RTF 366K (Unique:09080) Narrative Production Spring 2020 Syllabus page 1 of 3 INSTRUCTOR COURSE GRADE Steve Mims Exercise #1 10% 512.750.4672, [email protected] Exercise #2 10% Office: CMA 6.144 Hours: Thurs. 3:30-6:00pm Final Project 40% Class Participation: TEACHING ASSISTANT Quiz #1 10% Tim Chang, [email protected] Quiz #2 10% 737.230.7205 Quiz #3 10% Attendance* 10% CLASS: Thursday 10:00am, CMB 4.126 / Studio 4D (*Unexcused absences subtract 3 points from the final term average.) LAB: Thursday 6:00-9:00pm, CMB 4.116 / Studio 4A Exercise and Final Project Grade Breakdown: REQUIRED BOOK (available: UT CO-OP) 1. By deadline 25% 2. Technical Proficiency 25% CINEMATOGRAPHY 3. According to requirements 25% Kris Malkiewicz, A Fireside Book, Third Edition, 2005 4. Quality: creativity, aesthetics and execution 25%

ADDITIONAL READING QUIZZES will be assigned There are three short quizzes on the schedule based upon reading assignments, lectures and demonstrations. The test CLASS TIME format will be fill in the blank and short descriptive answers. Lectures/demonstrations. ASSIGNMENTS LAB TIME You will shoot two camera exercises and a final project film, due Technical reviews / demonstrations/ reviews of materials according to the schedule. SPECIAL NOTE: We are sharing (scripts/storyboards/dailies/cuts) production meeting time. our cameras with other sections of 366K. The shoot windows ARE LOCKED IN! You must shoot during these windows or you will not have access to cameras. COURSE DESCRIPTION This course is an intensive workshop in visual storytelling EXERCISE #1 and non-dialogue filmmaking. It is designed to build upon CP16. 16MM B&W reversal film, MOS. Groups of 2. the fundamental production concepts and techniques Each group will shoot one 100 foot roll as per a shot list. that were introduced in RTF 318 and to prepare students Assignment date: Thursday, Feb.6 for the advanced narrative classes. The class explores Shoot window: Feb. 5-12. the expressive potential of sound and image through the Exposed Film Due date: Thursday, Feb 13. production of digital video and 16mm exercises and short Review date: Thursday, Feb. 20 films. Each student will shoot two black & white reversal non-sync 16mm exercises. The class will break into groups EXERCISE #2 for the final film project. Readings, exercises, screenings Canon C100. Groups of two/individual assignments. and other assignments are designed to develop technical Group will shoot two exercises as per guidelines. skills and to sharpen the filmmaker’s visual awareness Assignment date: Thursday, Feb. 20 and appreciation for the expressive potential of sound and Shoot window: Feb. 21-26 image. This class introduces students to single-camera Review date: Thursday, Feb. 27 field video production as well as 16 mm film production. Individual exercises and group projects will be assigned FINAL PROJECT throughout the session. As with every production class, Canon C100 or Outside Camera students are expected to work many additional hours Group size: 2. Students generate script. on production outside the actual class time. Intended for Maximum length: 6 minutes. narrative writer/directors interested in getting a handle on Shoot window: March 27- Thursday, April 15 basic production and storytelling techniques. Through DUE DATES in-class lectures and labs and outside class projects, Assembly: THURSDAY, April 16 students will explore their own voices and improve their First cut: THURSDAY, April 23, Second cut: 6:00PM understanding of the cinematic craft. Topics will include Final cut: THURSDAY, April 30/ Locked Picture 6:00PM basic screenwriting principles, short film strategies, digital Final QuickTime file due: TBA cinema, cinematography, sound recording, directing, editing and work flow. *Missed deadlines reduce project grade by 10 points. RTF 366K Narrative Production Spring 2020 Syllabus page 2 of 3 UNIVERSITY OF TEXAS HONOR CODE RTF SAFETY POLICY The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member Special safety precautions for your crew, actors and others in the area are required if you are of the University is expected to uphold these values through integrity, honesty, undertaking any hazardous activities while filming, including but not limited to ANY driving trust, fairness, and respect toward peers and community. 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 SCHOLASTIC DISHONESTY of any venue or location at which you are filming regarding hazardous activities, including The University defines academic dishonesty as cheating, plagiarism, University of Texas at Austin rules if filming is done on campus. unauthorized collaboration, falsifying academic records, and any act designed to avoid participating honestly in the learning process. Scholastic dishonesty Student filmmakers must submit a detailed safety plan to their course instructor and also includes, but is not limited to, providing false or misleading information to the RTF Technical Facilities Manager if a script or project involves driving or horseback/ receive a postponement or an extension on a test, quiz, or other assignment, livestock shots, shooting in or around water or heights, stunts, flames, pyrotechnics, squibs, and submission of essentially the same written assignment for two courses weapons or any other hazardous activities (this requirement applies to all shoots, including without the prior permission of the instructor. By accepting documentary projects, but please see the special guidelines for documentary driving shots this syllabus, you have agreed to these guidelines and must adhere to them. below). It is the responsibility of the student to hire experts in the field and budget at least Scholastic dishonesty damages both the studentís learning experience and $600/day for expert consultation and on-set supervision if, in the judgment of the class readiness for the future demands of a work-career. Students who violate instructor and the Technical Facilities Manager, such expert consultation or supervision is University rules on scholastic dishonesty are subject to disciplinary penalties, necessary. including the possibility of failure in the course and/or dismissal from the University. For more information on scholastic dishonesty, please visit the Students should understand that driving while filming will be permitted only in strictly Student Judicial services Web site at http:www.utexas.edu/depts./dos/sjs/. 