RTF 343D Cinematography – Fall 2018

Home , Ernest Dickerson, Gordon Willis, John Alton

Class/Lab: Mon. 9:00 AM – 12:00 PM & Wed. 6:00 PM – 9:00 PM Instructor: John Fiege Office: CMA 6.162 Office hours: Mon. 12:00 – 3:00 PM and by appointment

TA: Carlos Estrada Meetings by appointment

My father would tell anyone who would listen that this dentist thing he was doing was not his passion; cinematography was. - Lasse Hallström

DESCRIPTION

This course is an intensive workshop in cinematography and visual storytelling, with an emphasis on both hands-on practice of the cinematographer’s craft and in-depth study of the art of cinematography and its role in filmmaking. The art and craft of cinematography are two sides of the same coin: in order to execute your vision, you must have a clear understanding of your tools. The projects in and outside of the classroom will help students develop conceptual and technical proficiency, including knowledge of film and digital motion picture cameras, lenses, camera support, lighting, grip equipment, and set procedures. Students will also develop a solid foundation of working skills, strategies, and discipline that will benefit further study of cinematography and filmmaking. Readings, assignments, and class presentations will deepen students’ understanding of the role of cinematography in the practice of filmmaking and storytelling. In addition to critiquing the work of their classmates, students will develop their critical analysis skills by examining the work of the world’s leading cinematographers. Through participation in class activities and assignments, students will further develop their writing, communication, oral presentation, and critical thinking skills; their ability to work in groups effectively; their understanding of the filmmaking process; and their ability to express themselves artistically through filmmaking. This is an advanced level course that requires familiarity with a broad range of filmmaking skills. By the end of the semester, students should have a strong understanding of the role of cinematography in filmmaking and visual storytelling and of the cinematographer’s work, both on set and off set, from pre-production through production and post-production.

1) Learn how to listen; 2) Choose one strong idea per film; and 3) Really understand your motivations, why you do something and not something else, and the direction you take in your work. - Darius Khondji, ASC, AFC

REQUIRED & RECOMMENDED TEXTS I’ve learned so much from reading American Cinematographer, and the best professional advice I ever received was from an interview with Gordon Willis. In it, he stressed the importance of always having a point of view when approaching a scene. It’s the first question I ask myself when I’m designing my coverage: what is the point of view, or whose? Once I’ve answered this question, everything falls into place with much more ease. - Ernest Dickerson, ASC

All required readings are available free of charge on the internet, and the links are listed under “Required Readings” on Canvas.

There is a textbook for the class, and I include the textbook reading assignments in the syllabus. However, the textbook is optional, due the varying experience levels of students. Students should be familiar with the information in the textbook, and I highly recommend it as a resource, even for more experienced students. It is available from the University Co-Op or online, new or used: • Cinematography: Theory and Practice: Image Making for Cinematographers and Directors (3rd Edition), by Blain Brown, 2016.

!1 Cinematography is a field with endless possibilities and ways to study. Here is a list of books for further study of cinematography in addition to what is required for class:

• American Cinematographer Manual, 10th edition, Michael Goi, 2013 • Beauty and the Beast: Diary of a Film, Jean Cocteau, 1972 • The Camera Assistant’s Manual, Sixth Edition, David E. Elkins, SOC, 2013 • Cinematography, Peter Ettedgui, 1999 • Cinematography, Kris Malkiewicz and M. David Mullen ASC, 2005 • Contemporary Cinematographers on Their Art, ed. Pauline B. Rogers, 1998 • Film Directing Shot-by-Shot: Visualizing from Concept to Screen, Steven Katz, 1991 • The Five C’s of Cinematography, Joseph V. Mascelli, 1965 • Magic Hour, Jack Cardiff • The Magic Lantern: An Autobiography, Ingmar Bergman, 2007 • A Man with a Camera, Nestor Almendros, 1984 • Masters of Light: Conversations with Cinematographers, Dennis Schæfer and Larry Salvato, 2013 • Matters of Light and Depth, Ross Lowell, 1999 • More Contemporary Cinematographers on Their Art, ed. Pauline B. Rogers, 2000 • Motion Picture and Video Lighting, Blain Brown, 2007 • Painting with Light, John Alton, 2013 • Sculpting in Time, Andrey Tarkovsky, 1986 • Set Lighting Technician’s Handbook: Film Lighting Equipment, Practice, and Electrical Distribution, Harry C. Box, 2010 • Understanding Comics: The Invisible Art, Scott McCloud, 1994 • Ways of Seeing, John Berger, 1990

SUPPLIES Storage:

• You will need hard drives or other storage media for your media files and your editing project files. Always keep at least two copies of all digital files on separate drives. If you store footage on school computers, make sure to have one (and preferably two) of your own copies elsewhere.

