TFM 605 – SEMINAR PRODUCTION TELEVISION & FILM COURSE SYLLABUS – FALL 2014 Lec/Lab Monday 3 pm – 5:40 pm Office: Phone: Office Hrs: E-mail Professor: Rich Underwood 619-602-2719 by appt. rich@filmspot.tv T.A. E-mail OVERVIEW This is a weekly seminar meeting of new graduate students. The seminar is organized around the production of two short films: a scene study and a documentary or fiction narrative film. The class will familiarize you with each other, with the second and third-year grads, and with undergrads whose skill sets are often quite impressive. You will learn about the TFM equipment and facilities, and will be introduced to the faculty and staff. You will gain a working knowledge of the hardware and software you will be using to carry out your projects. Apart from the focus on creative/collaborative work, this seminar also focuses your thinking on questions of media literacy and on the critical appraisal of your and others’ work. COURSE DESIGN AND STRATEGY Since the five-part design of a fully developed story is mirrored in each scene, scene study affords a powerful way to understand screenwriting (the conceptual basis of all narrative film craft). In executing scenes, we must consider the nature of beats, of progressive conflict, of “deep” character and of dilemma. We must analyze how these important story elements are organized to turn narrative scenes. You will treat each scene as if it were to be printed for theatrical presentation. All projects must be color corrected with DaVinci color corrector or sent to a color correcting facility. Your groups must present proof of this step. You will design your own sound tracks, titles, effects and credits, and if appropriate, you will work with a composer to score your scenes. Finally, all work will be submitted digitally and a link to each project must be up on Vimeo.com the Sunday before it’s due. TFM605 Syllabus Fall Semester 2013 – Rich Underwood The three scene studies will be distinct, each attacking a different set of creative, strategic, aesthetic and technical problems which filmmakers must master in order to produce competitive advanced level films. Each successive scene study will build on the challenges inherent in the previous one(s), and will add new challenges. At the end of the semester, you may opt to submit your work to the end-of-year TFM Film Festival, to be held in the Don Powell Theatre. The films will be competitively selected, and the best work will be presented publicly. The purpose of each scene study is as follows: PROJECT #1 SCENE STUDY– “REPLICATION” To understand through the careful analysis of a well-turned scene how conflict is shaped through beats, progressive conflict, crises, climax and resolution. Also, to understand by means of replication how framing, lighting, blocking and editing choices influence the dramatic shape of scenes and stories; finally, to master through the process of replication the craft areas which contribute to a finished scene, especially the pacing and rhythm of the acting. The class will assist in the same TFM360 project in the preceding weeks. PROJECT #2 NARRATIVE / DOCUMENTARTY SHORT - “ORIGINAL CREATION” To master the creation of a Narrative or Documentary short film based on the lessons learned in the first assignment. For detailed assignment instructions, see individual assignments at the end of this syllabus document. IN-CLASS ACTIVITY Because your scene study (and later, advanced short films) will require the mastery and coordination of several craft areas, I will parallel your hands-on production activity with lectures addressing each of the crafts: Directing, cinematography, editing, sound design and art direction. These lectures will be supplemented by screenings of short films and feature film clips that illustrate the lecture topics and relate to the practical and aesthetic challenges you will face in your projects. When appropriate, we will also engage in hands-on demonstrations, and invite guest artists to present their work and ideas. Finally, a central feature of the TFM605 curriculum is intensive in-class critique of your individual and group work. This will take the form of an uninterrupted screening of each scene study followed by a second beat-by-beat freeze frame critique. 2 2 TFM605 Syllabus Fall Semester 2013 – Rich Underwood COURSE GOALS After completing understanding of: 1. 2. 