Instructor: Nancy Schiesari Office: CMA 6.138, Phone: 512-826-6335 Office hours: Thursday 10-1.00, 6.138 E-mail: [email protected] https://wikis.utexas.edu/display/comm/RTF+Equipment+Checkout+Help

TA: Simon Quiroz Contact: [email protected] Tel:832-877-3725

Class meets: Tues: 2-5.00, Studio 4C Lab meets: Thursday 2-5.00,4C

RTF 366K-2 (#08430) Narrative Production Fall 2011

Course Description: This course is an intensive workshop in visual storytelling and non-dialogue filmmaking. It is designed to build upon the fundamental production concepts and techniques that were introduced in RTF 318 and to prepare students for the advanced narrative classes. The class explores the expressive potential of sound and image through the production of 16mm and digital video exercises and short films. Each student will shoot two black & white reversal non-sync 16mm exercises and one digital exercise. The class will break into groups for the final film project. Readings, exercises, screenings and other assignments are designed to develop technical skills and to sharpen the filmmaker’s visual awareness and appreciation for the expressive potential of sound and image. Non-sync filmmaking requires rigors and techniques and so constitutes one kind of cinematic language. All filmmaking has limitations, and the admittedly extreme limitations imposed on this class are intended to aid you in learning the basics more thoroughly. Within this framework there still remains a wide range of expression to be explored. The class is designed to help you find your own voice and to widen your grasp of the cinematic palette. Because time is our greatest enemy (at all levels of filmmaking) there is no distinction between “lecture” and “lab.” Each class meeting period has been set up to maximize our time together whether it be: lecture, equipment lab, workshop or screening.

Course Requirements: Arrive on time at all classes and labs and keep up with assignments. Your presence and active participation are critical elements of a successful workshop environment. You may have one unexcused absence, given, but any other unexcused absence will constitute a half drop in grade, unless there is a documented emergency. Your grade will go down one third of a letter grade each time you are late to class.

Provide paper deliverables/written assignments for each project on time. They must be neat, collated and stapled with name/title etc clearly labeled. All proposals and scripts must be typo free, properly formatted and printed as hard copy. Incomplete/inadequate paper deliverables will not be accepted.

Every student will complete the first three short exercises (FILM PROJECT #1,FILM PROJECT #2, DIGITAL Exercise #3 and a FILM OR DIGITAL PROJECT #4.) Each student will either write/direct or shoot/edit a final film (PROJECT #4). Filmmaking is by nature a collaborative art. You will be graded as much on your willingness and availability to your collaborators as you will for your work that appears on screen.

You will also be required to crew on ONE other final project from this class (co-produce, grip, boom, sound mix, locations, PA, AD, etc). However, you cannot write, direct, shoot or edit another final project in this class.

You are required to do homework that consists of reading chapters from the course packet and making notes. Turn in a minimum of two hand written or typed pages of notes per chapter that help you summarize the reading.

Your weekly reading assignment is in your syllabus and you are expected to turn in notes to your TA the following week, either by email or a hard copy.

OPTIONAL (for extra credit) - Keep a notebook for recording all raw ideas, thoughts, doodles, drawings, schematics, overheads, etc. It’s important that you value and archive your creative process – especially if you’re planning to invest a lifetime into your work. As a workbook it should be used for both collecting personal images, art work, poems, texts, as well as project related entries, during class, technical labs and for notes during screening discussions. It does not have to be lined or neat, but it needs to be legible. If you also use a laptop for project related entries, you can archive and maintain an electronic file as well.

ASSIGNMENTS:

PROJECT 1 : First Cinematography exercise, break up into five groups, each group shares one Bolex Proposal: one paragraph due January 24 Shoot dates: Groups A,B ,C,D, E, : January 27-30 Ship to lab: January 30 Films screen: February 7

Shoot ONE roll of film in which location is conveyed through the use of space. The space can be natural or man-made. Explore the location using available light and movement using only one 100’ daylight spool of Plus –X, black and white reversal film. Find a place that is meaningful to you. Get out of your dorm room and explore. Avoid cliché and overused locations (cemeteries, park benches, dorm rooms, etc). There should be a good REASON why you choose the place. Attempt to convey this in the way you see it, define it, shoot it and order it (it’s an “in camera” exercise – no editing allowed). Be clear about your INTENTION and what you hope to CONVEY about this place.

