THE LECTURE COURSE : INDIAN OCEAN CINEMA WORKSHOP IN SEYCHELLES
From the
&
With
The Tropic's Cinema Institute
Presents :
The Indian Ocean Cinema Workshop
In Seychelles
THE LECTURE COURSE
*
*
Interview of M.Emmanuel D'OFFAY,
Executive Director of Creative Seychelles Agency,
Broadcasted by TROPICS'TELEVISION
"Teaching cinematography in the Seychelles"
Interview of Mrs Miera SAVY
Executive Director. Internal cooperation division of
Seychelles National Institute for Culture, Heritage, & the Arts
Broadcasted by TROPICS'TELEVISION
*
. Film : Fuir aux Seychelles. Long shot
INTRODUCTION
. Film : Fuir aux Seychelles.
This training is entitled Cinéma workshop. The term, cinema, is chosen. It refers to more than a century of history of the 7th art. Similarly, the term film is used during the training. We dont mean the strip of silver film, but the artistic work. We talk about film as we would talk about novels, or paintings.
Then, the teaching focuses on the art and the technique of the image and the sound, constitutive elements of the audiovisual creation.
This training will allow those who benefit from it, to implement the knowledge provided, whatever their project is: tell an adventure or a police investigation, shoot a musical clip, develop an educational document for a school, make a report for television, etc.
The Indian Ocean Cinéma workshop, created in Seychelles in 2018, has a regional influence. It has generatd similar workshops held in Madagascar in 2019, and in La Réunion in 2020.
It exchanges also, with the West Indies Cinéma workshop, which celebrates its 10 years of existence in 2022.
So this program of the the Seychelles National Institute of Culture, Heritage & the Arts has a bright future.
The following documents represent the pedagogical support accompanying the lecture course, which is much more developed. However, they allow the students to start, a process of self-training, which is why we publish them on the Internet.
We wish you a pleasant moment of formation and creation.
So this program of the the Seychelles National Institute of Culture, Heritage & the Arts has a bright future.
The following documents represent the pedagogical support accompanying the lecture course, which is much more developed. However, they allow the students to start, a process of self-training, which is why we publish them on the Internet.
We wish you a pleasant moment of formation and creation.
Long shot. Angle : Shooting up.
*
The cellular phone cinema revolution
The
main centers of the world film industry are filming more and more with
cellular telehpones, in Bollywood (India), Hengdian (People's Republic of China), Hollywood (U.S.A.), etc. *
Indian Ocean Cinema Workshop in Seychelles, 2019.
Long shot.
Indian Ocean Cinema Workshop in Madagasikara, 2019.
Long shot.
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Link to the Masterclass Filming with a cellular phone.. THE LESSON
1. THINKING THE FILM
. The documentation
whether it is a documentary film or a fiction film
Long shot. Angle : Shooting down.
But the cameraman is shooting up.
Picture from the Public Domain.
Board of Indian Ocean Cinema Workshop in Seychelles.
First year. 2018
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THINKING THE FILM
Rule :
Set your goal
*
Set your goal :
which is your purpose ?
&
Write it.
Film Praxis du cinéma documentaire opus 1.
Medium shot. Angle : Shooting down
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Rule :
Think a story
. Film : Fuir aux Seychelles. Long shot
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Example : The story is in La Digue.
It begins by a long shot outdoors.
It tells where the story takes place.
Medium shot
Example : The story is in La Digue.
The second shot is indoors.
It presents the character.
*
Rule of a story :
A story has :
- a beginning
- a middle
- an end
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STORYTELLING IN CINEMA
Storytelling in cinema
In cinema a story
is consisting of a
succession of scenes, sequences, and parts
*
(Scene 1 )+ (Scene 2) + (Scene 3) + etc
= Sequence 1
*
(Sequence 1)+ (Sequence 2) + (Sequence 3) + etc
= Part 1
*
(Part 1)+ (Part 2) + (Part 3) + etc
= The film
*
Exceptions :
A film can be consisting
of only one shot.
Like The russian ark directed by Sokurov
(1h 39 minutes, Russia, 2002)
Film Praxis du cinéma documentaire opus 1.
Close shot. Angle : shooting down.
*
Cinema storytelling and
acting inherits from
more than 2.600 years of theatre
*
Rule of the 3 unities in a scene
Ancient greco-roman culture.
A world heritage
Picture from the Public Domain.
*
Rule :
Since Greek antiquity,
a scene has 3 unities :
Unity of Action
Unity of Time
Unity of Place
Film Praxis du cinéma documentaire opus 1.
Long shot.
Collection of 27 films L'Abécédaire artistique de Pierre Baqué.
Medium shot.
*
Rule :
In cinema, a scene is consisting
in a succession of shots
(Shot 1) + (Shot 2) + (Shot 3) + etc.
=
Scene 1
*
Cienfuegos. Film Back to Cuba in search of Latina.
Long shot. Angle : shooting down.
*
The smallest technical unity of a film is the
PICTURE
The smallest construction unity of a film is the
SHOT
*
The shot is made of many pictures.
For instance, a shot of 10 seconds is made of 250 pictures if we record at the speed of 25 pictures per second.
*
Rule :
Each shot must be thought as a painting
an artistic creation
with light, space, composition, colours, etc.
*
THE RECORDED SHOT
A recorded shot is the image and sound space recorded
between "motor" and "cut".
=
(Space recorded between the moment when
you push ON then OFF
the button of your camera, telephone, etc.)
Production
shot from Doctors
in Space program
with
Drs. John Rider (center) and Hubertus Strughold (right)
Medium shot
Picture from the Public Domain.
*
Rule :
A recorded shot
never does less than ten seconds.
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Film Praxis du cinéma documentaire opus 2.
Medium shot. Chest ("plan poitrine")
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THE EDITED SHOT
An edited shot is the part of the recorded shot
which is chosen during the edition of the film.
