University of Houston
DIGM 3354 - Video Planning and Production
Lecture Tuesday 1:00PM - 3:00PM, Room PGH 216
Lab Thursday 8:30AM - 11:30AM; 1:00PM - 4:00PM, Room T 102A
Instructor:
Daniel Levin, MFA
Emergency Phone: (213) 713-0406 (emergencies ONLY)
E-mail:
dblevin@uh.edu
I. COURSE DESCRIPTION
This course is an introduction to the fundamentals of filmmaking through hands-on
exercises and projects, including the principals and craft of story, aesthetic criticism, and
technical means of visual storytelling.
II. COURSE OVERVIEW
1. Course Philosophy
The instructor assumes that by taking this class you aspire to learn the craft of
filmmaking. By deciding to take it you will therefore accept full responsibility for
completing the requirements of this course. No excuses.
DIGM 3354 is a course that has been designed to accomplish a range of purposes.
• An introduction to the range of basic motion picture technical skills as the essential
tools of storytelling, not as ends in themselves.
• Direct experience of the many filmmaking crafts and roles and the opportunity for
students to recognize those crafts they are drawn to as future career choices.
• The opportunity to learn and practice these skills in collaborative projects, in
multiple crew positions (producer, director, cinematographer, sound, editor, etc.)
contributing to the success of the group film. These collaborative projects also require
(and can greatly develop) individual leadership and communication skills.
• The concepts “Story” and “narrative” are used broadly to refer to avant-garde films,
documentaries, and fictional films. DIGM 3354 is an ideal class to learn and
experiment with film forms. Students are encouraged to try out several forms in their
projects and enrich their cinematic vocabulary.
• A basic principle of the course is “learn by doing” which means that students start
making films as they are learning the skills. This sparks the “need to know” and a
great deal of instruction and learning occurs with the screening of student projects.
Critiquing the projects after screenings is another key set of skills- the open and
honest analysis of others’ films has a direct relationship to understanding the
strengths and weaknesses of one’s own films.
• We believe that students learn by encountering diverse perspectives, and by taking
risks to push beyond their personal comfort zones. The instructor’s responsibility will
be to create classroom and set environments that encourage honesty, experimentation
and growth. The technical proficiency of a DIGM 3354 movie is as important as the
quality and originality of what it is saying.
• There is a focus on creating visual and aural images, using the expressive potential of
physical behavior to reveal emotions and ideas through what the characters do rather
than say. Dialogue is absolutely not permitted in your course film in DIGM 3354.
• Personal integrity, regard for safety and wellbeing of crew and cast, and willingness
to put ethics ahead of getting the “great shot” are important elements in DIGM 3354
and are often the qualities of an experience remembered long after the films
themselves have faded.
• If your film contains audio or video that might be offensive to some, you should say
so before screening it. Your right to show your work the way you see fit doesn’t
preclude someone else’s right not to be exposed to what he/she could consider
objectionable material.
2. DIGM 3354 Filmmaking Goals
Upon completing the course, students will be able to:
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Experiment with personal expression through cinema;
Create interactions between images and sounds for expressive purposes;
Demonstrate capability in producing, directing, cinematography, editing, and sound;
Show ability to collaborate, to both lead and take direction on a crew;
Develop initial ideas into complete short films;
Show skills in characterization and story telling;
Explore a range of genres—experimental, documentary, animation, fiction, etc.;
Deliver and receive effective critiques of work in progress;
Establish ethical standards for movie-making and critiquing.
3. Additional Filmmaking Fundamentals That Will Be Explored
What is your story really about and how are you going to tell it?
What is the “dream” you are making and the hidden forces at work?
Where are you going to “put the camera” and why?
Re-writing your script through rehearsal process.
Listening to everyone – forgetting “grandiosity,” embracing the work.
Developing critical creative dialogue with your actor, collaborators and production team.
