DESCRIPTION

The emphasis of the course is on film and video as creative art media and the creative process as essential to analytical thinking and expression. The course examines historical and aesthetic approaches of the media based on twentieth century art. It offers individual experiences in film and video production. This course is approved for General Education designation of Computer Competency.

SCHEDULE

The following should be interpreted as a general timetable governing the subjects to be covered in this course.  Class discussion, pace — even fluctuations of student attendance and enrollment — often dictate additions, deviations, and omissions.  You are advised to frequently consult the most recent version of this schedule; assignments, lecture topics, and links to resources, will be detailed and added throughout the term.

LIGHTING & CAMERA
T Aug 18Discuss & Demo: Orientation to Video Conferencing; Required Equipment; Vimeo; Class Aspirations
R Aug 20Assignment: PERSONAL INTRODUCTION (0900a).
M Aug 24Last Day to Drop-Add
T Aug 25
Discuss & Demo: Functions of Light
Analytical Viewing: (0900a) Watch this clip from Batman Forever (1995). Write a paragraph which includes a couple of observations about the film's lighting. Think about how the effects you see might be achieved by filmmakers. Keep the paragraph handy as a basis for today's class discussion.
R Aug 27Discuss & Demo: Controllable Properties of Light
T Sep 01Discuss & Demo: 3-Point Lighting
Discuss & Demo: Lenses, Irises, & White Balance
Assignment: (0900a) Meet with your group via Zoom or other videoconferencing platform to review Lighting class notes.
Assignment: (0900a) Confirm your ability to access Adobe Premiere (on your computer) and MomentPro (on your phone).
Assignment: (0900a) Share with the members of your group the OneDrive folder you made in class.
R Sep 03Assignment: Stage three different portraits using Virtual Lighting Studio. Submit the portraits and lighting plots as a .pdf via D2L (0900a).
T Sep 08Assignment: Depth of Field - Footage Logs (0900a)
(1) Leader - Create an industry-standard leader at the beginning of an Adobe sequence.
(2) Still Life - 6 well-lit photos, each with a duration of 2 seconds, in a Premiere sequence. Adjust lens and camera variables to create different depths of field. Submit lighting plot and footage log as .pdfs via D2L.
(3) Portrait Footage - Well-lit close-up of a person reciting a short poem (<1min). 6 takes in the same Premiere sequence. Adjust lens and camera variables to create different depths of field. Submit lighting plot and footage log as .pdfs via D2L.