Get coverage by employing several shots (WS, MS, CU) and focal lengths Experiment with composition, light, depth of field, rhythm, fg/bg Explore movement with the camera (this is not a still photography exercise) Include at least two tracking shots, one from a moving vehicle, one hand held. Before shooting ask yourself where will these moving shots cut to or from? This is an “in-camera” exercise. No editing is allowed. There will be NO audio for this project

Possible locations (these may seem obvious examples – be unique): • Lamar pedestrian bridge (next to Lamar Bridge in and around area) • Barton Springs Pool • 6th Street on a Friday late night (or Saturday early morning?) • a busy street corner during a rain storm • a public water fountain • a retail store entrance • an animal shelter • a car parts junkyard • the city dump

This is an individual exercise but you are immediately encouraged to partner and work with other students in your group. You will likely need assistance to safely and effectively cover moving shots and the process is frankly a lot more fun. Collaboration will become more and more necessary as the semester unfolds and as your work becomes more ambitious. The cameras will be assigned to film groups and you will be expected to coordinate access with the other members of your group. There will be no excuses for poor coordination.

Written materials required for Project #1 exercise: Proposal (1 paragraph) Storyboards Homework assignments: Chapter1: “Dziga Vertov” pp 1-11, Read Chapter 2 “Who Does What”, but no notes necessary, Chapters 3: Cameras pp 17- 65(take notes) Chapter 8. Exposure and light-metering techniques pp155-176(take notes) Read “Bolex Camera Guide” on RTF website: https://wikis.utexas.edu/display/comm/RTF+Equipment+Checkout+Help

FILM PROJECT 2 STORY (w/SOUND) - Second Cinematography Exercise Groups A, B, C, D, E First draft due: February 5 (post on Blackboard) Final draft and presentation due: February 7 Shoot dates: groups A, B, C, 2/10-2/13 Film ships: 2/13 Films screen: 2/28 Shoot dates: groups D&E: 2/17-2/20, Film ships: 2/20 Film Screens: 3/6

Tell a simple visual story (fiction or doc) with a beginning, middle and end (your own ideas developed in class). You may NOT use more than two actors or two documentary subjects. You may shoot a maximum of two 100’ daylight spools of Plus-X or Tri-X reversal film. Edit the footage in FCP or if you choose to edit on a flatbed, create your soundtrack in Final Cut Pro and transfer your soundtrack back to mag for the in- class double-system screening. This is an individual exercise but you are strongly encouraged to work with other students from this class. Camera packages will be assigned to the film groups and you will be expected to coordinate access with the other members of your group. There will be no excuses for poor coordination.

Written materials required for Project #2 prior to shooting: First draft of a screenplay (properly formatted) Final draft of a screenplay (properly formatted) Character sketch(es) Storyboards Overheads Homework: read Chapter 4, “Lighting” pp 71-101 also from chapter 4: pp 102-120, (take notes) Read Chapter 12: “The Basics of Electricity” pp 235-255 (take notes) Read Chapter 33. “Consistency in Sound Recording pp 443, chapter 34, “Microphones” pp 447 (take notes)

DIGITAL Exercise 3, with sound: choose to shoot and edit one of three scenes: a pick pocket scene, a bicycle theft scene, or a human to animal interaction scene: have your actor visit an animal shelter and take a dog out of its cage to consider for adoption.

Create the scene in 8 shots or less. Include at least one pov shot and one overlapped action. Record natural sound with mics, add music if desired. Work in groups of three, share an RTF video camera or use your own DSLR or video camera.

Shoot Dates: February 24-27 Screen projects: March 27

Written Materials Prior to shooting: Storyboard Read chapter 23 pp 361- on Digital filmmaking…(take notes) Read chapter 29: ”Bill Viola Captures not just image but experience”(read oinly) Read chapter 32: “On the Structural Use of Sound” (read only)

PROJECT 4 (FINAL FILM, 5 x 5 min shorts) (Everyone will pitch a final project/write a first draft) First draft due: 3/5(post on blackboard) read finished draft and discuss in class: 3/13 class votes on five: 3/20 Final draft/pre-prod due: 3/27 Shoot dates: 3/30- 4/16 Pick ups: 4/27 Ships (if film): 4/16 Rough cut screens: 4/24 Fine cut screens:5/1(last Class day) Mix: TBA

PROJECT 4 (final project) may be sync or non-sync and may be shot on 16mm reversal film, 16mm negative film (color or black & white) or video/digital. Please note that the final film is a non-dialogue project (NO talking heads/NO voiceover narration). Five (5) minutes will be the maximum running time for all projects unless you get prior approval from the instructor.