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 SERVICES FOR STUDENTS WITH DISABILITES permit. Monitors inside the vehicle will NOT be allowed while filming in a vehicle. Filming The University of Texas at Austin provides upon request appropriate from the back of trucks is not considered safe and is not permitted under any circumstances. academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at 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 471-6259, 471-4641 TTY. 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 COPYRIGHT AND FAIR USE filming from a vehicle, for drive-by B-roll, must be done by a cameraperson secured in a You may find the need to use copyrighted material this semester: seat belt, where the driver is not being directed in any way by the director, so that they music, photographs, movie clips, or any other expression. For are driving as they normally would. As noted above, any documentary student planning many of your uses, you need to find the copyright holder and on filming in any vehicle must submit a safety plan to their course instructor and the RTF negotiate a license. You own the copyright to the work you produce Technical Facilities Manager. in this class. As a copyright holder yourself, you understand the Students who fail to comply with this policy will receive a failing grade in this class and importance of copyright ownership. It is your responsibility to will be barred from future access to RTF production and post-production equipment and secure music and archival footage licenses as well as artwork, facilities. location and personal releases. You will find release templates on the RTF website. Add here if your class will have an end-of- semester screening: “Your work will not screen at the end-of- semester screening if you fail to submit all licenses, releases and clearances.” 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 Important Safety Information: recognizes that creativity doesn’t arise in a vacuum. As creators, If you have concerns about the safety or behavior of fellow students, TAs we all stand on the shoulders of giants. New works of art (such or Professors, call BCAL (the Behavior Concerns Advice Line): 512-232- as films, books, poems, paintings) all make use of what has gone 5050. Your call can be anonymous. If something doesn’t feel right – it before. Thus, copyright law not only protects authors with a probably isn’t. Trust your instincts and share your concerns. copyright that lets them decide who can use their works, but also offers exemptions from the author’s control. For filmmakers, the Title IX Reporting most important exemption is the doctrine of fair use. You can rely Title IX is a federal law that protects against sex and gender based on fair use, where appropriate, in the film and video projects you discrimination, sexual harassment, sexual assault, sexual misconduct, undertake for this course. If you are making a documentary film, dating/domestic violence and stalking at federally funded educational consult the influential Documentary Filmmakers Statement of Best institutions. UT Austin is committed to fostering a learning and working Practices in Fair Use (http://www.centerforsocialmedia.org/files/ environment free from discrimination in all its forms. When sexual miscon- pdf/fair_use_final.pdf), which was created by a group of national duct occurs in our community, the university can: filmmaker organizations, has been endorsed by the University 1. Intervene to prevent harmful behavior from continuing or escalating. Film and Video Association, and is now relied on by film festivals, 2. Provide support and remedies to students and employees who have insurers, cablecasters, distributors and public broadcasters. Fair experienced harm or have become involved in a Title IX investigation. use also applies in the fiction film environment, but not necessarily 3. Investigate and discipline violations of the university’s relevant poli- to the same extent or in the same way. As always, the central cies. question is whether the new use is “transformative” -- i.e., whether it adds significant value by modifying or recontextualizing the original. Faculty members and certain staff members are considered “Respon- For more understanding, including information on when you can sible Employees” or “Mandatory Reporters,” which means that they are use works for free (http://www.centerforsocialmedia.org/files/pdf/ required to report violations of Title IX to the Title IX Coordinator. I am a free_use.pdf) without even using fair use, why you (mostly) don’t Responsible Employee and must report any Title IX related incidents that need to worry about trademarks (http://www.centerforsocialmedia. are disclosed in writing, discussion, or one-on-one. Before talking with org/files/pdf/free_use.pdf), what is in the public domain (http://www. me, or with any faculty or staff member about a Title IX related incident, centerforsocialmedia.org/rock/backgrounddocs/copyrightterm.pdf), be sure to ask whether they are a responsible employee. If you want to how fair use lawsuits (http://www.centerforsocialmedia.org/videos/ speak with someone for support or remedies without making an official sets/fair_use_case_studies/) have been settled, and on how fair use report to the university, email [email protected] For more has been employed successfully (http://www.centerforsocialmedia. information about reporting options and resources, visit titleix.utexas.edu org/videos/sets/fair_use_case_studies/) in documentary film, visit centerforsocialmedia.org/fairuse. or contact the Title IX Office at [email protected]. RTF 366K Narrative Production, Spring 2020, Class/Lab Schedule page 3 of 3