3. TFM605, students should be able to demonstrate an preproduction planning to include scripting, creating a “beat-sheet,” lining the script, shot-listing, auditioning and casting, storyboarding, scheduling, location scouting, “crewing-up,” rehearsing actors, equipment selection, location scouting, securing permits and insurance, and preparing the set (art direction). the rhythms, pace and protocol of crew production, including the division of labor on a set, shot set-up, marking and blocking action, lighting the set, control of camera and camera movement (ex: loading a 16 mm camera, operating the lens, using a camera dolly.) postproduction, including professional color correction, logging and capturing footage, editing the footage using Final Cut Pro, designing and mixing the soundtrack, designing and creating titles and graphics, authoring and burning a DVD for exhibition, file conversions and manipulation of codecs, and preparing the work for film festival submission. WORK GROUPS & EXPENSES For the first scene study you will work in groups, which will be randomly selected by the instructor. The final project will be an individual effort with support from other TFM605 and department students. While you will need to recruit crew support from outside 605, it is paramount that your group members take on the key creative roles in the these productions. Through this process, the strong directors, cinematographers, producers, production designers, sound designers, and editors should plainly emerge. These are the people you will want to surround yourself with in future advanced short film projects. Expenses for each project should be shared equally among the group members. This agreement must be acknowledged in writing (see “Group Contracts”) and signed by each group member. Additionally, each member of the class may be required to contribute to the financing of a set to be built for the “replication” scene study and used by all groups. The replication assignment typically costs between $350 and $500; and the “original creation” assignment varies according to length and whether it is shot on film or DV. CLASS FEES TFM605 now has a $20 fee to cover maintenance costs of equipment. The fee is basically for equipment and software maintenance. The items that the fee will be used for include: battery replacement, headset maintenance, computer/pro-tools software maintenance, camera maintenance, lighting (lights, bulbs, meters) and audio (recorder and cables) equipment maintenance, TV camera maintenance, cable repairs, and Foley room maintenance. 3 3 TFM605 Syllabus Fall Semester 2013 – Rich Underwood REQUIREMENTS PARTICIPATION: Participation in class is crucial and will be factored into your grade; I will, Therefore, take attendance each week at the beginning of class, and again, immediately after the break. DELIVERABLES: Your finished projects should be delivered on Data DVD in jewel cases. This data should also appear clearly labeled on the DVD jewel case. Projects must be uploaded and playable on Vimeo 24 hours prior to screening in class and a link sent to both TA and Professor. Failure to meet this requirement will result in a grade of no more than a (B) for all group participants. DEADLINES Due dates are FINAL. Late projects will be devalued. PLAN AHEAD! No special allowances will be made for final projects (assignment #3) that exceed the recommended length! Failure to have a screenable project by the class deadline will result in a grade of no more than a (C ) for all group participants. Lectures, screenings, and workshops are one-time deals. If you fail to attend, please don’t expect a private tutorial. GRADES I will systematize the process of evaluating your work, and make that process as transparent as possible. I will make clear through this process what is being evaluated and what my standard for quality is. The evaluation process starts with screening and critique of each scene study in class. Here is the evaluation breakdown: 1. Project #1 2. Project #2 TOTAL = = 50% 50% 100% For each project, we will consider the following areas of evaluation: 1. 2. 3. 4. 4 Overall impact: Conceptual quality and sophistication of film Technical execution (lighting, exposure, audio mix, shot choices, acting) Directing (human presence on the screen, aesthetic choices). Production design 4 TFM605 Syllabus Fall Semester 2013 – Rich Underwood 5. Your individual contribution to the project based on group evaluations. 