Monday, 18 November 2013

How to write a film script

  • The title of the film 
  • Edit to start the scene (e.g. fade in)
  • Scene number on the left hand side of the page
  • INT. or EXT. depending on whether the location is interior or exterior.  Then describe where (e.g. EXT.  OVER MIAMI - DAY)
  • Set the scene by describing the location and the action that is taking place.  You can also describe aspects of lighting and camerawork, but don't do this in great detail ( e.g. Stillness.  Long wispy clouds spider across a deep blue sky.  Sunlight glints expectantly off the mirrored high-rises downtown.)
  • Character names should be in capitals.
  • Dialogue should be placed in the MIDDLE of the page with the character's name (in capitals) on the line above, e.g.
                                                                   HEATHER BURTON
                                                   Ow, Todd!  You almost took my foot off!

  • You can explain how a character says something by placing it in brackets before they speak:
                                                                   TODD BURTON
                                                  (under his breath)  Uch, your mother.  Pain in my ass.
  • When the scene changes, state the transition on the right hand side of the page (e.g. cut to:)
  • Remember to leave a line between each section of your script.  One page of a script is roughly equal to a minute of screen time.

NB  Use courier font for your script.

Here are some examples:




Here is some additional information about how to do it: http://filmschoolonline.com/sample_lessons/sample_lesson_format.htm

Wednesday, 6 November 2013

Weekly plan for the Advanced Portfolio (A2) - Term 1

Week 1

Week 2

  • Choose similar or influential short films for textual analysis:  http://howardschoolmedia.blogspot.co.uk/2013/11/advanced-portfolio-short-film-sites.html   You can also use sequences from feature films.
  • Each member of the group should analyse a sequence of nine frames from an influential film in an 'artofthetitle' style arrangement (evaluation Q1).  Each frame should be used to analyse aspects of a different technical feature, e.g. 1. title(s), 2. genre, 3. setting/location, 4. characterisation, 5. costume and props, 6. narrative, 7. camerawork, 8. sound/music/dialogue, 9. editing.  (There is more information on artofthetitle style analysis here http://howardschoolmedia.blogspot.co.uk/2013/10/evaluating-your-as-coursework-to-be.html )If you are working on your own, you should analyse at least two films. Upload your analysis to the blog together with a link to the film if it can be viewed on the Internet.

Weeks 3 & 4


Week 5
  • Filming/ editing

Week 6
  • Filming/ editing

Week 7
  • Show 1st cuts of films and get feedback (evaluation Q3).




Monday, 4 November 2013

Weekly plan for the Main Task (AS Foundation Portfolio) - Term 2

Week 1

Week 2
  • Class analysis of a film opening.
  • Study the film opening analyses on artofthetitle.com  
  • Create your own 9 frame analysis of an opening from a similar film to the one you are intending to make (Evaluation Q1 - conventions).  Your analysis should show the forms and conventions of: the titles (including style, typefaces, positioning, timing, how they appear and what they say), setting and locations, costumes and props, camerawork, the 'setup' of the story, the creation of genre, how characters are introduced, editing and effects, music, sound and dialogue.  You should use each frame to write about a different aspect of the opening; e.g. one frame could be about the title of the film and the next frame could be about how genre is created.
  • Analyse the titles of your similar film in detail http://howardschoolmedia.blogspot.co.uk/2013/09/analysing-title-sequence-film-opening.html   http://vimeo.com/60964497
  • Independent study (Evaluation Q3 - institutions): What kind of media institution might distribute your film and why?  First of all you need to understand what distribution is; this post will help you: http://howardschoolfilm.blogspot.co.uk/2013/02/what-is-film-distibutor-fm2.html
    Next, you need to find out who distributed your similar films (if your film is similar then maybe they would distribute your film too).  If your film is a UK one then here is a list of UK distributors: http://howardschoolfilm.blogspot.co.uk/2013/02/fm2-uk-film-distributors.html
    You should also research the other institutions involved with films: e.g production companies, financiers and funding sources such as The National Lottery.  Use wikipedia and IMDB to find out the institutions involved with your similar film(s) and what role they had.  Upload your research to the blog.
Week 3
Week 4
Week 5
Week 6
Week 7

Example of a risk assessment


Thursday, 24 October 2013

How to create a good film opening


How to upload a video to blogger - guide

http://www.blogbulk.com/2009/01/add-video-in-blogger-posts.html

Wednesday, 9 October 2013

Assessment Criteria for the Preliminary Task

Camerawork has been researched (shots, angles & movement).  Photos and videos have been uploaded to the blog.  Technical examples are correctly named and accurate definitions are given. The post is titled and labelled correctly.  Roles for the task are stated.

