RTVF 190: MEDIA CONSTRUCTION Northwestern University

Fall 2011 Lecture: Tuesday/Thursday, 10-11:50 a.m. (Louis Hall 119) Lab: Tuesday or Wednesday, 3-5:50 p.m. (Fisk Hall B-1 or Louis 106) INSTRUCTOR: ERIK GERNAND Office hours: Wednesday and Thursday, 12:30-2:30 p.m.; or by appointment Office: Fisk Hall, Room 116C Email: e-gernand@northwestern.edu PAUL KRUSE, FILMMAKER IN RESIDENCE Email: p-kruse@northwestern.edu DAVID LYNCH, FISK LAB Email: david-lynch@northwestern.edu COURSE GOAL: Students will be introduced to the technical and theoretical components necessary for media construction: narrative, sound, image, and montage/editing. Projects include audio and video exercises, culminating in the production of short films. Topics to be covered include: -- classic short film story structure -- basic communication tools (storyboards, shot-lists, etc) -- the digital video camera/lens and perception -- visual grammar and aesthetics -- the continuity system -- sound design, recording, and editing -- introduction to screenwriting -- lighting and relationship to emotional reception -- basic non-linear editing and digital post-production -- documentary film forms and process -- alternate narrative strategies and relationship to production/post-production processes -- introduction to acting processes and working with actors as a director CLASS STRUCTURE: Lectures, reading assignments, discussions, in-class screenings, and in-class workshop of student assignments. This is a supportive environment where students are encouraged to take risks and experiment as they discover their narrative voice. Students will have opportunities to work both individually and collaboratively. READING MATERIALS: The Visual Story, Second Edition: Creating the Visual Structure of Film, TV and Digital Media By: Bruce Block; Focal Press, 2008. Final Cut Pro 7: Visual QuickPro Guide (RECOMMENDED) By Lisa Brenneis; Peachpit Press, 2009. Additional readings will be handed out in class or posted on Blackboard. SUPPLIES: A portable firewire drive; recordable DVDs (DVD-R).

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CLASS POLICIES:
EQUIPMENT ACCESS: An equipment deposit of $50 is due to the cage before you may check out any equipment. This also grants you access privileges to the Fisk computer lab. Students are responsible for knowing all rules and information in the Production Handbook, which may be downloaded under course documents on Blackboard. ATTENDANCE POLICY: Any absences are strongly discouraged, but students may miss one class or lab with no penalty. For second through fourth absences, 5 points will be deducted for each absence from the final grade. More than four absences may result in failure of the class. Exceptions may be made for family emergencies and illness, but I must be notified prior to the start of class on the day you miss. Please contact me as soon as possible if you have an attendance issue. LATE POLICY: Students are permitted three late arrivals without penalty (late will be recorded as any time after the official start time of class). After that, one letter grade will be deducted from the participation grade for each late arrival. Any arrival more than 15 minutes late, or leaving more than 15 minutes early, will be counted as a full absence for that day. DUE DATES & LATE ASSIGNMENTS: Unless otherwise noted, the due date is the start of class on the day an assignment is due. Anything after that is late (i.e. coming to class 15 minutes late because your DVD wasnt ready). This is true even if you are absent, in which case the assignment is to be emailed to me or left in my mailbox in AMS by the due date and time. If an illness prevents you from completing an assignment on time, you must provide verification from Searle or a family doctor. Graded assignments will lose one full letter grade for each week (or partial week) they are late. GRADING: Grading scale: plus/minus = top/bottom 3% of grade range A = 90% -100% A- = 90-93.99, B+ = 87 89.9, B- = 80 83, etc... B = 80% - 89% C = 70% - 79% D = 60% - 69% F = 59% and below Grades will be recorded on Blackboard. Your personal grades are accessible by clicking Tools on the main page and then View Grades. Check regularly and let me know if you believe there to be a discrepancy. INCOMPLETE GRADES: Will only be given for the following reasons: major equipment failure beyond your control that is verified by Media Services Group of RTVF staff or faculty, or illness that is verified by Searle or a family doctor. TURNING IN ASSIGNMENTS: Films must be turned in on a standard, playable DVD. Check your DVD in multiple devices to ensure it is properly formatted. DVD must be labeled with your name, e-mail, run time, and the project (i.e. Short Film). DVDs must be in a protective case (paper or plastic sleeve). ***Five points will automatically be deducted for improper DVDs. BLACKBOARD WEBSITE ACCESS: A Blackboard Shell has been set up for the class at https://courses.northwestern.edu/.

