366K Intro to Narrative Production, Spring 2018, unique # 08300 Instructor: Nancy Schiesari Office hours: Monday, 10-1.00 5.110, CMA 5.110, cell: 512.826.6335 E-mail: [email protected]
Class meets Tuesday 2-5, rm. 4.112 Lab meets Thursday 6-9, rm 4.112 TA: Taniel Kilajian Email:[email protected]> Tel: (202) 250-0267
Course and Project 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 camera movement, sound and image through the production of 16mm and digital video exercises and short films. Each student will work on one group digital project, one 16mm group exercise, and direct one individual black & white reversal non-dialogue 16mm film. For final projects, the class will vote on four to five, six min scripts, and divide up key roles. Shooting on digital or film is optional.
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-dialogue 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 increase your awareness of the powerful non verbal elements of cinema. Within this framework there still remains a wide range of expression to be explored. 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.
In addition to hands on labs, see comprehensive website for instruction in using cameras, light meters, and lights. https://wikis.utexas.edu/display/comm/RTF+Equipment+Checkout+Help
5 Project requirements
1) Coverage Exercise. TRT: 3 min Break up into groups of 3. shoot and edit, with sync sound, and music if desired, one of these three scenes: a pick pocket scene a bicycle theft scene a human meets animal interaction scene: for example your actor visits an animal shelter and takes a dog out to consider for adoption.
Requirements of Coverage Exercise: Create a scene in 10 shots or less. Block and make a shot list or storyboard. Include at least one pov shot and one overlapped action. Record on-camera sound. If desired add additional sound or music and edit 3 min max.
Repeat same action in one long take without cuts. Record sync sound. Clean up in post. Jump cuts allowed in editing. TRT: 3 mins max.
Work in groups of three with someone else along to help or perform, share an RTF video camera or use your own DSLR or video camera.
Optional : Edit a third version using the best shots from both treatments.
Shoot Dates: 1/20/18 Screen projects: 1/23/18
2) 16mm Mood and Tone exercise. Not to exceed 2 minutes. May be narrative, abstract, animation, live action, stop frame.
Each person must shoot up to 100’, 16mm reversal film. A group of 3 students will check out one camera to share and crew for each other. You must each direct one of the mood and tone pieces.You have the option of both shooting and directing or having one of the 3 shoot while you direct. You can also work together to combine the three films in a meaningful way.
Your film might be inspired by a character in movement, a location, a poem or a narrative action. Consider place as a subject. Think about light, space and movement when making your shot selection. The space can be a landscape or a man-made building. Find a place that feels meaningful to you. 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. Be clear about your INTENTION and what you hope to CONVEY . Get coverage by employing several size shots (WS, MS, CU) Experiment with composition, light, depth of field and rhythm. Think about the holy trinity, where a shot comes from and where it is going. Explore movement with the camera. Include at least one pan and a tilt (from tripod) and two tracking shots, one from a moving vehicle, one hand held. Visit the location before your shoot date, and explore and note the shot possibilities, then storyboard your vision.
You will need to purchase a 100’ daylight spool of B&W reversal TRi–X, 7266, 200 ASA reversal film (approx.$30.00).
Your group of three will be assigned 1 Bolex camera and light meters so coordinate shooting days within your group. Collaboration will become more and more necessary as the semester unfolds and as your work becomes more ambitious. There will be no excuses for poor coordination.
You are responsible for cost of processing and transfer to an RTF hard drive. If you bundle your films together you can avoid the minimum lab cost. You will be responsible for sending your film to the lab with a personal or shared hard drive. Bundling your film with others also saves money for a Fed Ex pick up and delivery. We will go over more details in lab.
