NYCI Arts Programme

Digital Filmmaking Handbook

A tool for inspiration, exploration and imagination in youth work.

1
* Acknowledgements
This resource is published NYCI would like to specially acknowledge the time and contribution
by the Youth Arts Programme, given by the members of NYCI’s Digital Film Working Group, who
an initiative of the National worked with us to develop this resource. Their experiences and
Youth Council of Ireland (NYCI) expertise have been an invaluable source of insight and knowledge into
supported by the Arts council digital filmmaking in youth work. The working group members are:
and the Department of Children
and Youth Affairs. The Shane Crossan, Bradóg Youth Service
programme is dedicated to the Peter Kelly, FilmCircle
development and advancement Mike Kelly, Young Irish Film Makers
of youth arts in Ireland. It aims Dave Dunn, MediaForum
specifically to realise the potential Sally-Anne McFadden, Fresh Film Festival
of young people through good Phillip Cullen, The Base
quality arts practice within youth Greg O’Brien, Catholic Youth Care
organisations and to develop We would also like to thank Claire Barry for her
appropriate policies and expert facilitation of working group meetings.
activities at local, regional and
national level.
NYCI would also like to acknowledge the information and assistance
The National Youth Council contributed by
of Ireland is the representative
body for voluntary youth Marie-Claire McAleer, National Youth Council of Ireland
organisations in Ireland. NYCI Clodagh O’Brien, National Youth Council of Ireland
promotes the development of Patrick Shirley, Independent Filmmaker
services for all young people and Ian Roller, DIT, The Data Protection Office
promotes and safeguards their Carmel O’Connor, Catholic Youth Care
interests and concerns. Gaye Tanham, The Arts Council
Audrey Keane, The Arts Council
ISBN: 978-1-9002-210-06-5 NYCI’s Youth Arts Advisory Group
© National Youth Council of Ireland Bothwell & Vogel, Graphic Design Consultants
Derry Dillon, Illustrator
Author: Emmet Sheerin
Editor: Fiona Smith
Special thanks
All special effects must be undertaken in a
Finally, the NYCI Youth Arts Programme would
supervised setting and only if deemed
appropriate by a youth worker or leader. like to thank Emmet Sheerin, the author of this publication,
for his expertise and commitment in developing a fun,
informative and above all useable resource for all those wishing
to engage in filmmaking with young people.
 Contents
Digital filmmaking and
youth work practice
Using your youth work skills in a filmmaking project 5
Filmmaking in a youth work setting 5
Integrating film into youth work 6

The beginning: planning and processes for

digital filmmaking in youth work
The planning stage 9
Getting started 10
Getting your ideas on paper 13
Who does what? 15
Engaging an external filmmaker 19

The middle: your story and getting it on film

What’s the story? Developing an idea and genre 22
The shoot 28
Being on set 32
Post-production and editing 33

The end: getting your film out there

Getting your film out there 35

Practical awareness
Principles of Youth Arts Practice 39
Safety, security and legalities 40
Templates and sample documents 43
Useful links 49 These guidelin
es are intend
to encourage ed
you, inspire yo
and guide yo u
u throughout
filmmaking p yo ur
roject-use the
pages, templa
tes and tools
scribble, draw to
, invent and cr
eate

1
Introduction
For young people, the silver screen has always This publication aims to assist in the planning,
held intrigue, excitement and fascination, a place delivery and evaluation of film projects specific
to be represented and to recognise. In recent to a youth work context, rather than offering
years the world of film has become an activity a technical step-by-step guide to digital film
in which young people can participate at production. Each filmmaking project will be
all levels, from making clips on mobile phones unique, depending on the group you are engaging
to watching youth-developed animations on with, the resources available and a variety of other
www.youtube.com. With the availability of factors, which can impact on the delivery of any
inexpensive equipment and accessible editing youth work activity. This resource aims to address
software, the practice of digital filmmaking some of the specific challenges and opportunities
has also become an extremely popular activity that arise in the facilitation and management of
in the youth work environment and making digital film projects in youth work. The guidelines
movies is now an achievable activity for many are divided into three sections:
youth groups. • Digital filmmaking and Youth Work
Practice – an overview of the role digital
In response to such developments across the sector, filmmaking can play in a youth work setting
in 2009, NYCI’s Arts Programme brought together a • Planning and Processes for Digital
group of skilled experts in the area of media literacy Filmmaking in Youth Work – a step-by-step
and filmmaking in youth work. The ambition of this guide for the life of your project
working group was to assist the Arts Programme • Practical Matters for Filmmaking
in the development of a publication that would Projects – a summary of the practical issues
offer guidelines and support to youth workers associated with undertaking a filmmaking
and youth groups aiming to undertake a digital project with young people.
filmmaking project. This resource is grounded in
best approaches to youth work and youth arts There are also some fun tips and tricks for your
practice and aims to assist and encourage youth project throughout the guidelines. So whether this
workers to engage young people in filmmaking, is the first time you are engaging a youth group
as well as to facilitate raised standards of practice. in a filmmaking project, or you have a wealth of
This manual aims to be an essential resource when experience, there are always new things to learn,
undertaking any form of filmmaking in youth work; approaches to take and challenges to overcome.
it will outline the value of filmmaking in the youth This resource aims to provide youth workers,
work setting, offer support during the whole life of a youth arts practitioners and artists with practical
digital film project in a youth work context and offer support to build upon existing skills and to
guidance on practical awareness issues. employ digital filmmaking as a tool for inspiration,
exploration and imagination.

Fiona Smith

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“ An almost idea...
Original ideas do not need to be complicated or
“ Learning to swim!
Young people today have grown up with digital
difficult. All the best ideas, even the ones from technology; they know more about it than adults
Hollywood, start with a small spark; with someone and that gives them an edge. They are early adopters
looking at the world around them and saying and adapters of technologies ranging from mobile
“I wonder if..?” telephones to e-mail to instant messaging to radio
and television, within a digital revolution that is in
So here are a few questions to get you started... the process of transforming all areas of our lives.
• What do you know that the rest of us don’t?
• Is there a special legend from the local area that Youth filmmaking is a way for young people to
would make a good plot for a film? recognise the importance of the media, understand
• Is there a joke or a funny story that would make it and gain control over it. Media creation is too
a great basis for a comedy? important to be left just to adults who in most cases
• Is there an issue that would make a good subject are remote from young people, may not share their
for a drama or documentary? values and visions and yet have the media power
• What would you like your film to say? A film is
a statement about the world you live in, because
“
to control the stories that the young need to tell to
themselves. Our young people are living in a sea of
it is seen though your eyes. From comedies to technology - they really should learn how to swim!
dramas you can say anything with film, you just Mike Kelly, Young Irish Film Makers
have to be creative about how you choose to say it.
• How do you like to work? “Perhaps the best thing that young filmmakers
• Do you like to work with actors or do you prefer could do is to get hold of a camera and make
the idea of clay models or CGI worlds? a movie of any kind at all.”
• Are you a whizz with a computer or do you adore Stanley Kubrick
working with paper and pens or even lego? How
you decide to make your film might determine
your genre and your story.

Will this be the film with a special angle that the

world has never seen before? Every year at Fresh
Film Festival we cross our fingers and every
year we have been surprised and impressed at
what has been sent. So keep it up, keep making
“
films, but most of all keep imagining.
Ciarda Tobin & Gillian Fenton, Fresh Film Festival

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 Digital filmmaking &
youth work practice
tip:
See page 39 of the
Some of the most successful youth work activities are ones that meet
young people ‘where they are at’, that relate to their own everyday
experiences and pastimes and which capture their interest. Film
is undoubtedly one of the most popular aspects of youth culture
practical handbook and young people often recognise themselves and the issues and
section of the guidelines concerns they face, within this medium. The silver screen has long
for NYCI’s Principles offered young people a place to engage with artistic expression, and
of Youth Arts Practice.
new developments across technology now offer them a multitude
of other opportunities to explore, engage and contribute to this
landscape. In fact, young people are actively and passionately
creating clips, films, animations, music videos and much more using
digital technology. Creating a space for this process within the youth
arts environment offers young people the opportunity to be creative
and express their identity through a medium that is both familiar
and participative, while also being challenging and offering the
opportunity to engage with high quality meaningful artistic practice.

