FILM 451, Spring ‘08
Instructor:
Office Hrs:
Phone:
E-mail:
Jacob Bricca
Tuesdays 12:30-2pm, and by appointment
x3083 (office), (203) 675-6493 (cell--emergencies only, please)
jbricca@wesleyan.edu
INTRODUCTION TO DIGITAL FILMMAKING (FILM 451)
Tues/Thurs 9:15am-Noon
Introduction
This course is designed to provide a basic understanding of how films are made,
providing technical training and practical experience in the DV video format.
Basic instruction in composition, lighting, sound, and editing makes up the
foundation of the class. Through a series of exercises and in-class critique
sessions, students will also refine their critical and aesthetic sensibilities and
develop a basic understanding of story structure and directing.
Methods of Instruction and Evaluation
A. In-class lectures, demonstrations, and discussions
B. Readings
1. Texts
a. Ascher, Steven and Pincus, Edward. The Filmmaker’s
Handbook: A Comprehensive Guide for the Digital Age. (2008
Edition.) Plume, 2008.
b. Murch, Walter. In The Blink Of An Eye. (Second Edition,
Revised.) Silman-James Press, 2001.
c. Schroeppel, Tom. The Bare Bones Camera Course for
Film and Video. (Second Edition, Revised.) Self-published,
1982.
d. Young, Rick. The Focal Easy Guide to Final Cut Pro 6. Focal
Press, 2008.
C. Screenings
E. Four filmmaking exercises
D. In-Class Critique Sessions
E. Quiz
F. Final Project
FILM 451, Spring ‘08
Grading
A. Filmmaking Exercises (45%)
B. Final Project (35%)
C. Class Participation, Commitment, and Attendance (15%)
D. Quiz (5%)
FILM 451, Spring ‘08
Course Expectations
A. Attendance and Punctuality. Class attendance and punctuality are of
critical importance. Because missed informational sessions can jeopardize
the functioning of shared production tools, and because well-attended inclass critiques are essential to the production process, unexcused absences
and tardiness will not be tolerated. (Three tardy arrivals will lower the
Participation/Attendance grade by one notch; every unexcused absence
also lowers it a notch.) Please keep your instructor informed of planned
absences.
B. Professional Attitude Toward Colleagues and Staff. This is a workshop
course that involves regular critique sessions, and a supportive and
professional environment is critical to its success. It is also expected that
students will maintain a courteous and respectful attitude toward CFS
staff (i.e. Sal Privitera). This means coming on time for your equipment checkout and check-in. Students who turn in equipment late can expect to have their
grades lowered.
C. Professional Attitude Toward Equipment. This cannot be stressed
enough: students MUST handle all equipment in a respectful and
responsible way. 90% of "accidents" are easily avoided through careful
use of equipment. The normal functioning of class activities will be
severely disrupted if equipment is lost or damaged, and replacement
and/or repair costs for damaged equipment due to negligence will be
borne by the offending student(s). It is expected that all equipment will be
returned neat, clean and tidy. Equipment brought back otherwise will
result in a lowering of the Class Participation and Commitment grade.
FILM 451, Spring ‘08
Schedule
Tues, Sep 2 – Introduction to the Course; How the Cameras Work
Thurs, Sep 4 – Exposure; Color Temperature; Lenses
Readings Due: Schroeppel pp. 1-20 (except section on light meters); A&P, pp. 109-125; 127; 134-40
Tues, Sep 9 - Depth of Field; Composition
Readings Due: Schroeppel pp. 21-42, 67-71
Thurs, Sep 11 – Screening: Koyaanisqatsi
Exercise #1 Assigned. FOOTAGE DUE TUES, SEP 16; FINAL EDIT DUE TUES, SEP 23
Tues, Sep 16 – Non-Linear Editing and Final Cut Pro
Readings Due: Murch, pp. 75-125
EX#1 FOOTAGE DUE
Thurs, Sep 18 – Final Cut Pro (cont.)
Tues, Sep 23 – Production Sound Mechanics
Readings Due: A&P, pp.368-76, 390-96; 413-26
EX #1 FINAL EDIT DUE
Thurs, Sep 25 – Manipulating Sound in Post; Audio Narratives
Exercise #2 Assigned. RAW SOUND DUE TUES, SEP 30; ROUGH CUTS DUE THURS, OCT 2; FINAL
EDIT DUE TUES, OCT 7
Tues, Sep 30 – Titles; Shooting for Continuity
EX#2 RAW SOUND DUE
Readings Due: Schroeppel pp. 43-66
Thurs, Oct 2 – Critique Exercise #2 Rough Cuts in Class
EX#2 ROUGH CUTS DUE
Readings Due: Murch, pp. 52-56
Tues, Oct 7 – Lighting
EX#2 FINAL EDIT DUE
Readings Due: Schroeppel pp. 72-82
Thurs, Oct 9 – Lighting (cont.)
