
Pre-production
Production
Postproduction
Distribution
 PRODUCTION PHASES

• We will concern ourselves with three of these:

Pre-production
Production
Postproduction
PREPRODUCTION PHASE

• In general, the • Screenwriting

preproduction phase • Storyboarding
encompasses all aspects • Funding
of preparation that are • Assembling a crew
performed before the • Casting
camera starts to roll. • Costume Design
Some aspects of • Location Scouting
preproduction include: • Set Design
• Properties (“props”)
• Scheduling
PREPRODUCTION PHASE

• Screenplay/Script: The screenplay supplies the general plan

for the production of a film. There are two types:

• The “spec” script

• The “shooting” script
PREPRODUCTION PHASE

• The “Spec” (Speculation) Script is the version of a

screenplay that writers distribute to producers in
the hope that it will be “optioned” (i.e.
considered for production). It primarily contains:
• Slug-Line (brief description of the setting, e.g. “INT.
ROOM – DAY” which means the interior of a room
during the day)
• Business (descriptions of characters/action)
• Dialog (the lines intended to be spoken by the actors)
PREPRODUCTION PHASE

• The Shooting Script is a much more detailed version of the

spec script that includes numbered scenes, specific camera
angles and other technical information. An example of a
page from a shooting script can be seen on the next slide.
SHOT vs SCENE vs SEQUENCE: What’s the difference?
▪ A shot is the simplest form of production, consisting of a single camera shot. Each shot
can include various angles but represents a single take from a single camera.
▪ Multiple cameras can be used to capture multiple shots or take them at a time. The
difference between shot vs. scene vs. sequence is in the composition. Multiple shots make
up the next element, a scene.
▪ A scene is a single setting of the narrative. A film comprises many scenes that can take
place in different locations or at different times of the day, etc.

Motion pictures are constructed using filming techniques.

1. Shots build into scenes.
2. Scenes build into sequences.
3. Sequences build into complete films.
Shooting Script Table
Shot/ Duration Actors & Activities & Dialogue Location/ Sounds Shooting
Scene Custom Room setting & music technique
no.
PREPRODUCTION PHASE

• Storyboarding: A storyboard is a series of drawings intended

to represent how the film will be shot, including how each
frame will be composed and how subject and camera
motion will occur.
• The storyboard articulates the mise-en-scene of the film.
• Mise-en-scene: All of the elements that compose the shot.
PREPRODUCTION PHASE

• Funding: Films are generally expensive to produce. Even

small independent productions with unknown actors can
cost hundreds of thousands of dollars. Because of the level
of investment involved, most films rely on either production
companies (“Hollywood” films) or independent investors
(“Independent” films).
PREPRODUCTION PHASE

• Assembling a Crew: A crew is the group of workers on a

film set who are responsible for facilitating production (as
opposed to acting). Although large productions may
employ many crew members in many different departments,
there are only a few basic positions which are detailed later
in the production phase.
PREPRODUCTION PHASE

• Casting: Choosing actors to play roles.

• Costume Design: Choosing or designing the
clothing/costumes that the actors wear.
• Location Scouting: Choosing the locations where the film
will be shot.
• Set Design: Constructing sets where the film will be shot.
PREPRODUCTION PHASE

• Properties (“Props”): Choosing the tools and objects used in

the film.
• Scheduling: Coordinating all aspects necessary to the
production.
PRODUCTION PHASE

• The production phase • Direction

refers to the period of • Camera operation

time when the film is • Lighting

actually being shot. Some • Sound recording

aspects of production • Acting

include:
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• During production, these roles are usually delegated to the

production departments listed on the next two slides.
 PRODUCTION PHASE

• Production Departments
• Direction
• Director (oversees all aspects of the production)
• Assistant Director (drives the set)
• Second Assistant Director (works with the actors)
• Camera
• Cinematographer or DP (oversees camera operation)
• Camera Operator (operates the camera)
• Camera Assistants (loads camera, pulls focus)
• Clapper/Loader (loads film and slates scenes)
• Lighting
• Cinematographer (oversees lighting design)
• Gaffer & Electricians (control the lights)
• Key Grip & Grips (control the shadows and do special rigging)
 PRODUCTION PHASE

• Production Departments (continued)

• Sound
• Sound Mixer (records the sound)
• Boom operator (positions the microphone)
• Clapper (displays the clap slate for the camera)
• Talent
• Actors (perform before the camera)
• Miscellaneous
• Production Coordinator (scheduling)
• Continuity “script girl” (watch for continuity errors)
• Make-up Artist (apply make-up to actors)
• Production Assistant (various jobs)
PRODUCTION PHASE

• All of the departments and positions described on the last

two slides serve one goal: to capture the sound and image
necessary to tell the story. Although going into every detail
of production is far beyond the scope of this course, let’s
consider the “nuts and bolts” that go into filmmaking.
PRODUCTION PHASE

• Sound Recording
• In traditional film production, sound is recorded
separately from the image. This is known as “double
system” sound recording. Generally speaking, there are at
least four soundtracks in any feature length narrative film:
• 1– the dialog track.
• 2– the room tone track.
• 3– the music track.
• 4– the sound effects track.
 PRODUCTION PHASE

• Sound Recording
• Dialog
• In order to record dialog in “double system” film
production, it is necessary to synchronize the movement
of lips with the sound of voices. Simple as this may
seem, achieving it requires precision instrumentation.
• Most modern film sound is recorded digitally, but earlier
films made use of a “crystal” synchronized analog tape
recorded referred to as a “Nagra” (manufacturer’s
name) which kept the speed of the tape constant so that
no “drifting” occurred between the picture and the
sound track.
PRODUCTION PHASE

