Course Description
An advanced course in digital video production, with emphasis on visual storytelling techniques. Students will build on all the skills necessary to take an idea to the screen, from the initial script breakdown to advanced post-production techniques.
Additional Requirements for Graduate Students:
Graduate students will be assigned additional research and more
complex and demanding projects, which can include graduate
students choosing an approved director and presenting a shot-by-
shot scene analysis to the class.
Athena Title
Directing for the Cinema
Prerequisite
FILM 4680/6680 or permission of department
Semester Course Offered
Offered every year.
Grading System
A - F (Traditional)
Course Objectives
Upon completing the course, the successful student will be able to script, storyboard, plan, produce, cast, direct, and edit a 3 minute digital production.
Topical Outline
Each week involves two 75-minute lectures, each of which is preceded or followed by a 75-minute “hands-on” workshop/lab. Week 1. Story structure and characterization basics. Finding and creating scripts. “Breaking scripts down” into elements from which to plan production. “Right-sizing” characters for the length of film planned. Working within limitations. Week 2. Constructing a simple storyboard and shot sheet to plan the visual construction of a short film. Keeping the dialogue brief, keeping the story visual. Week 3. Basics of casting actors via auditions. Basics of directing actors. Week 4. Choosing, securing, and modifying locations for low- budget films. Legal, logistical, and esthetic issues. Week 5. Logistics of organization for a small film: food, transportation, electricity, equipment, cast, and crew. Week 6. Basics of directing a scene: the 30 to 180 degree convention. The uses of cutaways and close-ups to provide transitions between takes. Getting consistency in acting and movement from one take or camera position to the next. Week 7. Basics of lighting a scene. “High key” or “low key” lighting? Types of lighting instruments useable on small shoots. Film lights vs. practical lights vs. fluorescents. Issues of color temperature. Reflectors for shooting outdoors. Electrical and safety issues. Week 8. Basics of recording and mixing dialogue on location and studio shoots. Types of microphones, their uses, and how to mix them on multiple-microphone setups. Handling of boom mics. Uses and problems of wireless microphones. Wind baffles for microphones used outdoors. Dealing with bad location acoustics: mechanical noises, background noises, and echoes. Week 9. Working with a moving camera: dollies, jib- arm, “Steadicam,” and other approaches. Problems of editing moving shots with still shots; techniques for combining types of shots. Week 10. Basic editing techniques using Adobe Premiere Pro. Capturing and logging takes, using the bin and timeline systems, working in small scenes. Working with temporary music and sound effects tracks to help conceptualize the film. Week 11. Screening and revising the rough-cut. Utilizing the best dialogue takes with the best visual takes to create a synthetic performance by each major actor. Creating specific sound effects. Working with musicians to create simple music for your film. Week 12. Working with the Protools audio program to design and shape audio for your film. Using digital noise reduction and sound enhancing to make the film sound professional. Week 13. “Fine cut” work. Smoothing the completed film via (a) overlapping the sound from shot to shot, (b) adjusting background sound levels, (c) adding, deleting, or modifying percussive sounds (doors shutting, footsteps), (d) smoothening out light levels within each scene, (e) adjusting color balances within scenes, (f) bridging scenes, (g) adjusting music levels. Week 14. What to do with the film once it is finished: the festival “tournament” system for showing films. Networking and finding collaborators via organizations such as the Independent Feature Project and IMAGE (Atlanta). The structures of production and distribution available for young filmmakers. Week 15. What you need to know once you are no longer “just a student”: a legal and financial primer for young directors. Permission forms for locations and performers. Insurance requirements for equipment and personnel. Screen Actors Guild rules and prices. Rental versus purchase of equipment. How to budget and schedule a film longer than a 10-minute student video. How to prepare your film’s materials so that it can be legally sold and distributed. Where to go to find out what else you need to know.
Syllabus