January

Week 1 Week 10 Week 5 Thursday, January 23 Thursday, March 26 Introduction Thursday, February 20 FINAL PROJECT SCRIPT DUE BY 10:00AM Filmmaking Update, Spring 2020, Quiz #2 Introduction to class and sample work REVIEW: ASSIGNMENT #1, Location Sound Recording/ Directory photos ASSIGNMENT #2 Double System DEADLINE: DIRECTORY SURVEYS DUE BY (SHOOT WINDOW: Feb. 20-26) FRIDAY, January 24, MIDNIGHT. Final Project Script Meetings Digital Cinematography ______Motion picture film and digital imaging systems ______FINAL PROJECT SHOOTING WINDOW: Week 6 Friday, March 27-Wednesday, April 15 Reading: Cinematography chap.#2, pp.48-67. ______Thursday, February 27 Week 11 Cameras: Electronic and Film Reading: Cinematography chap.#1, pp.1-12 Review Assignment #2 Thursday, April 2 ______No meeting Week 2 Lighting ______Cinematography chapter#4, pp.92-149, Thursday, January 30 chapter#5, pp. 150-158, Week 12 Lenses/Meters/Exposure chapter#8, pp.213-223, Reading: chapter#3, pp. 68-94. Thursday, April 9 Cinematography chap#1, pp.12-30, No meeting pp. 98-105, Cinematography ______Practical Advice, Successful Shorts class directories distributed March Week 13 366K Evening Social Thursday, April 16 ______Quiz #1 Week 7 Final Project: ASSEMBLY DUE, 6:00pm ______February Thursday, March 5 ______Week 14 Week 3 Synopsis for Final Project DUE by 10:00AM. Thursday, April 23 We will book 10 minute meetings during Thursday, February 6 Final Project: FIRST CUT Due 10:00am (our class time.) LAB: Sekonic incident light meters/ CP16 SECOND CUT Due 6:00pm 16mm cameras. (both sessions) LAB: Lighting/Cinematography ______PROFICIENCY TEST Week 15 ASSIGNMENT #1 ______(SHOOT WINDOW: Friday, Feb 7-Wednesday 12) Week 8 Thursday, April 30

Thursday, March 12 FINAL CUT Due 10:00am ______Quiz #3 Week 4 Final Project: LOCKED PICTURE 6:00pm Revised Synopsis for Final Project Meetings Thursday, February 13 ______

DEADLINE: Editing Concepts/Editing systems Week 16 Reading: Cinematography chap.7, pp.171-212 TURN IN FILM FOR PROCESSING. Thursday, May 7: ______Reading list, wrap. Visual Design Part I Week 9 FINAL PROJECT QUICKTIME FILES DUE Visual Design Part II WEEK 5/11/2020 SAVED AS A QUICKTIME Thursday, March 19 FILE UPLOADED FOR THE DEPARTMENT.

Spring Break/ SXSW

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