Chad Dell (cedell@students.wisc.edu), Department of Communication Arts, University of Wisconsin-Madison
Chad Dell 6033 Vilas Hall 263-3996 o;
Office Hrs: Tues. 3:30-5:30; or by appointment
TA:
Shari Goldin 6033 Vilas Hall 263-3996 o;
Office Hours: Tues. 3:30-5:30; or by appointment
Course Objectives: To write, produce and direct a 10 to 15
minute video project, following a narrative or documentary
trajectory, that can be used for a graduate school portfolio, as
entrée to a job in production, entered in student festivals, and
so forth. In the course of producing the project, you will
quickly learn professional production techniques in a "trial by
fire" fashion, by being thrust into it. It's essentially a sink
or swim approach. You are expected to swim.
Required books available at Canterbury Bookstore, 315 W Gorham:
Alan Rosenthal, Writing, Directing & Producing Documentary Films.
Michael Rabiger, Directing: Film Techniques and Aesthetics.
A copy of each book is also on 3-hour reserve in the Helen C.
White Library Reserve Collection. (Rosenthal: PN 1995.9 D6 R65
1990; Rabiger: PN 1995.9 P7 R26 1989.) Please respect your
colleagues and return the books on time.
Required course reading packet: available at Bob's Copy Shop,
Univ. Square Mall.
CLASS POLICIES:
1. Attendance and punctuality are mandatory at lectures and labs.
Habitual lateness and/or missing more than three classes (without
written medical excuse) will result in a lowered grade.
2. Late assignments: The pace in this course will be fast and
furious. Therefore, don't wait until the last minute to do
assignments: equipment you need may be booked, and future
assignments will be looming. Late assignments are penalized 10%
for each day late.
3. Financial liability: You have access to thousands of dollars
worth of equipment in this course. Our insurance coverage has a
$1,000 deductible, which you are responsible for (at minimum) in
the event of equipment loss or purposeful or neglectful breakage.
4. Please: Equipment does break down in the course of use. When
it does, please fill out an equipment trouble report--on any
equipment that is broken or malfunctioning. Don't let the next
person check out broken equipment; report it, and we'll get it
fixed. If you're not sure, report it anyway.
5. Misuse of equipment privilege: This class operates on a tight
schedule with limited equipment. If you keep equipment
(including edit suites) beyond your allotted time, you
effectively disadvantage your colleagues. Blatant misuse of
equipment privileges will result in loss of access and a lowering
of your grade.
6. Typing: ALL written assignments must be typed unless noted
otherwise. Handwritten assignments will not be accepted.
7. Mailbox theft: Don't leave any assignments in our mailboxes
unless you have a copy of it-- both tapes and papers. Things get
stolen, and mistakes happen. No credit will be given for
assignments stolen from a mailbox.
GRADING:
Your final grade will comprise assessment in the following areas:
Completed Video Project 40% (form and content)
The Paper Trail 40%
Crewing 10%
Prod. Exercises, Class Participation 10%
"The Paper Trail," as I call it, consists of the written
assignments specific to your video project. Depending on whether
you choose to undertake a narrative or documentary trajectory, you
will be responsible for handing in the following written
assignments (percentage of total grade is in parentheses):
Documentary: Narrative:
Proposal (2.5) Proposal (2.5)
Treatment (2.5) Treatment (2.5)
Sequence Outline (5) Sequence Outline (5)
Preproduction Log (5) First Draft Script (7.5)
Interview Worksheet (5) Shooting Script (7.5)
Shot List (5) Shot List (5)
Production Schedule (5) Production Schedule (5)
Paper Edit (5) Production Log/Critique (5)
Production Log/Critique (5)
These assignments will be evaluated on a 5 point basis. At the
end of the semester, progress will be considered, and a letter
grade will be assigned, representing your cumulative evaluation
in this area. You cannot receive a passing grade in this course
without completing ALL assignments.
5 = Excellence. Fulfills the assignment to the nth degree.
4 = Competence. Fulfills the assignment.
3 = Adequately fulfills the assignment, but needs work.
