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Make a film that consists entirely of cliches and tropes from other films.

Sometimes the best way to avoid them is to joyfully put them all into your film, like a cliche clown car....

Studiobinder reminds you to avoid them, but if you watch films like Young Frankenstein, you can see how they can be masterfully woven into comedy gold...

Research a list, and then figure out how to include as many as you can.

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Make an adaptation of a story that’s fallen into the public domain—examples include The Tell-Tale Heart or The Monkey’s Paw. Using a pre-existing narrative is NOT ok if your role is the writer, but is perfectly fine for other roles.

When adapting, it can be helpful to focus on the following steps:

How Do You Adapt a Short Story? 6 Key Steps

1. Find the Structure. ...

2. Focus on the Key Conflict. ...

3. Read Between the Lines/Expand on the Story. ...

4. Find the Central Theme/Search for Relevancy. ...

5. Break Down the Characters. ...

6. Find the Visual Potency.

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Make a film using your teddy bears. Sound awful? You haven’t seen Dawn of the Ted. (this video is currently 'mia' but I will try and find it). Or try 'Teddy bears picnic', 'Teddy', 'Stuffed' or 'The Mega Plush Episode'

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Tropfest - give yourself a signature item

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Tropfest - give yourself a signature item

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"Tropfest" was an annual Australian film festival that required you use a signature item. Create a short film featuring one of the signature items! (The festival seems to have paused since Covid, but it might return). Using a signature item can help you focus your thinking and have original ideas.

2019 – Candle

2018 – Rose

2017 – Pineapple

2015 – Card

2014 – Mirror

2013, December – Change

2013, February – Balloon

2012 – Lightbulb

2011 – Key

2010 – Dice

2009 – Spring

2008 – The Number 8

2007 – Sneeze

2006 – Bubble

2005 – Umbrella

2004 – Hook

2003 – Rock

2002 – Match

2001 – Horn

2000 – Bug

1999 – Chopsticks

1998 – Kiss

1997 – Pickle

1996 – Teaspoon

1995 – Coffee Bean

1994 – Muffin

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The humble 'split screen' is one of the easiest effects to do in editing. And it has been around for a long time. 'Polyvision' is one of the techniques used by French Impressionist filmmakers, where they screened three films at the same time, to create a 'wide' screen of multiple images.

We are all familiar with the action and tension time crunch split screen of shows such as '24'.

And of course 'Kill Bill'

Or the sublime 'Samurai Jack'

And check out THIS example to see how it can be used powerfully with matched action and framing.

More info on the way, but don't let that stop you - go forth and make something great!

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No Film School outlines it here: how to create Spike Lee's iconic dolly shot

Also know as a double dolly shot, this is an inherently psychological camera choice.

Spike Lee the dolly shot

Read this studiobinder blog about dolly shots, and make sure you understand the difference between a dolly and a zoom. Then think about ways to use it!

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Coming soon...

Did you know we have a 360 degree camera?

This task is about creating the 'tiny planet' effect in Premiere Pro, famously used by Kendrick Lamar in his video for 'Humble'.

HERE is a blog post which takes you through it!

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Wakaliwood, also known as Ramon Film Productions, is a film studio based in Wakaliga, a slum in Uganda's capital of Kampala. Its founder and director is Isaac Godfrey Geoffrey Nabwana, a.k.a. Nabwana I.G.G., who has been called Uganda's Tarantino, after the gratuitous violence in his films. Wakaliwood is best known for its ultra-low budget (estimated to be in the region of $200[2]) action movies, such as Who Killed Captain Alex?, Bad Black, Tebaatusasula, and the upcoming crowdsourced film Tebaatusasula: Ebola.

This task is about making a huge budget SFX blockbuster sequence, with a budget of $0.00

MORE DETAILS TO COME...

(If you want to know more about Isaac Nabwana, then there is a recent film 'Once Upon a Time in Uganda' which documents his rise to fame after meeting New York film programmer Alan Hofmanis, and how this begins to threaten their friendship. HERE is the trailer.

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Coming Soon...

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This is a wonderful portfolio project for writers, editors and directors.