AC kit:

• Orange stick • Medical cotton swabs • Blower • Lens cloth • Lens brush • Cleaning fluid • Small magnifying flashlight • One inch colored paper tape • One inch white cloth tape • One inch black cloth tape • Two inch black cloth tape OR Two inch black paper tape • Tape measure • Grease pencil/dry erase marker • Fine tip wet erase marker • Screwdriver (flathead + phillips) • Hex keys (metric + imperial) • Velcro/Bongo Ties

If you want to build out a more extensive AC kit, here are some good guides:

• http://www.theblackandblue.com/2011/12/15/camera-assistant-toolkit/ • https://ehranjade.wordpress.com/2012/09/27/building-a-camera-assist-toolkit/ !2 FILM SCENE PRESENTATION: CINEMATOGRAPHY BREAKDOWN & ANALYSIS

In pairs, students will present scenes (3-5 min.) from a film and analyze the cinematography in the context of the film’s style, themes, and narrative. In addition to showing clips, use screen captures from the film to breakdown and analyze the cinematography. Your presentation should address how different elements of the cinematography work together to tell the story. Consider lighting style, color, lenses, camera movement, frame rate, location, mood, tone, genre, and production design, among other aspects of cinematography. Be prepared to answer questions afterwards. Make sure that each person in your group does an equal amount of work in both the preparation and presentation of the assignment. These presentations will be about 20-25 minutes in length.

You will be graded on both the content of your film breakdown and analysis and on the effectiveness of your presentation. Make sure that you carefully plan the presentation with your partner, practice the delivery ahead of time, and communicate your ideas in a clear, concise, organized, and engaging way.

See the class schedule for timeline and due dates. In class on Monday, September 24, you must announce your group and your intention of which film you’d like to analyze. My preference is for you to choose films from directors and cinematographers who are not listed in the class schedule already. However, I’ll consider one that I’m planning to cover as long as you present before my scheduled lecture. Have a back up or two in case another group has picked your first choice. We will then schedule the presentation dates, so have your preferences in mind.

CREW EXPERIENCE Each student will serve as a crew member for at least 4 days on the final project shoots of other students in the class, in any role in the camera or lighting departments. You can work on one project or multiple projects, as long as the total time on set is at least 4 days. After you complete your crew work, write 1-2 pages on your experience, including what went well or not, what you enjoyed or not, and what you learned. In addition, include 1.) a list of days worked on other students’ shoots, with a description of your crew position on each day; 2.) a crew list for your own final project, with a description of who filled the various crew positions on each day of production; and 3.) a scan of the camera reports from your camera assistant on your final project.

FINAL PROJECT I once worked with Irving Penn, who told me a simple rule: less is often better. He used a single soft light for most of his shots. We shot a number of Pepsi commercials that way, and those spots won several Clios. - Torben Johnke, ASC

Each student will serve as director of photography on a short film. You may direct this film yourself as well, or you may work with a director, either another student in the class or another RTF student outside the class. The film can be in any genre and photographed either digitally or on film, although each project should have a clear and compelling visual approach. Rather than being graded on the quality of the film, you will be graded on your process of conceiving the visual approach to the film and your execution of the cinematography. The final film should be 1-9 min. in length.

Students should determine the shoot dates and crew roles for your final project and then recruit classmates to fill crew positions. For crew positions you can’t fill with classmates, you may work with crew members who are not enrolled in the class. Each shoot will be different, but most should have a camera assistant, gaffer, and key grip. The camera assistant should create a camera report for the shoot that you include with your crew experience write-up. Final project plans are subject to my approval.

