#MediaMonday: A Film Lesson...Again.
Good Morning Everyone,
Many of you may not know this, but as your STN education coordinator, I try to offer a variety of topics for your weekly rumination that rotate equally between film, journalism and media. I do this knowing that some of you do not teach all media subjects and, in offering a variety, I might give you something to consider at some point throughout the year.
As I sit here staring at my MacBook, I am plagued with the realization that the only thing I can think of right now is film (and I am not ashamed to say so). As my film program is in the throes of completing the single LARGEST film we have ever even attempted, I have recently been finding myself waking from nightmares about frame rates and cinema codices. Needless to say, my brain is 95% film right now and the other 4.5% is dedicated to family (with the remaining 0.5% being reoccurring thoughts of coffee and guitars).
Therefore, while I truly wish that I could deliver a profound lesson about interviewing tips or some sort of gear hack regarding journalism, I shall no longer fight the inevitable and will be talking about film; Get ready.
When large film projects are shot (or any large multi-take/multi-camera project), it is easy to find yourself lost in the footage once it comes back into the editor. You can try to sync timecodes and metadata on the cameras (which does work) but there is another elegant solution to the process.
Therefore, the topic of today's lesson is: The Log and Slate!
As we think of film-set behaviors, perhaps none is so iconic as clapping a slate in front of a camera and shouting "action"! While this does look amazing, it also has an incredibly practical purpose.
When a person "slates" a film, you ensure that all of the information is audibly and visually documented on a recording camera. This is quite helpful when reconstructing an edit from a script or shortlist. However, the true elegant beauty of this act is the "clap" or the clicking of the hinged arm atop the board. This provides editors with spike in audio across all recorders (camera and audio) that allows for a sync points in the edit.
But one step that often goes overlooked with new filmmakers is the LOG step of LOG and SLATE. Logging the footage takes place on a serrate app or sheet of paper where a crew member (or even a director for that matter) keeps track of the shots and takes valuable notes on the take. Was it bad? Was it good? Did it have potential? Did it capture something unforeseen that would be wonderful to add? All of these observations are recorded on the sheet. Then, that sheet is given to the editor who simply has to look through the footage for these "winning takes" that were recorded on the LOG sheet.
This is a process that seems tedious but is incredibly valuable in the long run and will save hours and hours of wasted time looking through footage for usable shots.
Here is all you need:
You need a slate
You can get a dry-erase slate on Amazon or B&H for under $50. Don't go overboard; this is a marker board with a plank of wood screwed to the top.
You can also get an app. I have used DSLR Clapperboard before and it works great (especially on an iPad).
You need a Log Sheet
While I recommend making a custom sheet for your project and program, here is the type we use on set.
When you teach kids to Log and Slate, you teach them a valuable skill of documenting their progress. This skill will result in better final products, but can also give students a leg up when entering the film industry. I once had a former student who was made an Assistant Director on a commercial for the United States Postal Service simply because he knew how to Log and Slate (true story).
Good luck with your week and I will talk to you soon,
Josh Cantrell