Pitching your ideas with a sense of story structure, character, the audience, the costs and
being able to learn from creative “testing” and “feedback.”
• Taking complete responsibility for every aspect of your work. No excuses.
• Working in a collaborative fashion to help others improve their work through careful and
thoughtful dialogue and supportive “what if” attitude.
• Learning to respect the process of filmmaking as a team art form and experience.
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4. Production Section Requirements
a. Complete one personally-originated project which you write, produce, direct, and edit.
Students will be assisted by their classmates in creating films. Projects are shot, edited
and screened according to the class calendar schedule. You will be assigned to one of
several groups and you will share camera equipment with other classmates.
b. Collaborate on 1 group project - as a crew member for an in-class film shoot. You will
take at least one of the following roles: Writer, Producer/AD, Director, Cinematographer,
Production Designer/Gaffer, Sound Recordist/Editor.
c. Project Requirements:
• LENGTH/FORMAT: All films will be made in HDV digital video. Projects are four
to six minutes long, which is what you have time to shoot and edit in the available
time. Do not bring in projects that are longer, they throw screening
schedules/discussions out of balance.
• DIALOGUE: On-camera synchronous dialogue is not permitted in DIGM 3354
Projects. Avoid “lip-flap,” that is characters talking without being audible.
• SOUND: Films will have "mixed" tracks, a blending of two or more elements.
Tracks may include backgrounds (such as traffic, crowds, etc.) and effects. Music is
NOT permitted in DIGM 3354 student films.
• ACTORS: Cast actors from outside of class.
• LABELS/COUNTDOWN/CREDITS: When brought to class, tapes should be
labeled with your name, project number and title. Begin your course and class
projects with an SMPTE COUNTDOWN. Each project should contain a Main Title
and credits for cast and crew.
• Complete a Filmmaker’s Critique for each of your personal movies. Include a brief
synopsis, main idea, summary of major learning and any problems. All documents
are to be TYPED, and submitted at the beginning of the screening day. * Your film
grade will be reduced by half letter grade (i.e. A to A-) if you turn it in without
filmmaker’s critique.
III. DEADLINES
Each project is to be handed in at the beginning of the class, even if the movie-maker
feels that it is unfinished. We consider these pictures as works-in-progress, and the
emphasis is on process. Do not use class time to finish your project, come on time so that
you can see your classmates’ films. If you are seen in the lab during class time your work
will be penalized by half latter grade. Do the final outputting of your film at least 4 hours
before screening time to give yourself time for technical problems. Late work will be
penalized by half letter grade for every class session where you fail to screen your work.
IV. PLAN PROJECTS WITHIN YOUR RESOURCES
Calculate the time you need for all your coursework (not just DIGM 3354), and schedule
shoots and editing within your limits. If there is one thing students tell us about handling
the course, it’s that they wish they had planned their projects more carefully and managed
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their time better. The workload is heaviest in the first few weeks, because you’ll be
learning to use the camera and editing system.
IV. READING
Required Texts Hurbis-Cherrier, Mick Voice & Vision: A Creative Approach to
Narrative Film and DV Production, 2nd Edition, Focal Press, 2011.
Block, Bruce The Visual Story: Creating the Visual Structure of
Film, TV, and Digital Media, 2nd Edition, Focal Press, 2007.
Optional Reading
Geuens, Jean-Pierre Film Production Theory (Albany, NY: SUNY Press, 2000)
Arijon, Daniel. Grammar of the Film Language. London & Boston: Focal Press, 1976.
Ball, William. A Sense of Direction. New York: Drama Book Publishers, 1984.
Dmytryk, Edward. On Filmmaking. Boston & London: Focal Press, 1986
Katz, Steven D. Film Directing Shot by Shot. Stoneham: Mass: Focal Press, 1991.
Lumet, Sidney. Making Movies. Vintage Books, 1996.
Malkiewicz, Kris and Robert E. Rogers. Cinematography. New York: Van Nostrand, 1989.
