AND VIDEO PRODUCTION I – COMM 631 Fall 2009, Fri. 8:30am to 11:10am Classroom: MPC 100

Professor: Maggie Burnette Stogner Office hours: Wed. 1–4pm, Fri. 11:30-2:30, and by appointment Office: Mary Graydon Center, Room 321 Tel. 202-885-2160 Email: [email protected]

Graduate Teaching Assistant: Kafi Kareem,

Final Cut Pro Lab – Room 312 MGC Final Cut Pro-HD Workstations Mon.-Thurs. 10am to 11pm, Fri. 10am to 5pm; Sat.-Sun. 12pm to 5pm

Technical Services – Room 314 MGC Tel. (202) 885-2053 (questions about technology in general)

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

New Media Center, 2 nd Floor, Hurst Building

Inclement Weather - If you have any doubts about whether or not the university is open and the class will be held, call 202-885- 1100 for the latest information.

***************************************************************** ************ COMM-631: COURSE DESCRIPTION This introductory course is designed to provide hands-on opportunities to learn basic skills, including story development, production planning, digital , directing, lighting, non-linear editing, and sound design. Through lecture, screenings, in-class demonstrations, reading assignments, and hands-on projects, students will learn to create aesthetically and technically proficient digital video productions. 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. As with most production courses, the workload for this course will be more than a typical 3-credit class.

REQUIRED TEXTS (all in bookstore) Visual Storytelling: Videography and Post Production in the Digital Age By Ronald Osgood and M. Joseph Hinshaw, ISBN: 978-0-534-63792-7

Writing Short , 2 nd edition By Linda J. Cowgill, ISBN: 1-58065-063-5

A Final Cut Pro user manual

Additional articles and texts handed out in class throughout the semester.

RECOMMENDED TEXTS Shot by Shot

Art and Aesthetics of Filmmaking, by John Douglass

A Short Introduction to Documentary , by Pat Aufderheide

REQUIRED PRACTICUM You are required to take a Final Cut Pro editing practicum for this course.

REQUIRED SUPPLIES >Digital Tapes (Mini DV): You will require four or five 60-minute Mini DV cassettes. These can be purchased from the Equipment Room as needed. >External Discs: You will need to store your media on an external drive, such as a FireWire Media Drive, at least 120 Gigabytes. This will allow you to backup and protect your projects, as well as edit them on and off-campus on any computer running a compatible version of Final Cut Pro. i.e. LACIE “160GB Porsche External FireWire Hard Drive ” available for $150 from most mail order outfits. >DVDs for making dubs of your projects. >Audio Headsets: You’ll need a good set of audio headsets for field sound recording and for use in the Final Cut Pro lab. The Sony Studio Monitor Series Headphones Model MDR-V300 for $30- 50/pair are a good value.

CRITICAL: Editing in the digital world means you need to SAVE, BACKUP, and KNOW WHERE YOU SAVED ALL OF YOUR WORK

Other items you may find helpful for this class (but not required):

1 “” bag 1 roll gaffers tape (AU Equipment Room or elsewhere) $18 1 canned air (Dominion Camera, Penn Camera, Barbizon) $8 1 camel hair brush (Dominion Camera, Penn Camera, Barbizon) $4 1 packet lens tissue (Dominion Camera, Penn Camera, Barbizon) $5 1 bottle lens cleaning fluid (Dominion Camera, Penn Camera, Barbizon) $5 2 marking pens (Sharpies – fine point) $2 1 small flashlight (Maglight) $20 1 pair of heavy leather or gaffer gloves $8 1 pocket knife or multi-tool $50 gel & diffusion sheets (R&R Lighting, Washington Source, Barbizon) $5ea. 1 roll of black wrap for lights (R&R Lighting, Washington Source, Barbizon) $20 1 pkg. of clothes pins (anywhere) $5

Production Equipment Online Sales • www.studiodepot.com • www.markertek.com • www.bhphotovideo.com • www. jr .com

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 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 films 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.

• Music Library at Katzen Performing Arts Center.

AU FILM/VIDEO LISTSERVE

HIGHLY RECOMMENDED!! 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 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. So keep an eye out for it for the next day or so after you log on. To post to the listserve, send an email to: [email protected].

