Art 160 – Film Production I (3 Cr.)

Total Page：16

File Type：pdf, Size：1020Kb

New 1/2012 NOVA COLLEGE-WIDE COURSE CONTENT SUMMARY ART 160 – FILM PRODUCTION I (3 CR.) Course Description Introduces students to the basic techniques and procedures involved in motion picture production. Emphasizes aspects of filmmaking from scripting and preproduction through editing and postproduction. Includes the exploration of professional film crew roles in grip, lighting, production management, directing, sound and editing. Part I of II. This course is cross-listed with PHT 150. Credit will not be awarded for both. Lecture 2 hours. Laboratory 2 hours. Total 4 hours per week. General Course Purpose To introduce students to basic production techniques which will allow them to produce and edit a film or video short. Course Prerequisites/Co-requisites Fluency in Standard American English. Recommend proficiency in reading and writing at English 111 level. Course Objectives Upon completing the course, the student will be able to: Employ the standard terms used by the film industry View a number of film and discuss these works in terms of their effectiveness Apply basic film theory and technique in the production process Operate digital and film cameras in the production of short film Utilize all phases of the pre-production process, including budget, planning, storyboard drawing, location scouting. Demonstrate basic knowledge of non-linear digital editing Work in a collaborative manner Major Topics to be Included • Basic camera operations • Basic lighting and editing • Basic sound recording and editing • Script development • Pre-production, including storyboard development and film grammar • Production crew roles • Marketing • Fundamentals of post-production .

Copy Link

Recommended publications

Usc Sca Ctpr 507 Production I -‐ Fall 2011
USC SCA CTPR 507 PRODUCTION I - FALL 2011 COURSE DESCRIPTION and OUTLINE (Section 18603 – Pollard/KositcHek) 4 units INSTRUCTORS: Cinematography: Robert KositcHek Email: [email protected] Phone: (310) 315-9465 Day/Time: Mon, 2:00 – 5:00 Location: SCA Stage 2 Producing/Directing: StU Pollard Email: [email protected] Phone: (310) 344-9380 Day/Time: Mon/Wed, UsUallY 2:00pM – 5:50pm (see Course Outline below) Location: SCA 362 Office Hours: By AppointMent OnlY SA: Christine Moitoso Phone: (209) 484-7508 Email: [email protected] WitH facUltY gUests: Editing: Reine-Claire Dousarkissian / 310-435-8216 / [email protected] SoUnd: Midge Costin / 310-890-2353 / [email protected] SoUnd: Doug Vaughan / 310-413-9181 / [email protected] Required text book: Voice & Vision, Second Edition: A Creative Approach to Narrative Film and DV Production by Mick Hurbis-Cherrier AtHletic SHoes and long pants MUST be worn to all CineMatograpHY classes USE OF LAPTOPS, CELL PHONES, TABLETS, ETC. NOT ALLOWED DURING CLASS Hello and welcome to 507! There is no better way to learn how to make a picture, than actually going through the process of doing it… Be patient and open to new ideas as you embark on this creative and personal journey of discovery. OVERVIEW: Production I (CTPR 507) is about ideas and your ability to communicate effectively through the language of cinema. It combines introductions to the five major disciplines within the cinematic arts: producing, directing, editing, cinematography, and sound with guided opportunities to create individual and small group projects. Students will make two short HD projects as part of an exploration of visual storytelling, as well as shoot a directing an exercise in the Fundaments of Directing (production students only).
[Show full text]
The Roles of the Film Production Team Did You Know That Student
The Roles of the Film Production Team Did you know that student filmmakers can win Oscars? Winners who went on to fame include Robert Zemeckis, Spike Lee, Trey Parker and John Lasseter. BY JACLYN BELL Did you know that student filmmakers can win Oscars? Winners who went on to fame include Robert Zemeckis, Spike Lee, Trey Parker and John Lasseter. They began by working with others on a production team. They also knew that in order to understand film as an art form, they had to consider the jobs of the numerous individuals who work together to make the film a reality. If you are an educator and filming in the classroom, consider teams of no more than 5 students. All the roles listed below can be shared by multiple students, thus making the learning all the more well rounded. Or, if you are making a film on your own, consider how you can combine the following roles throughout the filmmaking process, and think about who can assist you when you need help. Producer This person is essentially the group leader and is responsible for managing the production from start to finish. The producer develops the proJect from the initial idea, makes sure the script is finalized, arranges the financing and manages the production team that makes the film. The producer also coordinates the filmmaking process to ensure that everyone involved in the proJect is working on schedule and on budget. Without the producer at the helm, films do not get made. Director The director is primarily responsible for overseeing the shooting and assembly of a film.