Please wait for further instructions before submitting the Adobe Premiere sequence.
T Sep 15Project: STORYBOARDING (due at the beginning of class)
You may find helpful this recent demonstration of Storyboarder.
R Sep 17Project: Depth of Field - Vimeo Link (Instead of the regular group meeting, your professor will be available via Zoom for individual consultation during today's workshop class period. Projects are due at 1130a.).
• Start with the 0908 Adobe timeline.
• Use Essential Graphics to add lower thirds with ISO and f-stop information inside safe margins. Use Effect Controls as necessary to scale and position photos or graphics.
• Add 30 seconds of silent black to the end of your timeline.
• Update your slate to reflect the TRT of the program. The TRT does not include the leader or the 30 seconds of black.
• Export two 1080p Full HD versions of the timeline: (1) the full sequence; (2) the program only with two-second of silent black heads and tails. If your weekly Vimeo upload limit cannot accommodate Full HD, export files from Adobe using another Vimeo preset at a lower resolution.
• Upload both exported timelines to Vimeo. Submit both URLs to the appropriate D2L assignment folder as a single .pdf.
T Sep 22Discuss and Demo: Movement
R Sep 24
T Sep 29
Workshop: Movement. Instead of the regular group meeting, your professor will be available via Zoom for individual consultation during these workshop class periods.
R Oct 01Project: MOVEMENT (due at the beginning of class)
AUDIO & SCRIPT
T Oct 06In-Class Assignment: Midterm Exam
Individual Participation: SCRIPTWRITING - CONVERSATION TRANSCRIPTS (due at the beginning of class)
In-Class Group Participation: SCRIPTWRITING - TABLE READS
R Oct 08Discuss & Demo: Recording Location Dialogue
In-Class Group Participation: SCRIPTWRITING - POLISH
F Oct 09 Group Participation: SCRIPTWRITING - POLISH (due 0900a)
T Oct 13Individual Project: SCRIPTWRITING - STORYBOARD (due at the beginning of class)
R Oct 15Workday & Conferences: Dual System Audio.
POST-PRODUCTION
T Oct 20Discuss & Demo: Sync & Merge Dual-System Recordings
Project: LOCATION DIALOGUE (due at the beginning of class).
Looking Ahead: The HOSPITAL DOWNLOAD page will prepare you for next week's class activities.
R Oct 22Discuss & Demo: Soviet Editing
Project: SYNC & MERGE (due at the beginning of class)
F Oct 23Last Day to Withdraw
T Oct 27Discuss & Demo: Motivated Editing
Analytical Viewing: CITIZEN KANE - Breakfast with Emily
Analytical Viewing: THE GODFATHER - Meeting the Turk
Analytical Viewing: THE GODFATHER - The Baptism
Analytical Viewing: POCAHONTAS - Colors of the Wind
Analytical Viewing: MOULIN ROUGE! - El Tango de Roxanne
Analytical Viewing: SNOW FALLING ON CEDARS - Hatsue's Letter
In-Class Activity: MAKING SUBCLIPS
R Oct 29Discuss & Demo: The Assembly Edit – In, Out, Overwrite
T Nov 03In-Class Activity: THE ROUGH EDIT – J- & L-Cuts
In-Class Activity: DIALOGUE EDITING I – Split Tracks & Essential Audio
R Nov 05In-Class Activity: VISUAL LOCK – Credits & TRT
In-Class Activity: DIALOGUE EDITING II – Room Tone, Crossfades, & Handles
In-Class Activity: Scoring & Mixing
T Nov 10In-Class Activity: LUMETRI COLOR
In-Class Activity: Exporting Media for Distribution
R Nov 12Project: HOSPITAL EXPORT (due at the beginning of class)
Workday & Conferences: Personal Intro Redux. Today, your professor will have Zoom up and running as for regular class meetings to help students on an individual, first-come, first-serve basis. Just drop in...
T Nov 17Workday & Conferences: Personal Intro Redux. Today, your professor will have Zoom up and running as for regular class meetings to help students on an individual, first-come, first-serve basis. Just drop in...
R Nov 19Workday & Conferences: Personal Intro Redux. Today, your professor will have Zoom up and running as for regular class meetings to help students on an individual, first-come, first-serve basis. Just drop in...
Project: PERSONAL INTRO REDUX (due at the end of class).
T Dec 01Final Exam Review (0800 - 1000a). A class meeting via Zoom to look back at a semester's worth of filmmaking terms, concepts, and skills practice. Please note the irregular meeting time.
R Dec 03Final Exam: Knowledge (0800 - 1000a). Students will complete a multiple-choice quiz via D2L.
Final Exam: Skill. Students will submit DUAL-SYSTEM POETRY, using footage shot and synchronized earlier in the semester. Due at the end of today's exam period.

OBJECTIVES

Through the project-based work of this course, the student will:

  • identify and employ the pre-production activities that govern digital filmmaking — including location scouting, scriptwriting, casting, storyboarding, and scheduling.
  • identify and employ rudimentary principles of lighting, camera operation, sound recording to capture video and audio.
  • identify and employ principles of cinema grammar to edit digital video footage and audio recordings.
  • store a finished digital video and prepare it for distribution.
  • support creative collaboration with safety, protocols, and etiquette, in the studio and on-location.
  • direct and respond to the direction of others.

Instruction will offer cultural and historical context for course assignments through lectures, presentations, and group discussions.

GRADING

Coursework will be weighted as indicated:

Projects 60%
Quizzes & Assignments20%
Participation20%

Assignment grades will be based on the following scale:

93-100A73-76C
90-92A-70-72C-
87-89B+67-69D+
83-86B63-66D
80-82B-60-62D-
77-79C+< 60F

LATE SUBMISSION & PENALTIES

Coursework in Digital Filmmaking frequently takes the form of practical performance and projects.   If you are not present in class when your name is called to undertake a task, your work will be considered late.  If your work is submitted incomplete or otherwise outside the assignment’s specified format parameters, it may be returned to you for correction.  Upon resubmission, it will be considered late work.

Late work can earn no more than a maximum of 60 points.  Work is considered late if submitted or time-stamped after deadlines posted in the syllabus (usually specified by date and time).  If, because of extreme and prolonged sickness, you miss a deadline and are able to substantiate a claim of incapacitation with a note from a reputable doctor or Student Health Services, the grades of your remaining assignments will be given greater weight to compensate. Otherwise, you will receive a zero for the assignment. Examinations must be taken when scheduled.

