WEBVTT

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I'm sorry.

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Well, Holman says to John Henry, he says, what can you do?

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I can line a truck, carry a jackpot, take care and share a boat.

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Lord, Lord, pick yourself up in the street.

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You're John Henry said to the Holman, he says, a man ain't nothing but a man.

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Hold that ding drill, beat me down, I'll die like a natural man.

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Lord, Lord, die like a natural man.

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Cut.

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Maybe you've thought of making a film.

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If so, watching us make ours may help you.

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Of course, each film has its own requirements, but you'll get an idea of the general steps you'll need to follow.

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At the end of this movie, you'll see our finished film.

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But first, here's my crew.

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This is Bill, the cameraman.

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I'd seen some still pictures Bill had taken and saw he had a good visual sense.

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I thought we could work together well putting my idea on film, so I asked him to help me.

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Debbie is the script girl.

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I knew she was good at organization.

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That's why I asked her to help.

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We discovered that she was also the best film editor in our group.

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But I should tell you how my film got started.

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Of course, the film had to start with an idea.

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One Saturday, Debbie and I took a drive and ended up on Maxwell Street.

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I was impressed and excited by the sights, the sounds, and the people of the open air market.

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It seemed like another world.

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I was especially impressed by one old blind man who played the guitar.

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People who passed by liked his music, and some of them dropped money into the paper cup pinned to his shirt.

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I started to imagine what it would be like if a young guitarist who was an outsider wandered into this world of Maxwell Street.

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How would the people react to him?

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Would they be hostile?

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Would he be nervous or embarrassed?

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Could he make money playing like the other musicians on the street?

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I decided what I thought might happen and developed a clear idea of what I wanted my film to be.

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Then I wrote a synopsis.

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It described the setting, the characters of the story,

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the clothes they wore,

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the props,

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and the action or plot of the film.

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The next step was to divide each action into parts.

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This action becomes clearer and more interesting when broken down further into a sequence of individual shots.

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A long shot,

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a close-up shot,

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a medium shot,

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a series of close-ups,

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and a return to the long shot.

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As I did this for each part of the action, I developed a shooting script.

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When the shooting script was finished, I met with my crew and with John, our actor,

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to discuss the script and make preparations to start shooting.

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Bill brought the equipment.

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We made sure we had everything needed to shoot the film.

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First, a good camera and lens.

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We used 16-millimeter equipment, but of course the procedures we followed are similar for 8-millimeter.

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Bill also got a steady tripod so the film would not turn out like this.

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And a light meter to determine the proper exposure setting so the film wouldn't be overexposed or underexposed.

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We made sure we knew how to operate the equipment and saw that it was working properly.

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We also had to estimate how much film we would need, and we decided to shoot in color.

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The next day, Bill and I went to the location.

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We looked for interesting places, and Bill checked out the lighting conditions.

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We got permission from the owner of a building to shoot from his roof.

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We wanted to be sure we could shoot the film I had written or make any necessary changes in the script before we started shooting.

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We didn't want to waste time, so we planned carefully.

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The next day, we started shooting.

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Debbie had gone through the shooting script and had grouped together all of the shots to be taken in the same setting, regardless of where they came in the script.

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For example, we shot the opening sequence at the same time as the closing sequence because they had the same setting.

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We worked as a team. Each of us was responsible for a specific part of the job.

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My main responsibility as the director was to be sure that the final film would be what I intended it to be.

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I had to know what I wanted the actors to do and communicate this to them.

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I also had to visualize how each shot would fit into the completed film, and I had to be aware of the continuity which would result from putting the different shots together.

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When I planned to cut together two shots of two people from different angles, I had to be sure they were on the same side of the screen.

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Otherwise, I'd get a jump effect I didn't want.

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And when I planned to cut together different shots of the same action, a match cut, I had to be sure that the action in the close-up was performed the same way as in the medium shot, so that the editor would be able to cut the shots together.

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I also took some extra shots I could use if I wanted to cut away from the main action.

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Bill had specific duties, too.

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The cameraman has to read the light meter, set the lens for proper exposure, and focus the lens to obtain a sharp image.

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He has to frame the subject properly and work with the director to decide the best composition for the shot.

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He also has to move the camera to follow the action.

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The cameraman is responsible for putting on film what the director visualizes in his mind.

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Debbie, as the script girl, had to keep the records of the production.

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She kept track of which scenes had been shot, how many takes we made of each shot, and which takes were good.

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She also kept a record of the positions and appearance of the actors and props, in case we needed to do any retakes.

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Finally, we took our last shot and sent the film to the laboratory for processing.

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Then it was time to start editing.

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Debbie edited the film using basic equipment which included a pair of rewinds,

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a viewer,

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a grease pencil,

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a pair of scissors,

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a splicer, and film cement.

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It is the editor's job to arrange the auto-sequence shots into the final film according to the director's specifications.

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These may differ a little from the original shooting script because of changes that occurred during shooting.

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Many times the editor uses only part of a shot.

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For example, take that match cut you saw a shoot.

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Here are the two original shots, the close-up,

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and the medium shot.

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And here are the two shots,

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match cut together.

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Finally, editing can sometimes correct mistakes made in shooting,

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and even with careful planning we made a few, like this error in screen direction.

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These two shots don't cut together well because John is going in opposite directions.

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To solve the problem, we used one of the cutaway shots in between.

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So, that's how we made the visual part of our film.

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And now, as I promised, here's the finished product.

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Hello, little girl. Where's Maxwell Street?

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Lord, Lord, pick that jail.

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Here John Henry says,

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Hold on, a man ain't nothing but a man.

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Just hold that finger and beat me down.

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I like the natural man.

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Lord, Lord, I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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I like the natural man.

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