AFI SCREEN EDUCATION STORYBOARD PROCESS PDF

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This banner text can have markup. Search the history of over billion web pages on the Internet. The AFI Screen Education Center seeks to transform American education in an era increasingly shaped by visual media and advanced technology. The process is a progressive cycle- essentially a series of learning discussions -in which students work collaboratively to produce a film for critical review and analysis by their peers, teachers and professional mentors.

It appears that when there is a commitment to the Screen Education process, student learning is affected in three significant ways: Learning How to Learn Students take charge of their own learning-they learn how to learn. The collaborative environment allows them to distribute the learning throughout the group. Over the course of the semester, the students learn at a much higher cognitive level than a typical, more traditional classroom situation. Every cycle of the process relies on these skills and competencies in some capacity.

Mastering Content Students in the Screen Education program master and retain content at a deeper level than in more traditional classroom settings. Because most of the process happens outside the bounds of the written word—students can work things out before putting their thoughts into words.

Screen Education is empowering. Students can, and do, take charge of their own learning. V www. The materials are organized in the following order: 1. Many teachers have students complete the Door Exercise before producing their actual video projects. You will find a wealth of information on filmmaking techniques, teamwork, time management and educational standards in the detailed discussion of this process. In the back of this guide are reference materials and forms you may copy for use in the classroom as you progress through the Screen Education process.

The results? Transformational experiences where students become uniquely involved with course material. Weddings, births, birthday parties, school and sporting events come to mind. Now ask yourself how often you actually sit down and watch those videos. How often can you get someone else to watch?

Are these videos interesting? Do all those long continuous shots, wild moves and dizzying zooms make for compelling viewing? This is because most people use their home video cameras to document an event rather than tell a story. Visual language, with its unique vocabulary and grammar, is effortlessly comprehended by even the youngest members of our society.

So, with all the prior knowledge and experience gained from years of watching TV and movies, why do most home movies look like home movies? The AFI Screen Education process begins by bridging that visual literacy gap in a transformational way. By accessing prior knowledge, and engaging as a group to construct and define criteria for what makes good visual storytelling, Screen Education teachers and students bridge that visual literacy gap—a first step in engaging with filmmaking as part of mainstream curriculum.

Students are proficient in the use of technology. The five steps prescribed in this experience also parallel the steps of the writing process. STEP ONE Step One of the process engages the student in a principled exploration of directed visual storytelling without any prior instruction or information.

The step simply asks the student to pick up a camera and communicate fear and suspense. The group discussion and review of the projects result in a dialogue in which students start to access and utilize prior knowledge about visual language and grammar, as they discuss what is and is not working about the project.

As a result, the class as a whole begins to define criteria for what is good visual storytelling and what is not. Students begin to see the difference between trying to tell a story in one continuous shot—as though it were a long run-on sentence—and using shorter, more specific shots that construct a scene as they would construct a paragraph. Step One aligns with the writing process by engaging students in a pre-writing exercise with an activity that causes the writer to think about the subject, organizing his thoughts before he begins writing.

Students also identify and outline essential elements of their story by providing the who, what, where, when, why and how. Estimated time required: 60 - 90 min. V J www. Introducing the concept of a storyboard at this point as a means of communication and graphic organization challenges students to put down on paper the specific visual ideas they want to show in their scenes, by individually storyboarding their shots to create the tension required by the script.

They then share these with their group, deciding together on the series of shots that best tell the story. Step Two aligns with principles of pre-writing and writing by having students elaborate, extend and explore ideas, organizing them into visual sentences and paragraphs. Ideas are first translated to paper, requiring elements traditionally associated with the writing process, such as organization, voice, grammar and fluency.

Some home study time might be used for creation of the individual storyboards, thus allowing more class time for discussion and creation of group storyboards.

Students will begin this class session ready and eager to shoot the storyboards they have worked hard as a group to create. Then explain that the purpose of this surprise is to evaluate how clearly each group expressed their ideas for the scene.

It must be so visually clear that a stranger, unfamiliar with the scenario, could take your storyboard and shoot the film exactly as you visualized it when creating your storyboard.