*
The duration of the edited shot is variable.
It depends of the narration.
*
. THE MAIN TEXTS OF FILM CREATION
Film creation is based on the elaboration of texts.
. THINKING THE STORY
To write a film script, a very common structure, was born from the influence of 2000 years of theatrical art.
The story is divided into three acts:
1- The Beginning:
- Exposure of the context: presentation of the characters and the situation (main sets, places, time, etc.)
- Introduction of the disruptive element (conflict, mystery, plot, quest, etc.).
2- The middle:
- Sequence of adventures, obstacles and trials of the character(s). Twists and turns. Surprises. This is the culmination of the story.
3- The end:
Conflict resolution and resolution.
1- The Beginning:
- Exposure of the context: presentation of the characters and the situation (main sets, places, time, etc.)
- Introduction of the disruptive element (conflict, mystery, plot, quest, etc.).
2- The middle:
- Sequence of adventures, obstacles and trials of the character(s). Twists and turns. Surprises. This is the culmination of the story.
3- The end:
Conflict resolution and resolution.
Marilyn Monroe playing a character in 1947
Picture from the Public Domain
. THE SYNOPSIS
In the film industry, this term refers to the condensed summary of a screenplay. As such, it outlines the story, presents the main characters and their evolution, without going into details. Its length can vary from a few lines to several pages.
In the synopsis, it is necessary to :
. Briefly characterize the main characters.
. Explain the plot scheme, the elements of the action.
. Expose the main themes of the film.
. Explain the plot scheme, the elements of the action.
. Expose the main themes of the film.
.jpg)
Organising the set for the production Meera,
Madras Movie Studio New Tone. Madras, 1945
Picture from the Public Domain
. THE SCENARIO or SCREENPLAY
The word scenario comes from Italian language, and means theatrical scenery. It was the filmmaker Méliès who made it a movie term in 1907.
1899 Georges Méliès. Film The Clown and Automobile
Film in the Public Domain
The scenatio or screenplay, serves for people involved in the production of an audiovisual work: director, actors, technical team, etc.
A scenario includes at least:
. A presentation of the characters
. The dialogues
A scenario includes at least:
. A presentation of the characters
. The dialogues
. The actions in the sets
. All presented division into sequences, scenes, and shots to be filmed.
. All presented division into sequences, scenes, and shots to be filmed.
Example of a scenario page
Picture from the Public Domain
RULE :
The important thing is to create for the spectator
the expectation of the end.
Throughout the film, he must ask himself "what will happen?"
2. PICTURE GRAMMAR
THE THREE MAIN SHOTS
Long shot. Sunset in Normandy, France, European Union.
The three main shots are :
The long shot :
It presents the subject in full
with the landscape, etc.
Long shot. Film Fuir au Portugal
The medium shot :
It presents an aspect of the subject,
from italian shot ("plan italien")
to chest ("plan poitrine")
The close shot :
It presents an aspect of the subject,
from close shot ("gros plan")
to close up ("TGP-Très gros plan)
Picture from the Public Domain.
LONG SHOTS
Madagasikara. Long shot including an
Italian shot of the characher, Emeline Raholiarisoa.
Film Madagascar, our earth is in danger.
The filmaker Philippe Maquiné on the right side of the picture
Vinales. Film Back to Cuba in search of Latina.
Long shot.
Jean Pierre Zirn, filmaker.
Film Praxis du cinéma documentaire opus 1.
Long shot.
Madagasikara. Long shot with the characher, Emeline Raholiarisoa.
Film Madagascar, our earth is in danger.
Long shot.
MEDIUM SHOTS
1894. Fred Ott.
The first medium shot of cinema history.
Picture from the Public Domain.
Madagasikara. Long shot. Including a medium shot "American shot" of the characher, Emeline Raholiarisoa.
Film Madagascar, our earth is in danger.
Trinidad. Film Back to Cuba, in search of Latina.
Medium shot. "American shot". Angle : Shooting up.
Mandrosoa, Madagascar. Emeline Raholiarisoa & Ramavokely. Film La pensée malgache.
Medium shot. "Breast shot".
CLOSE SHOTS
Madagasikara. Long shot of the characher, Emeline Raholiarisoa.
Film Madagascar, our earth is in danger.
Film Praxis du cinéma documentaire Opus 1.
Close shot.
Film Praxis du cinéma documentaire Opus 3.
Close shot. Angle : Shooting down.
Film Back to the Seychelles.
Very close shot called Close up.
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3. PICTURE GRAMMAR
THE COMPOSITION
The composition of the cinematographic image is the heir of the rules of composition of painting. They have several centuries of existence. There are many compositional rules.
We will present the main so-called third-parts rule.
The picture is divided into three vertical and three horizontal parts.
Painting of Max Nonnenbruch presenting the division of the picture
. The horizon is on the top line
(two thirds of the image) to give priority to the earth.
. The character is in the left part of the picture
(and not in the center).
Picture from the Public Domain.
*
. First example : the line of the horizon
An interpretation of the third-party rule applies to the horizon when filming landscapes.
Rule :
The horizon can be placed :
- On the bottom line (one third of the height) to give priority to the sky
Or
- On the top line (two thirds of the image) to give priority to the earth
. Second example : the character
The character should not be positioned in the center of the image, but in the left or the right.
. The character is positioned in the left part of the image.
Film of Kevin Corrieri (student of The Indian Ocean Workshop in La Réunion 2020) Disconnecting.
Link to the film :
. The character is positioned in the right part of the image.
Film of Kevin Corrieri (student of The Indian Ocean Workshop in La Réunion 2020) What does Mr Kulechov think?
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4. MOMENTS OF CINEMA HISTORY
The very beginning of arts. Lascaux paintings. 18.000 years ago.
Picture from the Public Domain.
