COMM 331:002 & Video Production I Spring 2008: Wednesdays 9:55am – 12:35pm Location: MPC 100

Professor Jes Therkelsen Cell: 1-609-915-5575 Email: [email protected]

Office Hours Available upon request.

Graduate Teaching Assistant

Course Description Visual communication is a powerful tool. This introductory course provides hands-on opportunities for students to familiarize themselves with basic visual storytelling skills, including story development, production planning, digital , directing, lighting, non-linear editing, and sound design. Through discussions, lectures, screenings, in-class demonstrations, reading assignments, and extended projects, students will learn to create technically proficient digital video productions. Experimental, fiction, and the documentary form will all be explored. Students will work in the three main phases of : pre-production, production and post- production.

Course Objectives The ultimate goal of this class is to help you become better visual communicators. Upon successful completion of the course I hope you will be able to:

• To understand the basic grammar of film.

• To practice skills in writing, directing, producing, shooting, lighting, sound recording and editing.

• To learn how to collaborate effectively and fairly with colleagues, including the ability to critique others and one-self with respect.

• To learn the basics of visual storytelling.

• To begin the process of finding your voice.

• To begin to understand how to market oneself for a career in media

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Course Approach This course is taught as a hands-on workshop that combines a basic understanding of the history and theory of film with an exploration of how images can elicit emotion from viewers. Consideration will be given to writing, directing, producing, acting, shooting, sound recording and design, and editing. Students will work in small production teams and share responsibilities for planning, executing and completing course projects and assignments. There will accordingly be a heavy emphasis on teamwork.

Course Expectations: Although an introductory class, this course will have a good amount of work. Assignments will be made clear the first day of class, so please plan ahead. You can expect me to be accessible, to return work in a timely fashion, to provide constructive feedback on all assignments, and to provide you with the best learning environment I can. In return, I can expect you to stay on top of the workload, to come to me if you fall behind and to come to each class ready to learn and engage others. Disrespect and dishonesty will not be tolerated. If you experience difficulty in this course for any reason, please come and see me. There are support services available to you in your efforts to meet the course requirements.

Course Conduct As a discussion based class, all students need to be comfortable to participate. Please show respect to your colleagues and give them your full attention. I will allow laptops during the class if you demonstrate your need and desire to have them. However, if you abuse this privilege, you will be asked to put the computer away. If you abuse this privilege twice, you will be asked to never bring the computer back to class. Please turn off all electronic devices before entering the classroom such as cell phones, Blackberries and iPods.

Final Cut Pro Training: There is a mandatory FCP practicum at the beginning of the semester for all students. Please make sure that you’re aware of times and registration for them.

Required Texts:

Practical DV Filmmaking , Second Edition (Paperback). Russell Evans. Focal Press. ISBN-10: 0240807383.

Recommended Texts:

Apple Pro Training Series: The Craft of Editing with Final Cut Pro (Apple Pro Training Series) (Paperback). Michael Wohl. ISBN-10: 032152036X.

2 The Documentary Film Makers Handbook: A Guerilla Guide (Paperback). Genevieve Jolliffe and Andrew Zinnes. ISBN-10: 0826416659.

Film Art (7 th edition). Bordwell & Thompson. ISBN-10: 0071286446.

Required Supplies:

• Digital Tapes (Mini DV): These can be purchased from the Equipment Room

• Firewire External Hard Drive: (no less than 80 Gb) This will allow you to take your projects and edit them on any computer running Final Cut Pro, either a laptop or desktop system.

• DVD-Rs or mini-dv tapes for making dubs of your projects.

American University’s Media & Filmmaking Centers

CENTER FOR SOCIAL MEDIA www.centerforsocialmedia.org

CENTER FOR ENVIRONMENTAL FILMMAKING http://environmentalfilm.org/

LIBRARY AND SOC MEDIA CENTER RESOURCES http://www.library.american.edu/about/media/index.html

The following resources are available to all AU students with valid I.D.:

• 5,000+ movie titles on VHS, laser disc, and DVD are available for student viewing in the library. The collection is housed in the Media Resources section of the library on the basement level.

• A 500+ title movie script collection is also housed in the library. Scripts from many classic and contemporary can be checked out. The collection is in the stacks on the second floor of the library. Additionally, the SOC Media Center (Mary Graydon Center, third floor) has additional script titles in a smaller collection. These scripts are available for checkout through the SOC Media Center Coordinator.