Students will turn in their work at various stages of the production process, and each stage will be graded separately. See the attached class schedule for timeline and due dates. The stages are:

1. One-page project pitch: Write a one-page synopsis of your proposed final project, including a rough sketch of the visual approach and at least one film reference. Upload a PDF of the one- !3 page project pitch to Canvas. In class, on the due date, present a 2-3 min. pitch of your project without visuals. 2. Look book: Create a look book for your project, which contains 6-20 reference images. For each image, include a short description of the image’s relationship to the film’s visual approach. Descriptions might include notes on lighting style, color, lens choice, camera movement, frame rate, location, mood, tone, genre, and production design. Upload a PDF of the look book to Canvas. In class, on the due date, present a 3-5 min. pitch of your look book and visual approach. 3. Storyboards, shot list, and production schedule: With whatever drawing skills you have, sketch out storyboards for the entire production. You can either work from a script or create the storyboards from the project concept directly. Use storyboards with the same aspect ratio that you plan to use in production. For each frame, write a shot number and provide a brief description of the shot (e.g., 1A WS dolly in to back of head). Create a shot list using the same shot numbers and descriptions from the storyboards. Create a final document that schedules each shot over the course of one production day. Upload PDFs of all three files to Canvas. 4. Equipment list: Submit for approval a complete equipment list for your final shoot before reserving equipment with Linda. 5. Test shoot: Do a test shoot outside of class for your final projects. Each project should test several aspects of the intended look, such as contrast ratio, color, quality of lighting, silhouette, camera movement, frame rate, lens selection, focus pulls, production design, etc. Your test shoot should help you answer questions about how you’ll shoot your project. You will present the test footage and what you learned from it in class. 6. Shoot: You should schedule your shoot and make sure you fill all the crew positions you need. 7. Final edited and color-graded master: Edit your footage into a short film, color-grade it, and export a full-quality master file. Feel free to work with an editor or edit yourself, either in the editing labs or elsewhere. Color-grade your final project either within the editing software or with dedicated color grading software, such as DaVinci Resolve. Although you won’t be graded on color grading, it is an important part of cinematography, and I encourage you to use it as effectively as possible as one of your tools. Each project should include a title at the beginning and production credits at the end. You will be graded on the quality and execution of the cinematography but not on the effectiveness of other aspects of the film, such as narrative, acting, or sound. Final project should be 1-9 min. in length. When you present your final project in class, give a brief analysis of your production, including what went well and what didn’t, what you learned, and what you might do differently next time.

CLASS AND LAB PARTICIPATION

On my first day on my first job as a PA, the production manager was late, and a grip said, “It is disrespectful to be late on a shoot day.” That made a big impression on me. - Rodrigo Prieto, ASC, AMC

Come to class and don’t be late. Class and lab participation of every student is an essential element of this class. Students are expected to attend every class and lab, be prepared with the readings and assignments for each day, and participate actively and constructively in all activities. Students should demonstrate their understanding of the readings and contribute to their own and other students’ learning through discussion, feedback, and constructive criticism. Attendance will factor into your participation grade.

ATTENDANCE POLICY

You will be allowed one unexcused absence without penalty. 2 points will be deducted from your participation grade for each additional absence. 1 point will be deducted from your participation grade for late arrivals or early departures from class. Having a job or working on a shoot is not a reason to excuse an absence.

NOTE TAKING & CLASSROOM ETIQUETTE

!4 Technology can be our best friend, and technology can also be the biggest party pooper of our lives. It interrupts our own story, interrupts our ability to have a thought or a daydream, to imagine something wonderful, because we're too busy bridging the walk from the cafeteria back to the office on the cell phone. - Steven Spielberg

For every class, you should be prepared with written notes from the readings and for the camera and lighting details of any assignments (such as test shoots we may view in class). I recommend using a small, old school notebook that you can easily carry around. However, if you prefer to use a laptop in class, please restrict its use to note taking. You may use your cell phones during class breaks, but they should remain silent or turned off during class.

NO EMAILING, TEXTING, WEB SURFING, SOCIAL MEDIA, OR TALKING ON YOUR PHONE.