Before getting stuck into actually making films, it’s useful to think
about the significance of the relationship between high-quality youth
work practice and the filmmaking process. Establishing the core
values of a filmmaking project in line with best practices in youth
arts will help ensure that young people’s experiences are of the
highest standards. In creating the Digital Filmmaking Guidelines,
NYCI espouses the key principals of youth arts practice and
advocates that all groups undertaking a digital filmmaking project
employs them at the heart of their project.

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Using your youth work skills in Aims of filmmaking in a youth
a filmmaking project work setting
When aiming to engage young people in The youth work environment is an ideal place
filmmaking, employing your existing skills as to engage young people in digital film. Involving
a youth worker is vital and provides a valuable young people in filmmaking meets many of the
foundation for a filmmaking initiative. educational and developmental objectives of
youth work. It also facilitates an understanding
Your principal role is to facilitate the overall of a highly participative and artistic medium and
filmmaking process and ensure that everyone encourages young people to be innovative and
has positive and rewarding experiences. You may creative. Undertaking a digital filmmaking project
have little or no experience in filmmaking; but, with your youth arts group should:
learning through doing is a great place to begin.
Below are some thoughts to keep in mind when
Offer a structured, creative and educational
you are thinking about undertaking a digital
filmmaking project: 1 activity for young people to engage in.

Filmmaking can create a dynamic of

1 exploration and discovery among young
people. As a youth worker you can use your 2
Provide an opportunity for young people
to collaborate with youth workers and arts
specialists.
skills to enhance the developmental and
creative experiences of the participants.
Facilitate an understanding and
Familiarise yourself as much as possible 3 appreciation among young people for the

2 with the equipment and technical aspects,

but don’t be afraid to let the young people
craft of filmmaking.

Present a fun and exciting opportunity for

show you a thing or two.
4 young people to collaborate and work as
a team.
Welcome the likelihood that the group will
3 have more knowledge than you about the
Give young people the chance to explore
technicalities of filmmaking.
5 ideas and develop skills in a creative
environment.
Your own training, access to built facilities
4 and organisational support give you a great
Offer young people a path to develop a
start when initiating a filmmaking project.
6 sense of ownership and achievement
throughout a creative process.
Utilise the support in both your
5 organisation and community - the more
Encourage young people to take on
support you have around you, the more
possibilities there are for your group (e.g., 7 specific responsibilities and make
decisions.
access to props, locations, transport, etc.)
Support young people to be inspired to
8 communicate their ideas and feelings
using a creative medium.

5
 note to self
Integrating film into youth work
If you support a culture of digital documentation
and filmmaking throughout your organisation then
young people’s interest, skills and appreciation of
the craft and the potential of film should develop.

Starting with the right project, working towards

more large-scale production and progressing
from shorter projects to more ambitious ones, in
line with young people’s interests and abilities,
will encourage your group to succeed. It will
offer strong motivation for young people to stay
involved, to play a larger part in the development
of filmmaking projects and will ensure you
continue to work towards good practice and
high quality within your group. There are also a
number of projects that can be done to integrate
filmmaking with the other activities in an
organisation. The young people could, for example:

Work with a group to make a promotional

1 DVD on the work of your organisation,
which will help encourage new members
and funders.

Use filmmaking as part of the evaluation

2 process in other youth work activities, e.g.,
participant interviews or group discussions.

Make a video for a music group, band or

3 ensemble within the youth service.

Use it to record events, e.g., football games,

4 a play or the launch of an exhibition.

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Planning and processes for
digital filmmaking in youth work
When you are starting off, a digital
filmmaking project can seem daunting and
overwhelming, with big budgets required,

tip:
When planning your
huge amounts of time and masses of
expensive equipment. However, it doesn’t
have to be that way; a digital filmmaking
filmmaking project,
budget for a wrap party
project with young people can take place in
or premier. Show the
completed film - it is
just one day or last over an entire summer,
really important to using a mobile phone or the latest digital
mark the achievements
of everyone involved. video camera.
The fear of taking on a big project or working with equipment you
have not used before can discourage youth workers from engaging
young people with a filmmaking project. But like any youth work
activity, the key to making your digital filmmaking project a successful
and positive experience for young people is to plan what you can
do and how you are going to do it. Good planning will keep your
project on course and keep the young people involved, motivated
and encouraged to see the project through to the end. The learning
happens as you go along, so experiment, try new things and don’t be
afraid to make mistakes!

Just like the movies, your project should have a clear beginning,
middle and end. The following section of the guide will lead you
through the different aspects of planning and developing your
filmmaking project at the beginning, see you through the middle
with an overview of the processes involved in delivering the project,
and will encourage you to keep going at the end so that you can get
your film out there to be seen by the wider world!

The beginning: the planning stage

• planning
• consultation with the group
• starting small
• who does what
• engaging an external filmmaker.

The middle: your story and getting it on film

• story
• filming.

The end: getting your film out there

• editing
• getting your film out there.

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8
The beginning:
the planning stage
The planning or pre-production stage is
arguably the most essential element of
your filmmaking project and ultimately will
allow you to realise successful outcomes.
It will mean you will have defined what
you can and cannot achieve, how you are
going to manage your film production,
and how you will provide best practice
youth arts activity and high quality artistic
engagement.

The more time you spend on planning, the

more successful your project will be. Think
about what you want the film to show or
say and how you might gather the footage
to do this. Decide on the different ways
you will capture the story of your project –
through interviews, filming activities, pieces
to camera...or just about as far as your
imagination can take you!

People tend to give most thought to the

filming and production stage of a project
like this, but it is true that the more time you
spend on planning, the better not just your
finished film will be, but the whole experience
for the young people involved.

9
Getting started Discuss the group’s hopes and Start small
aspirations for the project;
It’s important for the youth worker establish what is achievable and Particularly when working with
and the group to be clear about reflect on what can be realised groups with little or no filmmaking
the aims and expectations for the with the resources available. experience, it’s important to start
project. There are a number of Different groups have different off small. The more achievable a
factors to consider when thinking needs so it is essential to be project, the more likely it is that it
about what you can achieve in a familiar with the participants and will be a success.
project. These are: their reasons for engaging in the
• The size of the ‘core’ group project. It is important to be as Think quality over quantity. Once
you can’t be too ambitious if clear and structured as possible the group have completed some
you only have 10 members from the start of the project, as the basic projects and have developed
• previous filmmaking experience voluntary nature of youth work new skills and knowledge, you
even the most modest means that young people are free can then progress on to more
experience of filmmaking to drop in and out of projects. ambitious projects. You should
equipment can really help The more familiar you are with a be realistic with the group from
• access to resources such group the easier it will be to plan the start; you won’t be making
as finances and equipment and deliver a successful project. a feature film any time soon, so
have a very good idea of your Stephen Spielberg can relax...for
When getting to know the group the moment!
budget before you start and the you are working with rely on your
equipment you already have own expertise as a youth worker
and what you need to get and aim to engage with the group One-session projects
• time-frame of the project in the same way you would during
be very clear on the time limit any youth work project. Use
and beyond
of the project and what you can warm-ups, ice breakers, fun and
achieve in this amount of time Filmmaking can be a very
play to help the group connect and
• group’s expectations time-consuming process. This
to establish what they are looking
what do the group want to can be quite challenging on
for from the project.
achieve from the project? young people’s attention span,
• youth worker’s expectations especially during the first few
what are your own expectations projects the group attempts.
for the outcome of the project?
Projects that can be finished
in one day or in a three-hour
Conversation and session are useful for building
interest and developing
consultation sustainability. It gives young
people the opportunity to see
Before beginning the material what is involved in making a
process of making a film you film, offers them the necessary
should spend time consulting skills to realise concepts, and
with the group you are working more importantly it allows them
with. Explore the story of your see results sooner than they
project with a clear structure. would in longer projects. From
this, more ambitious projects
can be developed gradually.

10
Get warmed up!
Like any youth work project, it
It can also be useful for indicating
how unwieldy or out of control
a story can get without a proper
tip:
is very important to spend time structure, which is important Doing warm-ups
when it comes to deciding on a before each session
creating a safe space in which is a useful way of
the young people involved can genre, a story and scriptwriting.
keeping participants
feel comfortable to take on roles Have the group sit in a circle. focused and energised
and try things they may not have throughout the project.
Invite someone to stand in the
engaged in before. Below are some middle of the circle and begin
examples of excellent warm-ups telling a story. The story can be
that can lead nicely into aspects of about anything they want, but
the filmmaking process. they cannot sit down and must
continue to tell the story until
Story Circle another person takes their place.
This is a simple exercise for
encouraging people to use their The person who takes their place
imaginations and have fun. must stand in the middle and
continue the story. The story
shouldn’t be brought to an end
until everyone in the group has
inputted into it.