A photographic storyboard has been uploaded to the blog.  Camerawork is clearly represented by the photos.  Text explains camerawork, sound, editing and mise-en-scene together with directorial instructions.  The post is titled and labelled correctly.  Roles for the task are stated.

A pitch has been uploaded to the blog explaining: title, genre, location, time, characters, plot outline and key micro features (including use of match-on-action, shot/reverse shot and 180 degree rule).  The post is titled and labelled correctly.  Roles for the task are stated.

A post has been uploaded giving class feedback on the pitch.  The post is titled and labelled correctly.  Roles for the delivery of the pitch are stated.

The Preliminary Film* has been uploaded to the blog.  The post is titled and labelled correctly.  Roles for the film are stated.

A post has been uploaded giving class feedback on the Preliminary Film.  The post is titled and labelled correctly. 


* Preliminary Film
Continuity editing creates a sequence of events that are clear and easily understood by the viewer.

The directions in the brief have been followed (a character opens a door, crosses a room and sits down in a chair opposite another character. An exchange of dialogue occurs.)


Match-on-action is used.  Shot/reverse shot is used.  The 180-degree rule is observed.

Friday, 4 October 2013

Evaluating your AS coursework

First of all read this:

http://petesmediablog.blogspot.co.uk/2010/11/evaluation-for-ocr-coursework.html

The first question is: In what ways does your media product use, develop or challenge forms and conventions of real media products (film openings)?

To answer this question, you could use http://www.artofthetitle.com/  First of all use your 9 frame analysis of an influential film opening to show the forms and conventions of: the titles (including style, typefaces, positioning, timing, how they appear and what they say), setting and locations, costumes and props, camerawork, the 'setup' of the story, the creation of genre, how characters are introduced, editing and effects, music, sound and dialogue.  You should use each frame to write about a different aspect of the opening; e.g. one frame could be about the title of the film and the next frame could be about how genre is created (see the example on petesmediablog to see how this is done).

Then do a 9 frame analysis for your opening.  This time in your analysis compare your opening to the influential film.  Explain which of the conventions from the influential film you 'use' (i.e. things that are very similar).  Also explain which conventions you have 'developed' (i.e. given your own slant or interpretation).  Finally, also consider how you may have 'challenged' the conventions of your influential film (i.e. adopted an approach that is very different from the norm).

See here how a 9 frame layout can be created in Photoshop: https://www.youtube.com/watch?v=gUmdaRTZ_PA

The second question is: How does your media product represent particular social groups?  Use images from the mainstream media that represent your social groups and compare them to images showing your representation in your media product.  Before you do your analysis, read this: http://howardschoolmedia.blogspot.co.uk/2011/12/what-is-representation.html  A word file or powerpoint would be fine for this part of the evaluation, then add jpeg images of the documents to the blog. Alternatively, just do the analysis straight onto the blog.

The third question is: What kind of media institution might distribute your media product and why?  First of all you need to understand what distribution is; this post and link will help you: http://howardschoolfilm.blogspot.co.uk/2013/02/what-is-film-distibutor-fm2.html
http://www.launchingfilms.info/step-step-guide/
Next, you need to find out who distributed your similar films (if your film is similar then maybe they would distribute your film too).  If your film is a UK one then here is a list of UK distributors: http://howardschoolfilm.blogspot.co.uk/2013/02/fm2-uk-film-distributors.html
Although this question asks about distributors, you could talk about all of the institutions involved with your film: production companies, financiers and distributors.  Record a voiceover over the video of your film's titles, explaining about logos, the institutions whose names we see, the roles they play and why they would be involved in your film.

The fourth question is: Who would be the audience for your media product?
For this question, you could produce a profile for a typical audience member.  The profile could include information such as:

Age
Gender
Ethnicity and cultural background
Education
Religious and political affiliations
Economic status
Employment
Sexual orientation
Family background
Marital status
Group membership
Interests, pastimes and favourite media products (this is the most important section of the profile and the part you should write most about)

Add photographs of this typical audience member or you could make a video of an actor playing the role and either talking about him/her-self or being interviewed.

