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JOHN CABOT UNIVERSITY

COURSE CODE: "COM 230-5"
COURSE NAME: "Foundations of Digital Video Production"
SEMESTER & YEAR: Fall 2025
SYLLABUS

INSTRUCTOR: Adele Tulli
EMAIL: [email protected]
 HOURS: W12:30 PM 3:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS:
COURSE DESCRIPTION:
This course introduces students to the technical, conceptual, and aesthetic skills involved in video production through the single camera mode of production. Still the most dominant mode of film and video production, the single camera mode places an emphasis on using the camera to fullest capacity of artistic expression. In addition to the multiple skills and concepts involved with the camera, the course also introduces students to the principles and technologies of lighting, audio recording and mixing, and non-linear digital video editing. Special focus is given to producing content for successful web distribution.
SUMMARY OF COURSE CONTENT:

The course will introduce you to film language and will help you identify the building blocks of filmmaking as you begin to study them and put them in practice. You will learn how to collect ideas and put them on paper and into practice and eventually on screen – a process that will unleash your creativity and make your vision a reality. This intensive course will provide you with an overview of the entire filmmaking process as you work with a production unit to produce a short documentary film.

LEARNING OUTCOMES:

As students work to create their own films they will learn how to make a short film from conception to distribution. By the end of the course, students should be able to:

• Understand the basic elements of storytelling and know how to turn an idea into a story

• Write a creative film dossier following the industry standard format

• Select shots and camera movements to create a strong visual strategy to tell the story

• Understand how to use principles and technologies of the camera and lighting

• Record optimal sound using principles and technologies of audio recording

• Research and cast documentary characters

• Understand the basic principles of film production (preparation, releases, permits)

• Understand the basic principles of editing & sound design

• Use non-linear digital video editing software
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
ExercisesEach student will write and direct a few exercises and will present each exercise in class. 25
Final Project Complete and screen a short documentary film. 35
Film packageA film package for your short film must contain: a “Proposal” outlining the student’s initial idea and a film “Dossier” (with logline, synopsis, director’s notes, visual approach) as well as a director’s notebook, production binder, and promo material. 20
Participation and attendance: Due to the course structure, the nature of the creative process and technical aspects connected with each project, students are required to work in and out of class. Given that you will be learning how to make a film in just a few months, it is absolutely essential that you attend each class, participate actively during crits and work on each other’s productions. Only two unexcused absences will be tolerated. In the case of excused absences due to documented illness or family emergencies, please present a Dean's note as soon as possible (you should submit the Excused Absences Request Form, also available on the Registrar’s Office webpage). You will be expected to do assigned readings and watch assigned films. 20

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed.
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE


COURSE WEEKLY OVERVIEW:
Week 01: Introduction to Film Language
Week 02: Ideas into film: Storytelling
Week 03: Director's Craft
Week 04: Editing, Sound & Music
Week 05: Introduction to documentary
Week 06: Documentary Research & Development
Week 07: Shaping a Narrative and a Visual Style
Week 08: Pitch Training Workshop
Week 09: Producing & Pitching
Week 10: Interview Workshop
Week 11: Editing Workshop Week

Week 12: Post Production – From Rough Cut to Final Cut
Week 13: Post Production - Color Correction, Sound Design, Graphics/Effects
Week 14: Rough Cut screening & Promotional Material
Exam Week: Final Documentary Film Screenings

 

READINGS

- Bernard, S. C. (2007). Documentary Storytelling: Creative Nonfiction on Screen. Burlington, MA: Focal Press.

- Bruzzi, S. (2006). New Documentary: A Critical Introduction. Routledge.

- Chanan, M. (2007). The Politics of Documentary. London: British Film Institute.

- Cousins, M., & Macdonald, K. (Eds.). (2006). chapter 9 “The Grain of Truth”, in  Imagining Reality. London: Faber and Faber.

- Katz, S. D. (1991). Film Directing Shot by Shot: Visualizing from Concept to Screen. Studio City, CA: Michael Wiese Productions.

- Lebow, A. (2012). The Cinema of Me: The Self and Subjectivity in First Person Documentary. Wallflower Press.

- Nichols, B. (1991). Representing Reality. Bloomington: Indiana University Press.

- Nichols, B. (2001). Introduction to Documentary. Bloomington and Indianapolis: Indiana University Press.

- Rabiger, M. (2014). Directing the Documentary (6th ed.). Burlington, MA: Focal Press.

- Renov, M. (2004). The Subject of Documentary. Minneapolis: University of Minnesota Press.

- Ryan, M. (2010). Producer to Producer: A Step-by-Step Guide to Low-Budget Independent Film Producing. Studio City, CA: Michael Wiese Productions.

- Saunders, G. (2021). A Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writing, Reading, and Life. London: Bloomsbury Publishing.

- Shyles, L. (2007). The Art of Video Production. Thousand Oaks, CA: Sage Publications.

- Wright, P. L. (2010). The Documentary Handbook. London: Routledge.