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.
|M Aug 23||Discuss: Analytical Screening & Ideation. Moleskine; BBC Reel
Demo: Lighting & Composing the Interview for Multi-cam
Heads Up! Take well-lit, well-composed behind-the-scenes photos.
|W Aug 25||Project: PITCHES & RESEARCH. Be prepared to pitch six ideas for your final film. Each pitch presentation should include at least one salient, researched fact intended to hook your audience. Take rigorous notes of classmate feedback.
Participation: IDEATION. Please come to class ready to demonstrate your curiosity and enthusiasm for your classmates' film proposals.
Discuss: Researching Form
Demo: Wildcat, Boom, & Lav
|M Aug 30||Participation: INDIVIDUAL IMAGE FILE. Choose ten paintings and no fewer than three songs that are in some way evocative of your film. Bring digital copies of them to class.
Participation: GROUP IMAGE FILE. (to be done in class). Share the music and paintings with the members of your group. Together from your collaborative pool of images, decide on a half-dozen that will guide your film’s composition, lighting, and color. Then share your musical selections. Upload the group-selected works to your shared drive for inspiration.
Discuss: Researching Comps, Industry Tech Standards
Discuss: Non-Fiction Film – Pioneers; Stock Footage Libraries
|M Aug 30||Last Day to Drop-Add|
|W Sep 01||Participation: INDIVIDUAL COMP RESEARCH. Find two documentary films you think are comparable to the one you’d like to produce this semester. They do not need to be same subject as your film. At least one should be a model film to which you might aspire. The other may have errors you’d like to avoid. Be prepared to share a representative two-minute excerpt of each film with the class.
Discuss: Non-Fiction Film – Explorer & Reporter
|M Sep 06||Labor Day Recess: NO CLASS MEETING|
|W Sep 08||Discuss & Demo: Non-Fiction Film – Artists & Continental Realism
Discuss: Scripts & Interviews
Participation: CURIOSITY. After scanning reputable websites on the topic, bring to class at least three urls and three ideas for asking good interview questions.
Analytical Screenings: (15 minutes total viewing) Kino-Nedelya, Kino-Pravda, One-Sixth of the World or Turksib.
Demo: Server-based Post-Production, Adobe Productions
Project: TABLETOP ACTUALITY FOOTAGE & LOG.
|F Sep 10||Q&A: Wish List (1201p). Email your professor a list of links to desired Motion Array assets (stock footage, music, sound effects, and Premiere graphics packages).|
|M Sep 13||Q&A: INTERVIEW QUESTIONS. Make a list of the people you'd most like to interview for your documentary. Make a list of 20 well-written questions you'd like to ask each of them. Share the lists with your group and improve them with feedback. Submit the revised drafts as a .pdf to D2L.
Q&A: ANALYTICAL SCREENING. View They Shall Not Grow Old in its entirety. Choose two representative scenes for formal analysis in an essay not to exceed 750 words. Submit to D2L as a .pdf.
|W Sep 15||Discuss & Demo: Non-Fiction Film – Grierson, Lorentz, and Patriot Advocates
Analytical Screening: In-class selections from Night Mail (1936) and The River (1938).
Project: INDIVIDUAL ARTISTIC ACTUALITY. Be prepared to share with the class a 30-second edit of your actuality footage in a properly formatted Adobe project and sequence. After correcting color and audio levels, upload your actuality to Vimeo.
|M Sep 20||Discuss & Demo: Multi-Cam Shooting|
|W Sep 22||Discuss & Demo: Multi-Cam Editing
Discuss & Demo: Interview Technique
|M Sep 27||Workshop: Location Shoot
Heads Up! Take well-lit, well-composed behind-the-scenes photos.
|W Sep 29||Workshop: Location Shoot|
|M Oct 04||Workshop: Location Shoot|
|T Oct 05||Curveball: FRIDAY CLASSES MEET TODAY|
|W Oct 06||Workshop: Location Shoot
Q&A: PRINCIPAL PHOTOGRAPHY LOG DUE
|M Oct 11||Workshop: Location Shoot|
|W Oct 13||Q&A: B-ROLL|
|M Oct 18||Q&A: STOCK WISH LIST|
|W Oct 20||Project: (0300p) Paper Edit. Highlight the relevant sections of your transcript. Copy and arrange the highlighted dialogue (with timecode) into a Paper Edit. Submit the Paper Edit as a .pdf to D2L.
Discuss & Demo: In- and Out-Points; The Assembly Edit
|M Oct 25||Project: ASSEMBLY
Q&A: ANIMATION & GRAPHIC STORYBOARDS
|W Oct 27||Project: ROUGH CUT|
|F Oct 28||Last Day to Withdraw|
|M Nov 01||Project: ASSEMBLY REDUX
|W Nov 03||Workshop: Post-Production. Please use this time to
• tighten the rough cut
• storyboard a unified package of graphics, specifying colors, fonts, shapes, audio effects, screen transitions and other recurring graphic elements.