The Rashomon effect is a storytelling and writing method in cinema in which an event is given contradictory interpretations or descriptions by the individuals involved, thereby providing different perspectives and points of view of the same incident. The term, derived from the 1950 Japanese film Rashomon, is used to describe the phenomenon of the unreliability of eyewitnesses. Studiobinder offers this comprehensive explanation.

Two big ideas presented within the film Rashomon are objective truth and the subjective nature of human experience. At one point, the commoner states that all humans lie. This statement is true; all humans do lie. The film asks and partially answers the question- why do humans lie?

According to the movie, one primary reason behind a person’s deception is self-interest. All four characters lie to make themselves look better. Because all people are self-interested and this self-interest leads even the noble woodcutter to lie, can we ever know the objective truth? Does human virtue even exist?

The film leaves us with an ambiguous answer to one of these questions, and I encourage you to watch it and draw your conclusions based on the text.

The point to take away, for our purposes, is that in Rashomon, the plot structure is not a gimmick. The structure helps to develop the film’s themes.

Another technique that Rashomon masterfully employs is that of the unreliable narrator.

How to Use the Rashomon Effect

Like any choice in writing, using the Rashomon Effect to structure your plot should have some purpose. Let’s discuss different ways to use this story structure in your narrative.

To develop your theme.

The film Rashomon uses its unique plot structure to highlight themes around truth and human nature. Use this plot structure to develop a theme in your own story. How can you do this?

You can develop a theme by raising questions in your reader’s mind. You can provide answers to some of those questions and leave other questions unanswered. In your plot, ambiguity will force your reader to think about big ideas and draw their conclusions.

To reveal character

At the end of Rashomon, the audience discovers that the woodcutter is lying. He failed to inform the judge that he stole the wife’s dagger after finding the samurai’s body. This revelation is important because, until this point, we assumed that the woodcutter had no reason to lie. Hence, the audience believes that his version of events is truthful.

Throughout the narrative, each character’s story tells us something important about that character. It tells us how the character views themself and how the character wants the audience to view them.

Use the Rashomon Effect to reveal your character’s motivation. What’s important to your character, and what are they trying to hide? How do these things affect your plot?

To create conflict

Opposing viewpoints create conflicts. I don’t think this fact is news to anyone. The most intriguing conflict at the heart of Rashomon is not the conflict between characters. We know, regardless of the truth, the thief’s execution will resolve that dispute.

The most exciting conflict presented in the film is the conflict it creates in the viewers’ minds. We are left to grapple with huge questions involving human nature and objective reality. When using the Rashomon Effect, be sure to make conflict both in your plot and in your reader’s mind.

Examples of the Rashomon Effect in Film

Gone Girl

This movie is split in half by two narrators. The story is told from both Nick and Amy’s point of view. Each character has a vested interest in the way the audience perceives them. We get two different versions of their marriage, and, in the end, the truth of their relationship is unclear.

Usual Suspects

In Usual Suspects, we have one narrator, Verbal Kent, who gives the audience various versions of the same story. By the end, and if you haven’t seen it, I won’t ruin it; we discover that Verbal was lying the whole time. Again, the audience is left with no clear answers.

Reservoir Dogs

This movie has obvious similarities to Rashomon. Several gang members give conflicting accounts of a jewel heist gone wrong. Most of the lies told in the film hide the protagonist’s real motivation.

The Last Jedi

You know the scene where Luke is standing over Ben with his lightsaber drawn? Classic Rashomon Effect.

Courage Under Fire

This film is a convoluted tale of the death of an Army Captain played by Meg Ryan. She commands a medevac helicopter, and each surviving member of her crew gives a different account of her death. In some versions, the captain is a hero, and in others, she is portrayed as a coward. In the end, along with the film’s protagonist, we discover the truth, which reveals the movie’s broader theme.

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More to come, but HERE is a task outline

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More to come, but HERE is a task outline

Good for: editors, directors, cinematographers, sound and writers!

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More to come, but HERE is a task outline

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Haiku (俳句) is a type of short form poetry originally from Japan. Traditional Japanese haiku consist of three phrases that contain a kireji, or "cutting word", 17 on (phonetic units similar to syllables) in a 5, 7, 5 pattern, and a kigo, or seasonal reference.  Haiku was given its current name by the Japanese writer Masaoka Shiki at the end of the 19th century.