• Two sound effects collections on CD are available for student use in the Media Resources Section of the Library. These are the BBC Sound Effects Collection and the Hollywood Edge Collection. Students are allowed to listen to any CD’s at the library and can check at up three discs at a time for up to six hours. This should be ample time to capture the CD’s as Final Cut Pro media files.

3 • Music Library at Katzen Performing Arts Center.

American University Film/Video Listserve The AU listserve is a valuable resource for any student interested in pursuing film and video more in depth. Screenings and events are posted as well as job openings and internships in the field. To sign on to the list serve, send an email to: [email protected] and write in the body of the memo (don't write anything else!): subscribe AUFILM-L. You will receive a confirming email from the system and you must respond to it to confirm you want to be on.

Film Student Resources

• DV Lab. Through the lab you should be able to get some support for FCP but it is your responsibility to learn FCP, so again, use the help guide and tutorials as well as the assigned reference book (which also comes with a DVD tutorial). • Final Cut Pro Lab – Room 312 MGC. Final Cut Pro-HD Workstations. Computer Lab Manager: Glenn Luther, 202-885-2093; [email protected]

• New Media Center, Hurst Hall 211. Video Editing Lab with Staff to help with technical problems.

• Brad Boeke , Dir. of Technical Services – Room 314 MGC. Tel. (202) 885-2053 questions about technology in general). Email: [email protected]

• Ali Shirazi, Dir. Of Media Operations, Media Production Center. Tel. 202-885-2888

• Geoff Turner, (202) 885-2092, Equipment Room Manager, Media Production Center

• David Laster , Production Manager - Media Production Center, (202) 885-2132

Other Student Resources

• Academic Support Center. If you need assistance with writing or composing the required class assignments the Academic Support Center has a Writing Lab for undergraduate students. The Center also offers study skills workshops, individual instruction, tutor referrals and services for students with learning disabilities. (885-3360, MGC 243). • The Writing Center: This center is an additional resource for students in need of writing assistance. (Gray Hall, 206). • English Language Institute: This is a resource for international students or non-native speakers of English. You should contact the Institute if you are having language difficulty with the lectures, written assignments or readings. (885-2150, McKinley 206).

4 • Disability Support Services: This office provides technical support and assistance with accommodations for students with physical or psychological disabilities. (885-3315, MGC 206) • Counseling Center: If you are experiencing emotional stress or personal problems which are impeding your ability to function in and outside of the classroom the counseling center offers counseling and consultations regarding personal concerns, self-help information, and connections to off-campus mental health resources. (885-3500, MGC 214)

Assignments :

Inauguration Symphony Project : 5% PRODUCTION Working alone, this project is meant to give you an introduction to 1) working with a camera 2) taking a project from paper to the screen, and 3) the skills one needs to assess other’s and one’s own work. Production Report must be handed in.

Thinking in Pictures : 5% Using no dialogue, I want you to convey a narrative idea with only images. It can be a small moment, but one that is thought provoking, insightful, startling, baffling, inspiring, funny, revealing. Keep it simple. Illustrate your scene with 10-15 drawings. These may be found images or drawn. This assignment is meant to help you become a better visual storyteller.

Continuity Project : 10% PRODUCTION Work in teams of 2, 3, or 4. This assignment is designed to give you more familiarity with video cameras and working in a team. You will need to tell a story through pictures. I should be able to know what message you are trying to convey without any words and without editing the video. Again, we should focus on story for this assignment. Total running time: 1-2 minutes. Production Report must be handed in.

Montage Project : 10% PRODUCTION Research, scout, , shoot, edit a 30-second montage that represents a place, character, product, or event, with a narrative progression. This project is meant to further your skills with the camera and working in collaboration. Include a variety of images that are framed in interesting, compelling ways. Integrate or relate shots through light, color, composition, design rhythm, and motion. You may use a track of music. Individual Production Journals from each student are required.

Production Reports : 5% A production report must be submitted by each student with each project. In this, you will clearly state the role you played in the production process. You will evaluate your own performance and do a self-critique in terms of what you set out to achieve, what you were able to achieve, and what you would do differently next time. Think through your objectives, tone, style, aesthetic principles, technical and functional concerns, as well as visual and sound continuity. Address each stage of the process: pre-production, production, and post-production. List the problems you faced and how you overcame them. What worked and what did not work? These reports are

5 kept strictly confidential.

Attention Required & Class Participation: 15% Participation is essential in this class because it is the clearest evidence that you have done the readings and have assessed their meanings enough to discuss what they say. I am looking for vitality and enthusiasm during class discussions. Unexcused absences will lower your participation grade.