The fifth question links to the previous one and is: How did you attract/address your audience?  You could use the youtube 'annotate' function to annotate your video.  You could also link this to audience audience feedback you have received and any questionnaires you have done, e.g. http://howardschoolmedia.blogspot.co.uk/2012/01/audience-research-some-ideas.html

The sixth question is: What have you learned about technologies from the process of constructing this product?
Technology can usually be represented visually.  This question is ideal for an annotated photo collage or montage put together in an editing program with music or you could do a cool photoshop arrangement of images with text to show how you used technology.  Don't forget that technology is software and hardware, websites and everything that helps you research, create and distribute, however small...even memory sticks!  https://www.youtube.com/watch?v=54Y0GGt3Ww4

The seventh and final question is: Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the main product?
One way of doing this question would be to look at one (or more) ways you have developed your skills in four key areas - camerawork, editing, mise-en-scene and sound.  You could edit together a video example of each from your preliminary and main task that show an improvement in technique from the earlier task to the later one.  Then add a voiceover or annotations that explain the progress you have made.

Tuesday, 24 September 2013

Research into camerawork

The shots you should have are:

  • ELS
  • LS
  • MS
  • MCU
  • BCU
  • ECU
The angles you should have photos of are:

  • high
  • low
  • eye-level
  • canted
The videos you should have are:

  • pan
  • tilt
  • crab
  • push-in
  • pull-out
Each one should have a title and an explanation of when/why the technique would be used.  For help, see here http://www.filmsite.org/filmterms3.html and here
http://www.aber.ac.uk/media/Documents/short/gramtv.html

Thursday, 19 September 2013

'How to' guide to uploading a word file to Blogger

Blogger doesn't allow you to directly upload word files but we can change the file into a JPEG to do it.

Here's how to do it:

'All Programs'
'Adobe Master Collection CS3'
'Adobe Acrobat Professional' click
'Create PDF' click
'Create PDF from a file' click
'Open' - browse to file and click on it
'File' click
'Save as' click
'Save as type' select 'JPEG'
'Save'
Go to blog
'New post'
Click on 'Insert image'
'Choose files' click
Browse for JPEG image and click on it
'Open' click
Click on uploaded file and 'Add selected'
Move image as required and use re-sizing options to make it bigger








WinFF video conversion software

WinFF is a useful conversion tool that allows you to convert video files to a type that your editing program will recognise.  Video files from your phone may need converting and it may also be necessary to convert HD files if your editing program does not support them.

Download WinFF here:
http://winff.org/html_new/downloads.html

When you have the software, if you want to upload your video to Blogger, set convert to "Google" and the preset to "Google WebM Generic Fullscreen".  Choose an 'output folder' for the converted video to go to.  'Add' the video that you want to convert and then click 'convert'.


Preliminary task photo storyboard

Take photos of each stage of your preliminary idea so that you have a photographic storyboard.   Upload to the blog.  For each photo, add the following (if applicable):

Shot type
Shot angle
Camera movement (if any)
Camera position (including 180 degree rule)
Shot duration
Editing (e.g. shot / reverse shot)
Transition (to next shot)
Sound (inc. dialogue and music)
Directions (e.g. movement of characters)
Mise-en-scene (e.g. location, props, lighting etc.)

Wednesday, 11 September 2013

Analysing a title sequence - film opening

Here is an example of how to analyse the titles within a film opening sequence, in this case 'Juno'.

This one is for 'Iron man'.

Monday, 15 July 2013

How to write a pitch

A pitch should include:
  • title
  • genre
  • form (e.g. short film, trailer etc.)
  • location
  • time (day, night, time period etc.)
  • characters
  • plot outline
  • key micro features (e.g. camerawork, editing, sound, mise-en-scene)
  • target audience
  • audience appeal
  • influential films
  • unique selling point
  • your roles
  • your pitch could also use an 'animatic' of your ideas - see here: http://howardschoolmedia.blogspot.co.uk/2011/06/animatics.html

Sunday, 2 June 2013

Critical Perspectives in Media Q1(b) - Concepts and Theorists

 Representation - Richard Dyer

Dyer says that when considering the representation of a media product (i.e. your media production), we should ask the following questions:

1. What sense of the world is it making?  (In other words, what representation of the world is the product making?)
2. What does it imply?  Is it typical of the world or deviant?  (In other words, what messages are the representations creating?  Are these representations and messages familiar or unusual?)
3. Who is it speaking to?  For whom?  To whom?  (In other words, who is the intended audience for this product and how do the representations attract and address them?)
4. What does it represent to us and why?  How do we respond to the representation?  (In other words, what meanings and interpretations are created by the product?  How do you and other people interpret the product?).