Malkiewicz, Kris and Barbara J. Gryboski. Film Lighting. New York: Prentice Hall Press, 1986.
Mamet, David. On Directing Film. New York: Penguin, 1991.
Murch, Walter. In the Blink of an Eye. Los Angeles: Silman-James Press, 1995.
Zettl, Herbert. Sight Sound Motion. Belmont, CA: Wadsworth Publishing Company, 1990
V. REQUIRED WRITTEN ASSIGNMENTS
Personal Critique
This self-critique is an important part of your film project (and grade) and reflects the
learning process you went through. One copy of your TYPED critique (using the
following format as a guide) must accompany each film (your film will be downgraded
by half a letter grade if you fail to turn in your self-critique with it):
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Filmmaker’s name. Project title and date.
Brief, clear synopsis of the story- what we actually see on screen.
Intent- how you wanted to affect us.
Source of the main idea that you started with and its importance to you.
Theme or premise of the piece as you discovered it after finishing the film.
Main tension/conflict: be specific, look for this element in all genres of film.
Strengths of the film.
Problem areas and “what I want to learn to do better.”
Journal-type notes on your own learning process, discoveries, and frustrations.
Project Critique
After a project is screened we each prepare a written critique. Please email your project
critique to the filmmaker and to the instructor. Your project critiques are part of your
participation grade. Please use the following format:
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Name of Film Maker
Project Title
INTENT: The theme, premise or basic concept the film maker was trying to
communicate.
SYNOPSIS: A very brief overview of the story line.
STRENGTHS: What worked best and why?
SUGGESTIONS: Where is there room for improvement?
Research Paper
Every Digital Media major is required to have a “research theme.” This is an area of
inquiry within Digital Media (print, Internet, photography, videography, management,
leadership, logistics, sales, and so forth) that you will study outside of class time during
each DIGM course you take. You should choose a theme that interests you, something
that you want to be an “expert” in by the time you graduate.
In each DIGM class, beginning with 2350, you will be asked to do research on your
theme and, in doing so, expand your knowledge base. Then, you are to write your
findings in a short (two-three page) paper that meets the APA (American Psychological
Association) manuscript requirements.
Your research theme will culminate when you are a senior and take DIGM 4378 (Senior
Project) and DIGM 4390 (Current Trends). In the Senior Project class, you will develop
an interactive website that explains to the world what you’ve learned. In the Current
Trends class, you will give a presentation about your topic and write a paper that can be
published as a student article in a professional journal.
If you are not a Digital Media major, you still have to write a short (two-three page)
paper for this class on a topic related to Digital Media (see sub-areas above).
If your paper has more than three spelling or grammatical errors, you will earn no higher
than a "D" grade. If the topic is explained well and the English grammar and spelling are
OK, you will earn a "C." To earn an "A," you must also provide supporting
documentation (bibliography, photographs, links, samples, cost analysis, and so forth). A
"B" paper has ambiguous documentation. Your paper is due the day of the Midterm
Exam. It is worth 5% of your total course grade.
VI. GRADES
Grading Criteria
Poor
• Project exhibits basic technical and/or aesthetic deficiencies that make it obvious the
student has not mastered the techniques necessary to handle more advanced classes.
• Inability to demonstrate satisfactory growth by integrating feedback into subsequent work.
• Minimal participation in class discussion and exercises.
• Poorly developed written and/or oral critiques.
• Failure to meet deadlines.
• Inability to develop accessible characters and stories.
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Average
• All assignments completed on time.
• High level of constructive class participation in exercises, discussions and written
critiques.
• Projects clearly demonstrate technical proficiency.
• Evidence that feedback has been integrated into subsequent work.
• Steady improvement in the ability to tell a story simply and concisely whether it is in
the narrative, documentary or experimental mode.
Very Good
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The entire above plus: student attempts projects which explore original concepts.
Projects are both technically and aesthetically outstanding.