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ASSIGNMENTS & (FINAL GRADE POINTS)

PROJECT #1 - SILENT FILM (20) DUE 10/11 120 seconds in length Each student will tell a visual story with no sound or graphic title cards. This film must be in color and be comprised of fifteen 8-second static shots (on a tripod, no camera movement). Your static shots should be perfectly still no shaking of the camera or other motion. No person or object may enter or exit the frame, though movement may occur within the frame. Straight cuts only. This must be your raw footage with no effects (dissolve, wipe, color correction, black & white, frame adjustment, etc). You are allowed three passes to the static rule. No more than three of your fifteen shots may utilize one of the following: zoom or dolly, track or pan, crane or tilt, or rack focus. Any camera move must be intentionally motivated by the narrative. Your film must utilize at least four flat space, four deep space, and two ambiguous space shots (the remaining types of space are at your discretion). Your film must tell a story. Something must happen. Some kind of conflict should be resolved. Through the fifteen shots you should take the viewer on a narrative progression. There should be some kind of transformation between shots one and fifteen. You will be graded on technical achievement (focus, exposure, framing, white balance) as well as your ability to effectively and creatively tell a visual story. ***Students must hand in a typed one-page SHOT LIST. It should numerically list all shots, a label of the shot, and which space it utilizes and how. For example: #1 CU Man eating an apple Flat space background racked out of focus

PROJECT #2 - SOUND STORYTELLING (20) DUE 11/01 2-4 minutes in length Working in teams of three (assigned by instructor), each team will record three separate subjects, audio only using the Marantz, telling a story around a similar topic (i.e. first kiss, remembrances of Pearl Harbor, an actual event both experienced). You will weave the three sound stories together in editing to create a narrative. Teams must shoot footage that will flesh out the entire duration of your film and complement the narrative. The footage may be literal, conceptual, or anything in between. The footage may work against or with the narrative. Anything goes. Be creative. During editing, the audio track of the project must also be enhanced to strengthen the narrativei.e. sound effects (either recorded organically at the scene or found later) and/or music. Ideally a little of both. You will be graded on technical achievement, including the proper recording and editing of both sound and visual, as well as your ability to effectively and creatively convey a narrative using both.

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PROJECT #3 - FINAL SHORT FILM (20) INITIAL CUT (playable DVD) 11/29, SECOND CUT (on-line) 12/01, FINAL CUT (.mov file on data DVD) 12/05 3-5 minutes in length Working in assigned groups of four or five, students will write, shoot, and edit a short narrative fiction film. You must utilize some form of intentional lighting in your film (i.e. light kit, bounce board, etc) No mockumentaries, no fake movie trailers, and no guns or other weapons. Your drama should heighten from other sources. Additional deadlines include: 10/20 script due (3-5 pages, standard screenplay format); you must bring enough copies for the number of speaking roles plus 2 11/02 2-4 digital photos of each location should be e-mailed to me by 11:59 p.m. (you may send them in multiple emails if the files are too large) 11/03 production packet (one copy per team, including: revised script, cast/crew list, shooting schedule, and storyboards); teams should be prepared to discuss/field questions in front of class 11/03 crew paper: each team member must write a 500-word paper detailing the function of their primary crew role and how they will best realize that for this specific film think both as an artist and practitioner. These should all be included together in the printed production packet. 12/01 marketing materials: a 75-100 word synopsis of your film, 2 production stills to market your film (taken on location during the shoot, not screen grabs during editing) Projects will be graded on their narrative and technical achievement, as well as the groups timely and professional execution of the above-mentioned goals. EXAMS (25) MID-TERM 10/18, ***PRACTICAL EXAM week 8 (during lab) You are responsible for all assigned readings and any material covered in class. For the practical exam, you must demonstrate a working knowledge of Final Cut Pro and the Panasonic HPX camera and tripod. Pop quizzes may also be given throughout the quarter. Mid-term and practical exams will have equal weight; quiz or quizzes will each comprise 10% of this total. ***You must earn at least 70% on the practical exam to pass this class. If you do not, you will have to (on your own time and effort) set up an opportunity to demonstrate that you have learned the equipment. You will not, however, receive a new exam grade, but you will be allowed to pass the class. 190 CREW INITIATIVE & PAPER (5) DUE 12/01 Each student must participate as a crew member or observe a shoot for one day (or portion of); or interview a director, producer, or DP of a curricular student film production at NU. The film production must be above the 190 level. Your involvement can include anything in the preproduction (casting, writing), production, or post-production phase. You must write a 500-word response about what you learned in the process. Include the films title and director in your paper. PARTICIPATION (10) Preparedness for classes including readings, discussions, and overall class engagement.