Remember that representation is very complex.  For people it can involve gender, ethnicity, sexuality, ethnicity, regional identity, age, age and social class and status.  These can be constructed through characteristics like appearance (e.g. hair, clothing, make-up, jewellery) , relationships, possessions, behaviour and actions, voice (e.g. tone, accent, dialect, sociolect), job, hobbies, values etc.

Representation is not just about people.  For example, you may be able to analyse the representation of places, time periods and themes (such as betrayal or love).

Also see Stuart Hall https://www.youtube.com/watch?v=aTzMsPqssOY

See here for exemplars for representation: http://www.ocr.org.uk/Images/179236-example-candidate-answers-from-june-2013.pdf

Genre - Daniel Chandler, Steve Neale, John Hartley, David Buckingham, Deborah Knight, Gunther Kress, Nicholas Abercrombie, Tom Ryall, John Fiske, Rick Altman, Jonathan Culler, David Bordwell

Watch the following slideshow http://www.slideshare.net/HeworthMedia/genre-theory-6920670
Which of the theorists says something about genre that connects with your own product and the points you want to make about it?

Here are some of the key points:

Chandler 

  • Conventions of content and/or form
  • Assumption of the 'ideal reader'
  • 'Interpretive community' can share a genre
Neale
  • Repetition and difference
  • Guarantee of meanings and pleasure (for audience)
  • Audience expectations of what a genre will provide
Hartley
  • Films often have the conventions of more than one genre
Knight
  • We enjoy genres because we anticipate what is going to happen
Ryall
  • Genre is a structural framework for producer and viewer
Altman
  • Media language (meaning) and iconography defines genres
Culler
  • Genre conventions establish a 'contract' of shared understanding between creator and reader
Use these framework for analysing your own product in terms of genre: http://social.ocr.org.uk/files/ocr/Generic%20Markers.pdf


Media Language - Michael Wohl

Michael Wohl is a film maker, author and software designer.  Read his explanation of the 'language of film' and see if his examples relate to your production.
http://www.kenstone.net/fcp_homepage/language_of_film.html

His explanation of how camerawork creates meaning is very useful.  He breaks it down as follows:

  • Who - the CU of a character
  • What (is going on) - the MS showing a character performing actions
  • Where - the LS showing the location
  • When - shots that tell the viewer the overall point in the story that has been reached or the time of day or the time period
  • Why - the ECU or BCU that suggests what a character is thinking
  • How - MCUs of a character perorming an action or a series of CUs or ECUs of actions
  • With whom - relationships and interaction (two shot, OTS shot, wide shot etc.)
He also makes some very good points about editing but he does not write so much about sound or mise-en-scene.  


Audience - Stuart Hall

Read about Hall's three interpretative codes here: http://www.slideshare.net/dphillips4363/reception-theory-presentation-833299  How did you intend audiences to interpret your product?  How did they interpret it?

Narrative - Todorov and Levi-Strauss

See here http://howardschoolmedia.blogspot.co.uk/search/label/Narrative




Wednesday, 22 May 2013

OCR Media Studies Resource Site

http://ocrmediastudies.weebly.com/index.html

Ideas for film narratives

  • Supplication - a supplicant (sufferer) is persecuted and calls on a power for help.