A unity of form and content.
A sound design, which is consistently creative and brings added depth to the projects.
Student assumes a leadership role in class discussions and exercises.
Superior in All Respects
• All the above plus: projects exhibit a unique application of visual and dramatic
structure.
• Exceptional ability to use craft technical skills to enhance story.
• Thematic concepts are communicated with intensity on both an emotional and
intellectual level.
• Innovative use of sound to open up new levels of meaning not inherent in the visuals.
• Consistently original and fully developed characters.
Final evaluations for successful completion of the course will be based upon finishing all
projects, quizzes, class participation, written assignments, and attendance.
Course Credit
This course is divided into lecture/lab and is governed by the University of Houston
policy as well as policies of the accrediting bodies. First, students should understand that
each hour of class credit requires three hours per week: one hour in lecture and two hours
personal study/homework. Thus, a three-hour course requires nine hours per week: three
in class and six on your own. However, lab earns in-class credit at one-third the rate of
lecture. Thus, it takes three hours of lab to earn one hour of lecture credit. You owe the
instructor at least a total of nine hours per week.
Grading Scale
The following number points to letter grade scale will be followed for this course:
93 – 100% = A
90 – 92% = A87 – 89% = B+
83 – 86% = B
80 – 82% = B-
77 – 79% = C+
73 – 76% = C
70 – 72% = C65 – 69% = D+
60 – 64% = D
0 – 59% = F
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Grade Summary
Class Grade:
Course Project:
Class Project:
Quizzes
Exercises
Participation
Research Paper
Final
90%
25%
25%
20%
20%
10%
5%
5%
VII. PROCEDURAL ISSUES
1. Sound Design
For films produced in this class, we would like you to focus on the expressive potential of
visual and aural images. There is no sync dialogue or music permitted in the class and
course projects. Use body language and physical behavior to reveal a character’s
emotions, attitudes and problems. It is what the characters do rather than say that is
important. Remember what Hitchcock said: "to photograph people talking is not
filmmaking." Your films should not have "lip-flap" (characters talking without being
audible) unless you are deliberately doing this for an artistic purpose. Thanks to nonlinear editing systems all sound effects can be placed in an exact and permanent
relationship with the picture. Take advantage of this to create an expressive sound design,
which builds emotional impact.
2. Deadlines
All due dates as outlined in the class schedule are firm. Deadlines are sometimes onerous
but they are a harsh reality in the film business. All projects and written assignments are
to be delivered to the instructor at the beginning of class. If a film is not complete, we
will screen it as a work in progress. But being on time is a good professional habit and an
integral part of the discipline of filmmaking.
The class will be divided into several groups. Project due dates are staggered by group as
per the class schedule. Group A films, for example, are all due the same day followed a
week later by group B and so forth. Again, every project is to be turned in at the
beginning of the class, even if the filmmaker feels that it is unfinished.
DIGM 3354 films are sometimes works-in-progress and the emphasis is on process.
Being on time is part of the discipline of filmmaking and we encourage you to work on
developing time management skills, especially if you have a culture of missing due dates.
I can assist you with “back-up” ideas that can be used in the event your current project
falls completely apart. NOTE: Films arriving late (after the start of class) will have a
grade penalty and will be screened at the instructor's discretion. I encourage you to
review your films again after your critique session. You may wish to re-edit them and
bring them to class to be screened again.
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3. Facilities
The school will provide digital cameras and editing stations. The cameras and editing
stations will be shared between groups on a three week cycle, one week for
preproduction, one week for shooting, and one week for editing. In general, after each
member screens, they will hand off the cameras to the next group.
Use of personal video equipment and editing software is per instructor approval.
Only 3CCD personal camcorders may be allowed for use in class projects. No DSLR
cameras will be allowed. Editing is to be done only on Final Cut Pro, versions 6 or 7.
No exceptions.
