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Introduction to Film Production – Fall 2011
FST 201-003: Thursday 12:30-3:15, KE 1114
Office Hours: Th 10-12
Terry Linehan
[email protected]
106B King Hall, 910-962-2231
CLASS GOALS: This intensive hands-on course is designed to familiarize students with cinematic language and
filmmaking technique in preparation for more advanced production courses. Through a series of collaborative
assignments, students will employ a wide range of cinematic techniques to tell stories, convey character state of mind, and
communicate information and meaning. These assignments will stress collaboration, pre-production planning, exploiting
limited resources, mise-en-scene, editing, sound, and creating an aesthetic that serves the story or artistic intent.
STUDENT LEARNING OBJECTIVES:
1. Students will demonstrate an understanding of cinematic language and filmmaking technique by completing and
presenting the following processes: pre-production, production, and post-production.
2. Students will further demonstrate an understanding of cinematic language and filmmaking technique by completing a
work in narrative, documentary and experimental film.
3. Students will demonstrate an understanding of crew hierarchy and duty by taking on the roles of Director/Editor,
Director of Photography, Sound Mixer/Boom Operator, and Production Designer (and/or) Assistant Director.
201 AND THE GATEWAY:
-Students seeking admission to the Film Studies (FST) major must complete a two-stage process, beginning with
admission to the Pre-Film Studies (PFST) major. You have all successfully completed the first stage.
-In order to declare a FST major, a PFST major must first demonstrate skill in and dedication to the study of film by
completing the required 9 hours in “core courses” in Film Studies (FST 200, 201 and 205) with a minimum grade in each
course of “B-” and an overall grade point average of “B” (3.00) or better in the three courses.
-For purposes of admission to the PFST and FST majors, the department only credits students’ first registered grades in
core courses (i.e., in the admissions process, the department will not credit grades earned upon repeating a core course.)
However, students who withdraw from a core course during the withdrawal period may still take the course in another
semester and use the grade to apply to the FST major. Students who withdraw from a “core course” after the withdrawal
period and receive a “WF” may not apply to the FST major.
-Students must complete all “core courses” at UNCW.
-To gain admission to the FST major, students need only pass the gateway requirements; there is no additional
application. After students have completed FST 200, 201, and 205, the department Academic Coordinator reviews the
core grades to determine whether they have satisfied the gateway requirements and arranges for the Registrar to enroll
successful students in the FST major.
UNCW POLICIES:
-All members of UNCW’s community are expected to follow the academic Honor Code. Please read the UNCW Honor
Code carefully (http://uncw.edu/fac_handbook/responsibilities/teaching/honor_code.htm). Academic dishonesty in any
form will not be tolerated in this class.
-Students with diagnosed disabilities should contact the Office of Disability Services (http://uncw.edu/stuaff/disability or
962-7555). Please give me a copy of the letter you receive from the Office of Disability Services detailing class
accommodations you may need. If you require accommodations, make sure I have the referral letter no later than the
second week of class.
-UNCW practices a zero tolerance policy for any kind of violent or harassing behavior. If you are experiencing an
emergency of this type contact the Police at 911 or UNCW CARE at 962-2273. Resources for individuals concerned with
a violent or harassing situation can be located at http://www.uncw.edu/wsrc/crisis.html.
REQUIRED TEXT:
Hurbis-Cherrier. Voice & Vision: A Creative Approach to Narrative Film and DV Production. Elsevier. 1st – 2007.
-READ THE BOOK! Readings are to be completed before class. The text accounts for most of the exam questions. Read
and study it or risk not passing the gateway.
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-Suggestion: As you read, make study cards. When the Midterm Exam and Final Exam approach, you will be ahead of
the game. Keep your Midterm Exam study materials, as this information will reappear on the Final Exam. The reading
before the Midterm is heavy - stay ahead or fall behind quickly.
