This course will answer some of the most pressing questions repeatedly asked by first-time and amateur filmmakers:
How do you effectively and efficiently transform an idea first into a story, then into a screenplay, next into a production schedule, and finally into moving images and sound that emotionally transport an audience? How do you operate a camera, record clean audio, and generally make your actors look like they’re in a Hollywood film? What can I do with Final Cut Studio that I can’t do with iMovie?
This course will provide you with an intensive overview of the entire filmmaking process, from soup to nuts, as you work with a production unit to produce a short narrative or documentary film for web distribution.
Class Structure
- Discussions based off of assigned readings and viewings and in-class film screenings.
- Conceptual and technical demonstrations.
- Studio time (planning and production).
- Presentation of works (critiques).
Course Home Page
http://moodle.johncabot.edu/
Readings
Online
Most required readings, technical guides and in-class material will be posted on Moodle along with auxiliary readings and points of reference that can help further understanding. The auxiliary readings will generally be on technical aspects of production or to expand on theoretical topics discussed in class. Additional material may be distributed in class and uploaded onto the course home page.Since Moodle is not integrated with the school database, and with the class roster, you will have to create your own account, if you do not have already one. Once you have an account, you will have to enroll in this course by using the enrollment key.
Textbook (required)
Bresson, Robert. Notes on the Cinematograph. Translated by Jonathan Griffin. Nyrb Classics. New York: New York Review Books, 2016. ISBN-13: 978-1681370248
It is recommended for you to purchase this book.
- Anglo American Bookshop, via della Vite, 102 (http://www.aab.it)
- Almost Corner Bookshop, via del Moro, 45 (near the Tiber Campus)
Course Reserves at Frohring Library (for Reference):
- Bordwell, David, and Kristin Thompson. 2008. Film Art: An Introduction. 8Th ed. Boston: McGraw Hill.
- Murch, Walter. 2001. In the Blink of an Eye: A Perspective on Film Editing. 2Nd ed. Los Angeles, California: Silman-James Press.
- Nichols, Bill. 2010. Introduction to Documentary. Second edition. Bloomington: Indiana University Press.
- Nichols, Bill. 1991. Representing Reality: Issues and Concepts in Documentary. Bloomington: Indiana University Press.
Attendance Requirements
This course requires an extraordinary amount of work to be completed outside of class hours. Students who expect to travel frequently during weekends are strongly advised against registering for this course.
Three late arrivals (more than 10 minutes) are counted as one unexcused absence. Two unexcused absences will result in a full letter drop in the final grade and three unexcused absences will result in failure. Due to the once a week meeting schedule for the course, missing one class can mean missing out on a major technical or conceptual lesson plan, which can affect the quality of your projects. In the case of excused absences due to documented illness or family emergencies, please present a dean's note as soon as possible.
Equipment
Different digital recording equipment will be used for each project and these will be available from the Digital Media Lab. You all have access to the digital equipment JCU has on reserve for the course. You can check out gear from Thursday afternoon with gear needing to be returned Monday morning.
Out of Pocket Materials
Students enrolled in this course should provide their own external USB hard drive (250-500GB) to store and archive captured material and video projects. These drives must be Mac formatted.