[Show full text]
Film Crew Film Crew
FILM CREW FILM CREW The Film Crew … a typical crew engaged in a feature production. PRE-PRODUCTION During a feature production, a number of key people are brought into the project. The key roles and responsibilities include the following. The creative stage of pre-production begins with the Screenwriter. A Screenwriter creates a screenplay (a written version of a movie before it is filmed) either based on previously written material, such as a book or a play, or as an original work. A Screenwriter may write a screenplay on speculation, then try to sell it, or the Screenwriter may be hired by a Producer or studio to write a screenplay to given specifications. Screenplays are often rewritten, and it’s not uncommon for more than one Screenwriter to work on a script. A Producer is given control over the entire production of a motion picture and is ultimately held responsible for the success or failure of the motion picture project; this person is involved with the project from start to finish. The Producer's task is to organize and guide the project into a successful motion picture. The Producer would be the person who accepts the Academy Award for best picture, should the movie win one. The Producer organizes the development of the film, and is thus quite active in the pre-production phase. Once production (filming) begins, generally the role of the Producer is to supervise and give suggestions—suggestions that must be taken seriously by those creating the film. However, some Producers play a key role throughout the entire production process.
[Show full text]
The Essential Reference Guide for Filmmakers
THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey.
[Show full text]
Film Crew Technology
FILM CREW TECHNOLOGY Technical Certificate Program and Career Description: The Film Crew Technology Program (FCT) is especially designed for individuals who want to enter the motion-picture business as “below- the-line” crew (the technicians that perform the majority of work on a motion-picture production). The FCT Program was started in 2008 as part of the Film Incentive plan for the State of Tennessee. The curriculum is constantly influenced by the Director of the FCT Program and the FCT Board of Directors. This certificate is designed for the student who does not intend to transfer into a baccalaureate degree program. Photo taken by Preston Phillips Career Entry-Level Pay Median Pay Experienced Pay Audio & Video Equipment $25,630 $38,120 $56,950 Technician Career and salary information taken from JOBS4TN.GOV. Check out this website for additional information about job descriptions, education re- quirements and abilities, and supply and demand for these careers. For additional information from a national perspective, go to Bureau of Labor Statistics, U. S. Department of Labor on the internet at www.bls.gov. Visit the Occupational Outlook Handbook on this website. Salaries are not guaranteed. www.columbiastate.edu/academics/extended-services/film-crew-technology The Film Crew Technology program trains students in motion-picture lighting, grip, art department, HD cinematography, Digital Information Technician, sound and post-production (editing). For students wanting to enter the motion-picture industry or transfer to a four-year film program this program is extremely advantageous. The FCT program utilizes the latest technology and techniques commonly used in the professional motion-picture industry and is the only program in the State of Tennessee with professional working Grip/Electric production vehicle.
[Show full text]
So You Want a Job in Film and Television? There Are Huge Numbers of Young People Competing for Very Few Jobs. It Is Difficult To
So you want a job in film and television? There are huge numbers of young people competing for very few jobs. It is difficult to stress exactly how competitive film and television work is, but a good guide is that 9 out of 10 actors are out of work at any given time. Up until recently you had to be a member of the actor’s union Equity to get a professional acting job– and you were allowed an Equity Card only after you had worked professionally for some time. Thankfully this catch 22 situation no longer exists, although the film and television industry remains a very closed shop to all but the most dedicated and well connected. Only 6% of actors earn more than £30,000 per year. A recent survey found that nearly half of those working in the UK film and television industry earned less than £6,000 a year from the profession. Many actors and film makers work for very little, especially at the beginning of their careers. Most jobs are short term. Many experienced actors and film makers need to do other work to supplement their income. If you are you still interested in film and television work after reading the above information, then you clearly have the strong commitment necessary to begin a career in film and TV. However, commitment on its own is not enough. How can I get a career in film and television? You need specific training and experience in film and TV. Most of the careers below require formal training, usually in the form of academic courses.