11
note to
self
Freeze Frame A good example might be to
This warm-up is useful for instruct one young person to
getting a group to think be a shopkeeper and the other
visually and to understand how a customer. The customer
emotions and intentions can be purchases something from the
communicated through body shop, but is convinced that the
language. shopkeeper has given them the
wrong change. The shopkeeper
Ask two volunteers from the is convinced that he/she has not
group to walk towards each wrong-changed the customer.
other from opposite ends of the Neither of them is willing to admit
room. Once they are near each being wrong. They must keep
other, clap your hands. The two going until you tell them to stop.
people then make a movement
Finish up by inviting the group
with their bodies and hold their
to share their thoughts on
positions. Their movement can
how they felt they handled the
be big or subtle, it doesn’t matter.
exercise, the difficulties they
The important thing is that they
had improvising their characters
freeze their movement and do not
and also what they noticed in
make any sound.
other people’s improvisations.
You then invite the rest of the In a filmmaking project you
group to suggest what they think could also ask the group how the
is going on in the scene, based scene might work well on film.
on their interpretation of the two

tip:
frozen movements. Encourage
the group to openly discuss their
interpretations of the scene.

Scene Improvisation Get participants

This warm-up is good for getting to ‘pitch’ their
people thinking about how we act ideas to the group.
Break into pairs or
or behave in real-life scenarios
small groups and
and what that can offer to a film set them the task
project. This exercise can also of developing an
energise a group because they idea. Make a ‘pitch’,
need to think on their feet when i.e. a two-minute
improvising. presentation on
their idea, then
Split the group into pairs. Explain vote, in secret, for
their favourite idea.
a scenario that is to be improvised
by each of the pairs. The scenario
can be comic, confrontational,
emotional, or fit in with the type
of ideas the participants have
about the overall project. Each
pair will act out their improvised
scenes in front of the group.

12
Getting your ideas on paper
Following on from the consultation process you should begin to establish
a plan for your filmmaking project. The plan should consist of an
overview of the entire project, including a time-frame and budget, which
can then be built upon as the day-to-day activities start to take shape.

Time frame Potential project Process Realistic outcome

A once-off Brainstorm a story. Using Input the photos on a computer A basic introduction to many
two hour a camera, create a photo slideshow. Add music and titles. aspects of filmmaking. Satisfaction
workshop slideshow of the story. of seeing a finished product.

Half-day Rough but finished piece with Everyone given the chance to Each participant gets the
workshop ten lines of dialogue. direct, operate the camera and opportunity to experience various
act in the piece. aspects of the process.

Full-day This could be an opportunity Participants can have fun using Fun short pieces which the
workshop to focus on alternative forms and exploring media as an art participants should have full
of media, other than feature form without getting bogged ownership over.
films. Participants could down in a storyline.
make a short news report,
documentary, promotional
video, or simple music video.

Two-day Use a story creation template Try to strike the right balance A basic short film. The
workshop to make a very simple story between time given to creating participants should have a deeper
and film it. a story, planning the shoot, the understanding about the craft
actual hands-on filming and and process of filmmaking and
the editing. have developed their skills and
confidence.

Week-long Make a short film. Participants have the time to A short film that participants
camp write, direct and make their have ownership over. A successful
own short film. The emphasis project of this scale could develop
should be on keeping everything a keen and long-term interest in
simple, very visual, with limited filmmaking among participants.
dialogue.

Ongoing Depending on time, ambition Take the time to find particular There will be continuous
weekly and resources, ongoing weekly aspects of the filmmaking outcomes if the sessions are
sessions sessions mean you can do any process that interest your ongoing. The important thing is
of the above or any variation participants. Take the time to go that both you and the participants
of the above. Be creative! into detail in these areas. are always learning and
encouraging each other.

Activity Dates Team Equipment needed Time needed Notes

Creating the January 1st The whole group, Flip chart, markers, Approximately Make a decision
story youth worker, storyboards, ideas! 2 hours about who will write
filmmaker. the story.

Outdoor January 16th Actors, technical crew, Camera, tripod, Approximately Get permission to use
filming director, writers, youth microphone. 4 hours space outside a local
worker, filmmaker. shopping centre.

Editing February 12th, Location supervisor, Computer, editing Approximately Book computer room
13th & 14th director, editors, youth software, recorded film. 8 hours in youth club.
worker, filmmaker.

13
Creating a schedule of what As a group, spend time creating This can then be developed
will take place at each stage of a checklist or overview for all into a more structured plan
production will offer a valuable aspects of the project and roughly for each stage of the project
opportunity to see if what the outline what needs to be done for and can be added to as the
group is aiming towards can that aspect of filming. This can be project changes and progresses.
be achieved. The young people done on large sheets, with lots of Below is a useful template for
should get involved in preparing colour, sketches and ideas. It will planning and scheduling your
the plan, deciding how and help the group establish all the filmmaking project, step-by-step.
when each stage of the project different factors that are involved For your own project, use the
will happen and what each when making a film, many of blank planning templates in the
participant is responsible for. which can be over looked until practical awareness section of
the day of filming. the guide.

14
Who does what? Both the youth worker and the Young people
young people involved in the
As part of the planning process it project have specific skills, roles Participants should experience
is vital to establish the different and abilities. You should be as as much of the filmmaking
roles for each member of the clear as possible with the young process as possible. As the young
group. Each project you do will people from the start as to what people develop their skills and
be different and will require is expected of them and what you interests, individuals might seek
different roles and functions to be are going to contribute. particular roles for the current
filled. Bigger and more ambitious and subsequent projects. To start
projects are likely to require more Youth worker off, however, give everyone a
roles to be filled and mean more chance to experience the different
people will need to be involved. The youth worker’s role should be aspects of filmmaking.
the most explicit role throughout • At the beginning of the project,
The size of your group and the the length of the project. While the rotate responsibilities, giving
participants’ skills and interests project should be young person everybody a chance to use the
will help determine who does centred, it should be clearly and camera, record the sound, direct
what. The most important evidently overseen by a youth a scene, or develop a story idea.
thing to ensure is that there are worker. The youth worker might The more ‘hands-on’ the better.
access points for everyone in the be considered the ‘producer’ of • More ambitious projects
group to actively participate in the project as they have overall might require designated roles
the project. This means giving responsibility for its execution. throughout the process to
each participant the opportunity ensure continuity.
to be involved in a particular Key aspects of the youth worker’s
• It is important to find ‘access
aspect of the project. Remember, role includes:
points’ for everyone to actively
not everyone will want to be • motivating the group and
participate in the project. There
in front of a camera or have a creating access points for all
are many roles required to make
technical role, so you might need members of the group
a film project succeed and it is
to consider some other roles or • employing best practice youth
important to make the group
functions that participants can work principles
feel that each person’s position
take up. • managing and executing good
is as essential to the success of
time-management
the project as the next.
• supervising good safety practices
• Make allowances to ensure that
• managing resources and
the project can continue if any of
sourcing equipment
the group decide to leave.
• overseeing and encouraging the
creative process
• working closely with the film
specialist (if engaging external
expertise) throughout the project.
tip:
Rrrrrroll your Rs, mon
amie! Accents can be
fun and add lots of
humour and interest to
your film. Check out the
Internet for some great
ideas about how best to
deliver different accents.

15
 Roles and
responsibilities
during the project

Depending on the size of your

project, there are a number of
roles that will need to be filled.
Each role is significant. While
many people often believe that
the director and actors have the
most important roles, this is not
the case. Without the location
supervisor there would be
nowhere to shoot the film and
without the publicity team no one
would see the film!

It is important to demonstrate
to the group the significance of
each role and its relationship with
all the other roles. Often, young
people will be drawn to particular
roles, but other times it will
require the youth worker to assign
responsibilities to the group.

The important thing is that each

young person has the opportunity
to participate in the production in
a meaningful way. Often positions
can function better when
performed by small teams of two
or three.