Final Portfolio DVD : 10% POST-PRODUCTION This will be turned in in lieu of a final exam. This will be one DVD with all the projects you worked on this semester. Design DVD as you see fit. Final product should be creative yet professional.

The Final Project : 40% PRODUCTION For the final project, you have the of doing a narrative fiction or a non- fiction documentary. This will be done in teams. Ideas will be pitched to class members and winning ideas will be produced. Team Production Notebooks, including proposal, shot list, script, and releases, are required. Individual Production Journals are also required.

Narrative Fiction Option - A narrative film with an original script. For this project, you are encouraged to have: two different settings/locations that are clearly different in tone from the other (ie: indoor/outdoor, night/day, reality/dreamlike); dialogue and/or voice over; music and sound effects. While doing this project keep in mind the concepts of theme, conflict, character development, dramatic development, and temporal continuity. You will be judged on all of these along with the other aspects like framing, composition, clean cuts, pacing, as well as lighting, mood, and creativity.

Documentary Profile Option - A documentary about an individual, organization, event, issue, or idea. It should be a creative interpretation of reality, focusing on a subject that is unique or interesting in some way. For this project, you are encouraged to have: at least two different settings/locations that are clearly different in tone from the other; narration and at least one interview (the interview subject does not necessarily have to appear on camera); music and sound effects (these should come primarily from natural sources). While doing this project, keep in mind the concepts of theme, conflict, story arc, and temporal continuity. You will be judged on these along with other aspects like framing composition, clean cuts, pacing, etc. Authenticity, originality, and creativity will be taken into account.

All projects should be handed in on DVD or mini-dv and must include:

• 10 seconds of a slate with the same information as the outside of the dvd case

• A 10 second countdown to the beginning of the program

• Opening title and/or closing credits are optional. Run-time will be measured without credits. The credits should never exceed 30 seconds.

• The end of the program should be followed by at least 30 seconds of black.

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Grading Scale: A 100 to 92 A- 91.9 to 90 B+ 89.9 to 88 B 87.9 to 82 B- 81.9 to 80 C+ 79.9 to 78 C 77.9 to 72 C- 71.9 to 70 D+ 69.9 to 67 D 66.9 to 60 F 59.9 and below

Class Policies

• Late Assignments. Each day (NOT each class) an assignment is late, the grade drops 10%. An assignment never turned in is a 0. Contact me earlier if deadlines will be a problem for you in this course.

• Incompletes. AU requires that a student must be passing a class in order to be eligible for an incomplete. Please do no scheme up wild dreams of using an incomplete to extend the deadline for required work. Please see me as soon as possible if catastrophic events make your completion of the course impossible. I plan to offer no incompletes.

• Attendance . Attendance is mandatory. If you anticipate missing more than 2 classes this semester please speak with the professor before signing up for the course.

• Academic Integrity. Standards of academic conduct are set forth in the University’s Academic Integrity Code. By registering for this course, you have acknowledged your awareness of the Code and you are obliged to become familiar with your rights and responsibilities as defined by the Code. Violations of the Academic Integrity Code will not be treated lightly and disciplinary action will be taken should such violations occur. Please see me if you have any questions about the Code in general or as they related to the particular requirements for this course.

• Intellectual Property Copyright Infringement. Respect for intellectual labor and creativity is vital to academic discourse and enterprise. This principle applies to works of all authors and publishers in all media. It encompasses respect for the right to acknowledgment, right to privacy, and right to determine the form, manner and terms of publication and distribution. Electronic information is volatile and easily reproduced. Respect for the work and personal expression of others is especially critical in computer environments. Violations of authorial integrity, including plagiarism, invasions of privacy, unauthorized access, and trade secret and copyright violations, may be grounds

7 for sanctions against members of the academic community.

Equipment and Facilities Please treat all equipment with great care and responsibility. Being irresponsible with any cable, battery, lens, camera, tripod, microphone, light, etc. only means that you will be jeopardizing your and your colleagues’ use of equipment. This includes post-production computers, playback decks, and other equipment. Make sure that you follow ALL reservation requirements. If you are not going to use gear or facilities, please be kind enough to let the right people know so that others may get to use them. If you break something, whatever you do, do not hide it. Let us know that something is broken, lost, or might be. Any damaged or broken gear should be taped and labeled so that when you return the equipment to the Equipment Room you and they will know about it.