Submit treatment by 1/25 Shoot dates 2/2, 2/10
Check out this non- dialogue, classic music film competition you may want to enter.. https://www.sightofsound.org/
Examples of silent movies that explore a city https://vimeo.com/16674798 Experimental film of NY https://www.youtube.com/watch?v=T_MXa9enUfE “Rain “ by Joris Ivens, 1929 https://www.youtube.com/watch?v=VxWHKaylRNM “Manhatta” Walt Whitman and Paul Strand, 1921 https://www.youtube.com/watch?v=z97Pa0ICpn8 - Man With a Movie Camera , Dziga Vertov, 1929 https://www.youtube.com/watch?v=TwO97pV_cSI Ridley Scott Hartlepool student film https://vimeo.com/250231574 Breath- B&W time lapse of storms
Martin Scorsese’s use of Silence https://www.youtube.com/watch?v=NUrTRjEXjSM https://www.sightofsound.org/
http://youtu.be/xOQUbJP2Nco example of a fight scene made in 366K
3) Choreograph and shoot a fight scene, digital, TRT, max 2 mins. Work in groups of 4-5. Due: 3/8
4) Individual digital short film or scene (3 min max): Each student directs a narrative short that has a beginning, middle and end. This may be a scene from the film script you pitch for the final project, or a stand alone short.
For the film/scene project you may NOT use more than three actors. Take one day to shoot only. Work with your group of 3 as crew to film three projects over a weekend.
Submit a one-page treatment or rough draft, email to TA and prof , place on canvas 2/6 Submit final draft in class on 2/13 Shoot 2/23 Screen completed project 3/6
5) 5 min script: write up to a 5 min script for the final project. (send to instructor and TA and post on Canvas for all to read) Present a one page treatment in class 2/20 Workshop rough drafts (properly formatted) Character sketches, Storyboards, 2/27 Present final draft of a screenplay (properly formatted) 3/1 Vote for 4-5 scripts 3/6
Spring Break 3/12
Shoot Final Project : 4 or 5 x 5 min shorts on FILM or DIGITAL. Please note that the final film is a non-dialogue project (NO talking heads/NO voiceover narration). Five minutes will be the maximum running time for all projects unless you get prior approval from the instructor. Pre-production 3/8- 3/20 Finalize crew, reserve equipment, cast, and secure locations
Shoot dates 3/22-4/3 Groups A, B,C Shoot, 3/24-3/27 Groups D, E, Shoot , 3/31-4/2
Edit 4/3- 4/24
Put final projects with credits and thanks on vimeo or utube, at least three days before the screenings.
End of Semester Screenings TBA
Expectations for Lab and Class:
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 or on line 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.
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 more than one final project in this class.
You are required to do homework that consists of reading chapters from an online course packet available at Jenn’s. Turn in a minimum of two handwritten 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 your notes to the TA the following week after it is assigned in the syllabus, either by email or a hard copy.
Note Book: 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, project related entries, class notes, technical lab notes and 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.
Homework assignments over period of four weeks: Read “Bolex Camera Guide” on RTF website: https://wikis.utexas.edu/display/comm/RTF+Equipment+Checkout+Help From course packet read chapters “Dziga Vertov” ,“Who Does What”, “Cameras,” “Exposure and light-metering techniques” : Read”Bill Viola Captures not just image but experience”(read only) Read “On the Structural Use of Sound” (read only)
Useful websites:
http://film-grab.com/ This is a great website that has stills from films and can be sorted by DP, Director, etc. http://www.rogerdeakins.com/ Roger Deakins answers people's cinematography questions.http://www.rogerdeakins.com/forum2/viewtopic.php?f=6&t=255&start=15
fhttp://www.theasc.com/asc_blog/thefilmbook/2014/05/13/lighting-scenes-ida-with- lukasz-zal/notes notes from the film IDA. Interesting to see the maps of where they put what lights for particular scenes.
http://www.criterion.com/current/posts/3517-the-worlds-of-sven-nykvist Famous images from Nykvist. http://www.crossframed.com/This is someone's personal website where they pull scenes from films they like, but they often have good selections that are presented well.