TESTS: Two exams (making up 50% of your grade) will cover reading assignments, screenings and class lectures. The
Midterm and Comprehensive Final Exam will feature some multiple choice, but mainly fill-in-the-blank and short essay
questions. Missed exams can only be made up in the case of documented illnesses or emergencies.
ASSIGNMENTS: Students, working in production groups of four, will complete a series of exercises focusing on film
production concepts and techniques. Assignments will be presented and critiqued in class, and will be graded according to
application of course material, clarity, creativity and presentation. Students will rotate duties between assignments, giving
each person the responsibility/opportunity to act as 1) Director/Editor, 2) Director of Photography, 3) Sound Mixer/Boom
Operator, and 4) Production Designer and/or Assistant Director. The Director will act as Editor for each of the four
assignments. It is expected that the group collaborate on the edit, but it is required that the Director/Editor be in charge of
the software; they must be the person taking control of the keyboard.
Project #1: Master Shot Sequence - max: 2 minutes with credits
Project #2: Parallel Action with a minimum of 3 tracks of mixed audio (dialogue, foley/sound effects, and
ambient/room tone) - max: 3 minutes with credits
Project #3: Documentary with a minimum of 3 tracks of mixed audio (dialogue, foley/sound effects, and
ambient/room tone) - max: 3 minutes with credits
Project #4: Experimental with a minimum of 2 tracks of mixed audio (foley/sound effects, and ambient/room
tone) - max: 2 minutes with credits
-ALL ASSIGNMENTS MUST BE TURNED IN ON ASSIGNED DATE.
No late assignments will be accepted. Assignments turned in after the due date will receive a zero. Incomplete
assignments will be graded as is. No exceptions other than for family tragedy or medical emergencies.
-ALL ASSIGNMENTS MUST BE PRESENTED IN A PROFESSIONAL MANNER.
1) Be in your seat and ready to present your work at the start of class.
2) All paperwork must be complete. The required paperwork is itemized on the Assignment Requirements.
3) Be prepared to present your work as a H.264 file. You may bring your work in on a flash or external drive. Be sure to
test your work before presenting. Footage that will not play is late.
4) Name your file in the following manner: Last names of Director, Director of Photography, Sound Mixer, Production
Designer or Assistant Director (in this order)/Class/Assignment (example: PackLinehanHacklerSilva/201001/MSS)
*Any work that does not meet all 4 criteria will not be accepted and will be counted as a zero.*
GRADING:
Midterm Exam:
Project #1: Master Shot Sequence
Project #1 Participation Summary
Project #2: Parallel Action Sequence
Project #2 Participation Summary
Project #3: Documentary
Project #3 Participation Summary
Project #4: Experimental
Project #4 Participation Summary
Final Exam:
20%
10%
2.5%
10%
2.5%
10%
2.5%
10%
2.5%
30%
100%
(A=100-93, A-=92-90, B+=89-87, B=86-83, B-=82-80, C+=79-77, C=76-73, C-=72-70, D+=69-67, D=66-63, D-=62-60,
F=59 and below)
ATTENDANCE POLICY:
-Follow the attendance policy or risk not passing the gateway.
-Attendance is mandatory. If you're late twice, the two add up to one absence. After that, if you miss attendance, you're
counted absent. In this class, late means you have arrived after the start of class. If you arrive 15 minutes after the start of
class it is considered an absence.
One absence = excused
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Two absences = -10 on final grade
Three absences = failure of the course
EQUIPMENT POLICIES:
-Follow equipment and editing lab policies or risk not passing the gateway.
-Equipment room hours are now 9-12 for check-in and 2-5 for checkout.
-Please fill out the equipment request form found online and email it to Nate Daniel at [email protected].
-You may only request equipment that your class is approved to checkout.
-All reservations must be made at least two days in advance and no more than two weeks prior to checkout.
-Please arrive at the equipment room within 15 minutes of your reservation or you will be considered late.
-You must pickup and return all of the equipment you requested at the predetermined time. If you don’t you will be
considered late.
-If you are late, your group will lose equipment privileges for 1 week. If you are late again, your group will lose
equipment privileges for 2 weeks. If you are late a third time, your group will lose equipment privileges for the remainder
of the semester.
