MEDIA PRODUCTION II
Winter 2010 • Grand Valley State University
Professor Jennifer Proctor
Developed in colloboration with Professor Kim Roberts and John Schmit
Course Description: This is the second course in the media production sequence, emphasizing editing and storytelling practices and including a digital video editing lab. We will engage content, form, storytelling structure, historical practices, technical skills, and creative problem-solving. Note that, like all media production, projects in this course are time-intensive. You must have been admitted to the Film/Video major to take this class.
Required Texts:
Voice and Vision: A Creative Approach to Narrative Film and DV Production, Hurbis-Cherrier, Mick, 2007, Focal Press ISBN: 0240807731
Additional readings posted to Blackboard
Media Storage: External Firewire hard drive required (7200 RPM, 80+ GB). See Film & Video website for specifics.
You should also purchase several high-quality mini-DV videotapes. Tape is for sale in the University Bookstore.
Course Requirements:
Completion of Assignments ON TIME: In order to facilitate class critiques, all projects must be submitted on time. Late video work will be accepted up to one week after due date, however, it will be lowered by a half-grade EACH DAY that the work is late. Assignments are not accepted via email. Peer evaluations and self-critiques will not be accepted after the due date.
Attendance and Punctuality:
This class will move quickly, building concepts and skills from week to week and relying heavily on group work. You are allowed two unexcused absences; after that, you will lose three points for each unexcused absence. If you know you will miss class, email me in advance to let me know – failure to do so may result in an unexcused absence. Excused absences include illness, family emergencies, and sanctioned university events; all other absences may be unexcused. In addition, late arrivals and early departures count as 1/2 of an absence for each occurrence.
No incompletes will be given in this course.
Assignments & Evaluation: |
Percent of grade |
Editing Lab (taken separately) |
20% |
Action Sequence (Project #1) |
20% |
Nonfiction Issue (Project #2) |
20% |
Drama Narrative Project (Project #3) |
20% |
Quizzes |
10% |
Classroom Participation/Group work |
10% |
Projects
These are the brief descriptions. All projects will be discussed more fully when formally assigned. All projects are group projects with specific crew roles assigned.
Nonfiction Project for GVTV programming
Document a controversy or create an informational piece that targets GVSU students a campus issue. Each group will shoot and edit a 4-5 minute piece. These video projects will be aired on campus television station GVTV.
Action Sequence
A 3-4 minute action sequence in which a character overcomes obstacles. Emphasis on composition, pacing, sound design, and editing.
Drama Narrative Project
Your group will produce a 5-6 minute dramatic narrative that provides an original interpretation of an assigned script.
Academic Honesty
Responsibility for your own learning is in your hands, and that includes an understanding of and commitment to honesty and integrity in your scholarly work. Violations or attempted violations of academic honesty include, but are not limited to, cheating, fabrication, plagiarism, and submission of the same work for credit in different courses without permission (also known as self-plagiarism). Plagiarism is the unacknowledged use of another person’s labor, ideas, words or assistance. All work done in this course is expected to be the original effort of the student(s) presenting the work. Violations may result in failure of the assignment and possibly failure of the course and/or expulsion from the University. For more clarification, see the following library guide: http://libguides.gvsu.edu/plagiarism
Classroom Behavior
It is important that we are able to balance our candor with respect for the ideas or subject matter addressed by the works in this class. The goal in this course is to critique the work, as it stands before us as an audience – not the person who created it. Bear this in mind when critiquing others’ works, as well as when it is your turn to be critiqued. Disruptive and rude behavior—including carrying on side conversations, eating/drinking, using computers for non-class work, arriving late, leaving early, and cell phone calls/texts—will not be tolerated. Food and beverages are not permitted in the studio.
Disabilities
If you have a special need because of learning, physical, or other disability, please contact me and Disability Support Services (DSS) at 616-331-2490. I am happy to talk with you privately during office hours.
Equipment and Resource Access
Responsibility When you check out equipment you are legally responsible for that equipment until you return it. Considering the cost of this equipment, you will not want to use it in an irresponsible manner or leave it in a place of questionable security. Do not leave equipment for long periods of time, or overnight, in a car or any place where temperature extremes exist.
Technical Problems Problems with equipment are “the nature of the beast” in any production facility. Most equipment problems can be discovered by doing a short audio and video check before leaving the equipment room area. This on-site check is standard operating procedure at any film/video equipment rental house. Learning to perform this now builds your production skills and reflects a professional attitude. This also protects you. Because you are responsible for the equipment, this procedure will uncover problems for which you might otherwise be held responsible.
Access All necessary equipment is provided to you on loan by the University. The equipment room is located in Lake Superior Hall. Hours and rules are posted there. The equipment room will charge fees for damaged equipment and equipment that is returned late.
In order to use the School of Communications facilities and equipment, you must be enrolled in the equipment checkout system. If you are not in the system, forms for enrollment will be provided on the first class day and must be returned to the Equipment Room before you can access any equipment or facilities. A picture ID will then be required anytime you wish to use SOC facilities or check out gear.
Class Participation Breakdown
10 Points Requires showing up to class prepared and engaged as reflected through discussion and quizzes. This level requires the initiation of class discussion—bringing your own ideas and questions to the class on a regular basis. Thoughtful and constructive peer evaluations. Self-critiques submitted on due dates. Peer evaluations reflect above average performance as a group member, and that your performance greatly advanced the success of the projects.