Rule :
Any creation
must considere the story of its art
*
Cinema inherits from several arts stories :
Theatre
Shakespeare, Roméo & Juliette, 1562.
Painting
Paul Gauguin, Manao Tupapao, 1892.
Music
Sappho playing music. Greece, 630 before J.C.
Photography
Nadar, Autoportrait tournant, 1860.
Pictures from the Public Domain.
*
Cinema is experimentation
since its very beginnings.
*
Until 1927, cinema is silent.
The Kinetoscope
Optical theatre
Waiting for sounds
Pictures from the Public Domain.
Documentary film
The arrival of a train in La Ciotat.
Lumière brothers, France, 1895.
Film from the Public Domain.
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Films with actors
The mermaid. Méliès, France, 1904.
Les vampires. Feuillade, France,1915
The Kid, Chaplin, U.S.A., 1921
The navigator, Keaton, U.S.A., 1925
Pictures from the Public Domain.
*
Film with actors
The vanishing lady. Méliès, France,1896.
Film from the Public Domain.
Un chien andalou. Bunuel & Dali, France, 1929.
Madamu Tonyobo, Gosho, Japon, 1931.
Pictures from the Public Domain.
*
Experimental documentary film
The Man with the Movie Camera. Dziga Vertov. Soviet Union, 1929.
Film from the Public Domain.
The Man with the Movie Camera. Dziga Vertov. Soviet Union, 1929.
Picture from the Public Domain.
*
1927. Cinema becomes with sound
Filming with a movietone
Filming with a vitaphone
Pictures from the Public Domain.
*
Experiences with sounds
Pictures from the Public Domain.
Film with actors
Trailor of Modern times, Chaplin, U.S.A., 1936
Film from the Public Domain.
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5. PICTURE GRAMMAR : THE LIGHT
Natural light : The sun. Fundamental light.
*
Rule :
A cinema picture
can exist only with light.
Trinidad. Film Back to Cuba in search of Latina.
Long shot. Angle : shooting down. Outdoors. Sun.
Brightness & colours. Trinidad de Cuba.
*
Rule :
Since
the of cinema, the beginning of a film is made of a long shot which gives
informations and answers to questions:
Who, What, When, Where, etc.?
Who, What, When, Where, etc.?
. Film : Fuir aux Seychelles.
Long Shot. Outdoors. Sun.
*
Rule :
The more light there is,
greatest is the capacity of creation :
- Brightness
- Depht of field (or focus)
- Colours
- Picture fine and sharped.
Medium shot. Outdoors. Sun.
Brightness & colours. Normandy, France, Europe.
. Film : Fuir aux Seychelles.
Long shot. Outdoors. Sun.
Brightness & depth of field.
*
Rule :
The more light there is,
deeper is the depht of field.
Trinidad. Film Back to Cuba in search of Latina.
Long shot.Angle : shooting up Outdoors. Sun.
Colours shine.
*
Method :
- Observation of the direction of the light.
- Definition of the source (origine)
of the light : sun, candles, lamps, etc.
Observation of the direction of the light.
Long shot. Angle : shooting up. Outdoors. The sun.
Normandy. France, U.E.
. Film : Fuir aux Seychelles.
Observation of the direction of the light.
Long shot. Angle : shooting down. Indoors. The sun.
*
Rules :
- The subject of the picture
must be well lightened,
it must receive the main light.
Trinidad. Film Back to Cuba in search of Latina.
Close shot. Indoors. Lamps.
Oshun. Trinidad de Cuba.
*
Rule :
The lens of the camera
must not be oriented in the direction of the light
except for filming sunrise, sunset, effects.
Toliara. Madagascar. Film La pensée malgache.
Long shot. Outdoors. Sun.
La Havana. Film Back to Cuba in search of Latina.
Long shot. Outdoors. Sun.
Montréal, Québec, Canada. Film Autour de Vues d'Afrique.
Medium shot. Angle : Shooting up. Outdoors. Sun.
Ice shines.
*
Classification of some kinds of lights :
. Outdoors
Over the Atlantic ocean. Film Back to Cuba in search of Latina.
Long shot. Shooting down. Light : the sun.
Outdoors over the Atlantic ocean.
Saint Aygulf, France, European Union.
Film Praxis du cinéma documentaire Opus 2
Medium shot. Angle : Shooting down. Light : the sun. Outdoors.
*
- By day : the sun
Long shot. Outdoors.
Sint Marteens. West Indies.
Paris, France, U.E.. Film Choukaj Mas Pari au Carnaval tropical.
Long shot. Angle : shooting up. Outdoors.
*
- "Magic hours" :
the sun and artificial outdoors lights mix.
Montréal, Québec, Canada. Film Autour de Vues d'Afrique.
Long shot. Magic Hours. Outdoors.
Montréal, Québec, Canada.
Maule, France, European Union.
Film Un singulier voyage de l'Homme aux yeux de Chat
Long shot. Magic Hours. Outdoors.
*
- By night : artificial lights.
Santiago. Carnaval. Film Back to Cuba in search of Latina
Italian shot. Angle : Shooting up. Outdoors.
Colunbia in Canaveral Cap, U.S.A.
Longshot. Outdoors.
Picture from the Public Domain.
*
The worse ours outdoors
are when the sun is vertical.
Result : strong shadows
on character's faces, etc.
Sénégal, Africa. Filming the series Moi l'Afrique.
Long shot. Angle : shooting down. Vertical sun. Outdoors.
*
The best ours outdoors
are when the sun is inclined.
Long shot. Angle : shooting up. Outdoors.
Neo classic architecture in Madagascar.
Long shot. Angle : shooting up. Outdoors.
*
. Indoors
- By day :
the sun through windows, doors, etc.
And via mirrors.
The producer Jean Michel Carré. Les Films Grain de Sable.
Paris, France, European Union.
Film Praxis du cinéma documentaire.
Long shot. Indoors. Lamps.