2 = Does not adequately fulfill the assignment. Needs major
work.
1 = Handed in. Does not fulfill the assignment.
0 = No Credit.
CRITERIA FOR VIDEO PROJECT/GOALS OF THE CLASS:
1. Subject matter. There are no specific limitations on the
subject you choose for your project, except that you must be able
to achieve it within either a documentary or narrative
trajectory. If we believe your proposed project is not feasible,
we will strongly urge you to modify it or choose an alternative.
2. Issues of Representation. Throughout the semester we will be
addressing the subject of what it means to represent someone or
something in visual and aural terms. There is a political aspect
to representation, in that you have a certain amount of power over
someone else's image. It follows that as videomakers we have a
certain responsibility that should be exercised in the process.
Your final project should demonstrate that you have engaged with
this issue.
3. Consideration of Audience. Issues concerning the audience
will also be a focus of this course. Whether you choose a
documentary or narrative trajectory, your goal will be to design
a project that communicates a story or message to a broad
audience--beyond the class itself, and one that may not
previously have been exposed to your subject. Your objective is
to define your audience and reach them in an engaging way, while
avoiding obstacles that alienate them. Again, your final project
should demonstrate that you have engaged with this issue.
4. Consistent Production Values. The whole tape should be as
good as your best shot. In other words, don't use out-of-focus
footage, footage containing jerky camera movement, footage with
bad sound or lighting, etc. If you can't reshoot, consider
striking the shot if your only coverage of it looks bad. It will
bring down the overall level of your tape.
5. Demonstration of Control of the Medium. Throughout the
semester you will be adding to your knowledge of visual and aural
aesthetics and techniques, and will be expected to demonstrate
your understanding and command of the medium. This includes:
*Shot composition, command of focus, zooming, framing, etc.
Everything in the project should have a reason for being there,
including such things as hand-held shots. Rehearse changes in
composition and focus before the shot.
*Audio, lighting and mise en scene are just as important as shot
composition. You should demonstrate your proficiency in
everything we see and hear in the project.
*Don't fall in love with your footage. Cut when there's a
dramatic, logical place to cut. Don't let your shots linger on
screen too long, or use shots simply because you shot them.
Show us enough to get the point and that's all.
*Don't be afraid not to use something you've shot, even if it
took a lot of time to shoot. Be ruthless. If it doesn't work,
lose it.
6. Attention to the Relation between Audio and Picture. It is
said that the least interesting relation between picture and
sound is a one-to-one relation, i.e. where the audio duplicates
the picture--as in a shot of a conversation, where we are always
shown the person who is talking. Keep in mind the motivated use
of the cutaway (varying what we see) and the sound effect
(varying what we hear). A relation of contrast between sound and
image is probably more interesting than a relation of identity.
7. Shoot to Edit. Know how you plan to edit your footage before
you shoot.
8. Fresh Ideas; A Critical Evaluation of Concept; Complexity.
*Are you telling your audience something they already know? If
so, why?
*What is there in your project to motivate your audience's
interest?
*What is there in your project that's unique, that expresses
something individual, different or differently; something we
haven't seen before?
*How can you increase the (motivated) complexity of your project?
9. Conceptual Unity and Coherence. The tape should hold together
as a whole. It should be clear why each element (shot, sound,
sequence, etc.) is included, and what motivates a directoral
decision. If your shots are inexplicable, seem out of place, it
will undermine the audience's confidence in you as a director.
This doesn't mean you can't be innovative, or surprise or
challenge your audience, but you have to consider the difference
between innovation with a thought-out purpose and lazy thinking
or lack of self-criticism. Finally, the tape should fulfill the
terms it sets out for itself.
10. Project Length. As stated above, your project should run
between 10 and 15 minutes in length. Anything significantly
shorter or longer should be cleared in advance with your
instructors (not at the editing stage). Next year's project can
be Civil War II.
11. Equipment and Crew: Working on other director's projects is a
valuable learning opportunity, and an important aspect of this
course. Thus you must use your crew in shooting this project.
