Narrative Production RTF 366K ­ 08855 Fall Semester 2016

Class: Thursdays 9:30am­12:30pm Lab: Tuesdays 9:30am­12:30pm Instructor: Deborah Lewis Office hours ­ Thursdays 1­4pm TA: Daniel Earney Office hours by appointment

Independent Inquiry

This course carries the Independent Inquiry flag. Independent Inquiry courses are designed to engage you in the process of inquiry over the course of a semester, providing you with the opportunity for independent investigation of a question, problem, or project related to your major. You should therefore expect a substantial portion of your grade to come from the independent investigation and presentation of your own work.

Course Description

This course is an intensive workshop in visual storytelling and non­dialogue filmmaking designed to build upon the fundamental production concepts and techniques first introduced in RTF 318 – Intro to Image & Sound. This class explores the expressive potential of image & sound through the production of 16mm film and digital video exercises and short films, ultimately preparing students for advanced narrative classes.

Non­dialog filmmaking is the root of all filmmaking. It asks you to understand the basic principles of storytelling through images and sound and the relationship between the two. One simply cannot rely on expositional dialogue, or worse, poorly written dialogue. One must truly communicate solely through visual and aural storytelling. With technology moving so quickly these days, the ease of digital filmmaking can be roadblock to narrative filmmaking.

"The enemy of art is the absence of limitations" ­ Orson Welles

Black & white reversal film, however, is completely unforgiving. Therefore, each shot and edit must be thought out creatively and technically – you must be confident in your creative decisions. This class is designed to help you find your own voice and to widen your grasp of the cinematic landscape.

COURSE GRADE

Exercise #1 10% Exercise #2 15%

RTF 366K Deborah Lewis 08855 Fall 2016 Final Project 40% Class and Shoot Participation: 10% Quizzes and/or Short Write­Ups (4) ­ 5% each = 20% Keeping a notebook ­ 5%

The first unexcused absence will subtract 3 points from the final term grade. The second will subtract 5 points, and the third 7 points. Every tardy (5 minutes late, or more) takes one percentage point off final grade. You will be marked absent after 20 minutes. You must inform Daniel about absences ahead of time to decide if it will be considered an excused absence (only illness and extreme emergency). If you are seriously ill, please get to the doctor and course recovery measures will be arranged with faculty and teaching assistant.

Exercise and Final Project Grade Breakdown:

1. By deadline 25% 2. Technical Proficiency 25% 3. According to requirements 25% 4. Quality: creativity, aesthetics and execution 25%

Course Requirements

Readings, participation, exercises, screenings, quizzes and other assignments are designed to develop technical skills as well as sharpen the filmmaker’s visual awareness and appreciation for sound and image. In order to make artistic work one needs to understand their tools – in this class technical knowledge will be equally important as creative ideas.

Participation:

Students must arrive on time at all classes and labs and keep up with all assignments.Your presence and active participation are critical elements of a successful workshop environment. We can learn so much from comments and thoughts by others, so I expect you to participate in discussions. Participation includes working as hard on your classmate’s projects as you’d expect them to work on yours. Exercises:

● Each student will individually shoot one B&W reversal non­sync 16mm exercise, and each student will shoot up to 2 rolls of B&W negative film for the second film exercise.

● Each group of two will produce one film running no longer than 5 minutes (titles not included), and no less than 2 ½ minutes.

Notes:

Keep a notebook for recording all raw ideas, thoughts, doodles, drawings, schematics, overheads, etc. It’s important that you value and archive your creative process – especially if you’re planning to invest a lifetime into your work. A notebook is RTF 366K Deborah Lewis 08855 Fall 2016 not a personal diary, unless it directly relates to your creative projects. It is a workbook and should be used for project related entries, during class, technical labs and for notes during screening discussions as well as crucial note taking during production. It does not have to be lined or neat, but it needs to be legible. If you also use a laptop for project related entries, you can archive and maintain an electronic file as well.

Crew Participation

In addition to participating in class discussions you will be required to crew on various film shoots besides your own. That participation includes working on your classmate’s films as well as films outside this class.

Attendance Policy

See above

Classroom Etiquette

Consider the classroom a “cell phone free” zone. No texting, emailing or taking calls. If you need to “check the time” ­ get a watch. Laptops and computer tablets will be allowed for note taking, but no web surfing, posting status updates, tweeting, etc. Class time is not the opportunity to catch up on emails or do homework while we are critiquing a film. Focus on what’s in front of you.