*
- By day & night :
artificial lights. Candles, lamps, etc.
Antsirabe, Madagascar. Preparing the scenes of the film
La pensée malgache.
Medium shot. Indoors. Lamps.
*
Exceptions
There are many exceptions.
For instance the light-dark - clear-obscure
(clair obscur)
Paris, France, European Union.
In front of the Bataclan after the islamic terrorist attack.
Long shot. Angle : shooting down. Light-dark. Outdoors.
Paris, France, U.E.
In El Cobre, Santiago. Film Back to Cuba in search of Latina.
Medium shot. Angle : shooting up. Light-dark. Candles.
Film La Pensée Malgache.
Long shot. Light-dark.
Indoors. A sensation of mystery.
*
Light-dark - clear-obscure
is inherited from painting history.
La diseuse de bonne aventure. De La tour, 1635.
An Interesting Game. Frederick Arthur Bridgman. 1881
*
Pictures from the Public Domain.
. Filming shadows
Light always means the presence of shadows.
Filming the shadows is interesting
It can give a sensation of mistery.
Mantes la Jolie, France, European Union.
Film Praxis du cinéma documentaire Opus2
The shadows are very long when the sun's rays are oblique.
*
. Filming reflections
Filming the reflections is interesting
It can give a sensation of poetry and strangeness.
*
6. PICTURE GRAMMAR : THE ANGLES
The 3 main angles are the following :
. « Human height » :
the camera is at the same level as the character.
Men of the Army Film and Photographic Unit training with a Valentine tank at Pinewood Studios, Buckinghamshire, June 1943.
Long Shot. Angle : Human Height
The 3 main angles are the following :
. « Human height » :
the camera is at the same level as the character.
Long Shot. Angle : Human Height
Picture from the Public Domain.
A student from the West Indies Cinema Workshop, in 2016.
Long Shot. Angle : Human Height
the camera is lower than the character.
Orson Welles (1915-1985, U.S.A.)
Long Shot. Angle : Human Height
Collection of 27 films L'Abécédaire artistique
Medium shot "american shot". Angle : Human Height
*
.
Shooting up : the camera is lower than the character.
Angle of the camera : shooting up.
Picture from the Public Domain.
Film Back to Cuba in search of Latina
Angle : shooting up
Film Back to Cuba in search of Latina
Angle : shooting up
. Shooting down :
the camera is higher than the character.
Film Back to Cuba in search of Latina
Angle : shooting down
7. PICTURE GRAMMAR :THE MOVMENTS
The main movments are
. Panning
The camera is sliding
- Vertically
Or
- Horizontally
*
Here panning horizontally gives the expression of the panorama.
Film Back to Cuba in search of Latina
Horizontal panning. Angle : shooting down
Here panning down makes discover the character.
Film La Pensée malgache
Vertical panning. Angle : shooting from up to down
. Traveling
The camera is moving
by foot, by car, by boat, by plane, etc.
Marocoo. Africa. Film Trois jours à Vues d'Afrique.
Traveling by plane. Angle : shooting down.
Traveling by boat. Film La Pensée malgache
The camera is in the boat.
Medium shot of the character.
Traveling by car. Film Back to Cuba in search of Latina
The camera is in the car.
Medium shot of the character.
*
. Zooming
It is an artificial traveling.
*
Rules :
. A camera movment must tell something.
. A camera movment begins and ends by ten seconds static.
*
8. THE SOUND
Angle : shooting up
. Film : Fuir aux Seychelles.
Long shot. Angle : Shooting up.
Salvador Dali. Dali Atomicus.
Long shot. Angle : Shooting up.
Picture from the Public Domain.
*
the camera is higher than the character.
Bergman filming in 1952.
Medium shot. Angle : Shooting down.
Picture from the Public Domain.
Film Back to Cuba in search of Latina
7. PICTURE GRAMMAR :THE MOVMENTS
The main movments are
. Panning
The camera is sliding
- Vertically
Or
- Horizontally
*
Film Back to Cuba in search of Latina
Horizontal panning. Angle : shooting down
Film La Pensée malgache
Vertical panning. Angle : shooting from up to down
. Traveling
The camera is moving
by foot, by car, by boat, by plane, etc.
Marocoo. Africa. Film Trois jours à Vues d'Afrique.
Traveling by plane. Angle : shooting down.
The camera is in the boat.
Medium shot of the character.
Traveling by car. Film Back to Cuba in search of Latina
The camera is in the car.
Medium shot of the character.
*
. Zooming
It is an artificial traveling.
*
Rules :
. A camera movment must tell something.
. A camera movment begins and ends by ten seconds static.
*
Since its beginnings in cinema history,
the sound is very important.
Hughes carbon Microphone. 1878
Picture from the Public Domain.
*
Rule :
The sound must tell something.
*
. It tells,
. It gives emotion,
. It gives informations,
. It gives atmospheres,
. It threatens, makes smile, makes laugh, etc.
. Film : Fuir aux Seychelles.
Sounds tell : the atmosphere created
by the sounds of the sea gives poetry.
Long Shot. Outdoors. Sun.
Sound atmosphere. Film Le dieu Ganesh traverse Paris.
Close shot of the main character.
Atmosphere of the tamil feast.
*
Rule :
- The sound has a source (origine)
- The sound has a direction.
Artist playing piano in Gare St Lazare, Paris, France, European Union.
Long shot. Indoors. Sun.
Example of the source/origin of a sound : a piano.
*
Method :
- Observation of the direction of the sound.
- Definition of the source (origine) of the sound.
Recording sounds in Sénégal, Africa. Film Moi l'Afrique.
Medium shot : Italian shot. Outdoors. Sun.
Listening with earphones is the best way
for understanding the source/origin of a sound.
*
*
Rule :
In a picture there can be a "sound-subject".
It is the most important sound in the picture.
Example : if the character is speaking.