FEEDBACK & REVISION

Syllabus deadlines are the date and time an assignment is due in its final version. The nature of filmmaking is such, however, that you should plan on soliciting your professor’s feedback on at least two intermediate versions of each project. While this is not a requirement, you ignore the Academy’s proven “draft-and-revise” rhythm at significant peril to your grade.

Responding to students’ desire for the most immediate feedback on their project work, grades and comments are typically reported online, usually within seven days of submission. It is therefore the responsibility of students to regularly consult D2L, Edinboro’s classroom management software, for the most current report of their grades.

QUIZZES & PARTICIPATION

Quizzes may be given without warning to encourage attendance and competency throughout the term.

Participation will be evaluated throughout the semester by professor and peers based on student contribution to class community. Assigning the grade, I am chiefly concerned with the following questions:

  1. To what degree and in what ways does the student demonstrate respect for his/her audience and co-laborers?
  2. To what degree and in what ways does the student model dependability and responsibility?
  3. In what ways has the student participated in work load, idea generation, and leadership — apart from the work necessary to complete his/her individual assignments?
  4. Of what value are the student’s criticism and suggestions for improvement valued by his/her peers?

SUBMISSION FORMAT

Substantiating paperwork (storyboards, lighting plots, scripts, talent releases) tends to be rewarded with higher grades if presented professionally.  Written work submitted electronically should be formatted as .pdf files.

PRODUCTION EXPENSES

In lieu of a required textbook, students should set aside $75 for production expenses and festival entry fees.  They are also responsible for their own access to specified equipment.

TITLE IX

happy. happy. happy.Edinboro University and its faculty are committed to assuring a safe and productive educational environment for all students. In order to comply with the requirements of Title IX of the Education Amendments of 1972 and the University’s commitment to offering supportive measures in accordance with the new regulations issued under Title IX, the University requires faculty members to report incidents of sexual violence shared by students to the University’s Title IX Coordinator. The only exceptions to the faculty member’s reporting obligation are when incidents of sexual violence are communicated by a student during a classroom discussion, in a writing assignment for a class, or as part of a University-approved research project. Faculty members are obligated to report sexual violence or any other abuse of a student who was, or is, a child (a person under 18 years of age) when the abuse allegedly occurred to the person designated in the University protection of minors policy.

Information regarding the reporting of sexual violence and the resources that are available to victims of sexual violence is set forth online here or in-person at

Office of Social Equity
Reeder Hall, Third Floor, 219 Meadville Street
Edinboro, PA 16444
814-732-2167

FAQs

CONTACT

Where’s Brian when we need him?  Is it really okay to call him at home in the middle of the night? The classroom setting is such that not all needs can be met within it.  I encourage you, therefore, to visit my office often.  It is my pleasure to discuss grades, attendance, notes, lectures, or anything else which will make you a better student.   Your grades can only benefit from regular communication with your professors.  I will gladly work with you to arrange meeting times convenient to us both. Feel free to contact me:

  • by e-mail at bfuller@edinboro.edu [good].
  • by phone or voicemail at 616.498.4336 (49.VIDEO) [better].  Texting?  Remember to identify yourself by name and course.
  • in person [best].  My office hours are posted with video conferencing links.

I will respond to most messages within 12 hours.

ATTENDANCE & ETIQUETTE

Can I leave early to get to my next class across campus?  What happens when I miss a class? Students are expected to attend each class meeting in its entirety, and will be penalized for late arrivals and early departures.  Class absences are excused for medical reasons, university activities approved by the appropriate vice president or designee, and/or for personal exigencies. University activities appropriate to be considered as an excused absence include but are not limited to: scheduled athletic events, cultural events, academic competitions, etc., in which the student is a participant. Other appropriate situations include: military duties, auto accidents, death in immediate family, medical emergencies. Verification of such absences may be required by the instructor, and the student is responsible for make-up work as required by the instructor.

I’ve got tickets to leave early for  break.  Can I reschedule work to accommodate my travel plans? Classes will not be held on holidays officially recognized by the university. All other days of the term are fair game for lectures, quizzes and assignments. Those students who plan to leave early for or return late from holiday breaks may not reschedule exams or other work.

Can I take class notes on my iPad?  Can I film a lecture?  What are the professor’s expectations for electronic etiquette? You’re encouraged to use smart phones, tablets, and laptops in disciplined ways which accomplish the work of the course.  It’s considered rude, however, to engage in private communiqués (facebook, twitter, IMs, texts) during class.

