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1 COMM 438/638 (004) Aesthetics/Techniques of Editing TUESDAY

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1 COMM 438/638 (004) Aesthetics/Techniques of Editing TUESDAY Course # COMM-438/638 (004) Production Practicum: Aesthetics/Techniques Editing - Fall 2009 / Brigid Maher, American University, 4400 Massachusetts, Washington DC COMM 438/638 (004) Aesthetics/Techniques of Editing TUESDAY AFTERNOON: 2:10 to 4:50 in the Media Production Center, Room 100 Instructor: Brigid Maher Office Hours: Tuesdays 10:30 to 12:30, Wednesdays 10:30am to 12:30pm, Thursday 2 to 4pm E-mail: [email protected] Office: MGC 318 Phone: 202-885-2664 COURSE DESCRIPTION: This course surveys the editing aesthetics and techniques used in narrative, documentary, and experimental film and video. This includes: Soviet montage, classical Hollywood style, discontinuity, associational, spatial montage, and contemporary narrative. Through a series of exercises, students develop editing strategies for both narrative and non-narrative work. Students receive in-class and written critiques examining the development of each editing exercise. Students edit the final project using their choice of editing strategies covered in class. Projects develop with increasing complexity and enable students to apply their ideas about editing to the material in order to develop their own style and aesthetic. Prerequisite: COMM-434/634 Film & Video Production I or permission of school The student will master the following knowledge: • Understand historical and contemporary contexts of editing theory and practice • Advanced skills on Final Cut Pro • Intermediate post-production protocols in digital editing • Intermediate level organizational skills necessary to edit a film The student will learn to do the following: • To use elements of narrative editing in their work including rhythm, pacing, point- of-view, screen direction, matching cuts, script analysis and communication with collaborators • To develop information-handling skills to deal with large amounts of film and audio material • To acquire the means to apply ideas to their material in order to develop an authorial approach • To use digital, non-linear, video editing equipment to edit their own filmic interpretation • How to apply narrative, documentary, and experimental editing theories • How to work with limited coverage • The positive attributes of being an editor: patience, organization, a willingness to try new things, and a diplomatic grace in dealing with directors 1 Course # COMM-438/638 (004) Production Practicum: Aesthetics/Techniques Editing - Fall 2009 / Brigid Maher, American University, 4400 Massachusetts, Washington DC The student will learn to be expressive as follows: • By describing and defending their authorial point of view with regards to their approach to the narrative and non narrative material • Improving a work in progress, by successfully receiving and incorporating criticism to arrive at an important work • By imposing a successful narrative structure on given material including the effective arrangement of time within the work • Demonstrating through their work a control of rhythm, transitions of sound and picture, and creative use of other aspects of editing to reveal and heighten the emotional content of the piece and to help the audience involvement in the drama • Demonstrating through their work the creative handling of all sound elements such as dialogue, sound effects, voice over, music Required Text (available at the American University Bookstore): • First Cut: Conversations with Film Editors by Gabriella Oldham. ISBN: 9780520075887 • Apple Pro Training Series: Final Cut Pro 6: Beyond the Basics (w/DVD) by Michael Wohl. ISBN: 0321509129. Recommended Texts (available at the American University Bookstore): • Final Cut Pro 6: Visual QuickPro Guide (Visual Quickpro Guide) by Lisa Brenneis, Peachpit Press. ISBN: 0321502698. • In the Blink of an Eye by Walter Murch, Silman-James Press, 1997. ISBN: 1879505622. Recommended Texts (available at Amazon.com): • The Technique of Film Editing, (Second Edition) Karl Reisz and Gavin Millar, Focal Press, 1994. ISBN: 0240514378. • On Film Editing , Edward Dmytryk, Focal Press, 1988. ISBN: 0240517385 • When the Shooting Stops, the Cutting Begins, Ralph Rosenbloom, Da Capo Press, 1979. ISBN: 0306802724. • The Film Editing Room Handbook , (Third Edition), Norman Hollyn, Lone Eagle Publishing, 1998. ISBN: 1580650066. • Selected Takes, Vincent LoBrutto, Praeger Press, 1991. ISBN: 0275933954. • The Grammar of the Edit , Roy Thompson, Focal Press, 1993. ISBN: 0240513401. Additional Academic Resources: All course related assignments will be posted through the university’s blackboard system. All handouts and additional links will be hosted on AU’s Blackboard system. Students are invited to actively use the system and participate in the Editing Forums for the class. 