16
Depending on the scale of • Researcher/s The director is responsible
production, possible roles and The researcher is particularly for working with the writer to
responsibilities might include: important when making a creatively interpret the story and
documentary film. Their role is then to communicate that to the
• Producer/s to research all the things that rest of the crew.
The producer’s role is to oversee are necessary for the production.
the entire process, access • Camera Operator/s
These things might include:
resources and ensure that the The camera person’s job is to
checking the facts of a story and
project is running according to operate the camera and record
liaising with interviewees.
plan. Ideally the producer should the scene under the guidance of
be the youth worker/leader in • Storyboard Artist/s the director.
charge of the group as they The storyboard artist’s job is to • Sound supervisor/s
must ensure that best youth draw up the storyboards under The sound team ensure that the
work practice is implemented the guidance of the director sound levels are correct and that
throughout the process. and writer. the dialogue is audible when
• Writer/writing team • Production Manager/s being recorded.
The writer develops and shapes The production manager’s role • Lighting Operator/s
the story, creating scenes and is to plan and timetable the The lighting person’s job is to
dialogue between characters. For production, to communicate create the desired look of the
a documentary, they will write with all the different teams and film by placing and focusing
the voice over or commentary. to get all the required groups lights in particular places. They
together when necessary. work closely with the director
and the camera operator.
• Director/directing team
The director guides the creative • Actor/s

tip:
aspects of the production. It is The actor’s job is to learn the
the director’s responsibility to dialogue of their particular
work with both the actors and character and act out the scenes
the technical crew to realise the in front of camera. They work
Tripods are great for style and look of the film. closely with the director to
creating perfectly steady rehearse their performances
shots, eliminating camera and actions for each scene.
shake and are useful for
filming longer interviews.

17
sound
effect:
Spend a day getting your group
to become Foley artists for your
film. Foley artists are those guys
who use coconuts to create the
• Interviewer/Presenter/
Narrator/s
The interviewer’s role is
tip:
It’s really important that
to pose questions to those
sound of horses galloping across being interviewed as part of a you photograph everything
cobblestones! whilst filming; they are
documentary. The interviewer
invaluable for promoting,
There is a lot of fun to be had can also perform as the documenting and
in creating sound effects using presenter of a documentary, or evaluating your project.
everyday items. Record your be the voice over or narrator.
attempts onto a computer and
• Editor/s • Location Scout
use them later when editing.
The editor’s role is to arrange The locations scout’s job is to
the recorded footage and sound find the ideal locations to shoot
into a final product, working each particular scene in the film.
with the director. The editor
uses computer software to • Prop Manager/s
edit the recorded material and The prop manager’s job is to
to add any necessary effects, source or make any necessary
graphics or text to the film. props that are to be used by the
actors in the film.
• Special Effects Supervisor/s
The special effects supervisor’s • Costume Designer/s
job is to create any necessary The costume designer’s job is to
special effects, which are source or make any particular
required in a scene. For example, costumes required to be worn
rain, fake blood. by the actors in the film.
• Stills Photographer/s • DVD Cover Designer/s
The stills photographer’s job If the group is distributing the
is to document the production film on a DVD, the cover artists
process using photography. can design the artwork for the
The photographs can be used
dissemination of the DVD.
for promoting the film or as a
record of the project. • Publicity/Promotions Team
The publicity and promotions
• ‘Behind the Scenes’ Camera
team are responsible for
If you have a spare video camera,
‘getting the film out there’. They
one of the participants can create
might plan a premier for the
a behind the scenes ‘making
local community, enter a youth
of’ video. This is great to show
current and potential funders. film festival, upload the film
onto www.youtube.com, make
• Music Supervisor/Composer posters to promote the film or
(see practical awareness develop a press release for local
for copyright issues) media.
The music supervisor’s job is to
source music for the film. They
might even compose (or find
someone to compose) a specific
piece of music for the film.

18
Engaging an • Clarify expectations for the Recruitment of an external
project as early as possible. Filmmaker
external filmmaker The filmmaker might have When engaging a professional
particular expectations as to filmmaker, getting the right person
Making a film with young people what can be achieved which for the job is vital. While a filmmaker
is an accessible, achievable might not meet those of the may have excellent experience in
and valuable project and it is youth worker or the young their field, this does not always
important for youth workers people involved. Be sure to have mean they have the necessary skills
to build the confidence and agreement between all parties to engage young people in film.
abilities to deliver film projects as to what can be achieved • Before contracting a filmmaker,
independently with groups. during the project. enquire about their previous
• The filmmaker might not be experience of delivering similar
However, there are certain times
as familiar with youth work projects with young people.
when you might contract an
methodologies as you are. It’s • Ensure that the filmmaker is
external filmmaker to deliver a
important that you are present properly Garda vetted in line
project with your youth group.
at all times. The youth work with your organisation’s child
Filmmakers with experience of
organisation will have overall protection policy.
engaging young people in film can
responsibility for the positive • See the practical awareness
bring significant expertise and
and safe delivery of the project. section of the handbook for
an innovative, dynamic aspect to
• Managing the behaviour of the information about contracts and
projects. Through their specialist
group should be a responsibility insurance when working with
knowledge and experience,
of the youth worker and not the external filmmakers.
filmmakers can offer young
filmmaker. • You will find a sample contract
people a high quality creative
• Include the filmmaker in any on our website www.youtharts.ie
and artistic process throughout
evaluation processes. After each
the filmmaking project. The
session take a few minutes to Ownership of final film work
processes and outcomes should
sit down together and also with • If a youth work organisation
be a collaboration between artistic
the group to discuss how you contracts a filmmaker to deliver a
practice and youth work practice
both felt the session went and project, ownership of the footage
and between the practitioners,
any issues that arose. and finished piece then rests
youth workers and young people.
• It is advisable to draft an with the organisation. Ensure
When working with an external agreement of undertaking that there is agreement about
filmmaker, there are a number of between the youth worker/ ownership before the project
points to consider: organisation and the filmmaker. begins. This should be included
• Include the filmmaker in It should clearly state areas in the contract between the
any planning meetings and of rights and responsibilities organisation and the filmmaker.
consultations with the young assigned to each party. This • If a filmmaker is using their own
people, right from the start of can form part of the contract equipment you should discuss
the project. The more familiar between the filmmaker and the with them a process for deleting
the filmmaker, the youth youth work organisation. or returning all recorded footage
worker and the group are with to the youth work organisation
each other and the aims of the once the project is complete. The
project, the more successful youth work organisation should
both the process and the have overall responsibility for
outcome will be. the appropriate handling of all
recorded material.

19
20
The middle:
your story and
getting it on film

There is a world of opportunity out there

for digital filmmaking projects with young
people. Often young people are inspired by
films they have seen, or through which they
are represented or can identify issues from
their own lives and as a result are attracted
to certain genres.

This is a great place to start and each of

these genres can be fun to explore with
your group. Of course, film is an audio-
visual medium, so the participants should
try to create their film using strong imagery,
dialogues, sounds, music and expression.

21
Like many things it’s actually What’s the story?- Scripting
more about giving the audience More than one participant
the right audio and visual clues developing an idea might want to be involved in
and their imagination fills in
the rest. Visualise and outline
and genre the scriptwriting, so you might
consider doing a scriptwriting
your film from the start-decide workshop based on the overall
Regardless of the size or style
how you want the final film to idea chosen for the film. Be sure
of a project, the idea is the most
look. Think about the structure that this process is manageable;
important element. It is the
of your film. What will be the with many people inputting into
basis for any story you want
beginning, middle and end? a script, it can easily begin to
to communicate in a film. It’s
make little sense. A basic script
This will give you a basic therefore important to think about
should contain all the dialogue
guideline for developing your ways of generating ideas among
that will be contained in the film,
story, shooting your scenes and the group. Using ideas that come
including any narration, and the
editing your work. Your digital from the participants themselves
actions of the characters, which
filmmaking project should will give them a real sense of
are broken down into a number
be all about imagination and ownership over a project.
of scenes.
experimentation-within your
Encourage the young people to
story, on set and when getting When beginning filmmaking
get inspiration from their own
your film out there. The process with a youth group, make films
lives, communities and interests.
is just as important as the final with limited amounts of dialogue.
Remember, even the most basic
outcome, so remember to have This will make the process easier
ideas can develop into really
lots of fun along the way. when shooting and will take
creative ones. You might consider
pressure off those who are acting.
The following section offers you setting the young people certain
It will also assist in focusing
some advice, guidelines and tips criteria around the concept,
attention on the visual aspect of
and tricks for developing your which would help match the
filmmaking and how images are
story, planning for shooting and experience of the group with the
used to tell stories. Learning and
getting the group’s ideas down time available. This can also help
understanding the impact of the
on celluloid! focus the participants. You could
visual language of filmmaking is
agree a specific theme, or give
a fantastic experience for young
them an object, colour or word to
people and a valuable tool to have
brainstorm ideas around.
for any future creative projects.

tip:
Make a simple clapperboard-chalk up
each ‘take’ on a piece of cardboard. At the
start of each scene hold it in front of the
camera. Having the ‘take number’ (T1/T2/
T3) and scene number recorded is very
helpful when editing.