Make sure that you have an accurate list of every single item, and make sure that you check that everything is working (including the battery chargers, for instance) before you leave the equipment room. If there are expendables such as batteries for the microphones or bulbs, have extras or spares with you. (You have to supply your own MiniDV tape, but they can be purchased, along with gaffer tape, in the Equipment Room.)

American University Copyright Policy By enrolling in this course, you grant the University permission to have your work, which you created in conjunction with this course, copied and distributed (in print, electronic, and/or any digital medium) and to incorporate your work, in whole or in part, into derivative works for educational, research, archival, promotional, and other purposes consistent with the mission of American University.

Legal Releases When filming interview subjects, personal releases are required. If filming on private property, location releases are required. Use of copyrighted material without permission, such as music or photographs, will limit your ability to share your work outside of the classroom.

8 TENTATIVE SCHEDULE

WEEK ONE – JAN 14 - Introductions & Filmmaking Overview

Introductions Syllabus review Overview of Equipment, Lab Facilities & Final Cut Pro Questionnaire Inauguration Project

DISCUSSION: • Importance of Visual Communication • Strengths/Weaknesses of Visual Culture • Visual storytelling: thinking in

WORKSHOP: • Camera Basics: white balance, focus, zoom lens, tripod, composing frames. • READING ASSIGNMENT FOR NEXT WEEK: • Practical DV Filmmaking, Ch. 1 & 2 (Inside Video)

PROJECT ASSIGNMENTS DUE NEXT WEEK: • Inauguration Symphony

WEEK TWO - JAN 21 – Video Overview

DUE: • Show & Discuss 1-3 minute segments of the Inauguration Symphony • Production Journal

DISCUSSION: • The Videomaking Process: From Idea/Story to Distribution. • Thinking like an image-maker: Purpose/Aesthetics/Technique/Attitude • Digital Technology: History, Imaging, Iris/Shutter/Lens, Formats, Compression

SCREEN: • Woodstock • Primary • 1-3 minutes segments of Inauguration

READING ASSIGNMENT FOR NEXT WEEK: • Practical DV Filmmaking, Ch. 6 (Production Aesthetics)

PROJECT ASSIGNMENT DUE NEXT WEEK: • Thinking in Pictures

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WEEK THREE - JAN 28 – Visual Aesthetics

DUE: • Show and discuss Thinking in Pictures.

DISCUSSION: • Framing, composition, balance (rule of thirds), angles, light source, anticipation, action through the frame. • Aesthetics: Psychology of film. • Directing the viewer’s eye. • Continuity, combining shots, master shot, 30-degree rule, crossing the line, screen direction, POV.

SCREEN: • Matawan • Office Space • American Splendor

READING ASSIGNMENT FOR SEPTEMBER 25: • Basic DV Filmmaking, Chap. 5 (Production Tools)

PROJECT ASSIGNMENT: • Start Continuity Assignment

WEEK FOUR - FEB 4 – Story Structure & Tools: Lighting

DISCUSSION • Story Structure, Plot Points, 3 Act Structure, Script Devices • Exterior & Interior Lighting, high key, low key, contrast, bouncing. • Technical: f-stops, color temp, exposure, iris, shutter speed, depth of field.

WORKSHOP • Basic lighting • Setting Up an Interview

SCREEN • Lunch Date • More

PROJECT ASSIGNMENT: • Continue Continuity Assignment

READING ASSIGNMENT FOR NEXT WEEK: • “Practical DV Filmmaking”, Chap. 7 (Post-Production Tools/Editing)

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WEEK FIVE – FEB 11 – Manipulating time and space

DUE: • Continuity Projects with Production Journals

DISCUSSION: • Aesthetics: Combining/juxtaposing images, A+B=C, building tension/drama, temporal considerations, transitions, cutting on action, elements of surprise. Eisenstein, Kuleshov. • Montage Aesthetics…opening/closing device, transition device, passages of time, mood, information, symbolism, icons • Techniques: Camera logs, preparing for your Edit, logging, digitizing, organizing files.

SCREEN: • Double Indemnity • Days of Heaven • The Doors • Rocky Balboa • Odessa Steps from Potemkin

READING ASSIGNMENT FOR NEXT WEEK: • “Practical DV Filmmaking”, Chapter 8 (Post-Production Aesthetics)

PROJECT ASSIGNMENT: • Begin Montage Assignment

WEEK SIX – FEB 18 – Sound

DISCUSSION: • Aesthetics…Diagetic, nondiagetic; narration, dialogue, interview; style and tone. • Technical…types of mics; recording clean sound, the art of the sound bite, editing sound. • Technical: rhythm, pacing, framing, jump-cuts, overall design.