• Sound Recording
• Dialog (Continued)
• The function of the “clap slate” or “sticks” (see the slide after
next) is to supply a marking point for when the synchronization
between picture and audio begins, allowing the editor to
accurately align picture with sound later during post
production.
• The first film credited with synchronized sound is The Jazz
Singer (1927).
 PRODUCTION PHASE

• Sound Recording
• Dialog
• There are a series of steps that are taken on a film set in order to
ensure the proper coordination of picture and sound track:
• 1: The director says “quiet on the set” and “roll sound.”
• 2: The sound mixer says “sound speed” when the tape is running
at the correct speed for recording synchronized sound.
• 3: The director calls out “roll camera.”
• 4: The camera operator says “speed” when the film is running at
sound speed (24 frames per second).
• 5: The director calls out “slate” or “marker”
• 6: The clap slate indicating roll, scene, and take is placed before
the camera and read out loud (e.g. “Roll 1, Scene 1, Take 1”).
• 7: The slate is clapped and removed.
• 8: Finally, the director calls “action” to cue the actors.
PRODUCTION PHASE

• Sound Recording
• Room Tone

• Room tone is recorded silence. Normally, once all of the

dialog is recorded, the sound mixer asks for about a minute
of quiet to record the sound of silence in the particular
setting.
• The reason for recording room tone is that all recordings
have a low level of “noise” in the background and, during
the editing process it is sometimes necessary to fill in gaps
so that there is not an abrupt change in the tone of the
background noise.
PRODUCTION PHASE

• Sound Recording
• Sound Effects
• For the most part, sound effects are obtained
separately by a “foley” artist who coordinates
sound effects in synchronization with the onscreen
action through a process known as “looping” –
where a portion of the film is repeatedly played to
perfect the timing of the sound effects. This is
considered to be part of post-production which
we will cover next.
• Alternatively, for low-budget productions, libraries
of prerecorded sound effects can be used or
sounds can be recorded during production by the
sound mixer and boom operator.
PRODUCTION PHASE

• Sound Recording
• Music
• Film music is either purchased (if it is not in the “public
domain”) or scored specifically for the production.
• Music that is scored is done in similar fashion to foley sound in
the sense that film is playing during the recording session to
enhance timing.
POSTPRODUCTION PHASE

• The postproduction phase Processing and printing of film

refers to the period of time Transferring film to video
after the film is shot, but
before it is released in its Synchronizing picture and sound
final form. Postproduction
includes: Paper edit (creating an EDL)
Creating a rough cut
Creating a online edit
Final audio mix
OLD SCHOOL
Conforming the original negative
Adding optical effects and transitions
Creating release prints
NEW SCHOOL
Film out & release prints
POSTPRODUCTION PHASE

• Processing, Printing, and Transferring.

• The first few steps of postproduction are routine, requiring more
technical knowledge than creative decision making:
• Processing: Developing the camera negative.
• Printing: Creating dailies on DVD or a work print for the
director and crew to see
• Transferring: Film transfer or “Telecine” to video for editing
 POSTPRODUCTION PHASE

• Synchronizing and Assembling

• Synchronizing
• Information from the slate and recorded on the
audio tracks is stored at the beginning (“head”)
of each take to allow the scene/take to be easily
identified.
• To synchronize picture with sound, the editor
aligns the beginning of the sound for a given
scene/take with the beginning of the picture for
that take, using the sight and sound of the slate
as a reference point.
 POSTPRODUCTION PHASE

• Synchronizing and Assembling.

• Assembling

• The footage is captured to the editing system

from the video tape or transferred from the
hard drives if it is a digital workflow
• Once the footage is captured, the editor
assembles a rough cut for timing and to make
sure all necessary footage is present
POSTPRODUCTION PHASE

• Creative License
• Between the rough cut and the online edit is where all of the
creative decisions are made.
• Rough Cut: Places the film in rough sequence from beginning to
end according to the screenplay. Dialog is in place, but sound
effects, and music are incomplete.
• Online Edit: All of the final editing decisions and the final
soundtrack mix are complete. The film is ready for final output.
POSTPRODUCTION PHASE

• Getting from Rough Cut to Online Edit.

• Editing is the arrangement of imagery and sounds into a sequence
that tells the story of the film.
• An editor may arrange based on different aesthetic styles depending
upon the needs of the story. For example:
• Invisible editing.
• Montage editing.
POSTPRODUCTION PHASE

• OLD SCHOOL - Conforming the negative

• Once all of the editing decisions have been made, the original
“camera” negative is brought to a “negative cutter” who uses cement
splices and A/B rolling in order to conform the negative based on the
decisions of the final cut of the workprint.
POSTPRODUCTION PHASE

• Creating a release print.

• Once the negative has been conformed to an A/B roll, a married
print is created and joined with the final audio mix which is inscribed
at the edge of the film optically.
• For the purposes of distribution, an “internegative” is then created
from the married print for the sake of striking positive “release”
prints that are shipped to theaters.
POSTPRODUCTION PHASE

• NEW SCHOOL –
• Once the edit is “locked” or final, the footage is transferred back to
film in a process called a “film out”.
• For distribution, an “internegative” is then created from the “film
out” for the sake of striking positive “release” prints that are shipped
to theaters.
POSTPRODUCTION PHASE

• NEW SCHOOL –
• As more theaters become able to project films digitally, film prints
will become obsolete and will be replaced with reusable hard drives
that are easily shipped from studio to theater.
• The hard drives can be pre-programmed only to play the film a
proscribed number of times saving the studios billions of dollars a
year in lost revenues and in film printing costs.
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The Other Pair | Short Film

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