How are Haiku's connected to film?

Sergei Eisenstein is one of Soviet Russian film directors and film theorists who pioneered in the theory and practice of montage. In one of his essays on film form, Eisenstein talks about reading Japanese haiku poetry and having the realisation that poems are like visual shot lists.

HERE is a task outline. This is particularly good for cinematographers, sound designers, as well as editors and directors.

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Cinematography & Directing

This is a great exploration for anyone doing cinematography, but also directing.

Simply enough, a frame within a frame is exactly what it sounds like. It’s a frame created within a film shot or composition. The technique is a staple of visual storytelling, and, once you know what you’re looking for, you’ll find it everywhere—cinema, television, video games, you name it.

For a more detailed outline read THIS Premium Beat blog

Watch this clip, which is a compilation of shots from THE IPCRESS FILE (1965)

In it, Vashi Nedomansky has edited together 42 examples of the 'Frame within the Frame" visual style embraced by Canadian director Sidney J. Furie and Czechoslovakian cinematographer Otto Heller.

I approve of this technique. Fill that frame!

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THIS is the latest guide to location filming in Singapore.

The rules change, so make sure you RESEARCH and read the relevant sections.

If in doubt, ask me!

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There is so much you can do to explore the sound role. THIS is a comprehensive list of various sound elements, which gives you:

Correct film vocabulary

Easy to understand definitions of sound elements

Ideas for explorations and technical exercises

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THIS is a tutorial on how to 'clone' yourself (or anything really) in Premiere. HERE is another one - honestly I think its the same but sometimes it is nice to have an alternative!

Using the editing technique of 'cloning', you can create a scene with endless repetitions of - you! (Or your actor).

You can do anything - often I suggest that you teach yourself a simple task such as 'cooking an egg' or 'fluffing a cushion'. But you can pretty much do any multiple person scene.

Key tips are keeping the camera steady and good lighting.

HERE are some examples from students and a task outline

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A Stop Motion animation can be a great way to explore animation, frame rates, lighting, and tell a story in a visually creative way. You could even do the action foot chase sequence as stop motion!

Try THIS as a very easy step in to a fun and absorbing filmmaking art, using an app called stop motion studio.

THIS is an explanation of how to do 'pixelation'.

THIS is an explanation of 'how to' do stop motion

I think the best thing about this form of animation, is that you can work on a project in a small space over a length of time, by setting up your studio. It is weather proof and you don't need to worry about actor schedules!

Below are some links to various short stop motion films - there are thousands out there.

This one uses simple items found at home 'Foil'

The Oscar winning short 'Negative Space'

Another Oscar winner: 'Fresh Guacamole'

I love this one made at the beach 'Bottle'

A film with a lonely snowman 'Under the Winter Sun'

A look behind the scenes at 'Coraline'

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The Western shoot out is a staple item in films, one which appears even when there isn't a saloon in sight.

The interesting part of this is the chance to experiment with tight frames, eyelines, and creative framing.

HERE is a loose task idea.

For inspiration, the finale from 'The Good, The Bad, and The Ugly' (Sergio Leone, 1966) is my top choice!

Don't forget the iconic 'cowboy shot' explained here in Studio Binder

And try out the epic 'frame within a frame' by shooting between the legs of one of the duellists.

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Coming soon:

How do you choreograph and shoot the staple of any action film - the foot chase?

Car chases/stunts are impossible on a no-budget (and out of the question for school shoots due to risk) so why not shoot a foot chase?

Look at this breakdown of the chase in 'To Live and Die in LA' (Friedkin, 1985)

12 shots, 1min 27 sec: that's it for this simple foot chase.

Scout your (choose somewhere remote, on a Sunday afternoon or another low traffic time) location with shots in mind, iPhone board it, choose your lenses and equipment and shoot it.  Sound, foley can be added later when you cut and time it.   Keep your camera work basic, use lens FOV (field of view) for cutting and pace.

We will be doing stunt workshops for this!