Sound subject. Film De L'Hindouisme.
Medium shot of the character.
His voice is the most important sound.
La Havana, Cuba. Film Back to Cuba in search of Latina.
Medium shot. Angle : Shooting down. Outdoors. Sun.
*
The most important sound of the picture
The most important sound of the picture
must be clean, very audible.
Example above :
The dialogue between two characters.
With a directional microphone.
. Film : Fuir aux Seychelles.
Sounds tell : the atmosphere created
by the sounds of wind in the palms gives poetry.
Long shot. Outdoors. Sun.
La Havana, Cuba. Film Revolution
Long shot. Indoors. Sun.
The most important sound of the picture
The most important sound of the picture
must be clean, very audible.
Example above :
The testimony of Comandante Arsenio Garcia Davila.
The testimony of Comandante Arsenio Garcia Davila.
Recorded with a directional microphone.
Trinidad, Cuba. Film Back to Cuba in search of Latina.
Long shot. Shooting down. Outdoors. Sun.
The sound atmospheres are also importants.
The sound atmospheres are also importants.
Example above :
Sound atmosphere of a city.
Recorded with a directional microphone.
La Digue. Film Fuir aux Seychelles.
Sounds tell : the sounds of mating turtoises
is funny and astonishing.
Medium shot. Outdoors. Sun.
*
Microphones record in relation with the direction of the sound.
The best method consists in directing the microphone
towards the direction of
the most important sound for the picture.
the most important sound for the picture.
The most important sound of the picture
must be clean, very audible.
Example above :
the testimony of the character.
With a directional microphone.
Long shot. Shooting up. Indoors. Sun.
The directional microphone is oriented
in the direction of the character.
With a directional microphone.
La Digue. Book Un parfum de coco aux Seychelles.
Sounds tell : the voices of angry hens is funny.
Close shot. Outdoors. Sun.
*
Kinds of microphonesThere are many kinds of microphones.
The two main groups are :
. The omnidirectional microphones.
They record sounds in many directions.
Scheme of omnidirectional microphone recording.
Picture from the Public Domain.
*
. The directionnal microphones.
They record sounds in one direction.
Scheme of directional microphone recording.
*
. The directionnal microphones.
They record sounds in one direction.
Picture from the Public Domain.
*
Most of cellular phones and cameras
have omnidirectional microphone.
It is highly interesting to connect a directionnal microphone.
Most of cellular phones and cameras
have omnidirectional microphone.
It is highly interesting to connect a directionnal microphone.
Camera with a directional microphone.
Film Autour de Vues d'Afrique
An enemy : The wind
The wind is an enemy. It is not so easy to record.
Some equipments are necessary.
Filming in La Désirade. West Indies.
An enemy : The wind
The wind is an enemy. It is not so easy to record.
Some equipments are necessary.
*
Fundamentals
. Film yous shots away from the roads, not in the wind,
. Film yous shots away from the roads, not in the wind,
cutting "vampire" sound sources
(computer, air conditioner, refrigerator, radio, etc.).
. Listen carefully to the sound before filming.
. Use an outside microphone if possible.
. Listen carefully to the sound before filming.
. Use an outside microphone if possible.
9. HOW TO TELL WITH SOUNDS
Sounds tells a lot.
Les fantômes sortent.
Indian Ocean Cinema Workshop in La Réunion 2020.
The short film from Kevin Corrieri about a haunted house.
Nothing happens in the picture.
Sounds makes the mistery.
This is the base of thriller feature film.
*
Hitchcock uses sounds as
a fundamental element of drama.
*
Alfred Hitchcock.
Trailer of The birds. 1963. U.S.A.
Film from the Public Domain.
10. THE SHOTS IN RELATION
WITH EDITING
Rules :
. Editing can only be done
with the materials which have ben recorded.
So
. Editing is thought, prepared, before shooting.
. The variety of shots necessary for editing have to be thought before shooting.
While editing, we can only do with what we have .
Film Fuir en France. Long shot. Angle : shooting up
. Film : Fuir aux Seychelles. Long shot
Film Autour de Vues d'Afrique. Long shot. Angle : shooting up
. Film : Fuir aux Seychelles. Long shot. Angle : shooting up
Film : Un parfum de vanille à La Désirade. Long shot.
11. THE BASIS OF EDITING
In moviemaking, editing
is the last step of creation
in order to finalize the story.
*
BASIC METHOD
FOR THE PREPARATION OF EDITING
The
basic method for the preparation of editing consists in
cutting the
story in shots before shooting.
Rule :
Editing is always thought before shooting.
The
story is cut in sequence, scenes, and shots.
Then,
these shots are recorded.
*
THE CONTINUITY
The continuity is the first step of editing.
Il consists in assembling the shots one after the other
according to the timeline defined in the synopsis
Example of continuity.
A story in 6 shots : dreaming close to the sea.
. Film : Fuir aux Seychelles.
Shot 1 of the continuity : Long shot.
It tells that we are close to a beautiful beach.
. Film : Fuir aux Seychelles.
Shot 2 of the continuity : Medium shot.
It tells that the character that the character is focused and dreams.
. Film : Fuir aux Seychelles.
Shot 3 of the continuity : Close shot.
It tells of what the character dreams.
. Film : Fuir aux Seychelles.
Shot 4 of the continuity : Long shot.
It strengthens the feeling of daydreaming of the character.
. Film : Fuir aux Seychelles.
Shot 5 of the continuity : Medium shot. American shot.
It tells that the character is focused and dreams.
. Film : Fuir aux Seychelles.
Shot 5 of the continuity : Long shot.
It gives an unreal feeling: the character could sit there,
look at the sea, and then leave.
. Film : Fuir aux Seychelles.
Shot 6 of the continuity : Long shot.
It gives a sense of poetry: the character could contemplate the sunset on the island and the sea, and then leave we do not know where.