[Show full text]
Film Production Company
Agreement for Performance of Work Initial Terms of Reference – Film Production Company This APW is requested by: Unit: Quality of Care (community engagement work stream) Department: Integrated Health Services Purpose of the APW: The Quality of Care Unit is seeking the services of a production company to produce a 12-minute (approximate duration) film from a WHO-approved script. The production process will include casting, location finding, shooting and post production. Creative direction will be provided by a Creative Director already selected by WHO. The Production company will work with the Creative Director and co- writers Sarah Sutcliffe and Danny Scheinmann to produce the film and will be expected to produce work of a similar standard to their previous films in the health sphere. See examples below of previous films produced: The Skin I am in https://www.youtube.com/watch?v=AnWFm4Nv8jA&feature=emb_imp_woyt Life Growing up https://www.youtube.com/watch?v=HHfW_uVzx8g WHO are looking for a production company that can show creative and artistic ways of presenting the script which go above and beyond the look and feel of most public information films, this will be reflected in the choice of location, the use of visual elements and design, the quality of the image and the creative use of music. Furthermore, the purpose of the APW will be to show the linkages between personal, professional and systems level transformation processes through weaving personal and collective narratives. The goal is an overarching multi-layered story that is both universal and complex. 1. Background The Department of Integrated Health Services is requesting this film production to capture the stories and lived experiences of change makers who are driving important innovations at different levels of their respective health systems across diverse contexts and countries.
[Show full text]
POST PRODUCTION PROCESS and POSITIONS
POST PRODUCTION PROCESS and POSITIONS PRODUCERS Executive Producer - is usually an investor in the project or just a credit that the filmmaker gave to someone who paid for the credit. You can have as many executive producers as you want but generally keep it to a minimum. Producer - A film producer creates the conditions for making movies. The producer initiates, coordinates, supervises and controls matters such as raising funding, hiring key personnel, and arranging for distributors. The producer is involved throughout all phases of the filmmaking process from development to completion of a project. Associate Producer - Shares responsibility for creative and business issues. DIRECTION Director - The director is responsible for overseeing the creative aspects of a film, including controlling the content and flow of the film's plot, directing the performances of actors, organizing and selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack. Though the director wields a great deal of power, he or she is ultimately subordinate to the film's producer or producers. Some directors, especially more established ones, take on many of the roles of a producer, and the distinction between the two roles is sometimes blurred. POST PRODUCTION SUPERVISION Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the producer, editor, supervising sound editor, the facilities companies (such as film labs, CGI studios and negative cutters) and the production accountant.
[Show full text]
BWS TV and Film Industry Resource Guide 11JAN20
TV and Film Industry Resource Guide Job Posting Sites Name Site Offerings Description Network for production jobs in TV, film, digital, media StaffMeUp https://staffmeup.com/ Job postings and entertainment (membership fee-based) Production Hub https://www.productionhub.com/jobs?locationID=3185Job postings Film and video production jobs in NY Jobs in film, tv, sports, music, production, animation, Entertainment Careers https://www.entertainmentcareers.net/ Job postings acting and post production Media Bistro https://www.mediabistro.com/ Job postings and training Where to build your media career Providing career training programs in production and post production to help fight poverty and empower low- Brooklyn Workforce Innovationshttps://bwiny.org/ Training programs income New Yorkers NYC Film Crew https://www.nycfilmcrew.com/ Job postings Job site for people working in production Free job listing, limited to job opportunities in the film, MOFTB Reel Jobs Listing https://www1.nyc.gov/site/mome/industries/jobs-list.pageJob postings televisition and theater industries Get access to the latest acting auditions, film jobs, TV production and stage jobs, voiceover work, auditions for dancers and singers, jobs in music, child acting auditions and casting calls for extras (Free limited, paid version for Mandy https://www.mandy.com Job postings boosted applications) iHire Broadcasting https://www.ihirebroadcasting.com/ Job postings Industry-focused job search Top post-production training center specializing in video Manhattan Edit Workshop https://www.mewshop.com/