4. Titles & Credits
Each project should include the title of the film and credits listing the director, cast, and
crew, others if needed. Be sure to acknowledge copyrighted material, music and story
sources, etc. Ideally the credits should be integrated into the work both in terms of
structure and design so as to reveal important information about the story or character.
5. Reel Preparation
Each reel should be clearly labeled with you name, class number, and project title. Begin
each show with the SMPTE countdown leader. After the 2 seconds of black, fade in the
first shot or title card of your project. Put each project on a separate tape. At the end of
the class you can consolidate all pieces onto a single DV tape for convenience.
6. Quizzes
Quizzes will consist of 7-8 short answer essays/multiple choice questions and 2-3
True/False questions, 10 questions total. You will be held accountable for all information
sources whether or not we actually discussed an item in class, e.g., textbook, lecture,
readings, and discussions.
There will be no quiz make-ups.
7. Extra Credit Opportunity
There will be several extra credit opportunities throughout the semester.
8. Late Work
Any work that is late will be penalized by half a letter grade for every missed class session.
9. Supplies and Materials
You will need to bring a clean miniDV videotape to every class as well as a portable hard
drive and headphones for editing exercises.
10. Lab Policies
The use of the Digital Media Laboratory is a privilege afforded to those who pay
Incidental Fees to maintain the lab and respect it and its contents. Please adhere to the
following rules.
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Do not use the printer in the lab for anything other than class work.
Computers are provided for your use. No laptops will be allowed.
You are able to check out graphic tablets for the time you are in the lab (including
open lab) with a proper UH ID.
No food or drinks will be allowed in the lab. You may leave them on the table in
the hallway.
Before leaving lab each day, you will be responsible for logging off.
Downloading of any software will be considered theft, which is a violation of the
University’s Academic-Honesty policy. The Department Chair will be informed
of all occurrences of software piracy. Any affected student will be suspended
from class until a Departmental Hearing is called.
11. Incompletes
An “incomplete” grade will only be issued if the student is maintaining an acceptable
level of achievement and cannot, due to some factor beyond his/her control, complete
one or more major assignment. If a student wishes an “incomplete”, he/she must explain
the situation to the instructor in advance and make specific arrangements to complete the
missing work no later than one year from the date the grade is given.
12. Important Information
As a student of the University of Houston, information available at
http://www.uh.edu/provost/stu/stu_syllabsuppl.html will be critical to you in insuring that
your academic pursuits meet with success and that you encounter the fewest financial and
academic difficulties possible. Please take a few moments to review each of the areas,
and become familiar with the resources detailed on the website with regard to: The UH
Academic Honesty Policy: the UH Academic Calendar; Students with Disabilities;
Religious Holy Day FAQs; and Other Information.
13. Americans with Disabilities Act
Any student who may be in need of additional help under the ADA guidelines should
contact the instructor ASAP.
VIII. SAFETY
Filmmaking can be an unpredictable and even dangerous undertaking at times so use
common sense when shooting. Under no circumstances is it permissible to make projects
that require stunts or special effects, which might compromise the safety of the crew, the
actors, or passersby. Please pay particular attention to three concerns: Weapons, stunts
and vehicles. Such things as explosions, falls, car chases, fires, blood spurts, real
weapons, tying into electrical mains, shooting in unsafe areas, interfering with the
flow of traffic, shooting in a moving car etc. are strictly forbidden. Note that the law
requires a police officer to be on set if any weapon, real or prop, is being used. Failure to
procure permits or to adhere to safe shooting procedures or consult your instructor in
advance, can have a range of consequences from loss of a grade to suspension from the
University. Ironically, most effects and stunts can be suggested more effectively through
creative directing and editing than by actually showing the event on-screen.
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CONSULT WITH YOUR INSTRUCTOR ABOUT ALL WEAPONS,
PROJECTILES OR STUNTS BEFORE SHOOTING IN ANY SITUATION OR
LOCATION, WHICH MIGHT BE CONSIDERED DANGEROUS. IF YOU
CANNOT REACH ME IN TIME, POSTPONE IT!