*
STRUCTURE
OF A FILM DURING EDITION
Shot
1 + Shot 2 + Shot 3 + etc. = Scene 1
Scene
1 + Scene 2 +Scene 3 + etc. = Sequence 1
Sequence
1 + Sequence 2 + Sequence 3 + etc. = The film
*
THE BEGINNINGS OF EDITION IN ART STORY
*
At the beginning of cinema, films were made of only one shot, called "tableau" in french or "scene" in english.
Film made of one shot : Dickson-Greeting.
William-K-L-Dickson.1891. U.S.A.
Film from the Public Domain.
*
Edition of films began at the end of the XIX century.
a continuity of only five shots.
Pictures from the Public Domain.
The first film edited in Cinema.
Gold Rush Scenes in the Klondike.
Crahan & Cobine. 1899. U.S.A.
Above. Shot edited n°1
The first film edited in Cinema.
Gold Rush Scenes in the Klondike.
Crahan & Cobine. 1899. U.S.A.
Above. Shot edited n°2
The first film edited in Cinema.
Gold Rush Scenes in the Klondike.
Crahan & Cobine. 1899. U.S.A.
Above. Shot edited n°3
The first film edited in Cinema.
Gold Rush Scenes in the Klondike.
Crahan & Cobine. 1899. U.S.A.
Above. Shot edited n°4
The first film edited in Cinema.
Gold Rush Scenes in the Klondike.
Crahan & Cobine. 1899. U.S.A.
Above. Shot edited n°5
*
Edition of films became an essential part
of cinematographic art
at the beginning of the XXth century.
Sergei Eisenstein
Picture from the Public Domain.
The main theorists were the soviet filmakers
Eisenstein & Poudovkine.
Sergei Eisenstein. A practice.
Film October. Soviet Union, 1927.
Picture from the Public Domain.
Sergei Eisenstein. A theory : The vertical editing
Picture from the Public Domain.
Griffith.
Picture from the Public Domain.
Griffith. Film Birth of a nation.
Picture from the Public Domain.
*
The first filmakers who developped editing
are Eisenstein, Koulechov, Poudovkine,
Vertov (Soviet Union) and Griffith (U.S.A.)
*
Rule : The Kulechov effect
The association of two edited shots give a special meaning.
This meaning is variable, depending of the two associated shots.
1921, Soviet Union.
Lev Vladimirovitch Koulechov
expériments psychological relationships
between the shots during editing.
Picture from the Public Domain.
Lev Vladimirovitch Koulechovworks
with the actor Ivan Mozzhukhin (above).
Picture from the Public Domain.
The Koulechov effect:
Top shots: the viewer thinks the character is hungry.
Middle shots: the viewer thinks the character is sad.
Bottom shots: the viewer thinks the character sexually desires the young woman.
And yet the character’s expression doesn’t change
*
The only mistake in directing is in the orientation of the gaze: the actor should look down and not in front of him.
*
Rule : Kulechov Effect.
The meaning of a shot edited
changes according to
- the one that precedes it
or
- the one who follows it.
Que pense M. Koulechov ?. Indian Ocean Cinema Workshop in La Réunion 2020.
The short film from Kevin Corrieri
proposes a modern adaptation of the Kuleshov effect.
*
Example. Method :
The expression of the character
and the first shot does not change
The second shot changes.
Example of Kulechov Effect adaptation
in the XXIth century :
Result /Effect above : curiosity.
Picture from the Public Domain.
Result /Effect above : emotion, harmony
Result /Effect above : strangeness.
Picture from the Public Domain.
Another experience of Kulechov
Film
A woman who never existed.
Koulechov edited the face + the hair+ the
hands+the breast, etc.
of different women, and the result is an amazing woman.
He explains the magic of editing :
« I
could create a woman who never existed in life,
but who existed in
cinema. »
EXAMPLE OF EDITION :
A FILM IN TEN SHOTS
Captain Leopardi killed by the Mafia.
This film integrates the Kulechov Effect
. Rythm : Each edited shot is of 03 seconds.
Result : the rythm is constant and fast.
Rule about the rythm of a film :
Shorter in seconds are the edited shots, faster is the rhythm.
Longer in seconds are the edited shots, slower is the rhythm
THE FILM :
Experimental film
Captain Leopardi killed by the Mafia.
THE CONTINUITY SHOT BY SHOT :
First shot edited : Long shot. Langscape.
Result in the story :
Gives information about the location
A city by the sea.
Second shot edited : Medium shot. Shooting up.
Result in the story :
Gives information about the location
It is in Italy.
Third shot edited : Medium shot of the character. Shooting up.
Result in the story :
The character is concentrated.
Gives an impression of expectation.
Fourth shot edited : Close shot
Result in the story :
The pictures gives information.
The dangerous Mafia is present here.
Fifth shot edited : Medium shot. Shooting up.
Result in the story :
The character is concentrated.
Gives an impression of expectation
and worry linked to the previous shot.
Sixth shot edited : medium shot.
Result in the story :
The police car, linked to the previous shot about the Mafia
gives an impression of expectation.
Seventh shot edited : Medium shot. Shooting up.
Result in the story : The character is worried.
The light is strange.
Gives an impression of mystery.
Eighth shot edited : Medium shot. Shooting up.
Result in the story :
Makes a contrast
with the sound of the previous shot.
Ninth shot edited : Medium shot. Shooting up.
Result in the story :
The character is concentrated.
Gives an impression of sadness.
Tenth shot edited : Long shot.
Result in the story :
The cemetry.
Gives an impression of drama.
THE CONTINUITY BY JOINING THE SHOT :
Excerpt from continuity: the first and the second shot.
Excerpt from continuity: the second and the third shot.
Excerpt from continuity: the third and the fourth shot.
Excerpt from continuity: the fourth and the fifth shot.
Excerpt from continuity: the fifth and the sixth shot.