GRADING

If it’s a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on. - Alfred Hitchcock

The grading for the course will be based on the following assignments (subject to change when necessary):

20 pts. Film Scene Presentation: Cinematography Breakdown & Analysis 10 pts. Crew Assignment 50 pts. Final Project 3 pts. One-page project pitch 5 pts. Look book 5 pts. Storyboards, shot list, and production schedule 2 pts. Equipment list 10 pts. Test shoot 25 pts. Final edited and color-graded master 20 pts. Class and Lab Participation

There will be no final exam.

General Grading Criteria The grades assigned in this class are: A, A-, B+, B, B-, C+, C, C-, D+, D, D-, and F. Your grade will be determined by adding up the points for all assignments:

A 94 - 100 A- 90 - 93 B+ 87 - 89 B 84 - 86 B- 80 - 83 C+ 77 - 79 C 74 - 76 C- 70 - 73 D+ 67 - 69 D 64 - 66 D- 60 - 63 F 00 - 59

The following are general guidelines for grades. These are meant only as general statements and not as applicable to particular projects:

• In general, A-level work is strong conceptually, aesthetically, creatively, and technically. It adheres to guidelines and communicates strongly and clearly through the medium. The concept of the !5 work is original and innovative and the technical execution of the idea is superior. A-level work takes creative and conceptual risks while maintaining coherence about the statement it is making. • B-level work achieves success in some areas but not all: originality, concept, aesthetics, creativity, and technical execution. For example, sometimes it is technically strong but conceptually weak; other times it is highly original but not technically competent. Sometimes the work is creatively strong but has trouble holding together as a coherent piece with a particular message. • C-level work typically may have small amounts of success in technical, creative, conceptual, and aesthetic areas, but has difficulty in multiple areas. • D-level work and below fails to achieve success and competence in most areas. It is typically conceptually weak, fails to deliver an original or coherent idea, has major technical difficulties, and takes little or no creative risk.

CANVAS

This class uses Canvas—a Web-based course management system with password-protected access at http://canvas.utexas.edu/—to distribute course materials, to communicate and collaborate online, to post grades, etc. You can find support in using Canvas at the website.

NOTE: Convert all assignment files to PDF before uploading.

A NOTE ON WORKLOAD AND TIME MANAGEMENT

Life is unpredictable and I feel, to some extent, lighting and cinematography should be a reflection of that. - Rachel Morrison, ASC

As with every production class, you will be required and expected to work many additional hours outside class time to complete your projects. If you have a heavy class or work schedule, you many want to reconsider your decision to take this class. Likewise, problems and delays—both personal and technical —are a part of the production process. If you are accustomed to waiting until the last minute to do your work, you should use this class to change your habits. You should build in time to deal with the inevitable problems that may throw you off of schedule, because the deadlines for projects are firm.

COSTS OF PRODUCTION

Sometimes, I think having less money can lead to more artistry. - Sven Nykvist, ASC

Except for lab exercises, student production costs are borne by the student. For the final project, you can elect to shoot film or digital. The vast majority of production these days is digital, so shooting digital is a practical and inexpensive choice. Nonetheless, I encourage you to take the opportunity to shoot film in this class, because it is an increasingly rare medium in the industry despite its many advantages. Yet, the costs of buying, processing, and transferring film are very high. Please honestly assess your resources before committing to a plan for your final project. Even if you don’t have a lot of money to spend, you can do amazing things with even a single roll of film. And if you prefer to just sharpen your digital skills, that’s a fine route to take for this class as well.

PRODUCTION EQUIPMENT ALLOCATION

“Keep it simple.” It’s always exciting to try a new piece of gear, but sometimes two grips pulling a camera on a blanket is still the best solution. - Glen MacPherson, ASC

• Cameras: Canon C100, Sony F3, Panasonic GH5, Sony FS5, Arri BL4, Arri SR2 • Lenses: Rokinon DS Cine Prime Kits (C100), Zeiss CP2 Prime Kit (GH5 or F3) • Audio Recorder: Sound Devices 744T • Other: Any lighting, grip, audio or camera support item including Jib and Vector Dolly. Students must complete safety training prior to use of the Jibor Vector Dolly.

!6 NOTE: Equipment check out is located in HSM 2.102D.