6. Production Book – organization, pragmatic usefulness, completeness. PRODUCTION BOOKS As indicated above, apart from the finished scene study, you will submit an organized production book, to include the below-listed items. Please present these materials together in a binder or similar packaging with clear labeling on the outside. The production book will be the responsibility of the Producer, but each group member will share whatever grade is earned on the Production Book. The production book should include: • Scripts and script revisions • Storyboards, shot lists, and overhead blocking diagrams • director’s notes – are there any written notes from the director ? • equipment lists • shooting schedules • lighting diagrams • budgets and revised budgets • receipts • camera reports and editing logs • Alphabetized list of phone and e-mail contacts • production stills (both with crew and from film) • any other information about shooting and post-production activities specific to your production. • A vimeo link with password to downloadable version of the project. More than a class assignment, the production book is a necessary organizational tool of professional production, and will thus reflect and reinforce your planning. GROUP CONTRACTS For each scene study you will draw up a group contract. The group contract is a financial agreement made between the group members. It also specifies the members who comprise the group and their roles on the production. Its primary purpose is to prevent conflict down the road. An important consideration is exactly how much financial responsibility each group member is to bear. Each member must agree to contribute financially, and it is highly recommended that the cost of production be evenly split among the group members. Moreover, it must be specified how much financial obligation each member is to bear in the event of a budget over run, and when the money is to be paid. Set specific limits. The exact financial breakdown is up to the group. One contingency that has come up with groups renting equipment is who pays for insurance deductibles in the event of an insurance claim. I will provide the contract forms. The contract must be filled out, 5 5 TFM605 Syllabus Fall Semester 2013 – Rich Underwood signed by each member and returned to me before each scene study will be allowed to go into production. SCRIPT APPROVAL The 2nd Project involves writing and shooting an original, self-contained short film. All TFM films, including original scene studies, must obtain final script approval from me before going into production. THE STUDIO A WEBSITE An invaluable resource for TFM students, Greg Penetrante’s Studio A Website features online scheduling of editing time, updates on equipment status, department news, links to related sites, and much more. Students are expected to check the site frequently for updated information on the TFM department, and to participate in TFM related online surveys and user feedback features. In addition, students are encouraged to submit news and other information to be shared with other students. Please bookmark the site at: http://studioa.sdsu.edu BOOKS (those indicated in red are highly recommended) Required On Directing Film by David Mamet Master Shots by Christopher Kenworthy The Invisible Cut by Bobbie Osteen Highly Recommended: Film Directing Shot by Shot by Steven D. Katz The Guerilla Filmmakers Handbook by Genevieve Jolliffe/Chris Jones General (Recommended) Durbin, Greg .......... 11 Lectures for Advanced Filmmakers ASC ........................American Cinematographer Manual, 7th edition Gore, Chris ............The Ultimate Film Festival Survival Guide San Diego Film Commission - Film & Video Resource Guide 2010 Sidney Lumet - Making Movies For Editors Weynand, Diana - Apple Pro Training Series: Final Cut Pro 6 Wohl, Michael - Apple Pro Training Series: Final Cut Pro 6 Beyond the Basics Bobbie O’Steen – The Invisible Cut Dancyger, Ken – The Technique of Film and Video Editing 6 6 TFM605 Syllabus Fall Semester 2013 – Rich Underwood Reisz, Karel and Millar, Gavin – The Technique of Film Editing Miller, Pat - The Technique of Film Editing Script Supervising and Film Continuity Wohl, Michael - Apple Pro Training Series: Color Correction in Final Cut Studio For Cinematographers Motion Picture and Video Lighting by Blain Brown Reflections: 21 Cinematographers at Work Ben Bergery Film Lighting by Kris Malkiewicz Masters of Light by Dennis Schaefer and Larry Salvato Lighting for Location Motion Pictures by Alan J. Ritsko Image Control by Gerald Hirschfeld Anton Wilson's Cinema Workshop Anton Wilson For Directors Thinking in Pictures by John Sayles Cinematic Motion: a Workshop for Staging Scenes, by Steven D. Katz Rebel Without a Crew by Roberto Rodriguez The Director’s Vision – A Concise Guide by Geoff Andrew The Movie Book - Phaidon Press Limited For Screenwriters Aristotle’s Poetics Story by Robert McKee The Writer's Journey: Mythic Structure for Writers by Christopher Vogler Adventures in the Screen Trade by William Goldman Screenwriting 434 by Lou Hunter Making a Good Script Great by Linda Seger The Art of Dramatic Writing by Lajos Egri For Sound Designers The Practical Art of Motion Picture Sound by David Yewdall Audio in Media by Stanley Alten STUNTS, SAFETY & LIABILITY Anyone planning any effects or stunts, no matter how “safe,” must have them approved in writing by me before attempting them. Release and waiver forms and liability forms will be distributed electronically. Each non-SDSU cast member must sign releases, and liability forms must be filled out for all off-campus location shooting. 