Written materials required for Project #4 (due prior to shooting): First draft of a screenplay (properly formatted) Final draft of a screenplay (properly formatted) Character sketches Storyboards Overheads/powerpoint presentation from each film group’s key member: director, DP, editor, production designer, producer, sound editor in how they see their craft contributing to the story Homework:

Read Chapters 25, 26, 27, 28. see class schedule

Laboratory and Telecine: We will detail shipping, lab and telecine deadlines and options. For PROJECT #1 and PROJECT #2, we will be shipping as a class/in groups to: PACLAB www.pac-lab.com 37 E. 1st St. NY, NY 10003 212.505.7797 Pay close attention to associated shooting costs and shipping schedules for this class. For PROJECT #4, it is expected that the director/cinematographer teams share the costs of film stock, processing and telecine on final projects if they originate on film. Please do your research prior to determine approximate costs.

Casting: You cannot cast other RTF students in your final film project unless those students have significant professional acting experience AND you get prior approval. You will NEVER be allowed to act in your own film.

Grading: PROJECT #1 (including written materials): 15% PROJECT #2 (including written materials): 15% PROJECT #3 (including written materials): 15% PROJECT #4 as writer/director or DP/editor (including written materials):25 % Class participation: 25% OPTIONAL notebook, 5% (up to)

There will not be a final exam. This class will use the plus (+) and minus (-) system for grading. Supplies: You need to purchase a 16mm edit kit. In addition to the kit, you will also need to purchase/share a single hole punch and a Sharpie. See lab instructor for the exact list of supplies you will need to purchase.

Required Text: 1)366K Course packet available at Jenn’s Copy,across from CMB on Guadalupe. 2)https://wikis.utexas.edu/display/comm/RTF+Equipment+Checkout+Help 3) One hardback, durable notebook for recording ideas and info during the semester

Recommended Texts (available either at the University Co-op and/or Amazon.com)

The Visual Story- Bruce Block Voice and Vision: A Creative Approach to Narrative Film and DV Production- Mick Hurbis- Cherrier Story- Robert McKee Film Technique – Pudovkin The Art and Craft of the Short Story – Rick DeMarinis In the Blink of an Eye – Walter Murch Directing Actors- Judith Weston The Five C's of Cinematography - Joseph V. Mascelli, Silman -James Press, Los Angeles, 1965 Film Directing Fundamentals- Nicholas Proferes, Focal Press Film Directing Shot by Shot- Stephen Katz, Michael Wiese Productions Cinematography: Third Edition - Kris Malkiewicz Cinematography, Image making for Cinematographers, Directors and Videographers Focal Press, -Brown, Blaine The Art of Technique, An Aesthetic Approach To Film and Video Production -John Douglas, Allyn and Bacon.1996 Thinking in Pictures, -John Sayles Houghton Muffin Company, 1987 ISBN(0-395-45399) How Movies Work - Bruce Kawin, Berekley: University of California Press, 1992 Masters of Light, - Dennis Schaefer and Larry Salvato, University of California Press, 1984. American Cinematographer Magazine Lighting For Film -Kris Malkiewicz (available from Univ Co-op) Matters of Light and Depth,- Ross Lowell, Broard Street Books, 1992. Sculpting in Time - Andrey Tarkovsky, The Bodley Head,1986 Painting and Cinema- Angela delle Vache, Texas University Press. 1996. American Cinematographer Manual, The ASC Press, Hollywood

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 dishonesty 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:www.utexas.edu/depts./dos/sjs/. 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. “The University of 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, 471-6441 TTY Religious Holidays 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. (08430) RTF366K_RADTKE_F11 Page 7 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. Use of Blackboard This course uses Blackboard, a Web-based course management system in which a password-protected site is created for each course. 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 media 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 (http://www.centerforsocialmedia.org/files/pdf/fair_use_final.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. For more understanding, including information on when you can use works for free (http://www.centerforsocialmedia.org/files/pdf/free_use.pdf) without even using fair use, why you (mostly) don’t need to worry about trademarks (http://www.centerforsocialmedia.org/files/pdf/free_use.pdf), what is in the public (08430) RTF366K_RADTKE_F11 Page 8 domain (http://www.centerforsocialmedia.org/rock/backgrounddocs/copyrightterm.pdf), how fair use lawsuits (http://www.centerforsocialmedia.org/videos/sets/fair_use_case_studies) have been settled, and on how fair use has been employed successfully (http://www.centerforsocialmedia.org/videos/sets/fair_use_case_studies) in documentary film, visit centerforsocialmedia.org/fairuse 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 (real weapons of any kind are never permitted). 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 RTF Technical Facilities Manager 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. 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 RTF Technical Facilities Manager. 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.