8 Points Requires showing up to class prepared as reflected through quizzes and being willing to respond and add to the discussion when addressed. At times you show initiative in either asking questions or presenting your own ideas. Could exhibit more initiative during class discussions and/or offer more thoughtful and constructive criticism on peer and self-evaluations. Peer evaluations received reflect average performance as a group member, and that your performance was a contributing factor to the success of the projects.
6 Points Means that you are not prepared for class as reflected through quizzes and discussion. Participation in class discussions is rarely of your own initiative. Nominal comment offered in peer and self-evaluations – sometimes not turned in with project. Peer evaluations received reflect below average performance as a group member and that your performance hindered the success of the projects.
4 Points Means that you have simply shown up for class, but you are not contributing to the class discussion either by your own initiative or when called upon. Your preparation is rarely evident as reflected in your quizzes and in discussion. Minimal comment offered in peer and self-evaluations – rarely turned in with project. Peer evaluations received reflect very poor performance as a group member and that your performance hindered the success of the projects.
0-2 Points Means that you are not prepared for classroom discussion and that your words and actions illustrate a negative attitude toward the class or toward your peers. Peer and self-evaluations not received with projects. Peer evaluations received reflect that you hindered the success of the projects.
PROPOSED SCHEDULE (subject to change)
WEEK/DATE |
ASSIGNMENTS DUE |
ACTIVITY |
|
1 |
1/11 |
Introductions; course overview; survey Syllabus |
|
1/13 |
READ: Ch. 1 “From Idea to Cinematic Stories” Ch. 7, “The Cast and Crew” |
Discuss readings Assign Video #2: Nonfiction Brainstorm nonfiction topics |
|
2 |
1/18 |
READ: Ch. 6 “Preparing for Production” Ch. 5 “From Screenplay to Visual Plan” (pp. 93 – 104) p. 15 – “Treatment” |
Determine nonfiction groups Discuss readings Nonfiction structure Interviewing and directing for nonfiction Treatments |
1/20 |
READ: Ch. 10 “The Lens” Ch. 11 “Camera Support” Camera manual (Blackboard) REVIEW: Ch. 3, “The Visual Language and Aesthetics of Cinema” and Ch. 9 “The Digital Video System” Groups bring Mini-DV tape |
Discuss readings Camera Demo Quiz: Camera manual In-class exercise: movement of and inside the frame |
|
3 |
1/25 |
READ: Ch. 13, “Basic lighting for film and DV” Bring gloves, C-47s, gaffer tape (See Ditty Bag Handout) Nonfiction proposal/treatment DUE |
Lighting workshop |
1/27 |
READ: Ch. 15 “Sound for Production” Ch. 17 “Sound Recording Technique” REVIEW: Ch. 16 “Production Sound Tools” |
Sound for nonfiction Documentary ethics |
|
4 |
2/1 |
READ: “Why We Edit II”: pp. 402 - 414 REVIEW: Ch. 19 “Post Production Overview and Workflow”, Ch. 20 “Principles and Process of Digital Editing” |
Post–production/editing for nonfiction Organizing for post |
2/3 |
Work day |
||
5 |
2/8 |
POST MATERIALS DUE |
Work day – in-class editing |
2/10 |
Video #1: Nonfiction DUE |
Critiques |
|
6 |
2/15 |
READ: Ch. 5 “From Screenplay to Visual Plan” (pp. 85-92) Action Sequence Handout (Blackboard) |
Assign Video #2: Action Sequence Discuss readings Assign groups, group numbers Distribute props |
2/17 |
Revised Video #1: Nonfiction DUE |
Critiques |
|
7 |
2/22 |
READ: Ch. 18 “On Set!” Ch. 22 “The Sound Design in Film” READ: “Designing a Movie for Sound” by Randy Thom (Blackboard) Action Sequence Proposals DUE |
Discuss readings Foley workshop |
2/24 |
Read: Ch. 5 “Organizing Cinematic Time and Space” Ch. 21 “Why We Edit I” (pp. 393-401) |
Discuss readings Editing and continuity |
|
8 |
3/1 |
Action Sequence Analysis presentations |
|
3/3 |
Action Sequence Storyboard DUE |
Assign Video #3 Drama/Narrative Project |
|
9 |
3/8 – 3/10 |
SPRING BREAK – NO CLASS |
|
10 |
3/15 |
READ: Ch. 2 “The Screenplay” |
Narrative/Drama project development Three act structure |
3/17 |
Work day – In-class editing |
||
11 |
3/22 |
Video #2: Action Sequence DUE |
Critiques |
3/24 |
Revised Video #2: Action Sequence DUE |
Critiques |
|
12 |
3/29 |
Narrative/Drama project development Pacing |
|
3/31 |
Bring gloves, C-47s, gaffer tape (See Ditty Bag Handout) Proposal/Screenplay DUE |
Lighting for Drama Art Direction/Set Dressing Workshop |
|
13 |
4/5 |
Presentations |
|
4/7 |
Storyboard DUE |
Drama/Narrative: Pacing |
|
14 |
4/12 |
Fiction Post Organization |
|
4/14 |
Work day |
||
15 |
4/19 |
Work day – in-class editing |
|
4/21 |
Video #3: Drama/Narrative DUE |
Critiques |
|
16 |
TUE 4/27 |
8 – 9:50 am |
REVISED VIDEO #3: DRAMA/NARRATIVE DUE |