DESCRIPTION

This upper-level elective is designed to impart advanced-level knowledge in the realms of lighting design and sound design. Students will explore the technical and aesthetic considerations when crafting a lighting scheme for a scene or situation. Crafting light and shadow, textures and depth within a scene, mood and emotion, and even when not to light are all covered. Students will also learn the history of sound, and sound recording techniques using both traditional and digital methods. On-location and in-studio post-production techniques will also be covered. Prerequisites: ART269, ART267, ART268 and Candidacy in Cinema

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.  Students 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.

DATETOPIC/ACTIVITY
FORMAL ANALYSIS
T Aug 18Discuss & Demo: Orientation to Video Conferencing; Required Equipment; Class Aspirations
R Aug 20Discuss & Demo: Formal Analysis of the Moving Image
LIGHTING
T Aug 25Discuss & Demo: Human Vision, the Camera, and Exposure; Measuring & Monitoring
Assignment: (0300p) Essay (1000 words max). Formal Analysis of Drag Me To Hell (2009). Submit to D2L as .pdf.
Assignment: (0300p) Study of Photographic Variables + footage log (saved to OneDrive and shared with bfuller@edinboro.edu)
• interior still life photos (6 different ISOs, 6 different f-stops, 6 different white balance temperatures);
• exterior (day) still life photos (6 different ISOs, 6 different f-stops, 6 different white balance temperatures);
• exterior (night) photos (6 different ISOs, 6 different f-stops, 6 different white balance temperatures).
R Aug 27Discuss & Demo:
Assignment: (0300p) Study of Photographic Variables (Redux) + footage log. Save no fewer than 36 photos (as specified below) and footage logs to OneDrive in a folder named "0827 Photos - bfuller" (please substitute your own first initial and last name). Share your work with the professor and all members of the class.
• 6 interior still life photos : consistent custom white balance, consistent shutter speed of 1/50th - 1/60th sec, consistent f-stop, 6 different ISOs
• 6 interior still life photos : consistent custom white balance, consistent shutter speed of 1/50th - 1/60th sec, consistent ISO, 6 different f-stops
• 6 exterior (day) still life photos: consistent custom white balance, consistent shutter speed of 1/50th - 1/60th sec, consistent f-stop, 6 different ISOs
• 6 exterior (day) still life photos: consistent custom white balance, consistent shutter speed of 1/50th - 1/60th sec, consistent ISO, 6 different f-stops
• 6 exterior (night) still life photos: consistent custom white balance, consistent shutter speed of 1/50th - 1/60th sec, consistent f-stop, 6 different ISOs
• 6 exterior (night) still life photos: consistent custom white balance, consistent shutter speed of 1/50th - 1/60th sec, consistent ISO, 6 different f-stops
T Sep 01Discuss & Demo: Volts, Amps, & Watts; Instruments & Controls
Assignment: (0300p) Use Storyboarder to plan the shots for a scene based on the provided script. Export storyboards as .pdfs and submit to D2L.
Assignment: (0300p) Use Storyboarder to light the scene you've planned based on the provided script.
Project: (0300p) Use the trial version of set.a.light 3D to light the same scene. Export lighting plots as .pdfs and submit to D2L.
R Sep 03Two months until ELECTION DAY. Are you registered?
R Sep 03Discuss & Demo: Metering
Project: (0300p) Photo Variables (Timeline). A properly formatted Adobe Premiere project and sequence in which you present photos taken for the 0827 assignment, each labeled with a lower-third graphic which specifies f-stop and ISO.
T Sep 08Discuss & Demo: Challenges & Low-Budget Improvisation
Group Assignment: Storyboard. Analyze the script provided for your upcoming film. Each script is a conversation via phone or video conference. To broaden your mastery of lighting, half of that conversation should be shot outside; the other half, inside. Start from the moment of greatest emotional intensity and work outward to plan action, shots, and camera moves. Export bird's eye ground plans from Storyboarder's Shot Generator to Photoshop; brainstorm, plan, and improvise lighting set-ups. Each group will submit the storyboard and preliminary lighting plots as a single .pdf binder via D2L.
R Sep 10Discuss & Demo: Storyboard Critique. Does your film's action, composition, and mise-en-scène, suggest motive and theme? Does the camera's angle and apparent distance signal changes in the scene's emotional intensity?
DIALOGUE
T Sep 15Group Project: Storyboard (2nd draft). Incorporate recent class discussions to improve the storyboards for your forthcoming shoot. Each group will submit the revised storyboard as a single .pdf binder via D2L.
R Sep 17Discuss & Demo: Further storyboard revision as necessary.
Discuss & Demo: Intro to the Zoom recorder.
T Sep 22Assignment: Workflow Testing. As a way of becoming proficient with the Zoom H1n, make a dual-system recording of yourself delivering at least 15 seconds of dialogue from your assigned script. No less than a 10:1 shooting ratio is expected. Upload a footage log to D2L as a .pdf. Import video and audio into a Premiere timeline to present in class.
Assignment: Table Read. Call the other members of your production team. Record a phone call or video conference in which you deliver the lines of the script. Export the audio file for later use.
R Sep 24
T Sep 29
Workshop: Location Shooting. Instead of the regular group meeting, your professor will be available via Zoom for individual consultation during these workshop class periods.
R Oct 01Discuss & Demo: Sync & Merge, J- and L-Cuts, Dialogue Sweetening with Adobe's Essential Audio
FOLEY, EFFECTS, & ATMOSPHERES
S Oct 03One month until ELECTION DAY. Are you registered?
R Oct 15Project: Foley
MUSIC & SCORING
F Oct 23Last Day to Withdraw (1159p)
M Nov 03ELECTION DAY
T Nov 03Project: Music & Scoring
EDITING & MIXING
R Nov 19Project: Post-Production
T Nov 24Thanksgiving Break: No Class
R Nov 26Thanksgiving Break: No Class
T Dec 01Final Exam Review (1230-0230p)
R Dec 03Final Exam (1230-0230p)

OBJECTIVES

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

  • articulate possibilities and limitations of the moving image as a means for expressing messages.
  • identify and employ the pre-production activities that govern digital videomaking—including pitches and fundraising, budgeting, production design, 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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