CLASS/LAB SCHEDULE
WEEK 1, 1/16 CLASS Introduction to course/syllabus/schedule Discuss Digital Project #1, split into groups https://www.youtube.com/watch?v=knaJd298xE0 “Pickpocket” by Robert Bresson https://www.youtube.com/watch?v=jYtQ6xz-YnI “Bicycle Thieves” by Victorio de Sica https://www.youtube.com/watch?v=C_lJbSJoIuw “Bicycle Thieves” exploring the long take in “Ten Minutes” 1994 https://vimeo.com/2455660 https://www.youtube.com/watch?v=doaQC-S8de8 Kurosawa –composing movement http://youtu.be/xOQUbJP2Nco example of a fight scene made in 366K http://vimeo.com/114518953 - "Killfish" by Sarah Parrish http://vimeo.com/114406583 - "Malmo" by Jeff Mertz
Course packet homework reading/note taking assignments: Written Assignments to be handed in to the TA during labs or by email:
Chapter 1: “Dziga Vertov” pp 1-11,(read only) Chapters 2: “Camera Crew, Who Does What” (read only) Chapter 3 : “Cameras” take notes, minimum two pages, hand in or send to TA
1/18 LAB: 16mm Bolex cameras / Tripods
Suggested equipment required for lab –TBD by the TA 5X Bolex cameras 4 X tripods, 3 X changing bags, 5 x dummy rolls on daylight loading spools(make sure the dummy rolls are coming down clockwise emulsion in, with sprockets on the right side) AC kit, camera tape, neg report sheets 1 x clapper board
Shoot Exercise #1, 1/20
WEEK 2: Class 1/23 Form groups of 3.
Show clips from The last Picture Show, Touch of Evil Homework assignment: Read Chapter “exposure and light –metering techniques” due Email proposal Project #2, as a one-paragraph description to instructor and TA,.
Screen clips Vertov’s Man With a Movie Camera @ 6.55 and 20.14min https://www.youtube.com/watch?v=z97Pa0ICpn8 Vertov’s “Man with a Movie Camera”in https://vimeo.com/16674798 Experimental film of NY Joris Ivans, Rain, http://www.youtube.com/watch?v=T_MXa9enUfE Paul Strands Manhatta, http://www.youtube.com/watch?v=vvTF6B5XKxQ,
Lab: 1/25
Repeat instruction loading the Bolex, supervise use of Light meter, discuss AC kit and AC responsibilities
5 student groups of three, each reserve 1 bolex camera, 1 tripod, at least 1 light meter, a changing bag and spare can for Project 2 , Mood and Tone piece. Discuss treatment for Mood and Tone piece.
Reserve equipment and book check out time
WEEK 3 Class/lab split 1/30 Go Outdoors, use 4 rolls of free film for students to shoot with. Required for class/lab – 5x Sekonic light meters 4X Bolex cameras 4X tripods, 3 changing bags, 3 daylight rolls dummy film 4 rolls Reversal B&W Tri-X, 7266 4x daylight loading spools, AC kit, camera tape, neg report sheets 4x clapper boards
Lab 2/2 Discuss PROJECT # 2, Tone and Movement exercise. Preparing for the shoot.
Weekend 2/2, 3 groups shoot Project #2, 16mm piece Weekend 2/10, 2 groups shoot
Week 4 Class 2/6 Hector Gonzalez, MA, lectures on the aesthetics of fight scenes in Asian and American cinema Send in 1 page treatment of your personal short project #4,
UTube Homework- watch clips from David Lynch’s The Grandmother, Eraserhead and Jane Campions’ Peel
Lab 2/8 Hector Gonzalez teaches choreography of a fight scene. Come to lab wearing loose clothing
Week 5 2/13 Class Bring final script of 1-2 min film, project #4 script, to read in class Selecting Lenses, how choice of focal length affects story
Coen Bros Shot-Reverse Shot, The Three Kings, Lost in Translation, Red Desert.