Excerpt from continuity: the sixth and the seventh shot.
Excerpt from continuity: the seventh and the eight shot.
Excerpt from continuity: the eight and the ninth shot.
Excerpt from continuity: the ninth and the tenth shot.
Madagasikara.
The characher, Niony Ranaivoarison in a film of Philippe Maquiné.
Close shot.
THE CREDITS :
The credits are at the beginning and at the end of the film.
No special effects are necessary.
Rule about the effects:
Too many effects weaken a film.
An effect must tell something or create a thought sensation.
THE SOUNDS :
The sounds are important in the above example.
They contribute to create the dramatic atmosphere.
Bolivia. Frédéric Pfohl recording sounds with a Nagra 4
Film Bolivie, ma vie s'appelle coca
*
The method in the above example
The method is influenced by Alfred Hitchcock and films such as
The birds (Hitckcock) or Night of the Living Dead (Romero).
*
The continuity of the soundtrack :
Sound 1 : The sea.
The film begins with a calm and serene atmosphere
giving the impression that everything is fine.
Sound 2 : A strange atmosphere.
Then a strange sound creates a sense of tension.
Sound 3 : The gun shots.
Shooting is the Central dramatic moment.
Sound 4 : The music. Chopin's Funeral March.
In the end, the funeral March closed the story:
a murder took place. 
Hal
C. Kern in editing studio.
Film Gone with the Wind.1939
Picture from the Public Domain.
Method
for editing, step by step.
1. Before
filming, write a script with an hypothesis of structure in
-
Sequences
-
Scenes
-
Shots
2. Film
all the hypothesis of shots you have listed,
and make several takes
of each shot.
3.
View all the rushes. Select the best takes in order to edit them.
4.
Give a name to each file, and a number in relation with the
continuity.
5.
In the editing studio, assemble the continuity, following the script
of the story.
6.
When all the shots are assembled from the beginning to the end of the
story, view the result.
Take note of all the imperfections and
ameliorations which are necessary.
7.
Correct the cuts between the shots.
Rule :
a cut must be soft, not shaky.
8.
Create the rythm.
9.
Add additionnal shots, pictures, sounds.
10.
If necessary, add effects.
Rule :
an effect must tell something or create an emotion.
11.
Picture : Make the harmony of lights, colours, contrasts.
12.
Sound Mixing:Make the harmony of sounds.
13.
Create the credits of beginning and end.
14.
Create the eventual inter-titles and titles of persons.
15.
Make the final cut
in relation with the distribution of the film : 90',80',52',30',
etc.
16.
Review for last ameliorations.
17.
Export a master broadcast, heavy (.MOV etc.) and a light master for
promotion (Mpeg 4, etc.)
18.
Make a backup of – the rushes – the masters on several hard
drives.
Editing free software.
There are many free editing software, which can be downloaded absolutely legally, the easiest to start with are certainly :
VSDC
&
SHOTCUT
. There are versions for PC and Mac.
. When you download, it is important to choose a version that complies with your computer’s operating system: 32 or 64 bits.
. Then, to start editing, look at the free tutorials that you will find on Youtube.
. Finally, it is possible to edit your first videos, free and legally, online. This requires above all a very good Internet connection.
Example of online editing site (there are many others):
FLEXCLIP
Free converter of files.
. Sometimes, to edit them, you have to convert some video files to make them compatible with the editing software.
. Here is the link to one of the many free, and legal, sites to convert video files.
12. METHODS IN DOCUMENTARY FILM
THE
CASTING
The
Production of a Crown Film
the Filming of Close Quarters on Board
HMS Tribune, 1943.
Picture from the Public Domain.
Rule :
For
any kind of film, a casting is necessary.
Serlf-portrait of Alphonse Bertillon,
the policeman inventor
of the judicial identity, in 1900.
Picture from the Public Domain.
For
films with actors as for documentary films,
the characters are
essential.
Griffith filming The escape in 1913.
Picture from the Public Domain.
*
.
The actors will be chosen according to
their correspondence with the
characters.
It
is useful to read Stanislavsky's book
*
.
For documentary the persons will act their own life.
They are the
characters.
It
is necessary to identify people who love to tell,
who have talents of
storytellers.
Filming in situation interesting characters. Long shot.
Film La Pensée malgache
*
METHOD
FOR AN INTERVIEW
In
documentary film, it is necessary to prepare questions.
The
questions are useful at the moment of filming,
but they can be cut
during editing.
*
Rule :
A closed question causes uninteresting answers
(such as « yes »
ou « no »),
while
an open question creates a narrative.
Filming in situation interesting characters. Collection of 27 Films L'Abécédaire Artistique. Medium shot.
Rule
of open questions :
Begin
the question by : When, What, Why, How, etc.
Filming in situation interesting characters.
Film Deuit tamoul à Paris. Long shot. Shooting up.
FILMING
IN SITUATION IN A DOCUMENTARY
In
documentary film, the best way of filming is in situation.
With an
interesting background.
Filming
the persons where they work, where they live,
in places they use to
go.
The
location in the background of the character
must tell something.
*
METHOD
FOR A SCENE
WITH A CHARACTER
IN A DOCUMENTARY
1.
The authorization of filming the persons must
have been filled and
signed before filming.
2.
Explain to the person you need to install.
3.
Observe the sources of light and sound.
4.
Install the equipments.
5.
Compose the picture.
6.
Ask to the person if she is ready.
7.
Push the record button: On
8.
Wait 5 seconds before asking the question.
9.
Ask the question.
10.
Dont talk while the person is speaking. Keep silent.
11.
When the person has finished, record 5 seconds more.
12.
Push the record button: Off
13.
Change the composition of the picture
everytime you have a new
question
(example :
if the first shot was an italian one, prepare a close shot)
14.
Every person who have been filmed must be mentioned in the credits,
and informed of the life of the film.