22
 When thinking about an idea
the group could consider:
• the purpose of making the film
• the intended audience of the film
• the themes or issues they want
to communicate
• their filmmaking experience
• resources and time available.

Storyboarding
This is the process of using
still images to visually tell the
When developing storyboards, it
is also important to be aware of
the common shots which most
my ideas!
story of a film, shot by shot, in filmmakers employ. It is useful
a style somewhat like a comic to familiarize yourself with
book. In doing this, the group them and a helpful guide when
can begin to think in terms of working on a new project.
shot sizes, camera moves and
framing. Storyboards help when When creating the storyboard,
it comes to actually shooting the visualise your film using the
film, saving you time and energy different shots. Varying the
because you’ve already planned camera shots can help convey
and sequenced the entire film. different feelings and emotions
and atmosphere.
Your storyboard should
detail some of the following
information:
• What characters are in the shot
and how are they moving?
• What are their actions?
• What are they saying to each
other?
• How will the camera move, e.g.,
tilt up/down or pan right/left?
• How you will use lighting in
the scene?

You do not need to have detailed,

expert storyboards, simple
figures in black and white
work best, as storyboards are a
planning tool and should be as
easily understood as possible.
Use the film storyboard included,
it illustrates how a scene in a
film could be broken down into
six shots. This storyboard is a
good example of the amount of
information and detail you need
to use when shooting a film.
tip:
If your group are not
confident about creating
their storyboards or
drawing up their scenes,
use a camera to take
photos of the proposed
shots and arrange them
as your storyboard.

23
 1. Char
acter
2. Norm
Litter ality
3. Obst
Warden Tries to acle
A short story ensure Town b
nobody a desig ecomes
dump f nated
Creating a story doesn’t have to litters
the sur or all
take too long. If you have limited
time, you can use a simple and
interactive exercise to help you 4. Actio towns brounding
develop a basic story with your n counci y the
5. Conc l
group. Try to keep the dialogue Gets f lusion
rie
limited and think visually. You and fam nds Fights
shouldn’t spend too much time togethe ily ‘the man
r ’
developing vast and complicated
set up to gets the to,
fu w
traps to nny cleaned up n
plots, characters and storylines.

the cou stop and goes

The key is to come up with a
simple visual story with limited n o
dialogue. The template on dumpin cil thn to win
e
the right illustrates two short the tow g in tidy annual
n to
stories that you can use as a compe wns
tition
guide for this exercise. Put up
five blank pages, one with each
heading as illustrated. Follow the
suggestions under each heading
to begin to build your story and
create the concept.

Character
The group might identify them
by their job, whether they are a
cle
sister, a best friend, or a vampire.
y 3. Obsta
alit
They could be an aspiring
2. Norm l
footballer or dancer, doing their
Character The gir him
1. h
junior cert or attending their
Has a c
rus ignores
first disco. What quirks could e boy on a gi
rl
characters have to make them Teenag
more interesting? Could they
have a twitch, walk with a limp,
always be sneezing, etc?
. Conclusion
Normality n 5
4. Actio in
What does this character do on a
G irl falls boy,
normal day-to-day basis? What is funny e with
their routine, their daily activities. Makeeslaborate lov y becomes
and mpts bo boy
atte et her va mpire, live
to g ntion and and girl
atte le getting ampirely
whi now her v after!
to k s out that ever
find is secretly
she mpire
a va

24
 Characters
Obstacle The advantage of the template
Something that happens that on the next page is that in a
disrupts the normal day-to- couple of minutes the group can
day activity of the character. have the beginnings of a story
Obstacles can take the form of and be ready to start some basic
a different character, an event filming. It also gives your film a
or an unusual occurrence-be as clear outline, as each section of
imaginative as you can be, have the story can equate to a scene.
fun and get creative. Scene 1-character, scene 2-state
of normality, scene 3-obstacle,
Action scene 4-action and scene
What action does the character 5-conclusion.
take to overcome the obstacle?
Can they overcome the obstacle? Your story is what makes your
film exciting, interesting and
Conclusion engaging. Spend lots of time
What happens when the having fun and being creative
character takes that action? Do about what kinds of stories your
they find their way back to their young people want to tell. You
state of normality? Do they find could engage a writer to work
a new state of normality? Are with your group or a visual
they different then at the start of artist who might help them
the film? create storyboards that are an
artwork in themselves, when a
big budget film is not possible.
When developing the story also
spend some time thinking about
the spaces where it will take
place, the sights and sounds that
happen around the characters-
be bright, bold and loud, have fun
and let the group’s imagination
be the only prerequisite.

25
Storyboard

c e n e :
s
:
scene
:
scene

:
scene
scene :
scene :

scene :
26 scene :
scene :
Documentary Filmmaking Try this...portrait of an artist
In a youth work context, The arts can be a very interesting
documentary filmmaking is a and accessible subject to
great way of exploring certain document. Identify an artist
issues that affect the lives in your community who you
of young people and their could approach to do a short
communities. Young people can documentary on.
find a voice through documentary
filmmaking and work together Record a simple interview, asking
to create films on subjects that them about:
• what made them become an Use regular old make-up for
interest them. creating cuts and wounds.
artist
Five tips for documentary • the things that inspire their Draw an outline of the wound,
filmmaking in youth work: creativity pencil in the lines with brown
• Watch documentary films: the • their artistic influences eyeliner. Fill in the centre with
Internet is full of creative and • their ambitions as an artist. a reddy-brown lipstick and
inspiring documentaries made cover with finishing powder.
by young people across the You could also record footage Add bruising to the sides of the
world. Watching these will help of them at work/rehearsing/ wound with yellow and purple
your group understand how a performing and record images/ eye shadows. To achieve a fresh
film is shot and arranged. sounds of any work they ‘just-wounded’ look, apply a
• Choose a subject that is have completed. Make sure to thin layer of Vaseline over the
interesting and accessible: document the environment in top. www.youtube.com and
there is no point in making which they work – a studio for www.ehow.com also have tons
a film on a subject that the example. All this footage can of great special effects make-up
participants aren’t interested be edited with the interview to tutorials.
in, or which is too difficult. The make a simple and interesting
documentary. A pretty great fake
process could soon become blood recipe
tedious and boring to them.
• Do your research: research your 2/3 of a cup of corn syrup
subject as much as you can. If 1/3 of a cup of warm water
you are interviewing someone, 5 tblsp of corn starch
you’ll need to have the 4 teaspoons of red food colouring
questions prepared in advance. 1 tblsp of powdered cocoa or
• Truth and creativity: your dark hot chocolate
documentary should try to 2 drops of green or yellow food
capture reality as truthfully as colouring
possible. It’s therefore important
to treat your subject matter with Mix the corn starch with the
respect and honesty. However, water in a large mixing bowl. Stir
you can still be imaginative in the corn syrup. Add the food
when making a documentary colouring slowly, checking to get
through the creative treatment the most realistic colour you can.
of the subject matter.