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FINAL SCREENING (MANDATORY) As a class, you must plan and execute one group public screening of all final short films. Working together you must find and secure a space, curate the order of films to be played, advertise the event, and handle the technical aspects of the screening. This screening should take place between December 1-4. ***

WEEK ONE
SEP 20 Tue
IN CLASS: syllabus, class introductions LAB: Panasonic HPX & Tripod (Louis 106)

SEP 22 Thu
IN CLASS: space; basic building blocks of composition READING DUE TODAY: Block intro and p. 1-61

WEEK TWO
SEP 27 Tue
IN CLASS: framing up; line & shape READING DUE TODAY: Block p. 62-118 LAB: Medianet; Final Cut Pro editing part 1; burning to DVD (Fisk Hall B-1)

SEP 29 Thu
IN CLASS: tone & color READING DUE TODAY: Block p. 119-166

WEEK THREE
OCT 04 Tue
IN CLASS: movement & rhythm READING DUE TODAY: Block p. 167-219 LAB: Marantz, boom mic & slate (Louis 106)

OCT 06 Thu
IN CLASS: script & story structure; crewing up READING DUE TODAY: Block 221-270

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WEEK FOUR
OCT 11 Tue
IN CLASS: screen SILENT FILMS, discuss PROJECT #2 DUE TODAY: SILENT FILM (+ shot list) READING DUE TODAY: Stubbs, chapter 2 Albert Maysles LAB: Final Cut Pro editing part 2; handheld videography (Fisk Hall B-1)

OCT 13 Thu
IN CLASS: screen additional SILENT FILMS

WEEK FIVE
OCT 18 Tue
IN CLASS: finish screening SILENT FILMS, **MID-TERM EXAM** DUE TODAY: study for MID-TERM EXAM LAB: sound synch; editing sound (Fisk Hall B-1)

OCT 20 Thu
IN CLASS: table reads of FINAL FILM SCRIPTS DUE TODAY: first draft FINAL FILM SCRIPT (copies for every speaking role +2 additional)

WEEK SIX
OCT 25 Tue
IN CLASS: staging and storyboards READING DUE TODAY: Katz, Cinematic Motion excerpt LAB: lighting (Louis 106)

OCT 27 Thu
IN CLASS: Blocking Exercise

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WEEK SEVEN
NOV 01 Tue
IN CLASS: screenings of SOUND STORYTELLING assignments DUE TODAY: SOUND STORYTELLING LAB: color correction (Fisk Hall B-1)

NOV 02 Wed
DUE BY 11:59 p.m.: 2-4 digital pix of each location for FINAL SHORT FILM via e-mail

NOV 03 Thu
IN CLASS: finish SOUND STORYTELLING screenings, Production Packets DUE TODAY: Final Short Film PRODUCTION PACKETS & individual CREW PAPERS

WEEK EIGHT
NOV 08 Tue
IN CLASS: finish Production Packets, film editing READING DUE TODAY: Reisz, Millar - Film Editing (pdf) LAB: **PRACTICAL EXAM** (Fisk Hall B-1)

NOV 10 Thu
IN CLASS: film editing pt. 2 READING DUE TODAY: Dancyger Hitchcock & Dialogue; Film Technique (both pdf)