UNIVERSITY POLICIES, SERVICES & OTHER INFORMATION Learn the rules before you try to bend or break them. You need a foundation on which to build. - Douglas Slocombe, BSC

Counseling and Mental Health Services Taking care of your general well being is an important step in being a successful student. If stress, test anxiety, racing thoughts, feeling unmotivated, or anything else is getting in your way, there are options available for support.

CARE Counselor in the Moody College of Communication is: Abby Simpson, LCSW • CMA 4.134 | 512-471-7642 (Please leave a message if she is unavailable)

FREE Services at CMHC: • Brief assessments and referral services • Mental health & wellness articles - cmhc.utexas.edu/commonconcerns.html • MindBody Lab - cmhc.utexas.edu/mindbodylab.html • Classes, workshops, & groups - cmhc.utexas.edu/groups.html

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 dishonest damages both the student’s learning experience and readiness for the future demands of a work-career. 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 dishonesty, please visit the Student Judicial services Web site at http:// deanofstudents.utexas.edu/sjs.

Writing & Learning Centers The Undergraduate Writing Center (located in the FAC 211, phone 471-6222, http:// uwc.utexas.edu/) offers individualized assistance to students who want to improve their writing skills. There is no charge, and students may come in on a drop-in or appointment basis. In addition, learn more about the Sanger Learning Center at http://www.utexas.edu/ugs/slc.

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 471-6259, 471-4641 TTY. http://ddce.utexas.edu/disability/

Religious Holidays !7 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 Electronic Mail Notification Policy All students should become familiar with the University’s official e-mail student notification policy. It is the student’s responsibility to keep the University informed as to changes in his or her e-mail address. Students are expected to check e-mail on a frequent and regular basis in order to stay current with University-related communications, recognizing that certain communications may be time-critical. It is recommended that e-mail be checked daily, but at a minimum, twice per week. The complete text of this policy and instructions for updating your e-mail address are available at http://www.utexas.edu/its/policies/ emailnotify.html. In this course e-mail will be used as a means of communication with students. You will be responsible for checking your e-mail regularly for class work and announcements.

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

In the event of an evacuation, follow the instruction of faculty or class instructors. Do not re-enter a building unless given instructions by the following: Austin Fire Department, The University of Texas at Austin Police Department, or Fire Prevention Services office.

Behavior Concerns Advice Line BCAL: 232-5050

Emergency Preparedness.pdf Emergency Terms.pdf

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 video 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 (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.

!8 For more information, visit http://www.centerforsocialmedia.org/

Use of UT Trademarks and Landmarks in Films and Photographs You may not film identifiable UT landmarks, signage, logos, and uniforms without prior permission. Examples of UT Landmarks include the Tower and the Stadium. [email protected] to request approval and include the following in your request:

- Course title, course number, and name of the class instructor. - Stills or links to clips of the landmarks, signage, logos or uniforms you propose to film. - Information about future plans for the film (e.g. possible submission to film festivals).

It normally takes 3-5 days to receive a reply. If approval is not granted, please see Bert Herigstad in the RTF office or call him at 512-471-4071 to discuss other options.

Note regarding “in-class” exercises and non-screened class assignments: Most areas around campus are OK to film. Incidental shots of campus landmarks may be OK so long as they are used for educational purposes only, i.e., class assignments, and are not publicly screened.

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. Please note that unlicensed handguns and other real weapons are never permitted in RTF studios or on location shoots. 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 Assistant Director of Moody College Technology Services, Keefe Boerner ([email protected]), 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 on-set supervision if, in the judgment of the class instructor and the Technical Facilities Manager, such expert consultation or supervision is necessary. In addition, any utilization of pyrotechnics on the University of Texas at Austin campus requires prior review and approval through the Fire Prevention Services office by the University Fire Marshal or their designee.

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 drive-by B-roll, 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 Assistant Director of Moody College Technology Services ([email protected]).

If Police, Fire, or EMS are called to your shoot, or any injuries on your shoot require medical attention, this must be reported to your instructor and the Assistant Director of Moody College Technology Services, within 24 hours of the incident. There is a form in checkout and on the RTF website that must be filled out and returned within three business days.

!9 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 post-production equipment and facilities.

!10