Required Texts

­Voice and Vision: A Creative Approach to Narrative Film and DV Production, by Mick ​ ​ Hurbis­Cherrier. (You should have this book from your 318 class.) ­Making Movies, by Sidney Lumet, hardcover 1995, softcover 1996 (on sale at University ​ ​ Co­op and elsewhere)

Equipment Allocation

366K Narrative Production D. Lewis section 08855 RTF 366K Deborah Lewis 08855 Fall 2016

(4) Canon 70D (6) Bolex cameras (4) Zoom H6 Recorders Appropriate tripods* Any available Microphones* (EXCEPT ADR) Any available boom pole or mic stand* Any available audio accessory such as pop filters, sound blankets, cables, headphones, or outdoor kits* Any available light kit or light up to 1K* (EXCEPT HMIs) Any available Sekonic L­398 light meter* Any available Grip equipment* (EXCEPT jib or vector dolly)

Equipment: Anyone who took and passed the test in 318 in Spring or Summer 2016 is exempt from the test. Everyone else must take the test again You MUST come to HSM 2.102 to sign the forms even if you do not have to take the test.

This is your crash­course in administrative procedures and charges associated with RTF 366K ­ from your helpful departmental account. While I am happy to visit your class if your instructor deems it helpful, I realize that time is precious to all of you. This email should provide you with the information you need for this semester's 366K administrative procedures and charges. Welcome to RTF366K and the real world of film school! This Narrative Production class uses raw film stock for lab exercises and academic assignments. Raw Kodak film stock is provided to the Instructor or TA for each section’s lab exercises only. Each section's T.A. should see Linda Cavage in RTF Equipment Check­Out for your section's allocation.

When you begin to do academic assignments for this class, it is each student’s responsibility to buy their own film stock and make arrangements for processing the film after shooting. RTF366K is on a rigid schedule, the film stock and costs are uniform, shipping can be consolidated, and the process is consistent. For these reasons, the RTF Department is able to help you offset costs, shipping, and processing time. This is the only RTF class where the Department is able to do this. Prices are subject to increase should the labs increase their prices.

You will have three types of routine charges for this class ­ all to be charged to students' What I Owe: Raw film stock: Price varies, depending on the film stock used. Ask Equipment Checkout for current pricing. Processing of exposed film: Price varies, depending on services requested and lab that processes the film. Additional cost for Push or Pull requests:.

RTF 366K Deborah Lewis 08855 Fall 2016 Additional cost to Transfer(telecine) the footage to hard drive: and is based on time spent to oversee the transfer; this is a significant reason to bundle film for shipping to the lab for processing. if you send one roll late and require transfer, your cost will be for half an hour of telecine; if sent with at least four other rolls, your cost is reduced significantly. Cost to student is based on charges by the processing lab. Each invoice is calculated to reflect cost per roll, increased by 2.3% (credit card processing fee), and charged to each student's What I Owe. ● Push ­ give film more development time to compensate for underexposure ­ film did not enough light ● Pull ­ give film less development time to compensate for overexposure ­ film has too much light Shipping involved in getting film to/from the processing lab: $25*** (one­time semester charge for RTF366K students) All prices are subject to change and are based on the department’s out­of­pocket costs. We must include the 2.3% credit card processing fee (imposed by the bank) to the charges so we can recoup our cost. Where do you get film? ∙ *RTF Equipment Check­Out – Kodak film offers “pass­thru” usage charge for raw film stock. This includes Kodak's cost plus 2.3% credit card processing fee. ∙ University Co­Op carries the same film stock but it is not discounted. ∙ In future classes, you should consider purchasing directly from Kodak as you qualify for their academic discount (currently 30% off the list price), plus tax, and modest shipping charges. Forms are available on the College Wiki & the Kodak website.

Your filming is complete. What do you do next? ∙ Do not expose the film to daylight. ∙ Put the film back in its original film box, click it closed, & tape it with one piece of tape (there should be a sticky label attached to the film box you can use). If you use gaff tape to seal the box, please use only one small strip – the processing lab opens the box in a darkroom and the technicians are not amused when they have to remove yards of gaff tape to get into the box. ∙ Write your name & instructor’s last name or initials on the back of the film box. (We need to know to which section & student each box belongs) ∙ Write special instructions on the back of the film box: 1 stop, 2 pushes, broken perfs, etc. ∙ Give the film to your TA. Staff will handle the shipping for you. Where is the film processed? ** FotoKem and Yale Labs (both are located in California) handle our 366K processing and they prefer we make bulk payments rather than each student paying directly (remember there are approximately 20 students in each of the four sections). That’s a lot of film and a lot of charges! Lab is determined by RTF staff and is based on type of film being processed and labs' processing timeline.