The classroom is a protected space where together students and faculty rehearse ideas that are often not yet ready to be shared with the wider world.  Effective teachers adapt course content for a narrow audience of students, tailoring discussions on the fly to circumstances of the moment.  Exchanges are necessarily fraught with controversy, challenge, and misunderstanding.  Please safeguard the learning enterprise from surreptitious audio and video surveillance.  Do not film, record, or share, audio or video images of anyone without a signed personal release.  This legal warning applies explicitly to video conferences, class lectures, and studio activities.

Oops.  My phone started ringing in class.  Probably Mom calling… Silence your phones during class meetings and project work.  You’d hate to ruin an otherwise fabulous take on location with a Kanye West ringtone.

APPEALS

I’m dissatisfied with an assignment grade.  Any chance I can have it changed? Because there are sometimes no “right” and “wrong” answers in this field of study, I am open to a certain amount of discussion with regard to the grade awarded any given assignment. Appeals should be made in a timely fashion, within two class periods of grade notification/posting.  Appeals should be offered with rhetorical and presentational clarity, preferably face-to-face or via video conference.

Appeals are more likely to be successful if students have solicited the professor’s input on at least two intermediate versions of the project (see “Feedback & Revision,” above).

HONESTY & OWNERSHIP

Respect the copyrights of your fellow artists.I downloaded a great new song on iTunes.  Can I use it in the soundtrack of my class film project? It is expected that all work submitted through this course is the student’s original work, generated for the express purpose of completing the requirements of this course. Students are to be aware that academic dishonesty is not tolerated in this course and should be familiar with the following definitions:

  • Cheating. Behaviors including, but not limited to, use of unauthorized notes or reference materials during examinations; copying answers from another student’s paper during an examination; the unauthorized possession of academic materials, including exams; the unauthorized exchange of course assessment materials, including exams; the unauthorized exchange of information or collaboration regarding tests, or other course assignments; aiding another to engage in cheating; and/or all other acts of academic dishonesty that any member of this academic community would reasonably understand to be a breach of this academic integrity statement will be considered cheating and an act of academic dishonesty.
  • Plagiarism. Plagiarism may be defined as the act of taking the ideas and/or expression of ideas of another person and representing them as one’s own. This includes, but is not limited to, using ideas or passages from a work without properly attributing the source, paraphrasing the work of another without giving proper credit, and/or the sale, purchase, or exchange of papers or research. It is the student’s responsibility to know what plagiarism is and to properly cite the work of others. If a student is in doubt, it is their responsibility to resolve any ambiguity prior to submitting the work. Plagiarism is nothing less than an act of theft, and, as such, is subject to University disciplinary action.
  • Copyright.  While plagiarism involves appropriating someone’s ideas without credit, copyright infringement is taking or altering someone’s original created work without paying.  Copyright enforcement is subject to a number of variables including the lifespan of the creator and his/her heirs as well as corporate ownership of works made for hire.  Fair warning:  burgeoning filmmakers often wrongly believe they must pay other creators for work used only if their film turns a profit.  Not true.

The standards of integrity and the penalties of dishonesty apply equally to

  • ideas, words, and speech
  • visual images, recordings, performances, and files
  • audio recordings, performances, and files
  • all electrochemical means of storage and communication
  • use of computing facilities and resources in violation of copyright laws

I will vigorously pursue prosecution of academic dishonesty to the very limit of sanctions allowed by the university, up to and including failure of the course and expulsion from the university.  I will just as vigorously work with students to prevent even unintended lapses of integrity.

While student media producers retain copyright ownership of their respective work, enrollment in this course constitutes your permission to let the university, the department, the professor, their representatives, and successors, exhibit and distribute for promotional purposes those media projects submitted in fulfillment of course assignments.  Your enrollment further implies consent to be photographed in class or while working on class projects.  Without any effect on your grade, you may withhold or limit such permission by indicating your wish to do so in a note to your professor signed, witnessed, and dated, before the university’s last day to drop-add.

ACCESS, FACILITIES & EQUIPMENT

How might a disability affect my performance in this course? The college offers services to meet the accommodation needs of students with many types of disabilities. The Office for Students with Disabilities (OSD) provides services to students based upon documentation of a disability and a request for accommodations based on this disability. Please refer to Policy A008 (Reasonable Accommodations for Students with Disabilities).

How can I arrange to work after-hours in campus buildings? Online offerings of this course do not include access to campus facilities.

How do I arrange to borrow equipment for this weekend’s shoot?  Can I borrow equipment to shoot my cousin’s wedding? Equipment loan is not available to students enrolled in online offerings of this course.  Students are responsible for access to specified equipment.

 

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