-When you sign for the equipment you are agreeing to pay for any damage or loss that you or anyone else causes while the
equipment is checked out under your name. Check that the equipment is complete and in working order before you leave
the equipment room.
-The edit lab is for students who have been given access through class only. Anyone caught propping the door open,
letting students without proper access in, or having food or drinks will lose all edit lab privileges immediately.
LOCATIONS:
-Follow locations policies and procedures or risk not passing the gateway.
-All locations policies and procedures must be followed and documented. Failure to do either could result in: a) failure of
the project, b) failure of the course, c) action taken by the university, and/or d) legal action taken against the artist.
-Forms and policies are listed on the Film Studies website under ‘Locations’.
INSURANCE AND LEGAL:
-Follow insurance and legal policies or risk not passing the gateway.
-All insurance and legal requirements must be followed and documented. Failure to do either could result in: a) failure of
the project, b) failure of the course, c) action taken by the university, and/or d) legal action taken against the artist.
-Forms and policies are listed on the Film Studies website under ‘Insurance and Legal’.
1) Audio/Visual Image Talent Release and Hold Harmless Release of Claims = All talent, including background, must
sign a release prior to shooting.
3) Participation Agreement for Film Studies Activities = All non-UNCW participants must sign an agreement prior to
shooting.
4) Facilities – Premises Use License = If you use a non-UNCW location, the owner or owner’s representative must sign a
license prior to shooting.
2) Request Certificate of Insurance = If a location or vendor requests an insurance certificate, you can fill out the request
to obtain a certificate. Certificates are not guaranteed and must be presented to the owner or owner’s representative prior
to shooting.
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CLASS SCHEDULE:
8-25: WEEK ONE
-Topic: Syllabus, Gateway, Crew Positions and Select Groups of 4
-Handouts: Master Shot Sequence Script, Parallel Action Sequence script sample & Edit Lab Access Agreement (must be
signed and returned today)
Screening: Previous 201 projects
9-1: WEEK TWO
-Topic: Camera Composition, Coverage and Exposure (Master Shot/Coverage, 30° rule, 180° rule, Angles, Focal Length,
Iris, Shutter)
Read: Introduction: xix-xxii, Chapter 3: Visual Language and Aesthetics of Cinema, pgs. 35 – 54, Chapter 4: Organizing
Cinematic Time and Space, pgs. 55-83; Chapter 8: The Film System -- pgs. 139 - 148; Film Speed -- pgs. 161-167;
Chapter 9: The Digital Video System -- pgs. 169 – 182; Chapter 10: The Lens -- pgs. 193 – 210.
Screening: Looking At Movies DVD tutorials -- Ch. 3: Composing The Frame;
Ch. 4: Shot Types and Implied Proximity, Ch. 4: Camera Angles, Ch. 6: 180 degree rule, Ch. 4: Focal Length
9-8: WEEK THREE
-Topic: Previsualization (Shot List, Overheads, Storyboards, Lined Script, Camera Logs) and Camera (with Nate Daniel)
-Read: Chapter 1: From Idea to Cinematic Stories -- pgs. 3 – 13; Chapter 5: From Screenplay to Visual Plan - pgs. 85-102;
Ch. 6: Preparing for Production -- pgs. 105-118; Ch. 7: Cast & Crew -- pgs. 119 – 135; Ch. 11: Camera Support -- pgs.
211 – 221.
9-15: WEEK FOUR
-Topic: Lighting and Moving Camera, Parallel Action
-Read: Chapter 13: Basic Lighting for Film & DV -- pgs. 237 – 270; Ch. 18: On Set! -- pgs. 329 – 344
Screening: Looking At Movies DVD tutorials -- Ch. 3: Lighting and Familiar Image;
Ch. 4: Seeing the Lighting, The Moving Camera, Zoom and Moving Camera
9-22: WEEK FIVE
-Due: Master Shot Sequence Storyboards and Overheads
Parallel Action Pitch
-Topic: Sound Recording & Design
-Read: Chapter 15: Sound for Production -- pgs. 293 - 294; Production Sound -- pgs. 297 - 302;
Chapter 17: Location Sound Techniques -- pgs. 317 - 320; Headphone Monitoring -- pgs. 322 - 323; Boom Technique -pg. 325; Chapter 22: The Sound Design in Film -- pgs. 415 – 431.
9-29: WEEK SIX
Due: Midterm Exam
Link: Free Script Software - http://celtx.com (also available in KE1122)
-Suggestion: Check out the camera, with a shotgun microphone, that you plan to use and familiarize yourself with the
settings/menu before you take it out to shoot.
10-6: WEEK SEVEN
Midterm results review. Screenwriting and narrative storytelling.
Screening: Looking At Movies DVD tutorials -- Ch. 4: Point of View, Ch. 6: The Evolution of Editing; Editing
Techniques in “Snapshot”; Ch. 5: Editing and Performance in “Snapshot”
10-13: WEEK EIGHT (Class meets in KE 1114 and will move to KE 1122 Edit Lab)
Due: Master Shot Sequence production footage
Original Parallel Action Script
Topic: Final Cut Pro basics (Log/Capture, Basic Picture and Audio Editing, H.264)
Handouts: Editing instructions
Read: Chapter 19: Post Production Overview and Workflow -- pgs. 347 – 352, Chapter 20: Principles and Process of
Digital Editing -- pgs. 367 – 392, Chapter 21: The Art and Technique of Editing -- pgs. 393 – 414.
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10-20: WEEK NINE
-Due: Master Shot Sequence and Participation Summary
Parallel Action Sequence Storyboards and Overheads
10-27: WEEK TEN
-Due: Parallel Action Sequence production footage
-Topic: Documentary styles and techniques
-Screenings: Short documentary films
-Read: “Directing the Interview” (Rosenthal) & “Shooting Effect B-Roll for Documentaries” (Avgerakis) @
http://www.silvacine.com/tempclassreadings.htm under ‘Other Readings’.
11-3: WEEK ELEVEN
-Due: Parallel Action Sequence and Participation Summary
Documentary Pitch
-Topic: Navigating Film Studies and Opportunities
11-10: WEEK TWELVE
-Topic: Experimental Filmmaking
-Screenings: Short Experimental films
-Read: “Naming, and Defining, Avant-Garde or Experimental Film” (Camper) @
http://www.fredcamper.com/Film/AvantGardeDefinition.html; “Introduction to Avant-Garde Film” (MacDonald) @
http://www.silvacine.com/tempclassreadings.htm under ‘Other Readings’.
11-17: WEEK THIRTEEN
-Due: Documentary Project production footage
Experimental footage
12-1: WEEK FOURTEEN
-Due: Documentary Project and Participation Summary
Experimental Project and Participation Summary
-Topic: SPOTS, Final Exam
TBA:
Final screenings from all 3 sections of 201. Your final three projects (Parallel Action, Documentary, Experimental) must
include the following statement after the final credits:
This has been a student production of the Film Studies Department at the University of North Carolina
Wilmington
FINALS WEEK:
Time and Location To Be Announced
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Assignment Requirements
Project #1: Master Shot Sequence
The Master Shot Sequence is a technique used in filming that guarantees an editor the most coverage possible in a scene.
The process involves shooting an entire scene multiple times from different angles and then choosing which takes best
show the emotion of the characters in the final edit. The actors must give a similar and consistent performance at each
camera angle if the cutting is to match from shot to shot. This technique was a favorite used in the Classic Hollywood
style of shooting.
The Director/Cinematographer sets up each of the following shots and runs the entire scene at each camera position.
The basic shot sequence is as follows:
1) Establishing Shot or Master Shot (named because this wide shot could always be relied on to cover any
issues in matching in tighter shots.
2) Sub-Master Shot = tighter version of the Master Shot.
3) Over the Shoulder - Shot/Reverse Shot (EXTERIOR ANGLES) = Medium shot of Person A. Over Person B’s
shoulder (showing the shoulder/waist/leg). Framing for Person A.
4) Over the Shoulder - Shot/Reverse Shot (INTERIOR ANGLES) = Close-Up of Person A. Inside Person B’s
shoulder (not showing the shoulder/waist/leg). Framing for Person A.
1) Maximum running time with credits = 2 minutes.
2) You must use the script supplied: Master Shot Sequence Script.
3) Your Master Shot Sequence Storyboards and Overheads must have been approved.
4) Each group member must manage the duties of their pre-determined role (Director, Director of Photography, Sound
Mixer/Boom Operator, or Production Designer and/or Assistant Director). The Director must act as the lead Editor.
5) The sequence must be lit using some, or all, artificial lighting.
6) No zooming.
7) No moving camera (hand-held or dolly).
8) Sound must be recorded via shotgun microphone.
9) The 180° and 30° rules must be followed.
10) All paperwork must be complete:
A) Lined Script
B) Shot List
C) Storyboards
D) Overheads
E) Camera Log
F) Equipment Request Form
G) Audio/Visual Image Talent Release and Hold Harmless Release of Claims (for all, including
background)
H) Location(s) Permit(s) (all that apply)
I) Participation Agreement for Film Studies Activities (if applicable)
J) Facilities – Premises Use License (if applicable)
K) Certificate(s) of Insurance (if applicable)
11) Final Sequence must be presented as an H.264. You may bring your work in on a flash or external drive.
12) Name your file in the following manner: Last names of Director, Director of Photography, Sound Mixer, Production
Designer or Assistant Director (in this order)/Class/Assignment (example: PackLinehanHacklerSilva/201001/MSS)
Project #1: Participation Summary
Each person, in each group, must complete a Participation Summary.
Format:
Your Name (Credited as): Grade
Why did I give myself the grade that I did? 4-6 sentences.
Name (Credited as): Grade
Why did I give them the grade that I did? 4-6 sentences.
Name (Credited as): Grade
Why did I give them the grade that I did? 4-6 sentences.
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Name (Credited as): Grade
Why did I give them the grade that I did? 4-6 sentences.
Example:
Glenn Pack (Director of Photography): CI gave myself a C- because…..
John Doe (Director): A
I gave him an A because….
Jane Doe (Sound Mixer): BI gave her a B- because….
Jimmy Doe (Production Designer): F
I gave him an F because….
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Assignment Requirements
Project #2: Parallel Action Sequence
Parallel Action is a shooting/editing technique of alternating, interweaving, or interspersing one narrative action (scene,
sequence, or event) with another - usually in different locations or places, thus combining the two. This shooting/editing
method suggests that the two, or more, takes place simultaneously. They are often used to dramatically build tension and
suspense in chase scenes, or to compare two different scenes (also known as inter-cutting or parallel editing).
1) Maximum running time with credits = 3 minutes.
2) Your Parallel Action Sequence Pitch must have been approved.
3) Your Original Parallel Action Sequence Script must have been approved. Must contain an interior.
4) Your Parallel Action Sequence Storyboards and Overheads must have been approved.
5) Each group member must manage the duties of their pre-determined role (Director, Director of Photography, Sound
Mixer/Boom Operator, or Production Designer and/or Assistant Director). The Director must act as the lead Editor.
6) The sequence must be lit using some, or all, artificial lighting.
7) No zooming.
8) Must contain some element of moving camera (hand-held or dolly).
9) Sound must be recorded via shotgun microphone.
10) You must have a minimum of 3 tracks of mixed audio: dialogue, foley/sound effects, and ambient/room tone. If music
is used as a 4th track, you must obtain the rights and be able to provide documentation from the owner. Music can take up
no more than 25% of the runtime.
11) The 180° and 30° rules must be followed.
12) All paperwork must be complete:
A) Lined Script
B) Shot List
C) Storyboards
D) Overheads
E) Camera Log
F) Equipment Request Form
G) Audio/Visual Image Talent Release and Hold Harmless Release of Claims (for all, including
background)
H) Location(s) Permit(s) (all that apply)
I) Participation Agreement for Film Studies Activities (if applicable)
J) Facilities – Premises Use License (if applicable)
K) Certificate(s) of Insurance (if applicable)
L) Music Rights (if applicable)
13) Final Sequence must be presented as an H.264. You may bring your work in on a flash or external drive.
14) Name your file in the following manner: Last names of Director, Director of Photography, Sound Mixer, Production
Designer or Assistant Director (in this order)/Class/Assignment (example: PackLinehanHacklerSilva/201001/MSS)
Project #1: Participation Summary
Each person, in each group, must complete a Participation Summary.
Format:
Your Name (Credited as): Grade
Why did I give myself the grade that I did? 4-6 sentences.
Name (Credited as): Grade
Why did I give them the grade that I did? 4-6 sentences.
Name (Credited as): Grade
Why did I give them the grade that I did? 4-6 sentences.
Name (Credited as): Grade
Why did I give them the grade that I did? 4-6 sentences.
Example:
Glenn Pack (Director of Photography): CI gave myself a C- because…..
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John Doe (Director): A
I gave him an A because….
Jane Doe (Sound Mixer): BI gave her a B- because….
Jimmy Doe (Production Designer): F
I gave him an F because….
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Assignment Requirements
Project #3: Documentary
Thoughts on Documenting & Filmmaking:
"If I could tell the story in words, I wouldn't need to lug a camera.” -Lewis Hine
The purpose of any type of documentary is to record and demonstrate what is important about any sort of event, people or
place. The finished project should contain selected excerpts from the entire observational experience--the excerpts are (in
the mind of the author) the most crucial aspects of his/her research or observations that best represent the whole. Example:
You sit in class and take notes; you do not write down every word the lecturer says: you are writing your own
documentary of the lecture. Think of any work (fiction or not) you have ever read; the contents of the work are used to
demonstrate a concise purpose--a means to an end--without leading the reader astray with other "means" that may lead to
an alternative "end".
The inherent problem with any type of written documentary is that it is transmitted to you via the author. Thus, how can
one judge the "realness" of what you are observing, as compared to what the researcher observed. At some point, you
must sacrifice your desire to know all the facts, and make a judgment on the truthfulness in the facts that you are given.
With photographic images as a research method, it might seem that this problem would be solved; people believe that the
camera does not lie. Have you not ever said the words: "I'll believe it when I see it," or "seeing is believing."
However, as Susan Sontag, in "On Photography" explains:
The photographer was thought to be an acute but non-interfering observer--a scribe, not a poet. But as people quickly
discovered that nobody takes the same picture of the same thing, the supposition that cameras furnish an impersonal,
objective image yielded to the fact that photographs are evidence not only of what's there but of what an individual sees,
not just a record but an evaluation of the world.
Alan Trachtenberg in "Reading American Photographs" adds:
Photographs transcribe, not "reality", but the world as it was seen and recorded...in the picture we see the world from the
angle of the camera's partial vision, from the position it had at the moment of the release of the shutter.
Yet, although we recognize that the photographer (or in our case, filmmaker) is not a mere objective recorder, but a
subjective evaluator, we still believe that the camera does not lie. So, the camera is capable of two capacities at the same
time: it can objectify reality and subjectify it. In this dual function lies the value of using filmmaking as a research
method. The (if you will) director's ass is always covered. You may not agree with his/her (subjective) evaluation, but
thanks to the objective nature of photographic images you cannot deny its truthfulness; "photographic images do not seem
to be statements about the world so much as pieces of it" (Sontag). In this sense, these pieces, and your films, will serve as
pieces of evidence. Evidence, of course, is what every one is looking for.
Documentary Production:
A feature documentary can easily have over 100 hours of footage for the editor to whittle down to one or two hours. Even
a short documentary can have several hours of footage for the editor to sift through. To keep things simple, this
assignment will charge you and your crew with the task of collecting a mere hour’s worth of footage to edit into a threeminute documentary. That’s right, one hour’s worth of footage, which would give you a 20:1 shooting ratio.
Project Guidelines:
1) One hour of raw footage.
2) Maximum running time with credits = 3 minutes.
3) Your documentary must use one of the below formats:
A) Show us a process. For example, how butter is made, how pottery is fired, how water treatment plants treat
water, etc. Take us through the process step by step and show as many facets of this process as possible. Keep
in mind that this should not come off as a laundry list of tasks. Engage your audience and show us why this
task should draw our interest.
B) Offer us a portrait of a person or place. Capture as many dimensions, both physical and conceptual of that
person or place as you can with your one-hour of tape. Roommates and college friends are cliché subject
matter. You should step outside your comfort zone and venture out into the community.
C) Present an issue. Is beachside development making Wilmington more prone to hurricane damage? Is Internet
use making us more isolated or more united as a species?
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4) Your documentary must include:
A) An expert interview.
B) Vox Pop (i.e. person on the street interview). Ask random people a specific question. For example, What do
you think about [insert national or global issue]?,” or “What do you think of people with cameras coming up to
you on the street and asking random questions for their student projects?”. Be creative with the question you
formulate and have fun. Oh, and get the person to answer beginning with the question so you can cut your own
voice out of the interview results.
C) B-Roll. This is the video footage that is superimposed over A-Roll (i.e. the interview) audio. It is used to
visually enhance whatever the interview subject is telling us. For example, a man tells us about surfing at
Topsail Beach in a sit down interview. We take this audio and set it along-side video footage of surfers.
5) Your Documentary Pitch must have been approved.
6) Each group member must manage the duties of their pre-determined role (Director, Director of Photography, Sound
Mixer/Boom Operator, or Production Designer and/or Assistant Director). The Director must act as the lead Editor.
7) The documentary must be lit using some, or all, artificial lighting.
8) Sound must be recorded via shotgun microphone.
9) You must have a minimum of 3 tracks of mixed audio: dialogue, foley/sound effects, and ambient/room tone. If music
is used as a 4th track, you must obtain the rights and be able to provide documentation from the owner. Music can take up
no more than 25% of the runtime.
10) All paperwork must be complete:
A) Camera Log (for Expert Interview)
B) Equipment Request Form
C) Audio/Visual Image Talent Release and Hold Harmless Release of Claims (for all, including
background)
D) Location(s) Permit(s) (all that apply)
E) Participation Agreement for Film Studies Activities (if applicable)
F) Facilities – Premises Use License (if applicable)
G) Certificate(s) of Insurance (if applicable)
H) Music Rights (if applicable)
11) Final Sequence must be presented as an H.264. You may bring your work in on a flash or external drive.
12) Name your file in the following manner: Last names of Director, Director of Photography, Sound Mixer, Production
Designer or Assistant Director (in this order)/Class/Assignment (example: PackLinehanHacklerSilva/201001/MSS)
Project #1: Participation Summary
Each person, in each group, must complete a Participation Summary.
Format:
Your Name (Credited as): Grade
Why did I give myself the grade that I did? 4-6 sentences.
Name (Credited as): Grade
Why did I give them the grade that I did? 4-6 sentences.
Name (Credited as): Grade
Why did I give them the grade that I did? 4-6 sentences.
Name (Credited as): Grade
Why did I give them the grade that I did? 4-6 sentences.
Example:
Glenn Pack (Director of Photography): CI gave myself a C- because…..
John Doe (Director): A
I gave him an A because….
Jane Doe (Sound Mixer): BI gave her a B- because….
Jimmy Doe (Production Designer): F
I gave him an F because….
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Assignment Requirements
Project #4: Avante-Garde/Experimental
Though the realm of experimental film is too large to encapsulate into a one-page assignment (imagine being unfamiliar
with narrative filmmaking techniques and trying to grasp narrative film through a one-page assignment), we’ll look at film
within the context of literature, to make things more digestible. We can compare the narrative feature to a novel: an
extended fictional work in prose – usually in the form of a story. We can likewise compare the narrative short film to a
short story: a brief piece of fiction that is more pointed and more economically detailed as to character, situation, and plot
than a novel. We can also compare a documentary short to an essay: a brief work of nonfiction that offers an opinion on a
subject. The purpose of an essay may be to express ideas and feelings, to analyze, to inform, to entertain, or to persuade.
So where does experimental film fit it? Poetry: an imaginative response to experience reflecting a keen awareness of
language. Now this doesn’t mean that experimental film (and of course poetry, too) has to be flowery or serious or
transcendent (though it certainly can be). It can grovel in the mud just as comfortably as it soars through the heavens.
One thing you should keep in mind is that just as the story provides the foundation for a narrative film, a concept provides
the foundation for an experimental film. The story is linear (even if the events in the story jump back and forth in time)
whereas concept might be expressed simply as an impulse. It is still important to think about how you lead your audience
into your experimental film and how you bring us out, the other side.
The Assignment:
I’m going to walk around with a book (The Next American Essay – D-Agata) and when I come to your group, one group
member will open the book to a random page while the other group members (blindly) points to a sentence. You are to
write down four words from this sentence. We will repeat this process three times. Then, your group will choose from
the three selections which one will provide the title and the theme of your video.
To help alleviate temptation to enter into the narrative realm with this project, the use of sync sound or voiceover is
forbidden. Also, pre-recorded music is not allowed. Instead, you must create a soundscape (not just score) to support (or
challenge if need be) the concept of your film.
Don’t forget about all you’ve learned so far this semester, its important to experimental film too. Shot size, pacing,
lighting, sound, etc. Your assembly of shots and sounds should be calculated, rather than haphazard, and you should
consider the trajectory along which the video will travel.
Project Guidelines:
1) Maximum running time with credits = 2 minutes.
2) Your Experimental Pitch must have been approved.
3) Each group member must manage the duties of their pre-determined role (Director, Director of Photography, Sound
Mixer/Boom Operator, or Production Designer and/or Assistant Director). The Director must act as the lead Editor.
4) The experimental must be lit using some, or all, artificial lighting.
5) Must contain some element of moving camera (hand-held or dolly).
6) Sound must be recorded via shotgun microphone.
7) You must have a minimum of 2 tracks of mixed audio: foley/sound effects and ambient/room tone. **Dialogue and
pre-corded music is not allowed.***
8) All paperwork must be complete:
A) Equipment Request Form
B) Audio/Visual Image Talent Release and Hold Harmless Release of Claims (for all, including
background)
C) Location(s) Permit(s) (all that apply)
D) Participation Agreement for Film Studies Activities (if applicable)
E) Facilities – Premises Use License (if applicable)
F) Certificate(s) of Insurance (if applicable)
9) Final Sequence must be presented as an H.264. You may bring your work in on a flash or external drive.
10) Name your file in the following manner: Last names of Director, Director of Photography, Sound Mixer, Production
Designer or Assistant Director (in this order)/Class/Assignment (example: PackLinehanHacklerSilva/201001/MSS)
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Project #1: Participation Summary
Each person, in each group, must complete a Participation Summary.
Format:
Your Name (Credited as): Grade
Why did I give myself the grade that I did? 4-6 sentences.
Name (Credited as): Grade
Why did I give them the grade that I did? 4-6 sentences.
Name (Credited as): Grade
Why did I give them the grade that I did? 4-6 sentences.
Name (Credited as): Grade
Why did I give them the grade that I did? 4-6 sentences.
Example:
Glenn Pack (Director of Photography): CI gave myself a C- because…..
John Doe (Director): A
I gave him an A because….
Jane Doe (Sound Mixer): BI gave her a B- because….
Jimmy Doe (Production Designer): F
I gave him an F because….