Our intent is not to limit your creativity but to assure your physical well-being. Use
common sense: do not shoot alone at night; do not leave equipment in your car (not even
the trunk) for any length of time. Work with others in the class whenever possible. There
is so much to pay attention to while shooting (artistic, practical and the safety issues) that
it is difficult for one person to do it all well.
Use of Minors
Any use of minors in your film must conform to state regulations limiting the length of
the workday and assuring their welfare through the presence of a qualified teacher/social
worker.
Special Equipment
There may come a time when you contemplate renting some special piece of equipment
for a project. It is mandatory that you clear any such rentals with the instructors to assure
your own personal safety and of your crew. Advanced equipment such as car mounts, jib
arms, cranes, generators, helicopter mounts etc. are outside the scope of this class.
Health & Well-Being
Film production is intense. An important aspect of production is learning to manage one's
time, energy, and health. This translates into scaling projects to a size that is do-able,
having back-up ideas, locations, equipment and actors in case of problems (weather,
accidents, etc) and realistically estimating the workload. If you are feeling overwhelmed,
discuss your experiences with fellow students. Chances are they too are experiencing
pressure but, as the semester progresses, you will be amazed at how much you are capable
of and how quickly you become a seasoned filmmaker. Regardless of the circumstances,
don’t hesitate to ask for help - that’s what your instructor and classmates are here for. If
you have an ethical or professional dilemma or need to discuss your story ideas or progress,
email your instructor. There are no dumb questions and to struggle alone is not necessary
or recommended. Ask for and offer your classmates help on their projects. One important
bit of advice is to stay organized and be realistic. This translates to:
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Keep projects small and feasible.
Don't overshoot.
Always have a few back-up ideas in case the current project falls apart.
Work well in advance. Be planning project # 4 while cutting project #3.
Work with a script, storyboards, production schedule.
Be prepared!
IX. ETHICS & EXPECTATIONS:
It is critical to guard your opportunity to learn. Do not relinquish it to someone more
experienced. We expect you to operate your own camera, set your own lights (with help
from student colleagues), direct your own actors and edit your own film. Feel free to act
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in other projects but not in your own since directing takes one’s full attention. Keep
projects simple enough to handle with the help of one or two other students. Work
together -- it’s safer, more effective and more fun!
Making movies involves additional issues of professional conduct off campus. Student
filmmakers need to observe the highest professional standards of behavior with actors,
crew and location owners. The behavior of each class affects the reputation of the entire
University.
Learning is not a spectator sport. You are responsible for learning. For learning to happen
you must take an active role in the process. You must come to each class prepared to
learn from the lectures and from each other. This will require you to read, to study and to
research the weekly assigned topic. Being prepared will enable you to intelligently
participate in discussions and to construct a foundation of knowledge on which you can
build subsequent learning and to develop a thought process that integrates concepts
together.
During this course I do not just lecture about content. Instead, you help lead the class by
telling us what you know and what you are learning. You will engage in learning tasks
during class that will require you to use a variety of reasoning strategies to address issues
and problems. You will talk reflectively about what you are learning, how it relates to
what you already know and how you might apply an idea to a production situation.
By choosing to take this class you agree to fulfill the following expectations:
• Class time must be spent in active participation.
• All assignments must be received on their due dates to receive a grade. Any work that
is late or that is not turned in will be penalized by half a letter grade for every missed
class session.
• There will be NO make-up quizzes. You must be present when the quiz is given to
receive credit. Quizzes will be timed and must be turned in by the designated time,
even if you are late to class.
• PLAN AHEAD. Documented mitigating circumstances may exempt an assignment
from grade penalty with the approval of the instructor, if the assignment is completed
within an agreed upon timetable. In these circumstances, an “Exception Contract”
agreement must be signed. Only one such agreement will be allowed per student
during the semester. Being absent does not excuse you from completing an
assignment.