CLASS SCHEDULE

WEEK 1/ January 17 Introduction to course/syllabus/schedule UT insurance and equipment usage Discuss PROJECT 1, in camera film exercise, split into 5 groups

Written Assignments: Course packet homework assignments: Chapter 1: “Dziga Vertov” pp 1-11, Chapters 3: Cameras pp 17- 65.(take notes) Proposal for Project #1: one paragraph due January 24

Lab, January 19: loading Bolex 16mm camera, tripods (2x 75 min sessions) Equipment required for lab – 4X Bolex cameras 4X tripods, 5 changing bags, 4 dummy rolls on daylight loading spools, 4 cans, 5 black plastic bags, AC kit, camera tape, neg report sheets 4X clapper boards camera tape

WEEK 2/ January 24

PROJECT #1 proposal due (one paragraph, typed) discuss

Equipment required: 4 x Bolex, bayonet mount and c mount zoom lens, and prime lenses lenses 4X tripod 4 light meters 1 X Tweenie softie kit 1x clapper board Neg report sheets 4 dummy roles 1X 100” plus X reversal film 1X 100 tri –X film

Required Reading: Homework assignment: Read Chapter 2, Camera Crew, “Who Does What” (without taking notes) Chapter 8: exposure and light –metering techniques,pp155-179(take notes)

LAB, January 26th - meters/exposure/repeat loading the Bolex shoot outdoor EXPOSURE exercise using 5 rolls of tri-X donated by check out.

6x Sekonic light metes 5X Bolex cameras 5X tripods neg report sheets 4 clapper boards 5 changing bags 5 Cans camera tape sharpie, pens

PROJECT #1 Proposal: one paragraph due January 24 Shoot dates for Project 1: Groups A & B, C, D &E shoot January 27-30 Film ships: 1/30 Groups films #1 screen: February 7

WEEK 3/ January 31 In class lighting exercise, controlling contrast using soft and hard light Check out : 1X video camera 1X bolex, woth wide angle and long focal length lens, or a zoom 2 tripods 2 X 1K Frennels, 3 X c-stands Bounce board 3 x extension cords 2 x 1k Strand lights Homework: read Chapter 5, “Lighting” pp 71-101,(take notes) “Sculpting with Light” pp315-321(no notes required) and chapters 33,”Consistency in Sound Recording,”pp 443-447 (take notes) and chapter 34, pp 447-457 “Microphones”(take notes)

LAB – Audio (2 x 75 min) 4 Marantz PMD 660 4 directional mics 4X boom poles 4 lavaliers

WEEK 4, February 7 FILM PROJECT #1 Films screen (create class reel on the steenbeck)

FILM PROJECT #2 Groups A&B discuss first drafts discuss boards/overheads/scheduling of a PLACE, discuss ideas/approach to story, arc and character. Read Chapter 17,”The Accidental Tourist” pp 321-329(take notes) chapter 18 “The Sins of a Serial Killer” pp 329-337(take notes): Chapter 25 “Getting Ready: Look, Style, and Mood”

WEEK 4, LAB: editing on a Steenbeck , use exercises shot in class

FRIDAY FEB 10th, 10-12.00am : STUDIO 4E, KURT LANCASTER AUTHOR OF DSLR: CRAFTING THE FILM LOOK WITH VIDEO, FOCAL PRESS (attendance required)

Groups A&B shoot #2 Project: 2/10-2/13 Film ships: 2/13 Films screen:2/28

WEEK 5, February 14 PROJECT #2, Groups C, D& E discuss first drafts –prepare boards/overheads/scheduling of a PLACE discuss ideas/approach to story, arc and character

WEEK 5, February 16th, LAB: lighting , set up three groups, 1,2 & 3, Group 1 uses a frennel to create key 360 degree around subject, and bounce fill , at a 4-1 ratio, Group 2 uses a bounce source as key, 360 degrees around the subject, fill with bounce light at 4-1 ratio, Group 3 creates 3 pt lighting on subject 3-1 ratio between key and fill.

