The Film Craft

The Film Craft:

First edition - Travailing Ends

-----------------------------------------------

To consider the magnificent spectrum that the film world provides and expects, one has to know which pitfalls, and mountains one has to traverse through to reach a successful outcome. This preliminary draft on this prospect does require a pioneering attitude as a creative and intelligent being hoping to clearly and honestly speak to the audience, and critics. A film that is criticized is better than a film that is not. Though one has to steer clear from the financially unprofitable, and the commitment of those who do not wish to give their full attention needed for a production to succeed. When you consider what it takes to stage a play, then you can understand what it takes to manage the world of film production, and its crafts. Hope you drive clearly through this editorial and face its demands which upholds key integral parts of cinema and its relation to other worlds. Perfection should be our motto and so is direction.

Editor

-----------------------------------------------

To construe the need of success:

In essence when one discusses film production one ought to realize how imperative the visual image is. Cinematography is the key motive behind a great film. One ought to promote a standpoint visually that emphasizes, not obviously, the programmed image dealt with in the screenplay, and backstories of the film. So when one constructs a visual standpoint as many successful film directors, and cinematographers do, calling it 'signature shots', then you have to realize the rules in programming a working edit of your film, and its key motives which does not stagnate, or implicate error through this practice before your film is shot. The screenplay does not motivate a response visually from you, many shots are not taken into account, and the screenwriter may not believe the same you do, and may not be experienced in this field of visualizing the screen format correctly and efficiently. You need to shoot the film before you edit the film, so you have to edit the film visually through story-boarding and direction of the cinematography element before its key aspects resonates when the first shot has been tailored for 'action'. A story can be easily programmed according to dialogue, but perhaps as always a definitive structure has to be found to complete the sequence of events taking place during a shot. One cannot just incorporate a camera operator according to the guidelines of the storyboard when one has not realized the full potential that rules have on the visual and aural strata carried over to the film audience, which the editor has to finally deal with alongside yourself ,and some of the other crew members.

To manage such high demands you need to be able to handle a lot of information, and through practice one can achieve such a state, though not all graduates of film and media has the ability to transcend past the stereotype, and concurrent articulations found required in the process of making films. An artist is someone who can do everything at the same time, and that is essentially what the motive is behind being a successful candidate of film production. The film needs to have structure in time as well as in movement to be successfully constructed. A recipe has been found in the making of films, but such a choreographed structure can be misunderstood due to the belief that art has meaning, and so does the production of it. We're not discussing the making of a film at the broadcast of the film. That task is way too laborious, and it is usually the story and the narrative of it, that holds the tongue of many a film critic. They judge the production of the film sorely if those fields have failed, for it has to fail when those aspects failed. Do not neglect the possibility that your film needs to succeed always, to succeed.

-----------------------------------------------

Visualizing a film:

The process of choreography, and cinematography are interlinked, and is basically the driving force one has to master to succeed in directing. Nowhere does a director place his actors without noticing the limitations in the visual scope that the camera with the lighting rig provides. Though this may sound obvious, it is difficult to attain. Not through mere dialogue with the cinematographer, and gaffer, and camera operator does the director succeed in setting up the correct performance for the required sequence of events called scenes placed together in editing. He or she has to visualize the film in its entirety. To do so you must know which dramatic structure your film has, and which moments will be driven forward even further with the film score or soundtrack. The dramatic structures range from comedy through to suspense, and action, and even romance. All these facets tend to be found within a great narrative or film. Remember it is a story one tells, and to succumb to the belief that a visual image or sequence of events equals correct, and efficient narration are wrong.