• ACADEMIC HONESTY IS EXPECTED. A student may be penalized, suspended or
expelled for academic dishonesty, including plagiarism.
Attendance Policy
Class attendance is mandatory. Students with perfect attendance will have their final
grade adjusted upward by one letter grade step, i.e., a C- to C or a B+ to A-. Students
missing one class will face no penalty. Students missing two classes will be on a
probationary status. Students missing three or more classes will see their final grade
dropped by one letter grade step for each class missed. Tardy arrivals after role is taken
will count toward absences. Chronically arriving to class late is highly disrespectful to
both other students and to the instructor.
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Student Conduct Policy
Disruptive or inappropriate behavior is not permitted. Definition of such behavior is the
sole judgment of the instructor. This will include, but is not limited to:
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Policy regarding cell phones or any electronic device: All cell phones and other
electronic devices must be turned off before entering the classroom. Anyone
whose cell phone, blackberry or any other device disturbs class or who is found
text-messaging or reading email during the class time will have their final grade
reduced by one letter grade step for each offense. One warning will be given
before this penalty applies.
Laptop and iPad use: prohibited at all times except when critiques are to be
typed and emailed. Notes are to be taken using pen and paper.
Talking amongst students; passing notes.
Comments that are made to distract from the class.
Disrespectful comments to or about anyone or any group of people.
Food is NOT permitted in the classroom.
Do not attempt to discuss grades before, during or after class hours. Please make
an office appointment for these discussions.
Disclaimer
This syllabus and the associated schedule are subject to change at the discretion of the
instructor. Every effort will be made to communicate changes to students, but this may
not always be possible. All changes will be made with the intent of improving the
original course objectives and/or enhancing the students learning centered experience.
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Class Topics
Week 1:
(Aug. 28)
Introduction to class
LECTURE: Introduction to class, course objectives, the video production
process, equipment center guidelines, set safety; Story elements.
Movie: Pieces of April, dir. Peter Hedges, 2003
(Aug. 30)
LAB: Photography pretest
Complete the test and turn in your individual work as a Flicker URL. All
work to be completed in class and turned in at the end of class.
Week 2:
(Sept. 4)
Camera moves, Shot Composition & Terminology
LECTURE: Camera moves, Shot Composition & Terminology
Movie: Once Upon a Time in the West, dir. Sergio Leone, 1968
Homework: Read Chapters VV 3 & 11
(Sept. 6)
LAB: Camera moves, Shot Composition
Exercise 1: Camera moves, Shot Composition
Exercise 1 review and critique
Week 3:
(Sept. 11)
Lenses, Depth of Field
LECTURE: Lenses, DOF
Movie: Paper Moon, dir. Peter Bogdanovich, 1973
Homework: Read Chapter VV 10
QUIZ 1: Camera moves, Shot Composition
(Sept. 13)
LAB: Lenses, DOF
Exercise 2: Lenses, DOF
Exercise 2 review and critique
Week 4:
(Sept. 18)
Narrative Story Structure
LECTURE: Story structure, character development
Movie: Hero, dir. Stephen Friers, 1992
Preproduction: Week 7
Homework: Read Chapters VV 1 & 2