[Show full text]
The Process of Combining Animation with Live-Action Films
THE PROCESS OF COMBINING ANIMATION WITH LIVE-ACTION FILMS Tuomas Anton Tulijoki Bachelor’s thesis May 2018 Degree Programme in Media 2 ABSTRACT Tampereen ammattikorkeakoulu Tampere University of Applied Sciences Degree Programme in Media Tulijoki Tuomas The Process of Combining Animation with Live-action Films Bachelor’s thesis 42 pages, appendices 1 2018 ___________________________________________________ The purpose of this thesis was to examine the process of performing the setup for animating digital characters on top of filmed footage. During my internship I saw some issues in the working processes of the company I was working with, specifically how the company handled animating characters on top of filmed footage. In order to research this topic, the methods used by modern visual effects artists were studied, to see how they went about the process of creating visual effects and animation on top of live-action footage. A single test shot was filmed, and set up for animation using the information that was gathered. The methods used were functional, and the entire process of filming, setting up and animating was tested. However, due to the lack of professional tools and experience with the techniques used, the end results were only mediocre at best. In the end, the writer of the thesis could not perfectly animate over the filmed footage in such a way that it could be accepted in a professional environment, even if a general understanding on how the process works was reached. 3 1 INTRODUCTION………….………………………………..……………...……....5 2 THE
[Show full text]
STUDENT FILM CREW JOB DESCRIPTIONS the Director Guides All Creative Aspects of Production but Does So with a Collaborative, Open
STUDENT FILM CREW JOB DESCRIPTIONS The Director guides all creative aspects of production but does so with a collaborative, open mind. If not also the writer, the Director chooses the screenplay and works with the writer to prepare the final shooting script. On set, the Director works with the DP to make decisions about each shot/take and directs the performance of the actors. Specific duties will include: • Hand-off all important knowledge and information to the Producer in prep • Audition cast and choose the talent • Choose a DP and Production Designer capable of bringing the vision to life • Conduct script analysis, breaking each scene into dramatic beats and rehearsing with talent • Collaborate with the DP to determine the style of the cinematography and prepare shot lists, storyboards, floor diagrams, etc. • Conduct visual research and work with the Production Designer and other Art Dept. personnel to make sure they have a clear understanding of and agreement on the creative vision • Attend tech scouts to walk the key crew personnel through each stage of the shoot • Communicate vision and thank the crew at the production meeting • Rehearse with and direct talent on set • Call action and cut • Give notes to Script Supervisor on each take • Communicate needs through the 1st AD • Screen dailies with editor and offer notes Producer/Production Manager The Producer/PM, under the supervision of the Director, coordinates, facilitates, and oversees the preparation of the production unit, including: all off-set logistics, day to day production
[Show full text]
Camera Operator
CAMERA OPERATOR Edited by Prof. Chandrabhanu Pattanayak Camera shooting techniques Videography Cinematography Set lighting Film and digital camera operation Shaping Lives... Empowering Communities... CAMERA OPERATOR Skill Development Program A Skill Development Programme on Camera Operator (Aligned to MES/ Q 0902 of Media and Entertainment Skills Council, India) INSTITUTE OF KNOWLEDGE SOCIETIES CENTURION UNIVERSITY OF TECHNOLOGY AND MANAGEMENT Page 3 CAMERA OPERATOR This course has been developed with the support of the Commonwealth of Learning (COL). COL is an intergovernmental organisation created by Commonwealth Heads of Government to promote the development and sharing of open learning and distance education knowledge, resources and technologies. Centurion University of Technology and Management (CUTM) is a multicampus state private univesity in India offering liberal, professional and technical education in various dsciplines. The University focuses on ‗hands-on‘, ‗experience based‘, ‗practice oriented‘ learning. While promoting Nano, Mini and Micro Enterprises, the University works toward learning experiences that are ‗quantifiable‘, ‗sustainable‘, ‗scalable‘ and ‗replicable‘. CUTM is redefining the learning platform through: (i) skill integrated, domain linked, teaching and learning; (ii) industry and community partnerships; (iii) creating and co-creating enterprises; and (iv) an eco-system approach which includes community, enterprise, industry and educational institutes. © 2018 by the Commonwealth of Learning and Centurion University
[Show full text]