Course Description
Analysis and practice of directing narrative film and episodic television using the single camera shooting style. An examination of the aesthetics, theory, and practice of camera placement, shot execution, and directing the actor. Students develop their voice, unique visual style, and directing aesthetic.
Athena Title
Directing I
Equivalent Courses
Not open to students with credit in FILM 6010
Corequisite
EMST 6041
Semester Course Offered
Offered fall
Grading System
A - F (Traditional)
Course Objectives
An intensive course designed to train students to direct films using the component parts of story, image, performance, and sound, with a particular emphasis on action and behavior. Students shoot weekly mini movies on a particular theme that will be screened the following class meeting. Students will also be required to shoot a final film that will be the culmination of all that they have learned in the class. Students are in preproduction, production, and post production for their final film the entire semester.
Topical Outline
I. Storyboarding: Discuss previsualization and then graphically depict camera position, staging of action, composition, camera movement, and transitions on the page. II. Composing Shots and Spatial Connections: An examination of the universal units of composition, overlapping action, and how they are used to create a consistent spatial/temporal order. III. Camera Blocking: An exploration of camera movement and camera placement as a story device. Special emphasis on externally and internally generated camera moves and how what the audience sees impacts their ability to understand shots, scenes, and the ensuing narrative. IV. Camera Angles: An examination of how varying the viewing angle supplies the context that defines the subject and the space in which action takes place in the frame. V. Lenses and Forced Perspective: An investigation of how lenses give a director the power to direct the eye and isolate and unit subject matter. Special emphasis on lens choice, angle of view, and depth of field. VI. Point of View and Panning: An analysis of subjective and objective narrative stance, and graphic and narrative control of point of view. As well, the power, economy, and resourcefulness of the pan shot. VII. Tracking Shot Choreography and Transitions: An analysis of the perspective and compositional variety that occurs when shots change size as a result of inventive staging and camera blocking. Special emphasis on strategies that allow a director to seamlessly transition between shots and sequences. VIII. Directing Actors: An exploration of the language of actors and the specific communication necessary to direct compelling and convincing performances for film and television. IX. On the Set: Leadership, communication, vision, confidence, and managing egos and personalities. The importance of “knowing what you want,” being prepared, and “making the day.”