2 Course # COMM-438/638 (004) Production Practicum: Aesthetics/Techniques Editing - Fall 2009 / Brigid Maher, American University, 4400 Massachusetts, Washington DC Students needing additional assistance in Final Cut Pro Training are invited to make use of the New Media Center’s FCP Pod casts located at http://cte.american.edu:16080/weblog/nmc/. Considerations for Grading • Class projects must be completed on time. Deadlines are a part of editing. To receive a grade of “A ,” in addition to the other criteria, each assignment must be completed on time . • Projects must be complete with attention to craft. This includes labeling & cueing your work for viewing. • Finally, the raw footage of a film suggests a number of creative problems. The originality with which you solve the problems that the footage suggests will also be a factor in your grade. Attendance and Participation (10%): Attendance and constructive peer critiques are essential components to participation in the course. Absences and tardiness (more than 10 minutes) will not be tolerated and will result in an overall grade reduction. Missed Sessions: The student is responsible for getting assignments and class notes for any session he/she misses from fellow students, and is responsible for asking the instructor for any missed handouts. Notes from other students do not provide a dictation of the class and is not a substitute for attendance. Homework: Students who miss class sessions must still turn in homework or other assignments on time. PLEASE NOTE : ABSOLUTELY NO GRADES OF “I” WILL BE GIVEN. NO INCOMPLETES. YOUR FINAL GRADE WILL BE BASED ON WORK COMPLETED DURING THE SEMESTER. Assignments Shot by Shot Analysis Students will choose a film from a provided list and complete a detailed breakdown and analysis on the editing of a scene. Editing Exercise 1: Trailer for Apology Students will cut a short two-minute trailer for the independent feature Apology. 3 Course # COMM-438/638 (004) Production Practicum: Aesthetics/Techniques Editing - Fall 2009 / Brigid Maher, American University, 4400 Massachusetts, Washington DC Editing Exercise 2: Short Narrative Scene Students will cut a short scene from Law and Order: SVU. Students are responsible to log and capture all footage as well as create a paper edit and provide the instructor with a copy. Editing Exercise 3: Short Documentary Scene Students will cut a short documentary scene using HD footage. Students will learn how to use a documentary script, work with HD footage, compositing and color correction. Exercise 4: Your Choice Students can either re-edit a short narrative or documentary 5 to 10 minute project of their own (or for a colleague) or choose to a project to edit from footage provided. Extra Credit Editing Assignment Students may choose to cut either a short documentary, found footage, or narrative project using provided footage or a project of their choice (with instructor’s permission). Please Note: All rough cuts and final edits must be laid off to or DVD or VHS (make sure it’s queued) and given to the instructor at the beginning of the class when due. Graduate Students Additional Assignment: Shot by Shot Analysis 2 Graduate students will be responsible for completing an additional shot by shot analysis due Tuesday, November 25, 2006. Students will choose a film from a provided list and complete a detailed breakdown and analysis on the editing of a scene. Graduate Grade Breakdown: Attendance/Participation: 10% Shot by Shot Analysis: 5% Editing Exercise 1: 15% Editing Exercise 2: 15% Editing Exercise 3: 15% Exercise Paperwork and 15% Tutorials: Final Project: 20% Shot by Shot Analysis 2: 5% (additional assignment) TOTAL: 100% 4 Undergraduate Grade Breakdown: Attendance/Participation: 10% Course # COMM-438/638 (004) Production Practicum: Aesthetics/Techniques Editing - Fall 2009 / Brigid Maher, American University, 4400 Massachusetts, Washington DCShot by Shot Analysis: 10% Editing Exercise 1: 15% Editing Exercise 2: 15% Editing Exercise 3: 15% Exercise Paperwork and Tutorials: 15% Final Project: 20% TOTAL 100% Grading Scale 100-93% A 90-92% A- 88-89 B+ 83-87% B 80-82% B- 78-79 C+ 73-77% C 70-72 C- 60-69 D 59% or less F Grading Policy: Evaluation The grade of A is awarded for excellence, the very best work in the class. An A student turns in all work on time with consistently very high standards of quality, creativity, and original thinking. This person produces outstanding products and performs exceptionally in presentations and critiques A final grade of A is earned when tests and assignments average at least A-/B+ The grade of B is awarded to students who have turned in all work on time, and consistently completed work in a high quality manner. The work shows creative thinking, extra effort, and care in presentation. This person has demonstrated knowledge that surpasses the basic material and skills of the course. A final grade of B is earned when there is an average of B on tests and assignments. The grade of C is earned when all class work is turned in and the student has mastered the basic material and skills of the course. This person participated in class and demonstrated knowledge of the basic material and skills. This is the average grade in the class. The D or F is given for work that is incomplete, late, and/or does not demonstrate mastery of the basic material and skills of the course. A grade of D or F may also be given to students with more than three unexcused absences.
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