• revise your list of stock footage, photos, backgrounds, transitions, and audio effects
|M Nov 08||Project: ROUGH CUT REDUX
Discuss & Demo: Color
|W Nov 10||Project: VIZLOCK
Discuss & Demo: Sound
|M Nov 15|
|W Nov 17||Project: COLOR
Project: DIALOGUE EDIT
|M Nov 22||Project: AUDIO MIX
Project: GRAPHICS, TITLES, ANIMATION
|W Nov 24||Thanksgiving: NO CLASS MEETING|
|M Nov 29||Project: MARKETING. Festival plan, poster, trailer, BTS pics, filmmaker bios|
|W Dec 01||0400 Project: COMPLETED FILM.|
|M Dec 06||0245 Review: Final Exam|
|W Dec 08||0245 Q&A: FINAL EXAM
0245 Participation: PEER EVALUATION
|R Dec 09||Participation: Public Screening (0800p). A film isn't a film until it's shared with an audience. Your presence is required.|
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 firstname.lastname@example.org.
- by phone at 616.498.4336 (49.VIDEO). Texting? Remember to identify yourself by name and course.
- in person. My office hours are posted with video conferencing links.
I will respond to most messages within 12 business hours.
This course continues Film and Video Production I with increased emphasis on independent work and growth. It offers continued creative production experiences in interpretive lighting, dramatic composition, graphic design, creative editing, sculptural concerns, computer-generated imagery, and conceptual art. Students produce art work in film, video, and/or computer. Prerequisite: ART267.
Through the project-based work of this course, the student will:
- employ research as a basis for generating and discovering a non-fiction message that can be effectively communicated through digital video and audio.
- articulate the aesthetic and ethical challenges common to processes of documentary production.
- identify and engage in the pre-production activities that govern digital filmmaking: budgeting, scheduling, storyboarding, and location scouting.
- integrate transcribed interviews into a documentary script.
- articulate the responsibilities of and engage in various crew positions: producer, director, writer, cinematographer, gaffer, editor (video), colorist, audio recordist, and editor (audio).
- articulate the principles that shape the grammar and mechanics of digital audio signal processing, editing, and mixing.
- articulate and practice the principles of project organization which facilitate collaboration in post-production.
- store and distribute a finished digital video.
- direct and respond to the direction of others.
- support creative collaboration with safety, protocols, and etiquette, in the studio and on-location.
- learn principles and terminology of media project planning and management.
Instruction will offer cultural and historical context for course assignments through lectures, presentations, and group discussions.
Coursework will be weighted as indicated:
|Quizzes & Assignments||20%|
In life and in the classroom, I encourage you to work hardest on the things that count most.
Assignment grades will be based on the following scale:
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.
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").
Syllabus deadlines are the date and time an assignment is due in its final version. The nature of filmmaking is such, however, that the most successful students typically solicit professor feedback on intermediate versions of major projects. 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 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:
- To what degree and in what ways does the student demonstrate respect for his/her audience and co-laborers?
- To what degree and in what ways does the student model dependability and responsibility?
- 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?
- Of what value are the student’s criticism and suggestions for improvement valued by his/her peers?
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, with multiple pages combined in a .pdf binder. Completed student films should be submitted as specified in each assignment, usually as links to your Vimeo account or files via OneDrive.
Please be advised that uploading large video files is time consuming. Internet service providers typically offer file uploads at 1/10 the speed of downloads (check your own ISP speeds here). Make allowances to submit your work before posted deadlines.
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.
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.
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. To honor the ownership of intellectual property, lectures are not recorded; Keynote and PowerPoint presentations are not stored or distributed. Major concepts will be repeated frequently, both verbally and visually, using the Harvard Outline Format for easy note-taking.
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.
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 work just as vigorously with students to prevent even unintended lapses of integrity.
Potential sanctions associated with academic dishonesty may be found in the University’s Student Code of Conduct and Judicial Procedures.
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.
Equipment loan and campus facilities are available to students enrolled in face-to-face offerings of this course.
In case of a shift to remote learning, students are responsible for access to specified equipment.
In lieu of a required textbook, students should set aside $75 for production expenses and festival entry fees.
Edinboro University of Pennsylvania offers services to meet the accommodation needs of students with many types of disabilities. The Office for Accessibility Services (OAS) provides services to students based upon documentation of a disability and a request for accommodations based on this disability. Please refer to Edinboro University Policy A008 (Reasonable Accommodations for Students with Disabilities). This policy is in compliance with the Americans with Disabilities Act (ADA) and Section 504 of the Rehabilitation Act of 1973.
Office for Accessibility Services
Crawford Center, 200 Glasgow Road, Edinboro, PA 16444
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