7 7 TFM605 Syllabus Fall Semester 2013 – Rich Underwood TELECINE TRANSFER INFO You can choose to either learn DaVinci Color Corrector on campus or color correct your project at a reputable facility such as FotoKem. The Student rep at FotoKem, Walt Rose, is very helpful and friendly. There are several good houses in Los Angeles that offer special rates to students. I recommend CCI Digital, The New Post Group, Match Frame and FotoKem. You may discover others and are encouraged to report them for the benefit of others. TFM605 SCENE STUDY #1 – “REPLICATION” OBJECTIVE The accurate replication of an existing scene involving multiple actors. PURPOSE • To gain control over the multifaceted process of creating a dramatically compelling scene. Specifically to call attention to the details of lighting, blocking, framing, coverage, movement, composition, pacing and rhythm. • To emphasis the critical contribution each and every craft element makes in the construction of a dramatically successful scene. FRAMEWORK Group members will be selected randomly in class. Before production work can begin, groups must turn in a Group Contract. The groups will work on a scene chosen by the professor. SDSU Art Directors will reproduce a set in Studio C that will be used by each group to shoot the scene (Each group will be required to schedule time in the studio to avoid schedule conflicts with other students). The scene should be analyzed with extreme care by the entire group. Production roles will be determined by the group. The scene will be shot on a high end digital camera. Detailed camera reports must be taken and included in production notebook. Camera reports must include: - f-stop - lens focal length - lens height from ground Original format (aspect ratio) must be matched. Edit the scene on the Final Cut Pro non-linear editing systems. You will schedule editing time through Greg Penetrante using the Studio A website (http://studioa.sdsu.edu). If you require a tutorial, it is your 8 8 TFM605 Syllabus Fall Semester 2013 – Rich Underwood 9 responsibility to schedule it in a timely fashion. You will be limited to four days on the editing system - if you have thought through your scene with care, this should be sufficient. The aim is to match the original scene, element for element. This requires careful analysis of the lighting, framing, movement, editing and acting. The only exception will be music, which must be an original score. The scene should be roughly the same length as the original. The scene study should be presented with opening title and end credits. If music is used, it must be an original score. Each presentation should open with the original scene, followed by your scene. The group Participants in TFM 605 should be clearly indicated in the end credits. Pick up shots after due date will be permitted for an improved scene (and grade). A vimeo link is due the day before the due date in class with password to a downloadable version of the project. The active link needs to be included in the production book. 9 TFM605 Syllabus Fall Semester 2013 – Rich Underwood TFM 605 2nd Project – “ORIGINAL CREATION” DUE WEEK 14 The final project is a narrative or documentary short film. The process to create this project will start on day 1 and continue though out the first part of the course. The Script The treatment must address the following concerns: • WHAT --- this pertains to the story and plot • WHO --- this pertains to the characters • WHERE --- this pertains to the setting, costume, period • WHY --- do we care • STYLE --- dramatic or comedic; genre; formalized or realistic Each student will pitch their project to the clas (no more than 5 minutes) and should include: Your Name Title of the Production Log Line Concept and highlights of major sequences Your personal motivation and ENTHUSIASM/PASSION for the film. How your roll will advance the chances for success with the film’s goals. Bring in illustrations and be prepared to present them without flaw to the class. Sound must be mixed from at least three tracks --- dialog, FX and music. cleared copyrighted music will not be permitted Un- OBJECTIVE To address the creation of a short film from script to screen. In addition to the multifaceted technical and aesthetic elements that must be synthesized to produce the first two scene studies, this scene study stresses the imagination required for screenwriting