Please exercise good list etiquette: Remember when responding to something on the list to respond to the individual who posted the message. If you just hit your REPLY button, your response will go out to everyone.

If you have any problems, contact the help desk at (202) 885-2550 or http://help.american.edu . Also, if you want to sign off from your old email, send a similar message from that email to [email protected] and put "unsubscribe AUFILM-L" in the body. CLASS POLICIES Assignments: There will be a detailed information sheet distributed for all assignments, projects, written work, etc. The information sheet will include a description of the assignment and the DUE date. If you have any questions about an assignment be sure to speak with the professor before the assignment DUE date.

Late Work: Unexcused late work will be penalized ½ grade for each day passed the DUE date.

Incompletes: According to SOC policy, a grade of “I” incomplete may be given to a student who because of circumstances beyond his or her control was unable to complete the course during the semester. The grade of incomplete may only be given if the student is receiving a passing grade for the course work completed. Arrangements for incompletes must be made in advance of the final exam.

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.

Issues: If you have any conflicts, issues, problems that may interfere with your performance in this class, please talk with the professor as far in advance as possible.

A note about participation, effort and professionalism In the business of video and film production, most learning undoubtedly will come through hands-on experiences. Trial and error is a great teacher and your experiences may not always be pleasant when faced with the pressures of deadlines, working with new equipment, and learning to work with others. In light of this, a big emphasis will be placed on personal effort, respect for your classmates, class participation, and a professional attitude that is collaborative, not competitive.

Grading Policy : • 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.

• 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.

• 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 grade of 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.

Grading Scale:

A+ 98-100 B+ 88-89 C+ 78-79 D 60-69 A 94-97 B 84-87 C 74-77 F Below 60 A- 90-93 B- 80-83 C- 70-73

If you experience difficulty in this course for any reason, please don’t hesitate to consult with me. In addition to the resources of the department, a wide range of services is available to support you:

Academic Support Center (885-3360, MGC 243) offers study skills workshops, individual instruction, tutor referrals, and services for students with learning disabilities. Writing support is available in the ASC Writing Lab or in the Writing Center, Battelle 228.

Counseling Center (885-3500, MGC 214) offers counseling and consultations regarding personal concerns, self-help information, and connections to off-campus mental health resources.

Disability Support Services (885-3315, MGC 206) offers technical and practical support and assistance with accommodations for students with physical or psychological disabilities. If you have a disability and might require accommodations in this course, please notify me with a letter from DSS or ASC early in the semester so that we can make arrangements to address your needs. ACADEMIC INTEGRITY I am obliged to remind you of the University’s strict enforcement standards of the University Academic Integrity Code. Severe penalty will be enforced for cheating, copying, and plagiarism. “ Standards of academic conduct are set forth in the University's Academic Integrity Code. By registering, you have acknowledged your awareness of the Academic Integrity 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 actions will be taken should such violations occur. ” You may review the University Academic Integrity Code in its entirety at: www.american.edu/academics/integrity ______American University Copyright Policy: Ownership and Use 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.

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.

EMERGENCY PREPAREDNESS

In the event of a declared pandemic (influenza or other communicable disease), American University will implement a plan for meeting the needs of all members of the university community. Should the university be required to close for a period of time, we are committed to ensuring that all aspects of our educational programs will be delivered to our students. These may include altering and extending the duration of the traditional term schedule to complete essential instruction in the traditional format and/or use of distance instructional methods. Specific strategies will vary from class to class, depending on the format of the course and the timing of the emergency. Faculty will communicate class-specific information to students via AU e-mail and Blackboard, while students must inform their faculty immediately of any absence due to illness. Students are responsible for checking their AU e-mail regularly and keeping themselves informed of emergencies. In the event of a declared pandemic or other emergency, students should refer to the AU Web site ( www. prepared. american.edu ) and the AU information line at (202) 885-1100 for general university-wide information, as well as contact their faculty and/or respective dean’s office for course and school/ college-specific information. COMM-631: COURSE REQUIREMENTS There will be weekly reading assignments, projects during which students will practice and perform different production roles, story/production reports, a final project, and other assignments that will build students’ basic filmmaking skills and understanding of visual media.

