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366K Intro to Narrative Production, Spring 2018, Unique # 08300

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366K Intro to Narrative Production, Spring 2018, Unique # 08300 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: nancy.schiesari@austin.utexas.edu Class meets Tuesday 2-5, rm. 4.112 Lab meets Thursday 6-9, rm 4.112 TA: Taniel Kilajian Email:taniel.kilajian@gmail.com> 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.
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