and originality both in the writing and execution of the scene. I strongly urge you keep your films short, as opposed to expanding into a multi- location story. FRAMEWORK 10 10 TFM605 Syllabus Fall Semester 2013 – Rich Underwood This final project requires that you synthesize all the craft elements you have studied into a sophisticated idea. This implies an imaginative articulation of material that is exciting to watch. I am especially interested in the scope of the problems you take on and how imaginative you are in solving them. You will do more than simply record the events that you are depicting, which is to say you must use the camera as a tool for cinematic interpretation. You will give meaning to the event through your creative decisions about lighting, camera placement, lens choice, coverage, movement, and continuity planning. This implies that you must carefully analyze the event to determine the significant developments within that event in order to make the best aesthetic choices. Be especially careful to motivate camera moves. Scenes should include dialogue and involve three or more actors. All scripts must be approved by me before going into production. In order to secure equipment from check-out, Dennis must see that the scene has been signed off. Before production work can begin work groups must turn in Group Contracts. Detailed camera reports must be taken and included in production notebook. Camera reports must include the following: - f-stop - lens focal length - lens height from ground - footage count - relevant comments about shot Final project must be color corrected on DaVinci or corrected at a professional color correction house. Films should include a composite soundtrack mixed on Final Cut Pro and/or Pro Tools. Edit the scene using Final Cut Pro. You must schedule editing time through Greg Penetrante. As stated above, If music is used it must be an original score. The scene should be between 3 and 5 minutes long. The scene study should be presented on DVD. Title, group number and group participants should be clearly indicated on the jewel case as well as on the DVD disk. A vimeo link is due the day before the due date in class with password to a downloadable version of the project. The active link needs to be included in the production book. 11 11 TFM605 Syllabus Fall Semester 2013 – Rich Underwood Use this template for your production: 10 seconds of slate with title, group names, and running length followed by 10 seconds of black then the production followed by 2 seconds of black. Schedule: Aug 26th First Class Sept 2nd Labor Day Assist TFM360 Sept 20, 21, 22 Assist TFM360 Sept 26th, 27th and 28th TFM 605 Shoot Oct. 5 & 6 1st Project Due Oct. 14th Nov 11th Veteran’s Day Nov 28-29 Thanksgiving DEC 9th Last Week – 2nd Project Due DEC 16th Final 12 12 TFM605 Syllabus Fall Semester 2013 – Rich Underwood WAIVER AND RELEASE SAN DIEGO STATE UNIVERSITY I acknowledge that I intend to participate in San Diego State University’s (SDSU) Television, Film and New Media Production on a volunteer basis in order to further my knowledge, and practice my craft. In exchange for this opportunity, I agree to indemnify, defend and hold harmless SDSU, the State of California, the Trustees of the California State University and Colleges and its officers, employees and agents against all claims, demands, suits, judgments, expenses and costs of any kind on account of any injury to me or on account of my death or loss of or damage to property or other persons arising from the activities I engage in as part of the SDSU Telecommunications and Film program. I understand that I will receive no compensation or benefits and that I am not an employee or agent of SDSU, and am not covered by SDSU's Workers' Compensation or any other of their insurance programs. Name of Student Producer _________________________________________ Name of Participant _________________________________________ Signature of Participant _________________________________________ Signature of Parent (If participant is under 18 yrs.) Address _________________________________________ Date _________________________________________ If you are a student with a disability and believe you will need accommodations for this class, it is your responsibility to contact Student Disability Services at (619) 594-6473. To avoid any delay in the receipt of your accommodations, you should contact Student Disability Services as soon as possible. Please note that accommodations are not retroactive, and that accommodations based upon disability cannot be provided until you have presented your instructor with an accommodation letter from Student Disability Services. Your cooperation is appreciated. 13 13