Exercise #3 Assigned. RAW FOOTAGE DUE TUES, OCT 14; ROUGH CUTS DUE THURS, OCT 16; FINAL
EDIT DUE TUES, OCT 21
Tues, Oct 14 – Quiz; Color Correction and Other Post Magic
EX#3 RAW FOOTAGE DUE
Thurs, Oct 16 – Rough Cut Consultations w/ Jacob
EX#3 ROUGH CUT DUE
Tues, Oct 21 – Editing Aesthetics
EX#3 FINAL EDIT DUE
FILM 451, Spring ‘08
Readings Due: Murch, pp. 1-25
Thurs, Oct 23 – Functions of Sound; The Music Score
FINAL PROJECT PROPOSALS DUE
FALL BREAK
Thurs, Oct 30 – Shooting with Sync Sound; Shooting Procedures; Slating
Readings Due: Schroeppel pp. 83-86
Exercise #4 Assigned. RAW FOOTAGE DUE TUES, NOV 4; ROUGH CUTS DUE THURS, NOV 6; FINAL
EDIT DUE TUES, NOV 11
Tues, Nov 4 – Digitize Footage in Class
EX#4 RAW FOOTAGE DUE
FINAL PROJECT PROPOSALS DUE
Thurs, Nov 6 – Round One Final Project Consultations with Jacob
EX#4 ROUGH CUT DUE
Tues, Nov 11 – Screen Finished Exercise #4 Edits in Class
EX#4 FINAL EDIT DUE
PROPOSAL REVISIONS DUE
Thurs, Nov 13 – Round Two Final Project Consultations with Jacob
SHOOTING WEEKEND 1 CHECK-OUT
Tues, Nov 18 – TBA
SHOOTING WEEKEND 1 CHECK-IN
Thurs, Nov 20 – TBA
SHOOTING WEEKEND 2 CHECK-OUT
Tues, Nov 25 – No Class
SHOOTING WEEKEND 2 CHECK-IN
THANKSGIVING
Tues, Dec 2 - Group 1 Shows Rough Cuts in Class
Thurs, Dec 4 – Last Class at Prof. Bricca’s House; Group 2 Shows Rough Cuts in
Class
SHOOTING WEEKEND 3 CHECK-OUT
Tues, Dec 9
SHOOTING WEEKEND 3 CHECK-IN
FILM 451, Spring ‘08
FINAL PROJECTS DUE TUESDAY, DEC 16, 10AM
FILM 451, Spring ‘08
Description of Exercises
#1) Composition/Observation Exercise: Individual assignment (10% of grade)
Choose one of the two following options for this assignment:
1) Choose a space that is interesting to you and document it with a variety of
shots. Try to decide how you would like it to be portrayed: should it feel
busy and full of life? Empty and sullen? Mysterious? Small? Large? Better
footage will result if you do some careful observation of the normal rhythms
and traffic flow of the place so that you know what to look for when finding
shots to capture. For example, do you live in a house that is disgusting and
messy? Can you capture details of the mess that accentuate its filth? Or is
there an exterior space that is especially beautiful this time of year? Shoot it
to reveal details of its beauty. In any case, remember to shoot a variety of
shot sizes in the footage you take, and use your tripod.
2) Make a “poetic documentary” a la Koyaanisqatsi, using the same techniques
as above, but not restricted to a single location. Find some theme that you
would like to explore, and capture footage that will go toward that theme.
Pay attention to the exposure values of each shot, being careful not to
overexpose or underexpose your subject. Use the compositional rules discussed
in class and in Schroeppell. Please use the tripod for all shots. Also remember to
hold each shot steady for at least five seconds before moving on to your next
shot. You may use music in the final edit.
#2) Audio Narrative Exercise: Individual assignment (10% of grade)
Each student will create a 2-8 minute audio narrative. The finished work may be
on any topic, and may be a documentary (consisting of interviews and other
unscripted material) or a scripted story. In either case, the idea is to use sounds
to effectively tell a story. It should include foreground narrative elements as well
as ambient sound and foley to set the mood and provide a sense of place. Music
may be added in the editing. The assignment will be graded on sound quality as
well as the overall success of the story.
#3) Lighting/Continuity Exercise: Group assignment (10% of grade)
Students will work in groups. Each group will shoot a short (1-3 min) scene,
INT NIGHT, in which the main character searches for something and then
eventually finds it. The character must move from one side of the room to the
FILM 451, Spring ‘08
other (or one room to another) at some point during the scene (necessitating a
clean entrance/clean exit). Attention should be paid to the creation of apparent
depth within the frame. Suggestion: use storyboards to help plan out your shots.
The film will be shot collectively, but edited individually by each student on
Final Cut Pro.
#4) Sync Sound Exercise: Individual assignment (15% of grade)
Each student will shoot and edit his or her own short (5 minutes max) sync
sound film on the subject of their choice. Dialogue is optional, and
documentaries are allowed.
Final Project (35% of grade)
This is your chance to use what you've learned and express yourself. Each
student will produce a 2-8 minute edited film on a topic of their choice.
Proposals will be submitted ahead of time, and consultations will take place
about the proposed project. Production will be spread out over three weekends,
with students requesting their desired weekend ahead of time upon handing in
their proposals. Students are expected to crew for each other's projects.