QUIZ 2: Lenses
(Sept. 20)
LAB: Editing with Non-linear Editing (NLE) Systems
Exercise: Introduction to Final Cut Pro Interface and Basic Sequence Editing
Week 5:
(Sept. 25)
Exposure
LECTURE: Contrast and Tonal Range, 3-Point Lighting, F-stop Ratio
Movie: The Conformist, dir. Bernardo Bertolucci, 1970
Preproduction: Week 8
Production: Week 7
Homework: Read Chapters VV 12 & 13
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QUIZ 3: Narrative Story Structure
(Sept. 27)
LAB: Exposure
Exercise 3: Exposure
Exercise 3 review and critique
Week 6:
(Oct. 2)
Editing
LECTURE: Editing fundamentals
Movie: Cabaret, dir. Bob Fosse, 1972
Preproduction: Week 9
Production: Week 8
Post-production: Week 7
Homework: Read Chapters VV 20 & 21
QUIZ 4: Exposure
(Oct. 4)
LAB: Editing
Exercise: Editing for Story
Week 7:
(Oct. 9)
Sound
LECTURE: Sound design as an expressive tool
Movie: Ivan’s Childhood, dir. Andrey Tarkovsky, 1962
Preproduction: Week 10
Production: Week 9
Post-production: Week 8
Screening: Groups Week 7
Homework: Read Chapter VV 15 & 22
QUIZ 5: Editing
(Oct. 11)
LAB: Location Sound
Exercise 4: Location Sound
Exercise 4 review and critique
Week 8:
(Oct. 16)
Color
LECTURE: Color, Color Temperature & Motivated Lighting
Movie: The Duelists, dir. Ridley Scott, 1977
Preproduction: Week 11
Production: Week 10
Post-production: Week 9
Screening: Week 8
Homework: Read Chapters VV 13
Prepare In-class Project
QUIZ 6: Color
(Oct. 18)
LAB: Color
Exercise 5: Color; Exercise 5 review and critique
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Week 9:
(Oct. 23)
MIDTERM
MIDTERM
Preproduction: Week 12
Production: Week 11
Post-production: Week 10
Screening: Week 9
(Oct. 25)
LAB: In-class Project Production
Week: 10:
(Oct. 30)
Visual Components
LECTURE: Introducing Visual Components
Movie: Fanny and Alexander, dir. Ingmar Bergman, 1976
Homework: Read Chapters VS 1 & 2
Preproduction: Week 13
Production: Week 12
Post-production: Week 11
Screening: Week 10
(Nov. 1)
LAB: Looking for Visual Components
Exercise 6: Visual Components
Exercise 6 review and critique
Screening: In-class project
Week 11:
(Nov. 6)
Tone
LECTURE: Tone, Contrast and Affinity, Gray Scale
Movie: The Conformist, dir. Bernardo Bertolucci, 1972
Homework: Read Chapter VS 5
Preproduction: Week 14
Production: Week 13
Post-production: Week 12
Screening: Week 11
QUIZ 7: Visual Components
(Nov. 8)
LAB: Tone
Exercise 7: Tone
Exercise 7 review and critique
Week 12:
(Nov. 13)
Line and Shape
LECTURE: Line and Shape
Movie: TBD
Homework: Read Chapter VS 4
Pre-production: Week 15
Production: Week 14
Post-production: Week 13
Screening: Week 12
QUIZ 8: Tone
15
(Nov. 15)
LAB: Line and Shape
Exercise 8: Line and Shape
Exercise 8 review and critique
Week 13:
(Nov. 20)
Deep Space I
LECTURE: Deep Space I
Homework: Read VS Chapter 3, part 1
Movie: TBD
Production: Week 15
Post-production: Week 14
Screening: Week 13
QUIZ 9: Line and Shape
(Nov. 22)
Thanksgiving
Week 14:
(Nov. 27)
Deep Space II
LECTURE: Deep Space II
Homework: Read VS Chapter 3, part 2
Movie: TBD
Post-production: Week 15
Screening: Week 14
QUIZ 10: Deep Space I
(Nov. 29)
LAB: Deep Space I and II
Exercise 9: Deep Space I and II
Exercise 9 review and critique
Week 15:
(Dec. 4)
Flat Space
LECTURE: Flat Space
Homework: Read VS Chapter 3, part 2
Movie: Ran, dir. Akira Kurosawa, 1985
Screening: Week 15
QUIZ 11: Deep Space II
(Dec. 6)
LAB: Flat Space
Exercise 10: Flat Space
Exercise 10 review and critique
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