Film Fuir aux Seychelles.
Long shot.
13. THE AUDIOVISUAL ARCHIVES
Since the 19th century, audiovisual archives have given us a story of the past. They allow us to review moments in human history, in all areas.
Every scene filmed today will become an archive of tomorrow.
In 2022, Seychelles Moutya art became a UNESCO World Heritage Site. Finding images of Moutya for more than a century of cinema would be extremely valuable.
Every scene filmed today will become an archive of tomorrow.
In 2022, Seychelles Moutya art became a UNESCO World Heritage Site. Finding images of Moutya for more than a century of cinema would be extremely valuable.
Moutya danse. Gerard Larose, Seychelles Tourism Board
It is therefore necessary to keep a copy of everything that is filmed in the 21st century and, preferably, to give a computer copy to the Seychelles services in charge of safeguarding the audiovisual archives in connection with the Seychelles National Institute of Culture, Heritage & the Arts, in order to preserve them in a sustainable manner.
Seychelles. The archives of Seychelles Broadcasting Corporation.
There are all kinds of archives, some of which are surprising. Such as the following examples.
. The flying taylor
The flying tailor. Paris, France, E.U.
Film from the Public Domain.
On February 4, 1912, the tailor François Reichelt tried to fly from the top of the Eiffel Tower with big bat wings he had sewn.
. Harry Houdini (1874–1926) :
Stone walls and chains do not make a prison for him
Picture from the Public Domain.
The integration of archives into an audiovisual creation must make sense. Elel always brings a strong dimension of relationship with the past.
14. TEACHING MATERIALS
A media library (films and books) will soon be installed in Mahé by the Indian Ocean Cinema Workshop in Seychelles.
PRODUCTION,
AND DISTRIBUTION
This workshop focuses on the technical and aesthetic aspects of audiovisual creation.
For those who want specific training in law, production and distribution, another curriculum is being prepared.
Knowing that the bases are as follows:
. ABOUT LAW
For those who want specific training in law, production and distribution, another curriculum is being prepared.
Knowing that the bases are as follows:
. ABOUT LAW
It is essential, before filming, to respect, and formalize by written authorizations, all questions concerning:
- The right to the image, that is, the consent of people to be filmed.
- Musical rights, for any work filmed, integrating :
. Those of composers
. Those of the authors
. Those of the interpreters
- Iconographic rights (paintings, photos, archives, etc.)
. ABOUT PRODUCTION
Two main modes of production exist:
. Self-production:
Human, technical, logistical, etc. resources are brought together by the creative team.
It is important to contractualize before filming all contributions by participating Agreements on any future revenues generated by the distribution of the film.
. Production by a production company:
Human, technical, logistical, etc. resources are brought together by a production company.
It is important to contractualize before filming all contributions by participating Agreements on any future revenues generated by the distribution of the film.
Two main modes of production exist:
. Self-production:
Human, technical, logistical, etc. resources are brought together by the creative team.
It is important to contractualize before filming all contributions by participating Agreements on any future revenues generated by the distribution of the film.
. Production by a production company:
Human, technical, logistical, etc. resources are brought together by a production company.
It is important to contractualize before filming all contributions by participating Agreements on any future revenues generated by the distribution of the film.
. ABOUT DISTRIBUTION
Two main modes of production exist:
. Self-distribution:
The distribution (cinema screenings, DVD editions, TV and VOD broadcasts, Internet, etc.) is organizedby the creative team.
It is important to contractualize before all contributions by participating with agreements of sharing of any future revenues generated by the distribution of the film.
. Distribution by a production company:
A distribution company sells the film wherever possible.
It is important to contractualize before agreements of sharing of any future revenues generated by the distribution of the film.
Two main modes of production exist:
. Self-distribution:
The distribution (cinema screenings, DVD editions, TV and VOD broadcasts, Internet, etc.) is organizedby the creative team.
It is important to contractualize before all contributions by participating with agreements of sharing of any future revenues generated by the distribution of the film.
. Distribution by a production company:
A distribution company sells the film wherever possible.
It is important to contractualize before agreements of sharing of any future revenues generated by the distribution of the film.
THE PUBLIC DOMAIN
Usually 70 years after the death of a person, his creations, works, films, photos, music, archives, paintings, etc. Enter the Public Domain.
It is then possible to insert them free of charge in an audiovisual work.
It is then possible to insert them free of charge in an audiovisual work.
Examples of Pictures from the Public Domain.
. Presentation of the teacher of the
Indian Ocean Cinema Workshop in Seychelles
*
. The Partners of the
Indian Ocean Cinema Workshop in Seychelles
The partners of the action
In Seychelles : Seychelles Broadcasting Corporation
*
With international important partnerships associating : Oceans Televisions (Paris, France), the Tropics' International Cinema Institute, the Film festival Vues d'Afrique (Montreal, Quebec, Canada), The Caribbean Cinema Mission (Lamentin, Guadeloupe) and The League of the Education of Guadeloupe (Pointe à Pitre, Guadeloupe), International Kreol Magazine.
.jpg)
*
AN ACTION OF
With
M. Emmanuel D'OFFAY
Executive Director of Creative Seychelles Agency
&
Mrs Marie-Lucie ALBERT
Seychelles Film Classification & Permit Office
*
CREATIVE SEYCHELLES AGENCY
INTERNATIONAL RELATIONS
Mrs Miera SAVY
Directeur Exécutif Division Coopération Internationale
Secrétaire Générale de la Commission Nationale de la Francophonie
Institut National des Seychelles pour la Culture, le Patrimoine et les Arts
Maison Esplanade, 4ème Etage, BP 1383, Victoria MAHE
République des Seychelles
Portable & Whattsapp: +248 2822410 | Courriel: miera.savy@gov.sc*
International contact :
oceans.televisions@yahoo.fr
OUR ACTIONS & PROJECTS IN SEYCHELLES
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