Here is a DJI series about creating a stunt chase scene using a drone. Please keep in mind that several of the stunts pictured are a big NOPE, NO, UH-UH, NOOOOOOO WAY for you, however there are clever ways of adapting plus some great pointers on using a flying camera.

The finished sequence from DJI & Film Riot

DJI breakdown Ep 1
DJI 'Making of'

Finally this is one of my favourite foot chases on film - but if you have not seen 'No Way Out' then don't watch, because there is a HUGE spoiler!

WARNING

Weapons, such as guns, knives, sticks, nunchucks, etc can cause people to call the police. For this reason, you must not use them in your chase sequences. If you wish to have them, please share your storyboards with me, and give me detailed information.
This is especially important in public, but affects filming on campus as well (although we can potentially work it out for an on campus shoot).

If in doubt - ask!

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What's cuter than a meet cute? This plot device enables the first meeting of a film's romantic lead characters. And the rest, as they say, is history.

HERE is a task outline.

If you need some inspiration, look at this STUDIOBINDER clip which looks at how to write one.
Or this one from 'The Take' which looks into the genre conventions of Romantic Comedy.
And THIS excellent breakdown of the writing elements

While it is true that MOST meet cutes in these examples are in Hollywood films, which means they are generally featuring cis-gender and white characters - don't let that stop you - here is a list with some alternative examples, including a meet cute with an AI!

This is a fun, upbeat task which offers wonderful opportunities for actors, directors, writers, cinematographers, sound designers and editors.

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German Expressionism is a wonderful way to explore the beginnings of two enduring genres: horror and crime. With a focus on psychological suspense, unease, shadows, and the dark underbelly of life, there is plenty to explore for all of the roles.

HERE is a link to the task outline.

THIS is a quick reminder of what it is about and THIS is a look at the legacy of the German Expressionists.

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The IB specifically wants detailed and informative explanations. This means you need to have lots of information about what you did, how you did it, and why, and finally what you might work on next time.

As you work, keep a good reflective journal so you don't forget what you were thinking at the time.

Your writing needs to be at an academic level, include evidence of research, and correctly cite all sources. This can only be achieved with careful editing, it is unlikely that your first draft will be sufficiently well crafted, and that is OK!

Here are some good questions to get you started:

What creative choices did you have to make in this assignment?

How did you choose which images to include and which to discard?

Did you have any specific influences?

To what extent do you think you fulfilled your filmmaker intention(s)?

What was the biggest technical challenge?

What did you do to overcome it?

How has this assignment developed your skills as an editor/ writer/cine/sound/director/actor etc?

In what ways might you watch and create films differently after this exploration?

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Doing a 'Reverse Engineering' task is a fun way to dig into how to create meaning in film.

This is a task which is useful for editing, cinematography, and sound.

It can be a basic starting point for acting and directing.

It is no good for screenwriting!

You may not use any of the source footage or sound for this as it all falls under copyright.

You should include the original clip for sharing, but if you use it in the Film Portfolio, this will need to be removed, so edit two final versions.

HERE is a link to the task instructions. (coming soon)

HERE are some examples from previous year groups.

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This is a work in progress - I am adding links and ideas all the time. If anything doesn't work or seems to lead to the wrong place, please let me know!

You can adapt any idea in here, or follow the instructions 'as-is'

If something is underlined - click it, it's a link!

The KEY thing is to form your FILMMAKER INTENTIONS clearly, and link them to your ROLE

Ensure you keep adequate EVIDENCE

Basically just: choose an idea and work on it for your Film Portfolio!

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Silent films are a wonderful way to focus on particular techniques.

Writers: how to tell a story with minimal dialogue
Directors: how to use mise en scene effectively
Actors: how to express complex emotions and story via body language, facial expression, and movement
Cinematographers: the importance of shot composition, close ups, and lighting
Editors: how to tell a story in the cut

HERE is a link to the task.

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The Photogénie task is always worth trying. It can be particularly useful for cinematographer, directors, and editors - although sound and script have a role!

HERE is the link to the task.

What is photogénie?

HERE is a video clip about it, and ANOTHER

This is a task about making something beautiful out of the ordinary, and it is an excellent opportunity to pay attention to lighting and composition.