3 X video cameras 5 sekonic light meters 6 C-stands 5 bounce boards. 4 frennels 4 extension cords diffusion material, 2 teenie weenie kits, 4 1K strands, + stands

FILM PROJECT #2 Shoot dates Groups C, D &E: 2/17-2/20 Film Ships 2/20 Film screens: 3/6

DIGITAL EXERCISE 3, with sound: Choose to shoot and edit one of three scenes: a pick pocket scene, a bicycle theft scene, or a human to animal interaction scene- have your actor visit an animal shelter and take a dog out of its cage to consider for adoption.

Create the scene in 8 shots or less. Include at least one pov shot and one overlapped action. Record natural sound with mics, add music if desired. Work in groups of three, share an RTF video camera or use your own DSLR or video camera.

Shoot Dates: February 24-27 Screen projects: March 27

WEEK 6, February 28th: Screen Groups A,B&C film project #2 -Review Hurbis-Cherrier, chapter 21 (“The Art and Technique of Editing”) and chapter 20 (“Principles and Process of Digital Editing”) Course package,chapter 28, “Shooting with Cutting in Mind”(take notes)

WEEK 6, March 1, LAB: Steenbeck film editing and mag transfer non-sync workflow

PROJECT 4 (FINAL FILM or DIGITAL PROJECT , 5 x 5 min shorts) (Everyone will pitch a final project/write a first draft) First draft due: 3/3 (post on Blackboard for all to read) read finished draft and discuss in class: 3/6 SPRING BREAK: 3/9-3/19 class votes on final five: 3/20 Shoot dates: 3/30- 4/16 Pick ups: 4/27-6 Written materials required for Project #4 (due prior to shooting): First draft of a screenplay (properly formatted) Final draft of a screenplay (properly formatted) Character sketches, Storyboards

FIRST DRAFT FINAL PROJECT # 4 due: 3/3 (post on blackboard, everyone reads each others proposal )

WEEK 7, March 6: present finished draft and discuss in class Groups D &E screen Film projects #2 Review Hurbis-Cherrier Chapter 22 (“The Sound Design in Film”)

WEEK 8, SPRING BREAK

WEEK 9, March 20 Re-cap pitch, vote on 5

WEEK 9, LAB: Digital camera lab

WEEK 10, March 27 5 groups present powerpoint presentation from each film group with key member: director, DP, editor, production designer, sound editor presents how they see their craft contributing to the story

WEEK 10, LAB, 3/29: digital camera lab, tracking and moving devices for the DSLR

PROJECT #4, Shoot dates: 3/30- 4/16 Pick ups: 4/27-6

Week 11, April 3: Groups, A, B, C, D &E screen digital exercise #3 Pick pocket, bicycle thief or dog adoption exercise, discuss approach and coverage

WEEK 11, LAB: Producing/ scheduling the short film

WEEK 12, April 10: TBA

LAB: TBA

WEEK 13, April 17 PROJECT #4 rough cuts screen and discuss

WEEK 14, April 24 PROJECT #4 rough cuts screen and discuss

WEEK 15, May 1 PROJECT #4 fine cuts screen and discuss

LAST CLASS WEEK Tweaks and final mixes for End of Semester Screenings End of Semester Screening Date TBD

EQUIPMENT AVAILABLE to 366K STUDENTS:

6 Bolex cameras Bogen film/Video tripod for the Bolex 4 Panasonic HMC 150 cameras Any available video tripod that will safely hold the above camera (shared with other classes) 4 Marantz PMD 660 Any available audio cable (shared with other classes) Any available Microphones EXCEPT ADR) (shared with other classes) Any available audio accessory such as pop filters, sound blankets, headphones, cable, or outdoor kits (shared with other classes) Any available boom pole or mic stand (shared with other classes) Any available light kit or light up to 1K EXCEPT HMIs) (shared with other classes) Any available Sekonic L-398 light meter ONE PER SHOOT Sandbags as needed (shared with other classes) Any available Grip equipment EXCEPT jib and spider dolly (shared with other classes) STUDENTS MUST PROVIDE THEIR OWN FIREWIRE DRIVE.