27
The shoot Equipment The type of equipment you will
It’s often the technical aspects need will vary from project to
While this handbook is not a step- of filmmaking that can cause project; sometimes you won’t
by-step technical guide, below problems for youth workers need anything more than young
are some broad ideas to keep and groups, particularly due people and lots of mobile phones.
your project on track during the to inexperience or lack of However, sometimes your project
production stages. confidence using technical and will require a little more and
expensive equipment. As a youth below are some suggestions to
When starting to think about worker you already have all the help you get started.
shooting the film ask the group to most important skills necessary
pick a movie they love and watch to engage young people in As with most youth work
it with the sound down; look filmmaking projects and you projects, look to your community
closely at the camera angles, the will learn the technical aspects to see if you can borrow
editing and the lighting. Watch through practice. However, there equipment or use local facilities.
some short films on the Internet are some basic things you can A typical short film equipment
and see how an effective story can do to help ensure the project is a checklist is likely to include
be told in five minutes. Look at success: most of the things below, but not
old movies and see how exciting having all of this equipment does
a film can be without expensive First, read the instruction not mean you cannot undertake
special effects. Go see a play and manual! It sounds obvious but a filmmaking project, just work
understand how to create whole lots of people don’t do this. It will with what you do have. Create a
worlds through backdrops and make life a lot easier for you if checklist for yourself and try to
sounds. You might not be able you read the manual and take get your hands on some of the
to match the production value of some time for both you and the following:
some of the things you see-and group to practice with all the • digital camcorder
you don’t need to, anyway. Often equipment you will be using • tripod
times the craft of good filmmaking before getting down to shooting • dolly
doesn’t cost much money, just your film. Shoot something small; • monitor
watch lots of different types of try undertaking a quick edit and • mains adaptor and power
films, from big budget to indie, and exporting the piece to DVD, or cables
be creative about how to achieve uploading it to the Internet. If you • instruction manuals
some of the features of the ones are familiar with the equipment • lights, spare bulbs, coloured
the group likes. then you’ll be more confident gels & reflectors
and capable when it comes to • tapes
working on the final piece. • rifle microphone, clip
microphone, microphone
batteries, headphones,
microphone stands and
microphone leads
• boom pole and wind shields
(for filming outside)
• extension leads, screwdrivers,
fuses and gaffer tape.

A glossary of equipment terms

can be found at www.filmbase.ie

28
film
Digital Video Cameras recording medium.
Remember, you don’t need
expensive professional Sound
equipment to make a film. The importance of good sound

effect:
A basic digital video camera quality is often overlooked when
should do the job for much of taking on a filmmaking project
your filmmaking needs. Very of any type or size. However,
good digital video cameras are it is very important. It can be
The wall run becoming increasingly available disappointing and frustrating for
If your group needs to add a at affordable prices and most the group when dialogue can’t be
little action to their movie, of these cameras are very user heard properly in a finished film.
this is a great effect that is friendly, which is a very good Remember, you’re likely to be
easily done. thing for amateur and beginner shooting in noisy environments.
filmmakers! If you are unfamiliar Some things to think about
All you need for this is a wall to with the different types of
in order to get the best sound
run on and a chair. cameras, try to do as much
quality for your film:
research before you buy, borrow
Set up your shot by showing • if you have a boom microphone
or rent one.
two characters facing each make sure it’s pointing where
other. Then, have one character The speed of technical the sound is coming from.
run towards the wall and try to development in this area • if you’re using a microphone
means that there are always which is built into the camera,
leap onto it feet first. Obviously,
new recording formats and be aware it’s going to be
the character isn’t going to
specifications, which can seem difficult to pick up sound from
be able to actually run up the
confusing. However, spend some a person far away, so work with
wall and they’ll probably just
time on the Internet getting lots of close-up scenes when
hit the wall with their feet and reviews, talk to other youth
slide back down to the ground. you need to use dialogue and
groups that have undertaken
But that is what you want; you make sure the subject is as
similar projects and speak to
will cut and paste a few parts close to the camera as possible.
the sales people in specialised
together later. • check the sound level during
retail outlets who should be
recording-wear the headphones
able to match your needs with
Next, place a chair next to the an appropriate and affordable and make sure it is clear and at
wall and have the character camera. a level that is easy to hear.
lie on it sideways with feet • avoid shooting in busy areas or
touching the wall. Film the Recording mediums near traffic if possible.
characters feet and legs as they Recording medium refers to how
‘run’ across the wall. Finally, the camera saves the recorded
film the character coming off footage. Most cameras record
the wall and turning back to footage onto either tape, DVD,
face the other character...for or the camera’s own hard drive.
Each has its advantages and
the big fight...or the big kiss or
disadvantages. Make sure to
whatever! Edit these three clips
do some research into which
together and it should look
would suit your needs best. A
very realistic. disadvantage to using a DVD or
Practice it a couple of times and mini DVD camcorder is that it is
difficult if you want to edit your
check out www.youtube.com
footage as most editing software
for a few examples.
doesn’t properly support this
Safety note: please perform this
effect under the supervision of
an adult.
29
Lighting Shots • Pan: a steady, sweeping
Unfortunately, it’s not likely that When you first embark on your movement from one point in a
you’ll have the quality of lights digital filmmaking project, spend scene to another
you see on professional film sets some time with the equipment • Point of view shot (POV): a shot
so use what you have at your and allow the young people which is understood to be seen
disposal to create as close to the involved to get comfortable from the point of view of a
desired lighting effect as you can; with the technical side of the character within the scene
you can also work on this again equipment that they are using. • Reaction shot: 1. A shot of
when editing your piece: Have fun playing around and someone looking off screen
• Natural light is best, but if trying lots of different things, but 2. A reaction shot can also
you’re shooting indoors with when it comes to making your be a shot of someone in a
little or no natural light, use film, choose a few concepts your conversation where they are
artificial lights, spots are best. group especially likes and stick not given a line of dialogue but
• Play around with the lighting with those. Below are some shots are just listening to the other
set up to get the desired look you might try and have a go at: person speak
for the scene. Lighting can
• Close-up shot: a close range of • Tilt: using a camera on a tripod,
be quite atmospheric but be
distance between the camera the camera moves up or down
careful when working with
and the subject to follow the action
electricity!
• High camera angle: a camera • Zoom: use of the camera
• Avoid shooting your subject if
angle which looks down on its lens to move closely towards
they are directly in front of a
subject making it look small the subject. However, avoid
strong light source. This causes
• Level camera angle: a camera over-using camera zoom-the
the face of your subject to be
cast in shadow. angle which is even with the audience quickly gets tired of
• Get familiar with the ‘white subject; it may be used as a too much zooming!
balance’ function on your neutral shot • Dissolve: a transition between
camera. Incorrect white balance • Long shot: a long range of two shots, where one shot
can cast images in blue or distance between the camera fades away and simultaneously
orange tones, which you want and the subject, often providing another shot fades in
to avoid. To find out a bit more a broader range of the setting • Fade: a transition from a shot
about white balance read the • Low camera angle: a camera to black where the image
camera’s instruction manual angle which looks up at its gradually becomes darker is a
or check out what is on the subject fade out, or from black where
Internet about it. the image gradually becomes
• When you’re filming outside, brighter is a fade in.
it is best to avoid having your

tip:
performers stand in direct
sunlight. It creates burnt-
out ‘high spots’, casts strong
shadows and makes people
squint. Instead, place your Ensure that everybody
performer where the light is receives appropriate
more evenly distributed and use acknowledgment for their
reflected or overcast light which participation. Include anyone
who provided a location or
is uniform and shadowless.
in-kind support to the project
• In general, dark or deeper and funders names & logos
coloured backgrounds make if the project was funded
faces stand out more. from an external grant.

30
31
 visual
effect:
Being on set Shooting on location Breaking glass always adds
Getting out and about to shoot intrigue and excitement. If you
The fun bit! Being on set is your film can be exciting and don’t want every glass in the
exciting, fun and full of action offer lots of interest to your final youth club in pieces, try using
but it takes some planning to get piece. Develop a plan for where sugar glass as an alternative
the best out of the time you do and when you want to shoot. and still get the exciting smash
have available. Spending a bit of and shatter without the bill.
When shooting in any location
time preparing for being on set there are a number of things the You will need:
will mean the whole group will youth worker should consider: • an old saucepan
get much more out of the whole • permission to shoot there • an oven
experience: • the correct insurance cover • a baking thermometer (found
• create a schedule for each day • the safety of the participants at your local supermarket)
of shooting, a call sheet for each and others • 2 measures of water (cup,
shoot and a checklist for all the • people’s rights to privacy. litre, gallon, depending on
things you are going to need. what you need)
• rehearse the scenes before you Storing your footage • 1 measure of golden syrup
shoot them. At the end of each day of • 3 and a half measures of
• before each shoot test your shooting, it is really important sugar
equipment to make sure it’s that someone takes responsibility • a mould made of rubber or a
working properly. Make sure for all the footage from the ceramic material. Do not use
the battery is charged. day. Download your material a glass mould.
• shoot all your outdoor scenes as soon as you can and store it
first. So, if it does happen to rain safely on a computer. If you are Mix the water, golden syrup
you can go and shoot an indoor using tapes, label them as you and sugar together in the
scene or do some editing. finish everyday and keep them saucepan and bring it to a
• think about the props and somewhere safe. boil. Leave it boiling until the
costumes you are going to need mixture is thick, with almost all
before the day of filming-have the water boiled off. Do not let
everything ready to go to avoid the sugar caramelise otherwise
delays and the group getting it turns brown and gloopy and
frustrated. you won’t be able to use it. Pour
it into the mould and let it cool.
When you’re on set it is
important to remember that Keep it out of moist areas and
absolutely everyone makes direct sun. Sugar glass doesn’t
mistakes when filmmaking, even last long (warps or goes sticky)
the most seasoned professional. so make it close to the time
It’s often the most basic mistakes when you plan to use it. If
which can cause the worst you need the glass to be see-
headaches so be aware of: through use liquid glucose
• poor lighting instead of the golden syrup.
• poor sound quality
• out of focus images Though only sugar, the ‘glass’
• shaky camera can have sharp edges/points
• running out of battery when broken, so be careful
• running out of video tape. when handling.