This is a critical step in teaching the importance of being able to express clear visual grammar. Students begin to edit their work by thinking critically about their scenes in terms of what is effectively telling their story and what is distracting from it. Production groups shoot their scenes, adhering to all the previous project parameters and limitations. This assembly edit should tell the story completely without music, effects or transitions.

By now, students should be quite comfortable with the peer-to-peer review cycle that has followed every step in this process. Focus on verbal communication skills and good habits for group discussion during this process.

This parallels the process of refining a written work. For best results, some teachers have devoted an entire session to allow students more time to get comfortable with the technical challenges of using an editing system. Students should be exhibiting signs of their emerging fluency in visual language, excitement for the filmmaking process and newfound proficiency with the technology, thereby moving the final step of this process along on its own momentum. A final screening of the completed projects for the entire class can provide an additional learning experience, by reminding groups and individuals of the progress they have made over the last few days, by communicating their ideas through clear, interesting and compelling visual stories.

Step Five aligns with the final stages of the writing process by challenging students to hone, refine, exhibit and reflect on their work and the process. Three is ideal. Using a video camera, interpret and shoot the following scripted scenario: A person is about to open a door. The person hears a sound and becomes mildly concerned.

The person finds the door locked and searches for his or her keys. The person hears the sound again and becomes visibly apprehensive. As the filmmaker, your goal is to build tension and growing panic, using any visual element or device that you can think of.

The film closes with the person finally opening the door and getting to the other side safely. Exhibit: Each production team screens its finished film for the entire class for feedback. However, when you create your storyboard, think of a creative, entertaining or surprising new ending for the scenario.

The entire film must follow the original script until the character opens the door. From that point on, you are on your own! Also, write a detailed description of your new ending.

However, as much as you can, try to communicate the information visually. Use your written descriptions to scaffold your visuals, not replace them. Be prepared to defend your creative choices. Why is it the cleanest, most entertaining and emotive storyboard in your team?

At this point, your team has two options: 1. Create a new storyboard to be filmed. In either case, create a list of the criteria you agreed upon as a group to make your choices. As you film, take notes on what is confusing and why you interpreted the storyboard the way you did.

Exhibit, Review, Reflect: Present the film in class comparing it to the storyboard. Consider the changes and feedback you discussed in the previous step, and revise your original storyboards to reflect your intentions for the scene. Challenge B: Import your video footage into a desktop digital video editing system. Trim away the unwanted material i. What is unclear? Is there anticipation?

Exhibit, Reflect, Revise: Watch and discuss the rough edit with your group. Why or why not? Exhibit, Reflect, Revise: Watch and discuss the edit with your group. Is your film better? Plan to use the video project to demonstrate student understanding of the text or subject matter.

The amount of time you devote to the entire process can vary from a few weeks to a full semester. Here are just some of the ideas you can use: r Reinterpret a historical event into modern times or as contemporary news broadcast Interpret a selected scene from a novel or play as a video scene www.

Students use technology tools to process data and report results. Students evaluate and select new information resources and technological innovations based on the appropriateness for specific tasks.

Students practice responsible use of technology systems, information and software. Students develop positive attitudes toward technology uses that support lifelong learning, collaboration, personal pursuits and productivity. Students employ technology in the development of strategies for solving problems in the real world. Students create multiple solutions to specific visual arts problems that demonstrate competence in producing effective relationships between structural choices and artistic functions.

Students describe meanings of artworks by analyzing how specific works are created and how they relate to historical and cultural contexts.

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If you've ever wondered what a storyboard is, why it's needed to create a film, or how to make one, these resources will help begin your exploration of the process. The American Film Institute has created a manual that shows budding directors how to illustrate the movement of the camera, as well as its focus, in a storyboard. Be sure to consult this resource for a variety of ideas on how to compose the plans for your shots. Use one of the following activities to create the storyboard for your film.

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EdTech-Movie Making

Movie stories originate in the mind of a writer who creates a screenplay or script. The screenplay provides a detailed roadmap to the director and other members of the filmmaking team. The screenplay includes all the words spoken by the characters dialogue , stage directions that indicate all nonverbal actions by characters, elements of setting, sound effects, design and music in short, the screenwriter writes everything intended for an audience to see and hear. Challenge: Based on the notes you received from your treatment and pitch, write a screenplay that expands on your original treatment.

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