  • Deliverance - an unfortunate person is threatened but a rescuer comes to their aid.
  • Crime pursued by vengeance - an avenger seeks to avenge the actions of a criminal.
  • Vengeance within a group or family upon their own kind.
  • Pursuit - someone is punished or threatened with punishment and becomes a fugitive.
  • Disaster - a power is defeated by a victorious enemy and overturned.
  • Falling prey to cruelty or misfortune.
  • Revolt against a tyrant.
  • Daring enterprise - a bold leader with an objective takes on an adversary.
  • Abduction
  • The Enigma - a question or problem needs to be solved.
  • Obtaining - two adversaries (e.g. solicitors) or an arbitrator and two opposing parties try to overcome each other.
  • Enmity of kinsman - involves a bad kinsman, or two kinsman who hate one another.
  • Rivalry of kinsman - an object (possibly a woman) is desired by both kinsman; only one can have it.
  • Murderous adultery - a betrayal of husband/wife and murderous consequence.
  • Madness
  • Fatal haste - a rash decision results in a great loss.
  • Involuntary crimes of love
  • Slaying of a kinsman
  • Self-sacrifice for an ideal - someone or something is sacrificed for an ideal.
  • Self-sacrifice for kindred - someone or something is sacrificed for kindred (e.g. family, tribe, group etc.)
  • All sacrificed for passion - someone or something is sacrificed for an object of passion.
  • Necessity of sacrificing loved ones - a hero is forced to sacrifice a loved one by necessity.
  • Rivalry of superior and inferior - superior and inferior rivals fight for an object.
  • Adultery
  • Crimes of love
  • Discovery of the dishonour of a loved one - a loved one has a guilty secret that is uncovered.
  • Obstacles to love - two lovers face an obstacle to their love.
  • An enemy loved - an enemy is loved by his/her opponent.
  • Ambition - a person covets something but has an adversary
  • Conflicts with a God
  • Mistaken jealousy - a person is jealous of someone's possession(s) but his jealousy is mistaken.
  • Erroneous judgement - a bad decision is made.
  • Remorse
  • Recovery of a lost one - someone seeks a lost person.
  • Loss of loved ones - a kinsman is killed.
  • What is narrative? A2 Exam Q1 (b)

    • Narrative - You can use Todorov, Levi-Strauss, Barthes and Propp to deal with a question on narrative.  Also  the following will help you to respond.  (You don't want to simply tell the examiner what happens in the sequence or short film.  You want to explain how the story is structured and fits in with narrative theories.)
    What is Narrative Structure? Narrative structure is really about two things: the content of a story (i.e. what a story is about) and the form used to tell a story (i.e. how a story is told). Two common ways to describe these two parts of narrative structure are: story and plot.

    Story refers to the raw materials of dramatic action as they might be described in chronological order in a film. Plot refers to the form of storytelling, or the structure, the story follows. An example may be helpful.
    If we want to analyze narrative structure, we can use Who? What? and Where? questions to look at the story or content of a movie.  ‘How?’  questions are used to examine plot structure. So, to describe the story in Star Wars, for example, we would need to answer the following questions:

    ·         Where is the story set?
    ·         What event begins the story?
    ·         Who are the main characters?
    ·         What conflict(s) do they face? (What motivates the characters to enter into this conflict?)
    ·         What happens to the characters as they face this conflict?
    ·         Who wins the conflict?
    ·         What rewards do they receive?

    To describe the plot structure of the movie, we would need to answer these questions:
    ·         How is the major conflict in the story set up?
    ·         How are the main characters introduced?
    ·         How is the story moved along so that the characters must inevitably face the film’s central conflict?
    ·         How is the dramatic confrontation set up as the film draws to its close?
    ·         How does the film resolve most of the major conflicts set up at the outset?

    From the audiences’ perspective, story and plot refer to the different ways movies construct meaning for spectators. Story is about trying to determine the key conflicts, main characters, setting, and events in a movie. Plot is about determining the stages at which key conflicts are set up and resolved. What’s interesting about most of the movies made in Hollywood is that, while the stories may change, the plot structure is virtually identical in most of the movies made by Hollywood.  According to Bordwell and Thompson, the plot is what we explicitly see and hear while the story includes information that is inferred (suggested) to the viewer.

    The most common narrative structure in mainstream films is called the Classical Narrative Structure.

    The Classical Narrative Structure
    The Classical Narrative Structure is called this because it is the way most movies are made in Hollywood. It’s not classic because it is the oldest structure of storytelling or the best, but the most common. It is the storytelling structure in Star Wars, Buster KeatonÕs The General (1926), The Matrix (Andy and Larry Wachowski, 1999), and any number of other films we might think of.  It’s based on a three-act format that organizes the story in the following way.

    Act I  The Setup
    Here, we are introduced to the main characters in the story, their goals, and the obstacles they are likely to face to achieve their objectives. The main conflict in the story is introduced, as well as the major antagonist (the villain) who will stand in the way of the protagonist’s (the hero’s) objectives.