32
Postproduction and Paper edit
If the film is up to ten minutes
editing long you can do a ‘paper edit’
with the larger group.
Editing is the place where the final
film comes together and it can Play all the clips recorded during
give your group the opportunity filming and get the group to
to really get creative! Editing can decide on the best ones. Take
be quite time-consuming, but note of these and how they are
it’s nevertheless really important to be arranged in the timeline.
and can be an incredibly artistic This gives the whole group some
part of the process. After the input into the editing process.
excitement of being on set, it is The paper edit notes will then
often the youth worker who is left inform the actual computer
to do any editing. However, you edit, which can be done by an
should encourage some of the individual or smaller group. Even
group to get involved; this will for a ten-minute film, you could
give an added sense of ownership easily have an hour of footage
over the project to the young recorded. It’s best therefore not to
people and can offer the group try a group edit on a film that is
the chance to experience other to be longer than ten minutes in
aspects of filmmaking, including duration, otherwise it could be a
special effects and animation: tiresome process.
• Most computer editing software
Video editing software
is generally easy to use. There
PCs and Macs both have their
are lots of online tutorials that
own pre-installed editing
can help you along. Check out
software, Movie Maker and iMovie
www.youtube.com and
respectively. These programmes
www.ehow.com for tutorials.
are ideal for basic editing and, for
• Communicate to your group
the most part, should be sufficient
how important editing is and
for your needs.
how much it can change and
transform a film. Get them However, if you feel the need
excited about the special effects for more advanced software
that are possible, including you can upgrade to semi-
sound, trickery and much more!
• Smaller groups work better
for this part of the project, as
it can be a bit uninspiring to
professional programmes, but it
can be expensive. There is also
lots of free software that can be
downloaded from the Internet,
tip:
Make sure that
watch if you are not involved in but be careful and be clear that your editing software
the editing process. Make sure what you are downloading comes is compatible with
everyone who wants to gets a from a reputable source. your footage. If you
chance to edit. are recording in high
definition you’ll need
• If you have a projector, use it to
software that can edit
project what’s on the computer high definition footage.
screen onto a wall. It’s much Check before you get
easier for a group to look at a started.
projected image than a small
computer screen.

33
34 34
The end:
getting your film
out there

So, you have written the story, developed

the screen play, filmed the scenes and
added your special effects, so now what?

‘The end’ is not always the end!

35
36
At this stage, your digital Youth club/community
filmmaking project most screenings
definitely is not complete-it is You might consider screening the
now time to get it out there for finished film in the youth club or
the world to see! local community centre. It gives a
great sense of achievement to the
Sharing the finished piece with participants when their film gets a
others is an incredibly important public screening. It also generates
aspect of your project, no matter community involvement and
how the completed piece has excitement.
finally turned out. There is great
value in celebrating the hard work All you need is a laptop, projector,
done by everyone, so you should clean (white) wall or screen and
give some thought to how your loud speakers. Make a fuss for the
film will reach its audience. premiere of the film and be sure
to let the local media know about
Below are some ideas for getting the screening.
your film out there to a wider
audience. Film Festivals, Youth
Arts Festivals & local
DVD Community Festivals
Depending on resources There are a growing number
available, you might burn the of Irish and international film
film onto DVD. The young people festivals dedicated to films made
involved will get a real sense of by young people.
accomplishment having a copy
of their own film. You could also Festivals usually have certain
get the group to design the DVD criteria for entry and sometimes
cover. Funders and sponsors may have an entry fee. If you intend
also require a copy of the finished making a film for festival entry,
film. DVDs of previous work are check the criteria before you
also useful for showing potential begin the project. Look out for
funders and including with the call for entries and don’t
funding applications. miss the deadline! Other festivals
are also worth checking out, as
Internet they can offer broader audiences
The Internet is a very popular and might be happy to include a
place for sharing films.

tip:
screening in their programme.
Well-known sites such as
www.youtube.com and Broadcast
www.vimeo.com have easy Some local and digital television
to follow instructions on how broadcasters seek films made in Monitor and evaluate
to upload work. the community. Look out for their your projects. This will help
calls for submissions. ensure that everyone has a
good experience.
It will also assist you in
delivering subsequent
projects in line with
best practice.

37
Practical awareness
When engaging young people in film, there
are certain things that youth workers need
to be aware of to ensure positive and safe
experiences for all involved in a project. Much
of it is standard youth work best practice, but
there are some additional practicalities which
need consideration when making digital film
in youth work.

38 38
Principles of youth arts practice* • Young people’s participation in planning and
decision making:
• Artistic and youth work processes are as – The active participation of young people in
important as any final outcome or product. planning and deciding on the nature of projects
and how they should be organised should be
• The process will be steered by youth arts practice/ intrinsic to the work.
specialism:
– The specialism can be provided equally by Also systems should be in place to ensure the
a youth work and arts practice partnership voice of young people can provide formative
providing the complementary skills and evaluation on an ongoing basis. Young people
support necessary to deliver a high quality should have access points into projects at all
project. It can also be led by a youth arts levels of planning and decision making and
practitioner. A youth arts practitioner or the right to participate at the level at which
specialist can be broadly described as either a they are most comfortable. Not all young
youth worker with an arts specialism, an artist people want to sit on boards or project design
with a youth specialism, or, as described above, meetings, but the scope to involve those who
can be the partnership of these skill sets. do should be built in.

• The processes and outcomes are a collaboration • Planned programme as outlined in the Youth
between arts and youth work practice and between Work Act 2001:
the practitioners/leaders and the young people. – The Youth Work Act defines youth work as
“a planned programme of education designed
• The development observable in the young person for the purpose of aiding and enhancing
throughout the process includes both creative/ the personal and social development of
artistic development and personal development. young person’s through their voluntary
participation”.
• Authentic engagement and exploration of the
art form is an objective of the project as well Arts practice in youth work should therefore
as a methodology through which youth work conform to the legislative definition in that it
objectives may be achieved. is planned and purposeful, educational and
developmental.
• High quality throughout. Young people are
entitled to the best quality practice, time, space, • Voluntary participation:
support and materials available within the – A key principle underpinning the work will be
resources of an organisation. the voluntary participation of young people in
all activities.
• Young people centred:
– The focus of the work and activity should • Inclusive of all young people:
reflect the needs, abilities, interests and – Any work or activity must be inclusive of all
ambitions of the young people involved. young people who want to participate. There
The starting point for any activity or process may be some projects (for example a play,
should be what is in the best interests of the band or film) which will require auditioning or
young people involved. decision making about roles and responsibilities,
but the wider programme around a particular
project will encourage and value the unique
contribution of each young person.

Taken from the National Youth Council of Ireland’s Youth Arts Position Paper (2009) www.youtharts.ie

39
• Mutual trust and respect between young people Safety, security and legalities
and workers/artists.