2/15 Lab: lighting exercise, controlling contrast using soft and hard light. Shoot two identical head and shoulders shots (medium close up) one with long focal length zoomed in from afar, and one with widest lens as close as possible to match the same frame. Record and play shots back to back. suggested check out (please modify as needed): 5 light meters 3 X video cameras (set to 200 asa) 3 x tripods 2X 1K Frennels, 4 X c-stands 1x 4x frame with diffusion 2 x Bounce Required: digital camera with good range in focal length zoom . 1x Kino flo board 2 x kino flow one c-stand 2x Arri kit, 20’ extension and 4 way box 4 x extension cords gels, diffusion
Week 6, Class 2/20 Present one page treatment for Final Project #5, Screen Project # 2, Movement and Tone piece Lecture: directing with body language in mind. Sembane Osmani . Black Girl, Murnau’s Sunrise, https://www.youtube.com/watch?v=4JuuueC3JNw , see Manchester By the Sea Antonioni’s L’Adventura https://www.youtube.com/watch?v=r9MSZKAz7Bg
Lab 2/22 Sound and Audio Recording Sound design and recording for non-sync and non-dialogue projects Double-system filmmaking
LAB – Audio (2 x 75 min) split class into two groups 4 x Zoom H6 audio recorders 4 directional mics 4X boom poles 4 lavaliers
Week 7 Class, 2/27, Present rough draft for Final Project # 5, 5 min film, to read in class. Send to TA and Prof. Homework reading/note taking: Chapter, “Lighting”, “Sculpting with Light,” “The Basics of Electricity, Power, Potential, and Current”
Lab 3/2 TBA
Week 8 Class, 3/6 Bring final draft PROJECT # 5, discuss ideas/approach to story, arc and character
Note taking Chapters “The Accidental Tourist,” “Getting Ready: Look, Style, and Mood,” “Shooting with cutting in mind.” Lab, 3/8 Screen Fight screnes Vote on 4 -5 best scripts for project #4
Week 9 Spring Break
Week 10 Class 3/21 Screen Project # 4, B&W 1 min short Show DP clips from Conrad Hall’s Road to Perdition, Philip Rousselot’s Therese La Confidential
Lab 3/8 Producing/ scheduling the short film Preparing story boards/ scheduling, lined scripts and shot list. Digital Cameras: bit rates, codecs and sensors. How to maximize the potential of your digital camera. Demo or Check out any tracking and moving devices for cameras
Week 11, class 3/27 Groups project teams produce a power point presentation by key crew members: Director, Producer, DP, Production designer, sound and picture editors- describing how they see their craft contributing to the story, give examples and influences
4 groups present 15-minute PowerPoint presentation that describes characters, locations, lighting style, sound and music influence.
Lab, 3/30: No Lab , use time to prep shoots
Groups shoot final projects weekend 3/31
Week 12 Class 4/3 Sound editing lecture, Steve Dejenaro
Lab, 4/5 : View rough cuts
Week 13 Class, 4/10 View assembly of final project Lab 4/ 12 basic color
Week 14 Class 4/17 view rough cuts No lab
View locked picture with rough sound mix
4/19 Lab TBD
Week 15 class 4/24 view fine cuts No Lab
Week 16 Class 5/1 Screen final projects Lab 5/3 Last Lab & class
End of Semester Screenings TBA
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) Zoom H6 audio recorders 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. https://wikis.utexas.edu/display/comm/RTF+Equipment+Checkout+Help
Laboratory and Transfer: Cine Lab Pay close attention to associated shooting costs and shipping schedules for this class. For PROJECT # 6, 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.
Grading: Projects and Attendance: 40% Final projects and key roles: 60% Key roles=writer/director or DP/editor/producer/ sound recording and sound editor, production design. If you are not directing but taking a key role you must also perform a second role on another project, AC, Boom Op, set Dresser, grip, electrician,
There will not be a final exam. This class will use the plus (+) and minus (-) system for grading. Supplies: See lab instructor for the exact list of supplies you will need to purchase. For gels and diffusion go to www.oldenlighting.com. Their store is 3 miles from campus.
Required: 366K on line Course packet available at Jenn’s Copy,across from CMB on Guadalupe. Approx. cost: $12.00 https://wikis.utexas.edu/display/comm/RTF+Equipment+Checkout+Help One hardback, durable notebook for recording ideas and info during the semester
Recommended Texts: 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
basic 3 point lighting: https://www.youtube.com/watch?v=7r_Yi7MnJFs
Cinematographers to inspire you:
Conrad Hall: https://www.youtube.com/watch?v=MClEniMo8QE
Ellen Kuras: https://www.youtube.com/watch?v=7z_IJ8LE-9I
Roger Deakin: https://www.youtube.com/watch?v=kC5EsRtlQ8I https://www.youtube.com/watch?v=5hzlDmlE0wA https://www.youtube.com/watch?v=nj90YKqqo-c
Victorio Storaro: https://www.youtube.com/watch?v=Yr4zn8k13Yo
Gordon Willis: https://www.youtube.com/watch?v=GyzIrrMccNY
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. 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 and Canvas will be used as a means of communication with students. You will be responsible for checking your e-mail and Canvas regularly for class work and announcements. 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 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.