RTF 366K Deborah Lewis 08855 Fall 2016 All film is shipped via FedEx for next business morning delivery to the lab. Return shipping from ​ the lab is also done via Fedex for next business morning delivery to the department. Processing and/or transfer time is controlled by the film labs and is based on first­come, first­served receipt of film. *** The RTF366K students will also see a $25 charge posted to their What I Owe *after the 12th ​ class day to cover this semester's (FedEx) shipping charges. Since we consolidate the shipping, ​ we can collect a one­time “bundle” charge instead of the 366K students paying every time they ship off. 366K is the only class that we can do this for – it just doesn't logistically work for any other classes. The University gets academic discount so our price is automatically less than if you walked into a FedEx office. Shipping costs are calculated by the pound. You start with a base rate & each additional pound costs a little bit more. The cost for additional pounds in a single box is considerably less than starting over with the base rate for a separate box. Contact Daniel first if you have questions about any of the processes or charges for this class. He will know where to send you for more information. If you need proof of insurance for locations, email AJ the details of what you need. If you need in­kind donations for your film projects, email AJd the details and she will provide you with a letter that you can present to potential donor. If you travel beyond 25 miles of the UT Austin campus, remember to submit travel paperwork well in advance of your travel. This is a University requirement. Forms are on the College Wiki. If you need procedures or forms, you will likely find them in the RTF Production Handbook.

Miscellaneous

The University of Texas Honor Code

The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the University is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community.

Scholastic Dishonesty

The University defines academic dishonesty as cheating, plagiarism, unauthorized collaboration, falsifying academic records, and any act designed to avoid participating honestly in the learning process. Scholastic dishonesty also includes, but is not limited to, providing false or misleading information to receive a postponement or an extension on a test, quiz, or other assignment, and submission of essentially the same written assignment for two courses without the prior permission of the instructor. By accepting this syllabus, you have agreed to these guidelines and must adhere to them. Scholastic dishonesty damages both the student’s learning experience and readiness for the future demands of a work­career. Students who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. For more information on scholastic

RTF 366K Deborah Lewis 08855 Fall 2016 dishonesty, please visit the Student Judicial services Web site at http://deanofstudents.utexas.edu/sjs/acint_student.php

Services For Students With Disabilities

The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at (512) 471­6259, videophone: (512) 410­6644.

Religious Holidays

Religious holy days sometimes conflict with class and examination schedules. If you miss a work assignment or other project due to the observance of a religious holy day you will be given an opportunity to complete the work missed within a reasonable time after the absence. It is the policy of the University of Texas at Austin that you must notify each of your instructors at least fourteen days prior to the classes scheduled on dates you will be absent to observe a religious holy day.

University Code of Conduct

The core values of the University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the University is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community.

Emergency Evacuations

The following information directs towards recommendations regarding emergency evacuation from the Office of Campus Safety and Security, 512­471­5767, http://www.utexas.edu/safety/

­ Occupants of buildings on The University of Texas at Austin campus are required to evacuate buildings when a fire alarm is activated. Alarm activation or announcement requires exiting and assembling outside.

­ Familiarize yourself with all exit doors of each classroom and building you may occupy. Remember that the nearest exit door may not be the one you used when entering the building.

­ In the event of an evacuation, follow the instruction of faculty or class instructors.

­ Behavior Concerns Advice Line (BCAL): 512­232­5050

­ Students requiring assistance in evacuation shall inform their instructor in writing during the first week of class.

­ Do not re­enter a building unless given instructions by the following: Austin Fire RTF 366K Deborah Lewis 08855 Fall 2016 Department, The University of Texas at Austin Police Department, or Fire Prevention Services office.

­ Link to information regarding emergency evacuation routes and emergency procedures can be found at: www.utexas.edu/emergency

University Electronic Mail Notification Policy All students should become familiar with the University’s official e­mail student notification policy. It is the student’s responsibility to keep the University informed as to changes in his or her e­mail address. Students are expected to check email on a frequent and regular basis in order to stay current with University­related communications, recognizing that certain communications may be time­critical. It is recommended that e­mail be checked daily, but at a minimum, twice per week. The complete text of this policy and instructions for updating your e­mail address are available at http://www.utexas.edu/its/policies/emailnotify.html. In this course email will be used as a means of communication with students. You will be responsible for checking your email regularly for class work and announcements.