*Class Participation/Teamwork – 15% *Production Assignments – 50% *Mid-Term Exam - 10% *Final Project – 25%

PRODUCTION GUIDELINES You will work in teams of two, three, or four for your projects. Over the course of four projects, each student must perform the following roles: producer/director/writer, cameraperson/lighting designer, soundperson, and editor. You can either choose your own partner(s) or have the instructor choose for you. You cannot change your team once a project is underway and production has begun. Visual media production is a team activity. Teamwork, collaboration and creative problem solving are integral to film and video production and essential to the success of your projects.

PRODUCTION REPORTS (1-2 pages, type written, double spaced) Each student must submit a production report along with all the projects. 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 kept strictly confidential.

PERSONAL JOURNALS I highly recommend you keep a Personal Journal as well. Carry it with you so you can jot down ideas, phrases, scenes, character sketches as they pop into your head. Often, these are the ideas that provide the spark for a film or script at a later date.

FINAL PROJECT - Narrative fiction or Documentary Duration: 5 minutes final running time. For the final project, you have the of doing a narrative fiction or a non-fiction documentary. 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 required to have: at least two different settings/locations that are clearly different in tone from the other (one of the settings must use artificial lighting); dialogue and/or voice over; music and sound effects, and one montage. 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 required to have: at least two different settings/locations that are clearly different in tone from the other (one of the settings must use artificial lighting); 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); and one montage. 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.

LABELING PROJECTS All project dvds/videotapes must be properly labeled with the student’s name and the project title, date, and total running time (TRT)

All projects should be handed in on DVD or mini-dv and must include: • A 5 sec. slate with the same information as the outside of the DVD • A 5-10 second countdown to the beginning of the program (in FCP) • Opening title and closing credits. Run-time will be measured without credits. • The end of the program should be followed by at least 30 seconds of black.

NOTE: All written assignments must have the student’s name, assignment title, and page numbers. E-mailed assignments must include student name in the title line.

COMM 631: CLASS SCHEDULE AND ASSIGNMENTS – (subject to change, as announced in class)

WEEK ONE – AUGUST 28 – Introductions & Filmmaking Overview Introductions Syllabus review Overview of Equipment & Lab Facilities, Final Cut Pro

LECTURE: The Filmmaking Process: From Idea/Story to Distribution. Thinking Like a Filmmaker: Purpose/Aesthetics/Technique/Attitude How Films Work: Image, Sound, Space & Time. “Suspension of disbelief. ” Visual storytelling: Story/plot/theme/subtext/symbolism/motif. SCREEN: MATEWAN opening; CITIZEN KANE opening READING ASSIGNMENT FOR NEXT WEEK: “Visual Storytelling ”: Preface & Chapter 1 “ Writing Short Films ”: Intro, Chapters 1 & 2 (Principles & Story Characteristics) PROJECT ASSIGNMENT#1, DUE NEXT WEEK: “Thinking in Pictures ” “All the world is a stage, and we are merely actors.” - Shakespeare For every story, there’s another story around it, beneath it, inside it. – Freud Look around you this week. Choose a scene or make up one in which action without dialogue takes place that conveys a narrative idea. Remember, think and see like a filmmaker. It can be a small moment, but one that is thought provoking, insightful, startling, baffling, inspiring, funny, or in some other way reveals our humanity. Keep it simple, but include the dramatic story elements of desire, action, conflict, climax, resolution. Illustrate your scene with 10-15 images clipped from magazines, internet, photos, etc. so that we understand the story from the visuals only! ------WEEK 2, SEPT. 4 - Cinematic Basics [DUE: Show & Discuss “Thinking in Pictures ” assignments.] LECTURE: Aesthetics: Psychology of film. Directing the viewer’s eye. Framing, composition, balance (rule of thirds), angles, light source, anticipation, action through the frame. Location = character. SCREEN: Excerpts of early Lumiere Bros films, MISE-EN-SCENE WORKSHOP: Camera Basics … TYPES OF CAMERAS, digital formats, white balance, focus, zoom lens, tripod, composing moves. HANDOUT: CAMERA MANUAL, etc.