WEEK NINE
NOV 15 Tue
IN CLASS: putting it all together pt. 1 screening & discussion LAB: using Photoshop and creating titles (Fisk Hall B-1)

NOV 17 Thu
IN CLASS: putting it all together pt. 2 screening & discussion

THANKSGIVING WEEK
NOV 22 Tue **NO LECTURE or LAB**
GROUP WORK: meet with your groups to continue editing your short films

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WEEK TEN
NOV 29 Tue
IN CLASS: screen initial cut of FINAL SHORT FILMS DUE TODAY: initial cut of FINAL SHORT FILM LAB: fine tuning color/audio; making your film web ready (Fisk Hall B-1)

DEC 01 Thu
IN CLASS: screen on-line FINAL SHORT FILMS; present MARKETING MATERIALS DUE TODAY: emailed link to on-line second cut of FINAL SHORT FILM; MARKETING MATERIALS; 190 CREW INITIATIVE PAPERS ***

Monday, December 5 by noon Final Cut of FINAL SHORT FILM due

Films must be delivered as a full resolution .mov file burned to a properly labeled data DVD (title, run time, and director contact info will suffice). You may leave the DVD in my mailbox on the second floor of Annie Mae Swift Hall. No late projects will be accepted.

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UNIVERSITY POLICIES
Students with Disabilities In compliance with Northwestern University policy and equal access laws, I am available to discuss appropriate academic accommodations that you may require as a student with a disability. Request for academic accommodations need to be made during the first week of the quarter, except for unusual circumstances, so arrangements can be made. Students are encouraged to register with Services for Students with Disabilities (SSD) for disability verification and for determination of reasonable academic accommodations. For more information, visit http://www.northwestern.edu/disability/ Academic Integrity at Northwestern Students are expected to comply with University regulations regarding academic integrity. If you are in doubt about what constitutes academic dishonesty, speak to the instructor before the assignment is due and/or examine the University web site. Academic dishonesty includes, but is not limited to cheating on an exam (e.g., copying others answers, providing information to others, using a crib sheet) or plagiarism of a paper (e.g., taking material from readings without citation, copying another students paper). Failure to maintain academic integrity on an assignment will result in a loss of credit for that assignment at a minimum. Other penalties may also apply. The guidelines for determining academic dishonesty and procedures followed in a suspected incident of academic dishonesty are detailed on the website. For more information, visit:http://www.communication.northwestern.edu/programs/undergraduate/policies_procedures/academ ic_integrity/ School of Communication General Student Policy All undergraduate students enrolled in Communication courses are accountable for the information about academic integrity printed in the University Bulletin. Students are also responsible for the following standards: (1) Attendance is required in all Communication courses, and excessive absence is a cause for failure. (2) Credit will not be given for two courses which meet at the same time. (3) To receive credit for a course, students must complete all the work assigned. (4) Assignments must be turned in on time and examinations must be taken as scheduled. Students are not entitled to make-up assignments or to grades of Incomplete unless the instructor has approved such arrangements in advance. In order to avoid inadvertent dissemination of ideas or submissions, students are instructed not to discuss the work of their fellow students with anyone outside of members of the class. Instructor approval of an adaptation of pre-existing work for a class assignment is not to be taken as an indicator of legal status of any kind regarding the adaptation of that pre-existing work. Sexual Harassment Policy It is the policy of Northwestern University that no male or female member of the Northwestern community-students, faculty, administrators, or staff-may sexually harass any other member of the community. Sexual advances, requests for sexual favors, and other verbal or physical conduct of a sexual nature constitute harassment when: submission to such conduct is made or threatened to be made, either explicitly or implicitly, a term or condition of an individual's employment or education; or submission to or rejection of such conduct is used or threatened to be used as the basis for academic or employment decisions affecting that individual; or such conduct has the purpose or effect of substantially interfering with an individual's academic or professional performance or creating what a reasonable person would sense as an intimidating, hostile, or offensive employment, educational, or living environment. For more information, visit: http://www.northwestern.edu/sexual-harassment/policy/index.html

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