• Run by organisations with a youth (rather than Consent

commercial or competitive) ethos: A very important aspect of the youth worker’s role
– Young people have a wide variety of is to ensure that the appropriate consent has been
opportunities to explore and engage in the given by participants for the use of their recorded
arts organised by a variety of providers. In images in a film. This is particularly important
some cases the participation of young people given the increasing use of the Internet to share
depends on their prowess in the particular creative work.
field or the capacity of their parents to It’s useful to be aware that once something is on
pay the costs involved. Often, therefore, the Internet you have little control over the lifetime
voluntary and not-for-profit organisations are of that piece and how other people access and use
uniquely placed to provide young people with it. Even if you remove a video from a website, this
opportunities to achieve their full potential doesn’t always mean that it has been taken out of
which do not depend on the criteria above. ‘cyberspace’. We are now operating in the context
• Ensemble or group process: of increasing permanency and global circulation in
– The activity or project is an ensemble or group terms of digitally produced and recorded material.
process which creates opportunities for group The Data Protection (Amendment) Act 2003
interaction, team building, collaboration, etc., outlines individuals’ rights and organisations’
as well as for artistic exploration. responsibilities in terms of data collection, including
• Espouses child protection guidelines: the collection of images and recordings. Section
– All those working with children and young Two of the Act deals with the collection, processing,
people must have adopted child protection keeping, use and disclosure of personal data. See
policies and must ensure these are fully www.dataprotection.ie for the Act and for more
implemented in the best interests of children information.
and those working with them.
When making film in youth work remember:
• Takes place in an out-of-school context: • Get consent for the use of all recorded images
– Many young people engage in arts activities from the participants. Ensure it is an informed
in a school or formal education environment; consent, which means the young people (and
however, youth work is non-formal education. their parents) are fully aware about where
This creates a different and complementary and how their images will be used. Consent
context in that the work is not part of isn’t just an issue related to the Internet. It
a curriculum. This can facilitate great should be standard practice to get consent from
creativity, innovation and personal and social participants, regardless of whether you’ll be
development of the young people involved. sharing a film or not. Get consent before the
recording has been made.
• Consent should be obtained to use images and
recordings for the purpose of film production and
distribution, including film festivals, publicity and
Internet promotion if applicable.

40
• If a young person is under the age of 18, you must Contracts and insurance
obtain consent from their parents/guardians for
the use of the images and recordings. Parents/ Contracts
guardians should be informed how and where the A contract is a legal agreement between your
recordings will be used. organisation and the filmmaker. It is created to
• Remember to adhere to your organisation’s child give protection to both parties and sets out the
protection policy. terms and conditions for the piece of work being
• No pupil or staff member should be wearing any undertaken. It should agree the time frame for
clothing which might identify the school, area or the project and deadlines for its realisation, the
locality to which they belong. schedule of payments and specify the role and
• Sometimes people’s private conversations responsibilities of the artist.
or actions are recorded by accident when
filmmaking. It is the responsibility of the youth Any other issues which are considered important
worker to ensure that the recording gets deleted to have agreement between parties on can be
or handled appropriately. To avoid accidental part of a contract. This might include issues of
capture ensure that everyone is aware of what ownership, copyright, health and safety. If you want
and when you are recording and switch off to know more about contracts, speak to the legal
equipment when you’re not recording. professional associated with your organisation.
• For an example of a sample consent form see the For an example of a sample artist contract see our
templates in this section of the guide. website www.youtharts.ie

Insurance
When engaging an external filmmaker to work on
a project, ensure that they have their own public
liability insurance cover. Public liability insurance
covers the policy holder in the event that a member
of the public should need to make a claim against
them for any bodily injury or property loss or
damage. The website for the citizen’s information
bureau (www.citizensinformation.ie) has
comprehensive information on self-employment
and public liability insurance.

tip:
If you are planning
to disseminate the
work on the Internet,
you should only
include the first names
of the participants
in the credits. This
will help protect their
privacy.

41
Copyright and ownership Ownership
Sometimes film projects in youth work receive
Copyright funding from other organisations. In this case it
Copyright refers to protecting people’s creative might happen that the funding organisation wants
work from being used/reproduced by someone to retain ownership and copyright of the finished
else without their permission. For example, if you piece. Also, if you are lucky enough to get your film
wanted to use a particular song as a sound track in broadcast, be aware that broadcasters sometimes
your film, then you would need permission to do so want to keep ownership and copyright of the work.
from whoever holds the copyright for that song. • To avoid any disagreements, inform yourself
To get permission to use someone else’s work,you as much as possible about the ins and outs of
may also have to pay a fee. your relationship with funders and/or potential
broadcasters. Any agreements should be put in
It is illegal to use copyrighted material without writing.
the permission of the copyright holder. As a
general rule, it is best to be safe and avoid using
copyrighted material in your films, unless you have
permission to do so.

In Ireland, copyright law is contained in the

Copyright & Related Rights Act, 2000. It protects:
– original literary, dramatic, musical and artistic
works
– film, sound recordings, broadcasts and the
typographical arrangement of published
editions
– computer software and non-original databases
– performances.

To learn more about copyright, visit:

– Copyright Association of Ireland
www.cai.ie
– The Irish Copyright Licensing Agency
www.icla.ie
– Creative Commons
www.creativecommons.com

tip:You could
approach a local
musician or band
to compose and
record a sound track
specifically for your
film. This would also
bring added creativity
and collaboration
to a project.

42
Consent form for
Digital Filmmaking Project
NB: (Over 18s: can sign their own consent forms. Under 18s: consent needs to be received from a parent or guardian)

Name of participant:

Address:

Date of birth:

Contact number(s): Home phone: Mobile:

E-mail:

Parent guardian contact information (If participants is under 18 years old)

Name of parent/guardian:

Contact number(s): Home phone: Mobile:

Any medical issues/allergies:

Any other
relevant information

Visual images and audio recording consent

I hereby grant permission to name of organisation to record visual images and audio
recordings of me/my child as part of filmmaking activities of name of organisation and to
publicly display these images for the purpose of film training, production and distribution
(including cinema, television, film festivals, print publicity and Internet promotion).

I understand that images of me/my child will only be recorded by staff or designated people
of name of organisation or persons authorised by name of organisation. Ownership of all
still and moving images (including audio tracks) is vested in name of organisation.

If you consent to the above, please sign: name of participant

(Name of participant/parent or guardian, if participant is under 18 years old)

The above information will be treated as confidential by name of participant/guardian

 PLANNING FRAMEWORK

Time Frame Potential Process Realistic Outcome

Project
 PROJECT OUTLINE

Activity Dates Team Equipment Time needed Notes

needed
 Equipment Checklist

Technical Equipment Scenery Costumes Other

❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
❏ ❏ ❏ ❏
 Call sheet

SHOOTING DAY NO. TIME DATE SCENE LOCATION

PRODUCER/s DIRECTOR/s

CAST

Equipment

MAKE-UP/COSTUMES

EXTRAS OR SPECIAL INSTRUCTIONS

Some useful links
The Internet is absolutely full of useful information on all aspects
of digital filmmaking.The information is always getting better and
offering more and more to your project, so start off by exploring,
seeing what’s out there, what other film projects are being
undertaken by young people across the globe and get inspired.
Below are some links which might be a good place to start:

General-news, resources, funding opportunities and professional networks, etc.

NYCI’s Youth Arts Programme: www.youtharts.ie
The Arts Council: www.artscouncil.ie
‘Create’, the National Development www.create-ireland.ie
Agency for Collaborative Arts;
Practice.ie: www.practice.ie

Filmmaking and film/media literacy

Fís: www.fis.ie
Young Irish Filmmakers: www.yifm.com/outreach
Filmbase: www.filmbase.ie
Galway Film Centre: www.galwayfilmcentre.ie
Cork Film Centre: www.corkfilmcentre.com
Irish Film Institute: www.ifi.ie/education
The Digital Hub: www.thedigitalhub.com/community_learning
Fresh Film Festival: www.freshfilmfestival.net
Stranger Festival: www.strangerfestival.com

Share and watch films on-line

YouTube: www.youtube.com
Vimeo: www.vimeo.com

tip:
‘The Long Weekend Film’ - Setting a clear timeline for how long you are actually
going to spend filming is a really good idea, and a long weekend can offer the
perfect opportunity to get your film on camera in a dedicated time. Get the
young people involved in planning in the weeks before, organise all aspects
of what you will need and what each day of the weekend will look like and by
Monday evening you’ll have your film in your hands ready for editing!
 National Youth Council of Ireland
3 Montague Street, Dublin 2
Tel: 01 478 4122 Fax: 01 478 3974
E-mail: [email protected]
www.youth.ie
www.youtharts.ie