READING ASSIGNMENT FOR NEXT WEEK: “ Visual Storytelling ”, CHAPTER 4 (creating/storing media) PROJECT ASSIGNMENT#2: MISE-EN-SCENE DUE NEXT WEEK: Work in teams of 2-3. Shoot a 1-2 min. mise-en-scene in a visually interesting location. It should be a simple narrative story with strong frame design. Place your camera in one location on a tripod. DO NOT move your camera. Use your entire frame: foreground/mid- ground/background, x/y/z axis, to create interesting action through the frame. The scene should successfully define the character(s), conflict, and mood. An Individual Production Report from each student is required (one-page, double-spaced). ------WEEK 3, Sept. 11 – Cinematic Continuity [DUE: Show and discuss mise-en-scene films.] LECTURE – Continuity, combining shots, master shot, 30-degree rule, crossing the line, screen direction, POV. Go over highlights from Chapter 5. SCREEN: THE WIRE, THE GIRL IN THE CAFÉ, MIDNIGHT COWBOY - IN-CLASS EXERCISE: a silent scene with continuity. READING ASSIGNMENT FOR NEXT WEEK: “ Visual Storytelling ”, CHAPTER 5 (composition) “ Writing Short Films ”, CHAPTER 3 (character), Chapter 4 (3-act structure), and Chapter 5 (Plotting) PROJECT ASSIGNMENT#3: DUE Sept. 18/25: For next week, WRITE & STORYBOARD an “in-camera ” continuity film that requires no editing, and that has no dialogue . Work in teams. You will shoot your continuity film the following week. Total running time: 1-2 minutes. Again, focus on story. The scene should successfully define the character(s) and location, mood and tone, conflict and resolution. It should have a beginning, middle, and end. Use at least 8 different shots, including: establishing, POV, hand-held, pan, tilt, match cut, eye-line match, reverse angle. Use a variety of shot compositions (ECU, CU, MS, LS, high angle, low angle, two-shot.) Include at least one transition from exterior to interior, or vice versa. ------WEEK 4, Sept. 18 – Lighting DUE: Review and discuss “in-camera ” continuity storyboards. LECTURE: Exterior & Interior Lighting, high key, low key, contrast, bouncing. Technical: f-stops, color temp, exposure, iris, shutter speed, depth of field. SCREEN: Film Noir, Woody Allen, etc. IN-CLASS WORKSHOP: Basic lighting

READING ASSIGNMENT FOR NEXT WEEK: “ Visual Storytelling ”, CHAPTER 7 (lighting)

CONTINUITY ASSIGNMENT continued, DUE NEXT WEEK: SHOOT your “in-camera ” continuity film, based on your storyboard. Remember, no editing, and no dialogue . One track of music may be used. Running time: 2 minutes. An Individual Production Report from each student is required (one-page, double-spaced). ------WEEK 5, Sept. 25 – Audio: Field Sound Recording & Editing DUE: Screen and discuss “in-camera ” continuity films. LECTURE: FIELD RECORDING SOUND. . .types of mics; recording clean sound, recording ambience. Levels (soft-spoken & boomy) IN-CLASS EXERCISE: “Sound Environment ” Exercise; Record an interview; record a conversation between two people; Record a group; record natural sound. LECTURE: SOUND EDITING. . .Diagetic, nondiagetic; narration, dialogue, interview, sfx, foley; style and tone. The art of the sound bite, editing interviews. More next class.

READING ASSIGNMENT FOR NEXT WEEK: “ Visual Storytelling ”, CHAPTER 6 (Field Recording) & CHAPTER 10 (sound tracks) CONTINUITY ASSIGNMENT continued, DUE NEXT WEEK: ADD AUDIO to each others’ Continuity Films-sfx, narration, thought- track, commentary. ------

WEEK 6, Oct. 2 – Aesthetics of Editing, Manipulating time and space [DUE: Screen and discuss Continuity films with audio] LECTURE Aesthetics: Combining/juxtaposing images, A+B=C, building tension/drama, temporal considerations, transitions, cutting on action, elements of surprise. Eisenstein, Kuleshov. Sound techniques for building anticipation, drama, tension. Techniques: Camera logs, preparing for your Edit, logging, digitizing, organizing files. SCREEN: Odessa Steps scene from “Battle of Potemkin ” and “ Untouchables ”. READING ASSIGNMENT FOR NEXT WEEK: “ Visual Storytelling ”, CHAPTER 8 & 9 (editing, post- production) ASSIGNMENT FOR NEXT WEEK : Watch short films TBD.

