Development
In this stage, the project's producer finds a story, which may come from a book, play, another film, a true story, original idea, etc. After identifying a theme or underlying message, the producer works with writers to prepare a synopsis. Next they produce a step outline, which breaks the story down into one-paragraph scenes that concentrate on dramatic structure. Next, they prepare a treatment, a 25 to 30 page description of the story, its mood, and characters. This usually has little dialog and stage direction, but often contains drawings that help visualize key points.Next, a screenwriter writes a screenplay over a period of several months. The screenwriter may rewrite it several times to improve dramatization, clarity, structure, characters, dialogue, and overall style. However, producers often skip the previous steps and develop submitted screenplays which investors, studios, and other interested parties assess through a process called script coverage. A film distributor may be contacted at an early stage to assess the likely market and potential financial success of the film. Hollywood distributors adopt a hard-headed business approach and consider factors such as the film genre, the target audience, the historical success of similar films, the actors who might appear in the film, and potential directors. All these factors imply a certain appeal of the film to a possible audience and hence the number of "bums on seats" during the theatrical release. Not all films make a profit from the theatrical release alone, so film companies take DVD sales and worldwide distribution rights into account.
The producer and screenwriter prepare a film pitch, or treatment, and present it to potential financiers. If the pitch is successful, the film receives a "green light", meaning someone offers financial backing: typically a major film studio, film council, or independent investor. The parties involved negotiate a deal and sign contracts. Once all parties have met and the deal has been set, the film may proceed into the pre-production period. The film should also have a set agenda and a direction of where you want your film to go and who your target audience is.
Post-production
Main article: Post-production
Here the film is assembled by the film editor. The modern use of video in the filmmaking process has resulted in two workflow variants: one using entirely film, and the other using a mixture of film and video.In the film workflow, the original camera film is developed and copied to a one-light workprint (positive) for editing with a mechanical editing machine. An edge code is recorded onto film to locate the position of picture frames. Since the development of non-linear editing systems such as Avid, Quantel or Final Cut Pro, the film workflow is used by very few productions.
In the video workflow, the original camera negative is developed and telecined to video for editing with computer editing software. A timecode is recorded onto video tape to locate the position of picture frames. Production sound is also synced up to the video picture frames during this process.
The first job of the film editor is to build a rough cut taken from sequences (or scenes) based on individual "takes" (shots). The purpose of the rough cut is to select and order the best shots. The director usually works with the editor to ensure the envisioned shots are selected. The next step is to create a fine cut by getting all the shots to flow smoothly in a seamless story. Trimming, the process of shortening scenes by a few, seconds, or even frames, is done during this phase. After the fine cut has been screened and approved by the director and producer, the picture is "locked," meaning no further changes are made. Next, the editor creates a negative cut list (using edge code) or an edit decision list (using timecode) either manually or automatically. These edit lists identify the source and the picture frame of each shot in the fine cut.
Once the picture is locked, the film is passed into the hands of the postproduction supervising sound editor of the sound department to build up the sound track. The voice recordings are synchronised and the final sound mix is created by the rerecording mixer. The sound mix combines dialogue, sound effects, background sounds, ADR, walla, foleys and music.
The sound track and picture are combined together, resulting in a low quality answer print of the film. There are now two possible workflows to create the high quality release print depending on the recording medium:
- In the film workflow, the cut list that describes the film-based answer print is used to cut the original color negative (OCN) and create a color timed copy called the color master positive or interpositive print. For all subsequent steps this effectively becomes the master copy. The next step is to create a one-light copy called the color duplicate negative or internegative. It is from this that many copies of the final theatrical release print are made. Copying from the internegative is much simpler than copying from the interpositive directly because it is a one-light process; it also reduces wear-and-tear on the interpositive print.
- In the video workflow, the edit decision list that describes the video-based answer print is used to edit the original color tape (OCT) and create a high quality color master tape. For all subsequent steps this effectively becomes the master copy. The next step uses a film recorder to read the color master tape and copy each video frame directly to film to create the final theatrical release print.
There are two ways that film can be put together. One way is linear editing and the other is non-linear editing.
Linear editing uses the film as it is in a continuous film. All of the parts of the film are already in order and need not be moved or any such thing.
Conversely, non-linear editing is not subject to using the film in the order it is taped. Scenes can be moved around or even removed. A better way to see it is that non-linear editing is like a hoj poj of video.
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Axis Films
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Borneo Films
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Carrot Films
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Carter Productions
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Current Pictures
38-2 Jalan 25/70A, Desa Sri Hartamas, 50480, Kuala Lumpur
Tel: 03 2300 1713, Fax: 03 2300 1726
Creative Licence - Animation & visual effects
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G8, Wisma WIM, 7 Jalan Abang Haji Openg, Taman Tun Dr Ismail, 60000 Kuala Lumpur
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GeoVision Productions
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Grand Brilliance
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3rd Floor, North Wing , Sri Pentas, 3 Persiaran Bandar Utama, Bandar Utama, 47800 Petaling, Selangor
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Le'eon Film
1 Jln PJU 3/44, Sunway Damansara, 47810 Petaling Jaya
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Los Tigris Malaysia - Animal talent for TV, film, commercial & media productions
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Metrowealth International Group
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2 Jalan USJ 1/1C, Regalia Bussiness Centre, 47620, Subang Jaya, Selangor
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19 Jalan Tunku, Bukit Tunku, 50480 Kuala Lumpur
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210 Jalan Ampang, 50450 Kuala Lumpur
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Peakstop Pictures
Lot 2171 RPR Fasa 2, Petra Jaya, 93050, Kuching, Sarawak
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Planet Films
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Pop Films
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PRS Productions
3 Jalan Mentri, Off Jalan Peel, 55100, Kuala Lumpur
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525 Jalan 17/13, 46400 Petaling jaya
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All Asia Broadcast Centre, Technology Park Malaysia, Bukit Jalil, 57000 Kuala Lumpur
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TV Smith Multimedia
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Video Edit Productions
http://www.vep.com.my/
28 Jalan SS 2/103, 47300 Petaling Jaya
Tel: 03 7726 0721, Fax: 03 7726 0237
Vision New Media - Vision Broadcast, Double Vision
http://www.visionnewmedia.net/