SCREENING: • Once Upon A Time in the West • Glory • Pearl Harbor • Glory

IN-CLASS EXERCISE: • “Sound Environment” Exercise: Record an interview; record a conversation between two people; Record a group; record natural sound.

PROJECT ASSIGNMENT:

11 • Continue Montage Assignment

ASSIGNMENT: • Come up with two ideas for final project ideas.

WEEK SEVEN – FEB 25 –The Art of the

DUE: • Montage Projects with Production Reports • Two Final Project Ideas written in a paragraph.

DISCUSSION: • Pitching your film starts with having the right idea.

IN-CLASS WORKSHOP: • How to pitch your project, tips and techniques. • Documentary proposals (Hand-outs) • Dramatic proposals (Hand-outs)

SCREEN: • Montage Projects

READING ASSIGNMENT FOR NEXT WEEK: • Practical DV Filmmaking, Chap. 4 (Pre-production)

PROJECT ASSIGNMENT: • Research and write two-page proposal for Final Project (Documentary or Narrative) • Be Prepared to Pitch That Idea Next Time in Class

WEEK EIGHT – MARCH 4 –Producing Your Film

DUE: • Two Page Proposal for One Idea for Final Project

DISCUSSION: • Role of Producer, Director, Crew; • Producing Process, Tips & Techniques. • Handout: Producer’s packet. • Copyright & Releases; Screen “Fair Use” video

PITCH & SELECT TEAMS

FINAL PROJECT ASSIGNMENT: • Treatment/draft of script, pre-interview/cast characters, pre-production for Final Project.

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READING ASSIGNMENT FOR NEXT WEEK: • Practical DV Filmmaking, Chap. 4 (Pre-production)

WEEK NINE – MARCH 11 – SPRING BREAK

WEEK TEN – MARCH 18 – Pre-production, Screenings, Inspiration

DISCUSSION: • Budget • Collaboration • Schedules • Story Structure • Scriptwriting

SCREENINGS: • Students Bring in Examples to share

IN CLASS ORGANIZATION FOR FINAL PROJECT

PROJECT ASSIGNMENT CONTINUED: • Treatment/draft of script, pre-interview/cast characters, pre-production for Final Project.

WEEK ELEVEN – MARCH 25 – and Scheduling

DUE: • Final project treatments/scripts from each team.

LECTURE: • Director’s Vision. Directing professional & nonprofessional talent. • Script Breakdown • Budget Considerations

SCREEN: • Small works of mine and Jai • Funder’s packet stuff

PRODUCTION TEAM DISCUSSIONS.

PROJECT ASSIGNMENT: • Scheduling for final project.

READING ASSIGNMENT FOR NEXT WEEK: • Practical DV Filmmaking, Ch. 9 Part 1 (p. 297-324)

13 WEEK TWELVE – APRIL 1 – Becoming a Professional

DUE: • Review schedules and script breakdown.

PRODUCTION TEAM DISCUSSIONS: • The Post Production Process recap.

DISCUSSION: • Working in the industry • Career Stages

READING ASSIGNMENT FOR NEXT WEEK: • Practical DV Filmmaking, Ch. 9 Part 2 (p. 325 – 361) & Chapter 10

PROJECT ASSIGNMENT: • Shoot final project and begin editing. Remember to keep your team production notebooks and make notes for individual project reports.

WEEK THIRTEEN – APRIL 8 – Marketing/Promotion

DISCUSSION: • Networking, breaking in, funding, distribution • Internet • Industry • Showreel

PROJECT ASSIGNMENT: • Continue editing final project. Fine-tune picture, music, and sound. Remember to keep your team production notebooks and make notes for individual project reports.

WEEK FOURTEEN – APRIL 15 – Marketing Promotion Continued

DISCUSSION: • Networking, breaking in, funding, distribution • Internet • Industry • Showreel

WORKSHOP • Outdoor Lighting • Field Sound

PROJECT ASSIGNMENT:

14 • Continue editing final project.

WEEK FIFTEEN – APRIL 22 – Rough Cuts of Final Projects

SCREEN rough cuts with class

WEEK SIXTEEN – APRIL 29 – Reading Period NO CLASS

Keep Working on Final Cuts

WEEK SEVENTEEN – MAY 6 – Final Screening

Remember to turn in Individual Production Journals.

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