    We can call Act I in a movie the Hook. It sets up the story so that the film engages the attention of the audience and suggests the story’s likely development. Act I generally takes up about one quarter of a film’s total length.

    Act II  The Development
    Here plot complications are added to the story. An increasing sense of urgency is created when the main characters encounter obstacles that stand in the way of their journey. The second act generally occupies the middle two-quarters of the film and it often includes a false resolution to the main conflict set up in Act I. Once the false resolution has been encountered, the action in the movie generally points inevitably toward a necessary climax.

    Throughout Act II, Cause-Effect Relationships propel the main characters along. Cause-effect rela- tionships involve actions that force a reaction on the part of some character, leading to a new action and reaction, and so on.

    Act III  The Resolution
    In the final segment of the film, the results of the story’s main conflict come to dramatic con- frontation. This is called the Climax. It is the point where key struggles are waged and an eventual victor is determined. In Hollywood films, needless to say, the eventual victor is usually our hero.

    Following the climax, Closure is introduced into the story, which simply means that all the major conflicts, issues, or ideas in the story are resolved. The so-called Hollywood ending is the most popular kind of closure in the classical narrative structure. Films with this kind of conclusion usually close with a sense that the protagonists in the film live happily ever after.

    Thursday, 7 February 2013

    An example of a two paragraph point for Q1(a), A2 Exam

    Question about digital technology:

    For our Foundation Portfolio, we made a two minute opening to a new feature film with titles.  We used a standard definition (SD) camera but were disappointed with some of the footage which was grainy and lacked sharpness.  So, for our Advanced Portfolio film trailer, we decided to use a high definition (HD) camera.  This gave us the desired sharpness and clarity to our video but we were shocked how much space HD video took on an SD memory card.  Our card was 512Mb and it was filled up in no time!  We bought a much bigger card, 16Gb, and this provided all the storage we needed, even for HD.
     
    The small SD cards are definitely an improvement on the past in terms of portability.  Our teacher showed us a camcorder that used VHS storage and it was huge!  However, we did encounter one problem because of the miniature size of digital storage; we lost our SD card and could not find it for three weeks.  This put us behind schedule and we were worried we would have to reshoot.  Eventually, we found it but I resolved to always return the SD card to the slot in the camcorder after using it in my laptop so that it would not get lost again.

    Monday, 14 January 2013

    Past questions for Q1(a) Critical Perspectives in Media


    Describe how you developed research and planning skills for media production and evaluate how these skills contributed to creative decision making.  Refer to a range of examples in your answer to show how these skills developed over time.  (Jan 2010)

    Describe the ways in which your production work was informed by research into real media texts and how your ability to use such research for production developed over time.  (June 2010)

    Describe how you developed your skills in the use of digital technology for media production and evaluate how these skills contributed to your creative decision making. Refer to a range of examples in your answer to show how these skills developed over time. (Jan 2011)

    Explain how far your understanding of the conventions of existing media influenced the way you created your own media products. Refer to a range of examples in your answer to show how this understanding developed over time.  (June 2011)

    Describe how your analysis of the conventions of real media texts informed your own creative media practice.  Refer to a range of examples in your answer to show how these skills developed over time.  (Jan 2012)

    Describe a range of  creative decisions that you made in post-production and how these decisions made a difference to the final outcomes.  Refer to a range of  examples in your answer to show how these skills developed over time.  (June 2012)

    Explain how your research and planning skills developed over time and contributed to your media production outcomes.  Refer to a range of examples in your answer.  (Jan 2013)



    Monday, 7 January 2013

    Shot list example


    Planning and Filming a TV or Film Production: A Guide

    http://www.trillian.tv/articles.php?article=directing&partno=1

    Shooting schedule example


    Example of an equipment list

    This is a real equipment list with lots of technical material.  Yours will be a lot simpler!  You just need to include what is needed, when it is needed, who will be using it and who is responsible for ensuring the equipment is picked up, fully charged etc.  Don't forget to include post-production equipment.


    Location scouting sheet template


    Example of a Call Sheet

    You can create your own table for your call sheet and include actors and crew.  Basically for each scene, you need to know who is needed, what their role is, where they need to be, when they need to be there and what makeup, costume, prop and equpment requirements they might have.

    Here is one from a real film: