Single Channel Field Production
RT 365A Spring 2013
Dept of Radio TV, College of Mass Communication and Media Arts
Southern Illinois University Carbondale
Class meetings:Monday and Wednesday 9-11 am Comm 9E (in New Media Center)
Additional meeting: Students will have additional meeting times to be decided.
Instructor:Assistant Professor Sarah Lewison
Office and phone:Communication 13C 415-265-5988 (text is ok)
Hours: T 11-2 W 1:00-4:00 and by appointment
Teaching Assistant:Jonathan Seyer
Hours: email for appt.
This course explores single channel field video production as an intersection between industrial practice and personal expression. Discussion, readings, and lectures will introduce typical situations and challenges encountered in professional productions in order to foster problem solving abilities and critical insight. By responding to a series of production prompts, students will build craftsmanship and conceptual acuity in conceiving, planning, shooting, lighting and editing short video productions. The course comprises lectures, in-class exercises, demonstrations, screenings, discussions, and critiques of student work. To expand exposure to a range of independent video and become familiar with distribution concerns, students will attend the Big Muddy Film Festival. The course will consider how digital video is used in a range of productions, including narrative fiction, documentary and experimental genres. Production work will be augmented by investigations into some of the theories that explain how we respond to media as subjects and spectators.
Workload:
This class will take a minimum of 6 hours per week outside of class. Presentation of your work in progress and participation in class discussion is hugely important and is assessed in your grade. Because this is a fast moving class, you must come to class and complete assignments on time. The semester begins with a series of creative prompts and short-term production assignments in the basic elements of a film construction (composition, framing, movement, and sound) while examining the particular affects these mechanisms produce. These quick weekly sketches can be experimental and playful. They are intended to help you learn how to work creatively and effectively on deadline. As research, I will have you investigate deeply the work of a director of your choice, and strive to recreate an aspect of that director’s work in a video or scenic homage. The last project will the most ambitious and sustained, hopefully a culminating look at the skills you have gained over the semester. In general, you should take notes from the readings. You are expected to try to understand the technical information and to build your vocabulary. Likewise, the theoretical readings put video into a context of contemporary and historical visual culture. Both are important and learning takes time. As part of the curriculum, you are required to volunteer for and attend the Big Muddy Film Festival from Feb 20-24. You are required maintain a blog for posting your assignments. There will be two written proposals and two class presentations. You may work in teams on some projects, as long as you all share the load and get equal opportunities with the equipment.
Expectations
• Have an email address and check your email once a day. Very important!
ª Do readings by assigned class period and take notes on your readings
• Be respectful and attentive toward your classmates and the classroom atmosphere.
•Register on the blog and respond by posting at all homework prompts.
• Produce work that reflects college level- emotional and intellectual maturity
•Meet with instructors twice in the semester
• Do your own work: The work you turn in must be done by students in the class. Videos filmed by students not in our class are disqualified from being graded- you will get an F.
• Meet deadlines and do all homework assignments on time- come to class prepared.
• Phones away unless they are part of an assignment. No texting, no calls.
You need to bring
•Supplies for Storyboards -- Paper, pencil, eraser
•Mini-DV tapes (at least five- purchase online in bulk to save money)
•External Hard Drive formatted for the Mac operating system that runs at 7200 rpm, ideally of 160GB or more. You must have a hard drive by the third week. The hard drive is an academic expense, and can be purchased with financial aid. See the advisor for the necessary form at the beginning of semester.
•A notebook for homework, notes, visualization and research records. You can also keep notes digitally (ipad). The Notebook counts for 80 grade points of 500 – paperwork is important!!
Attendance: Students should attend all classes. More than 2 absences leads to a full letter downgrade.Three "lates" (not present for attendance) equals one absence.
You may bring and use
Your own camera- any camera that allows you to make manual adjustments of the iris, depth of field and has audio inputs will do.
Academic Integrity: Students must do their own work and conform to SIUC academic integrity standards. Your writing must be your own and you need to cite all language, music, video and images used in your projects, unless excused as the basis of a project. Unassigned plagiarism will be prosecuted under the Student Conduct Code. Learn about what constitutes copying. For more information, ask us or read the Student Conduct Code
You may not “double up” by using the same work for two classes. Students may use research conducted for another class as the basis for production in this class.
Class environment and expression:Be prepared to share your responses as a part of class discussion.You are expected to express yourself freely in discussion and to experiment in the content of your work. Listening to others is also important. Please be aware others may feel differently than you- disagreement is a healthy part of a democratic civilization, and sometimes a sign something valuable is being said. Be prepared to defend your work with arguments about why you did what you did that are substantiated by your research. Likewise, while you are expected to be honest in your criticism of the work of another, you should support your critique with explanatory ideas. If a video or film screened in class shocks or offends you, and you feel you must leave the classroom, let me know. You may leave the class until we inform you the film is over.
The Unavoidable- Tell me!In the event of illness or injury, contact me as soon as feasible. Absences for illness or family emergencies need to be followed up with a written notice documenting the reason for absence (with signature by a doctor or another person in charge).
Grading
Attendance & Class Participation - 10%
Production book/notetaking 5%
Written homework/blogging40
Exercises (3-framing, lighting, storyboard)30
Graphic montage video10
Emotional montage video10
Presentations (2- homage and doc)20
BMFF Volunteer/attend/write20
Big Homage Project with planning20
Big Final Video Project - minidoc 25
Vocabulary and concept usage10
TOTAL POSSIBLE POINTS200
Grading of work is done according to these parameters.
1. Integrates information and concepts learned in class, and can articulate this
2. Willing to explore an idea and look at it from different angles, take risks
3. Participates in and responsive to crits: willing to re-work and improve projects
4. Self-motivation and direction- takes on challenges
5. Conceptual engagement - projects are passionate and interesting, reach out to an audience
6. Technical mastery of exposure, focus, image stability, edit,
composition and sound - matures in production abilities
7. Meet deadlines and other detailed assignment criteria
8. Documented evidence of preproduction preparation (Notebook and notes)
9. Self evaluation and that of classmates who work with you.
Extra Credit Policy: There is no automatic extra credit. Participants in SPC-TV, and CMCMA productions such as WSIU, River Region, alt.news 26:46, and so on, , and those who attend events outside of class and have good attendance can get extra credit. Volunteering for the BMFF is required.
Equipment Checkout is in Room 1010A
Readings from:
BB Bruce Block,”The Visual Story”
Z Herbert Zettl “Television Production Handbook 9th Edition”
POLMarita Sturken and Lisa Cartwright, “Practices of Looking”
BTDavid Bordwell and Kristin Thompson, “Film Art an Introduction”
MRMichael Rabinger, “Directing the Documentary”
MLLMillerson, “Television Production, 13th Edition”
Although I do not require you to purchase a book for this class, I highly recommend all these books.
In some cases the readings will be changed, or there will be several on the same subject for you to choose from. In those cases, you have the option to choose among your readings.
RT 365A Spring 2013 Weekly Course Schedule
Note due dates! You can have two freebies or late work; after that late work is graded down.
• Readings are online at
• Additional Readings and Materials at /2c
WeekTopicsDue
Jan 14-16Introduction, outline of class, submission protocols
Class blogging and expression
Evaluation: watch student pieces and discuss
The Frame. Shot to shot connections/graphic montage
Review editing applications and techniques
Read: BB Chapter 1 visual principles
Read: BB Chapter 4 Line and Shape
Read: BT Experimental pp 128-147
ASSIGNED: Small Project 1 (SP1)- The Unconscious: Dream Montage (assignment page)
Jan 21Discuss readings Read: POL pp 25-42 and 72-93
Troubleshoot projectsRead: Play the Game Grand theft desire vectors, graphic matches BLOG: Introduce self in first post
Rhythm of edit
Jan 23Constructive viewing and discussionDUE Small Project 1 Dream montage
Getting ideas through playView: Online assigned videos
Jan28Cameras intro and practice, checkoutsRead: Zettl Framing shots Ch 6.2
Focus, depth of field, framing, stills Read: Zettl What lenses are Ch 4.1
What Lenses see Ch 4.2
ASSIGN: COVERAGE EXERCISE Use class time to produce then finish over next day
Jan 30Constructive critique and discussionDUE COVERAGE EXERCISE
Viewing additional work: lightingRead: Notes on filming in a hut (LINK)
Read: BT Framing pp 208-228
Feb 4Lighting workshop and reviewRead: MR Lighting Ch 10
Read: Zettl lighting links
Read: BB Chapter 3 Depth cues
Read: BT Depth cues pp 178-182
ASSIGN: LIGHTING EXERCISE
Feb 6 Basic and creative field lightingRead: MR Artistic Identity- do exercises
View example: IZUMO, BENNING
Introduce SP2
ASSIGNED: Small Project 2 (SP2)- Consciousness/emotions: 1 Minute Montage- (assignment page)
Feb 11Lighting critique and discussionDUE: LIGHTING EXERCISE
Story form and storyboardingDUE: Lighting Analysis on BLOG
Point of viewRead: Storyboard/Brainstorm- Angie
Read: Zettl Picture composition Ch 6.1
Feb 13Activity: Drawing and draftingDUE: SP2 STORYBOARD
Storyboard revisions/versions in classPost revised Storyboard on BLOG
Feb 18Sound and emotionDUE: SP2 FOOTAGE SHOT
Research and technical aspects Read: BT Chapter 9
Intro directing assignmentRead: MR Ch 11
Feb 20Critique student workDUE: 1 Minute Montage
Writing about films/evaluationRead: BT Principles of narrative pp 59-67
Read: MR Ch6 Screen Language
ASSIGNED: Big Project 1 (BP1)- HOMAGE: RESEARCH AND PRODUCTION (2 parts)
START DOING YOUR OWN RESEARCH INTO A DIRECTOR
Feb 25 NO CLASSRead: Packet of examples- (will be linked)
Read: POL Encoding (will be linked)
Read: BT Style- pp 347-350
BLOG: Post response to festival film
------CONTINUE DOING YOUR OWN RESEARCH ------
Feb 27Presentations: Directors for homageBLOG: Post director, films & sources
Open discussion Film Festival (Post what you are reading)
Screen language, style, acting
Shooting for edit
View: STEYRL, SCORCESE
INDIVIDUAL MEETINGS-scheduled across week
FIELD SHOOTING TRIP IN MARCH WILL PREEMPT OTHER ACTIVITIES
INDIVIDUAL MEETINGS CONTINUE
Mar 4Preproduction researchBLOG: Post Director reports / examples
DUE: Homage presentations- BP1 Part 1
Mar 6Field sound productionRead: technical Field sound Zettl Ch 9
Interviewing methodsBLOG: Pre/Production HOMAGE reports
Mar 11-13HOLIDAY BREAKDO: Watch a documentary
Mar 18Documentary structures and genresDUE: Write in BLOG- DOC reflections
Introduce Process assignmentRead: MR Chapter 3, Developing stories
Review: coverageDO: exercises
Mar 20Critiques and discussionDUE: BP1 Part 2 Director’s Homage
STUDENTS CAN RECUT HOMAGE FOR EXTRA CREDIT DUE BY LAST WEEK
ASSIGNED: SHOOT A PROCESS OF SOMETHING BEING DONE
(MAY HAPPEN WITH CLASS TRIP)
Mar 25Workshop: Aesthetics of interview Read: Doc story (LINKED)
Documentary pre-productionDO: exercises -interview
Proposals and treatments workshop
Mar 27Adobe Photoshop and FCPDUE: PROCESS FOOTAGE
ASSIGNED: FINAL PROJECT- First part- proposal. Second part- film
Apr 1FIELD TRIP (PROBABLY)Read: MR Ch 4 Writing proposal Documentary production techniques Read: Proposal handout
Field lightingRead and make notes: Zettl field lighting
(Chapter 8) or may sub Millerson (linked)
Apr 3Interview Exercise: In classDUE: PROCESS VIDEO (4 min)
CritiquesRead: MR Ch 17 POV
Apr 8Documentary structures and patterns, (ABA) mockumentary,
Appropriation, hybrid films, essays, narrative in doc
Reading: to be announced and individually assigned
Apr 10Titles and still imagesDUE INITIAL IDEA FINAL PROJECT
DUE: Write influences in blog
Read: Titles/graphics reading tba
Apr 15Meetings and CritiquesIndividual meetings
DUE: Proposal first drafts
Apr 17Codecs and compressionDUE: Production plan
DUE: Final Proposal
Apr 22Presentations of final projectDUE: DOC Project Presentations Individual meetings
Apr 24PresentationsFinal Project Presentations
Apr 29Grants, Funding, Distribution
Student Critiques DUE Final Project Dailies - deadline
BLOG: Production Report for doc
May 1Individual meetings in classDUE: BP2 DOC Ruff Cut
May 3Critiques DUE: BP2 DOC Fine Cut
BLOG: Production Report
May 5CritiquesDUE: BP2 DOC Fine Cut
FINAL EXAM IS ON WEDNESDAY MAY 8 --7:50-9:50 AMFinal PROJECT BP2 DOC DUE
Instructor reserves right to change this schedule including deleting or adding additional readings
Submitting Projects for Critique
When you are finished with your project, compress it by exporting your video timeline on FCP to Quicktime. Rename and carefully note where you move your new .mov project.
Projects can be submitted via Dropbox (make sure file is compressed), or uploaded into server space
Class server space
1)Click on Desktop, and choose the top menu Go-> connect to server (shortcut is command K)
2)select nmclab.siu.edu as the server
3)enter login rt365alewison; password video365
4)Put project in the appropriate folder (they will be named with projects)
5)DO BEFORE CLASS; DO NOT WAIT
University’s Emergency Procedures
Southern Illinois University Carbondale is committed to providing a safe and healthy environment for study and work. Because some health and safety circumstances are beyond our control, we ask that you become familiar with the SIUC Emergency Response Plan and Building Emergency Response Team (BERT) program. Emergency response information is available on posters in buildings on campus, available on BERT’s website at Department of Public Safety’s website (disaster drop down) and in the Emergency Response Guideline pamphlet. Know how to respond to each type of emergency.
Instructors will provide guidance and direction to students in the classroom in the event of an emergency affecting your location. It is important that you follow these instructions and stay with your instructor during an evacuation or sheltering emergency. The Building Emergency Response Team will provide assistance to your instructor in evacuating the building or sheltering within the facility.
Students With a Disability:
Instructors and students in the class will work together as a team to assist students with a disability safely out of the building. Students with a disability will stay with the instructor and communicate with the instructor what is the safest way to assist them.
Tornado:
During the spring semester we have a Storm Drill.
Pick up your belongings and your instructor will lead you to a safe area of the basement. No one will be allowed to stay upstairs. Stay away from windows. The drill should not last more than 10 minutes. You must stay with your instructor so he/she can take roll. Students need to bequiet in the basement as the BERT members are listening to emergency instructions on handheld radios and cannot hear well in the basement.
Fire:
During the fall semester we have a Fire Drill.
Pick up your belongings and your instructor will lead you to either the North or South parking lot depending on what part of the building your class is in. You must stay with your instructor so he/she can take roll. As soon as the building is all clear, you will be allowed to return to class.
These drills are to train instructors and the Building Emergency Response Team to get everyone to a safe place during an emergency.
Bomb Threat:
If someone calls in a bomb threat, class will be suspended and students will be asked to pick up their belongings, evacuate the building and leave the premises. Do not leave anything that is yours behind. We will not allow anyone back into the building until the police and bomb squad give us an all clear. DO NOT USE YOUR CELL PHONES. Some bombs are triggered by a cell phone signal.
Shooter in the Building:
Thisspring semester we are in the planning stages of a Shooter in the Building Drill.
Whenit is safe to leave,move to a safe area farfrom the building away from where the shooter is located.If anyone has any information about the shooter,pleasecontactthe police afteryou are a safe distance away.If someone cannot leave, go intoaroom, lock the door, turn out the lights, and if possible, cover the glass on the door. Students chair desks should be piled in front of the glass and door as a barricade and the teacher's desk, podium and anything movable can be pushed against the door. This is intended to slow down any attempts to enter or look into the classroom. If it looks like the shooter is persistent and able to enter, make a lot of noise and use everything in your backpacks to throw at the shooter to distract him.
Silence all cell phones after one person in the room calls the police and informs them of their location and how many people are in the room. Be quiet and wait for the police to arrive.The police are looking for one or more shooters, and theyhave no way of knowingif the shooter is in the room people are hiding in. For this reason, when the police enter theroom,no one should have anything in his/her hands and each person MUST raise his/her hands above his/her head.