{"id":225,"date":"2015-09-10T17:46:10","date_gmt":"2015-09-10T17:46:10","guid":{"rendered":"http:\/\/leading-edge.iac.gatech.edu\/humanistic-perspectives\/?page_id=225"},"modified":"2015-09-13T19:13:23","modified_gmt":"2015-09-13T19:13:23","slug":"storytelling-and-the-art-of-filmmaking","status":"publish","type":"page","link":"https:\/\/leading-edge.iac.gatech.edu\/humanistic-perspectives\/storytelling-and-the-art-of-filmmaking\/","title":{"rendered":"Storytelling and the Art of Filmmaking"},"content":{"rendered":"

John Thornton<\/em><\/h4>\n

\"j_thornton<\/a><\/p>\n

In the past, independent filmmaking was a highly regarded, secretive, risky, and expensive practice. Thus, very few people would lay claim to the title \u201cfilmmaker,\u201d and instead were limited to \u201cpatron,\u201d \u201caudience member,\u201d or \u201cviewer.\u201d \u00a0With the advancement of emerging digital technologies the practice of filmmaking is becoming more easily accessible. \u00a0In fact, filmmaking titans, like Academy Award Winners Roger Deakins and Peter Jackson, have not only shifted from using celluloid film and antiquated technology, but have also championed digital film and its streamlined workflow. \u00a0The practice of film is now for the people. \u00a0Anyone with a smartphone, tablet, DSLR, or video camera, and a simple editing program like iMovie can create \u201cinstant content\u201d and distribute it on the web via Youtube, Vimeo, Blip, or Tumbler.\u00a0 Likewise, online services like Ustream have revolutionized the distribution model, offering \u201cinstant content\u201d creators a \u201csocially-fueled video platform\u201d to build an audience and broadcast content live over the web.\u00a0But, \u201cwith great power comes great responsibility.\u201d So, what distinguishes \u201cinstant content\u201d from cinema?<\/p>\n

Each semester, I begin my classes with several probing questions regarding cinema – What is Cinematic? \u00a0And, what are the most easily identifiable aspects of motion pictures that determine if it is indeed \u201ccinematic? Is it the lighting? The acting? The \u201clook?\u201d Rarely does anything in a film occur by accident, by chance, or by whim. Instead, the creative visionaries, including the director, the production designer, and the director of photography, collectively decide how the audience should feel throughout the film, and then they develop plans to trigger those emotions. Whereas \u201cinstant content creators\u201d often accept the tools and elements that are at their disposal, filmmaking is a deliberate exercise that tests the creator\u2019s ability to map every beat, secure every location, plan every shot, interpret every musical cue, and plan every lighting change.\u00a0 It is an intentional process of selecting the appropriate tools for the story, to prompt emotional responses from the audience.\u00a0 Thus, although elements like excellent lighting and performance are common in \u201ccinematic films,\u201d they are attributes that work together to achieve the greater goal of revealing the story. \u00a0They are but instruments in the storyteller\u2019s toolbox. \u00a0The filmmaker\u2019s selection of the appropriate instruments to tell the story, then, is ultimately what will determine if a film is \u201ccinematic.\u201d<\/p>\n

Such method of inquiry is significant, because before my students ever touch a camera, or are introduced to the lighting and grip equipment in the LMC\u2019s video lab, they must first demonstrate a clear understanding that the filmmaker\u2019s \u201cgreat power\u201d lies in her ability to tell compelling stories, employing the cinematic tools in her toolkit, much like a storyteller uses inflection, movement, facial expressions, and sound. This understanding of the filmmaker\u2019s \u201cpower\u201d helps students get beyond the sensation of doing something \u201ccinematic\u201d simply because it \u201clooks cool\u201d or \u201cfeels right.\u201d<\/p>\n

How can students at Georgia Tech learn to maximize cinematic tools?<\/p>\n

\"Photo<\/a><\/p>\n

I believe one of the best ways to learn how to make a movie is through practical application. \u00a0In my classes, I guide students through all three phases of production, i.e., Pre-production, Production, and Post-production, emphasizing how decisions regarding cameras, lenses, color, light, and location, affect the storytelling of a film. We begin with several ideas before determining which challenge has the most creative potential. \u00a0Since making a film is a collaborative effort, extensive class time is devoted to understanding the roles and responsibilities on a film crew, and to practicing how to effectively communicate as a crewmember. I also incorporate workshops on topics like Directing Actors and Producing a Short Film, as well as hands-on activities to allow students to gain confidence and familiarity with using Hi-Definition cameras, grip and lighting equipment, and cinematic lenses.<\/p>\n

What types of opportunities are available to students interested in film at Tech?<\/p>\n

The \u201cVideo Production\u201d course explores the creative and logistical challenges of producing and filming an ultra low budget short film. Students can expect to complete a short movie, a commercial, a mini documentary, and\/or a music video, while learning basic lighting, editing, field sound recording, and postproduction techniques. Occasionally however, we identify a single project that not only encompasses the course objectives, but also offers a significant challenge for everyone involved. \u00a0For instance, last semester the students in \u201cVideo Production\u201d competed in the Hyundai Lens of Loyalty Short Film Contest. Hyundai reached out to 25 different universities to develop and submit a one page treatment for a film that showcases \u201cthe football related traditions that inspires ever student who has walked those hallowed halls of higher learning.\u201d \u00a0Georgia Tech was one of seven schools selected as a finalist, and awarded a $10,000 production grant to create a film. Preproduction for the Hyundai Project expanded two months for a four-day shoot that included two principal actors, three dozen background extras, six exterior locations, and Tech\u2019s beloved mascot, BUZZ. \u00a0It was a student driven, interdisciplinary collaboration that involved LMC, Tech\u2019s Living History Program, the Tech Archives, the Athletic Department, the Tech Wreck Club, the School of Music, Institute Communications, and Tech\u2019s Legal Counsel. \u00a0With the $10,000 production grant, the students were able to secure locations, hire talent, and rent equipment. It was indeed a fantastic real-world learning opportunity.<\/p>\n

In addition, students in the Advanced Video Production course are given opportunities to work on Client Based Projects (CBPs). \u00a0The Ivan Allen College is keenly interested in collaborative opportunities that \u201cdefine and solve problems, illuminate socially and ethically conscious strategies for positive action, and connect knowledge and expertise in the liberal arts.\u201d \u00a0CBPs allow students to utilize the skills they obtained in previous courses to pitch, develop, and produce content for on-campus and off-campus organizations. \u00a0Some of the previous CBP collaborators have included:<\/p>\n