WEEK 7, OCT. 9 – MID-TERM REVIEW LECTURE: Montage Aesthetics…opening/closing device, transition device, passages of time, mood, information, symbolism, icons SCREEN: Openings, PSAs, the Hustle, etc. Technical: rhythm, pacing, framing, jump-cuts, overall design. Discuss Short Films LECTURE: FROM IDEA TO CONCEPT TO VIABLE FILM. READING ASSIGNMENT FOR NEXT WEEK: “ Visual Storytelling ”, CHAPTER 11 (graphics) & 12 (output) Review reading assignments & study sheet for mid-term MONTAGE ASSIGNMENT, DUE Oct. 23: Research, scout, storyboard, shoot, edit a 30-second montage that represents a place, character, product, or event, with a narrative progression. Work alone or in teams of two. 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 Reports from each student are required. Bring your montage to class on DVD.

START THINKING ABOUT YOUR FINAL PROJECT IDEAS! ------OCT. 16 – FALL BREAK ------WEEK 8, OCT. 23 – Mid-Term; Research & The Art of the **Mid-term Exam** DUE: SCREEN MONTAGES REVIEW & DISCUSS Final Project Assignment LECTURE: Pitching your film starts with having the right idea. How to pitch your project, tips and techniques. Documentary proposals (Hand-outs) Dramatic proposals (Hand-outs) READING ASSIGNMENT FOR NEXT WEEK: “ Writing Short Films ” Appendices A&B ( formats). Hand-outs, Doc formats PROJECT ASSIGNMENT, DUE NEXT WEEK: Research and write two-page, double-spaced proposal for Final Project (Documentary or Narrative). Be prepared to PITCH! ------Week 9, Oct. 30 – Producing Your Film; RIGHTS & RELEASES DUE: Proposals for Final Project PITCH final project ideas. Vote on 5. Form teams. LECTURE: Role of Producer, Director, Crew; Producing Process, Tips & Techniques. Handout: Producer’s packet. LECTURE: Copyright & Releases; Screen “Fair Use ” video PROJECT ASSIGNMENT, DUE NEXT WEEK: Treatment/draft of script, pre- interview/cast characters, pre-production for Final Project. ------Week 10, Nov. 6 – Directing talent DUE: Final project treatments/scripts from each team. LECTURE: Director’s Vision. Directing professional & nonprofessional talent. SCREEN: Excerpts from Best Directors IN-CLASS WORKSHOP: Directing techniques and styles for narrative & documentary. PRODUCTION TEAM DISCUSSIONS.

PROJECT ASSIGNMENT, DUE Nov. 13: Final Script, location scouts, storyboard key and/or difficult scenes, and shot list for final project. Remember to keep your team production notebooks and make notes for individual project journals. ------WEEK 11, NOV. 13 – Becoming a Professional DUE: Review scripts, storyboards & shot lists for final projects. PRODUCTION TEAM DISCUSSIONS

Recap: The Post Production Process.

LECTURE: Working in the industry, careers, networking, breaking in, funding, distribution. READING ASSIGNMENT FOR NEXT WEEK: Handouts PROJECT ASSIGNMENT : Shoot final project and begin editing. Remember to keep your team production notebooks and make notes for individual production reports. ------WEEK 12, NOV. 20 - Rough Cuts of Final Projects Screen and discuss. 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. ------NOV. 27 – THANKSGIVING HOLIDAY ------WEEK 13, DEC. 4 – Fine cuts SCREEN cuts with professor throughout this week. Individual meetings during class time, or by appointment. ------WEEK 14, DEC. 11 – Final Projects Film Festival! SCREEN and discuss final films. Remember to turn in Team Production Notebooks & Individual Production Reports. ------COMM631 / STUDENT INFORMATION

Name:

Phone Number(s):

E-MAIL:

Address:

Have you taken any film/video/still photography courses before? Where? When?

What other filmmaking strengths/experience do you have?

Other strengths that are related?

Do you have your own DV camera? If yes, what kind?

Do you know basic concepts of Final Cut Pro? Other nonlinear editing?

Your three favorite films/directors:

What do you want me to know about you?