Copyright and Fair Use

You may find the need to use copyrighted material this semester: music, photographs, movie clips, or any other expression. For many of your uses, you need to find the copyright holder and negotiate a license. You own the copyright to the work you produce in this class. As a copyright holder yourself, you understand the importance of copyright ownership. It is your responsibility to secure music and archival footage licenses as well as artwork, location and personal releases. You will find release templates on the RTF website. For some uses, however, neither you nor anyone else needs to license copyrighted material. This is because copyright law exists to encourage and support creativity. Copyright law recognizes that creativity doesn’t arise in a vacuum. As creators, we all stand on the shoulders of giants. New works of art (such as films, books, poems, paintings) all make use of what has gone before. Thus, copyright law not only protects authors with a copyright that lets them decide who can use their works, but also offers exemptions from the author’s control. For filmmakers, the most important exemption is the doctrine of fair use. You can rely on fair use, where appropriate, in the film and media projects you undertake for this course. If you are making a documentary film, consult the influential Documentary Filmmakers Statement of Best Practices in Fair Use (http://www.centerforsocialmedia.org/files/pdf/fair_use_final.pdf), which was created by a group of national filmmaker organizations, has been endorsed by the University Film and Video Association, and is now relied on by film festivals, insurers, cablecasters, distributors and public broadcasters. Fair use also applies in the fiction film environment, but not necessarily to the same extent or in the same way. As always, the central question is whether the new use is "transformative" ­­ i.e., whether it adds significant value by modifying or re­contextualizing the original. For more understanding, including information on when you can use works for free (http://www.centerforsocialmedia.org/files/pdf/free_use.pdf) without even using fair use, why you (mostly) don’t need to worry about trademarks (http://www.centerforsocialmedia.org/files/pdf/free_use.pdf), what is in the public domain (http://www.centerforsocialmedia.org/rock/backgrounddocs/copyrightterm.pdf), how fair RTF 366K Deborah Lewis 08855 Fall 2016 use lawsuits (http://www.centerforsocialmedia.org/videos/sets/fair_use_case_studies) have been settled, and on how fair use has been employed successfully (http://www.centerforsocialmedia.org/videos/sets/fair_use_case_studies) in documentary film, visit centerforsocialmedia.org/fairuse

RTF SAFETY POLICY Special safety precautions for your crew, actors and others in the area are required if you are undertaking any hazardous activities while filming, including but not limited to ANY driving or horseback/livestock shots, shooting in or around water or heights, or if you are using stunts, flames, pyrotechnics, squibs or simulated weapons (real weapons of any kind are never permitted). In addition, you must follow all federal, state and local laws and the rules of any venue or location at which you are filming regarding hazardous activities, including University of Texas at Austin rules if filming is done on campus.

Student filmmakers must submit a detailed safety plan to their course instructor and the RTF Technical Facilities Manager if a script or project involves driving or horseback/livestock shots, shooting in or around water or heights, stunts, flames, pyrotechnics, squibs, weapons or any other hazardous activities (this requirement applies to all shoots, including documentary projects, but please see the special guidelines for documentary driving shots below). It is the responsibility of the student to hire experts in the field and budget at least $600/day for expert consultation and onset supervision if, in the judgment of the class instructor and the Technical Facilities Manager, such expert consultation or supervision is necessary. Students should understand that driving while filming will be permitted only in strictly limited circumstances, such as on a private road or drive. In most circumstances, students who wish to undertake driving shots will be required to arrange for a police escort and a city permit. Monitors inside the vehicle will NOT be allowed while filming in a vehicle. Filming from the back of trucks is not considered safe and is not permitted under any circumstances.

Documentary filming of an interview while the interview subject is driving is only permitted if the cameraperson is secured in a seat belt and is not directing the driver of the car in any way, besides engaging in a conversation in which the driver/interviewee has been informed not to look at the camera or the interviewer at all during the interview. In addition, any filming from a vehicle, for drive­by B­roll, must be done by a cameraperson secured in a seat belt, where the driver is not being directed in any way by the director, so that they are driving as they normally would. As noted above, any documentary student planning on filming in any vehicle must submit a safety plan to their course instructor and the RTF Technical Facilities Manager. Students who fail to comply with this policy will receive a failing grade in this class and will be barred from future access to RTF production and post­production equipment and facilities.

RTF 366K Deborah Lewis 08855 Fall 2016