You also must use departmental production and post-production
equipment in achieving your project, unless you receive
permission from me to do otherwise.
SEMESTER SCHEDULE:
Week 1)
Lab R 9-1 Course Introduction
**PROPOSALS DUE**
-- - - - - - - - - - - -
2) Lecture Course Introduction
T 9-6 Conceptualization, Proposal, Treatment
(Rosh Hashanah)
READINGS DUE: Read the Syllabus!
Rosenthal, Ch's 1-4
Directing, Ch 23, only pp. 233-241
Lab R 9-8 Intro Cameras
TREATMENT DUE
-- - - - - - - - - - - -
3) Lecture Metaphor, Structure
T 9-13
READINGS DUE: Rosenthal, Ch's 5-6
Dir, Ch's 22 & 27
Casting Committee: Dir, Ch 4
Lab R 9-15 Field Monitors/Camera Practice
(Yom Kippur) SEQUENCE OUTLINE DUE
-- - - - - - - - - - - -
4) Lecture Point of View: The Hierarchy of Voices
T 9-20 Preproduction Logs, Scripting Technique
READINGS DUE: Rosenthal, Ch's 7-8
Dir, Ch 2
Recommended: Dir, Ch 24 (POV)
Lab R 9-22 Audio
VIDEO PRODUCTION EXERCISE DUE
-- - - - - - - - - - - -
5) Lecture Audio Production Design
T 9-27 Project Visualization, Interview Design
NARR: 1ST DRAFT OF SCRIPT DUE
DOC: PREPRODUCTION LOG DUE
READINGS DUE: "Better Audio--What Is It Anyway?" (packet)
Dir, Ch 19 (sound editing)
For Lab: Millerson: TV Lighting Methods (packet)
"Creative Lighting Techniques" (packet)
Recommended: "Crash Lighting for ENG" (packet)
Lab R 9-29 Lighting Techniques (Readings due...)
-- - - - - - - - - - - -
6) Lecture Preproduction
T 10-4 Directing: Covering a scene
NARR: SHOOTING SCRIPT
DOC: INTERVIEW WORKSHEET
READINGS DUE: Dir. Ch's 10-11
Bring Reading Packet to lecture
Lab R 10-6 Editing I
-- - - - - - - - - - - -
7) Lecture Directing: Working with talent and crew
T 10-11 Editing Techniques: timing the transition
SHOT LIST DUE
NARRATIVE PROJECTS BEGIN REHEARSALS
EARLY BIRD GROUP BEGINS SHOOTING
(Shot List & Prod Schedule Due)
READINGS DUE: Dir, Ch 12
Rosenthal, Ch 12
Dir, Ch's 13, 14 (pp 153-57 only), and 15
Lab R 10-13 Editing II
PRODUCTION SCHEDULE DUE--GROUP 1
-- - - - - - - - - - - -
8) Lecture The Paper Edit
T 10-18 Screen Student projects
READINGS DUE: Directing the Documentary, Ch 9-10 (packet)
Suggested: Rosenthal, Ch 15, writing narr. (D)
Lab R 10-20 PRODUCTION SCHEDULE DUE--GROUP 2
GROUP 1 SHOOT
-- - - - - - - - - - - -
9) Lecture Production Stories; screen raw footage
T 10-25 Screen Student Projects
Lab R 10-27 A/B Edit Exercise practice, Group 1
PRODUCTION SCHEDULE DUE--GROUP 3
GROUP 2 SHOOT
A/B EDIT EXERCISE DUE, EARLY BIRD
-- - - - - - - - - - - -
10) Lecture Production Stories; screen raw footage
T 11-1 Screen Student Projects
Lab R 11-3 A/B EDIT EXERCISE DUE, GROUP 1 & EARLY BIRD
GROUP 1 EDIT Group 1 Paper Edit Due (Doc)
GROUP 3 SHOOT
-- - - - - - - - - - - -
11) Lecture Production Stories; screen raw footage
T 11-8 Screen Student Projects
Lab R 11-10 A/B EDIT EXERCISE DUE, GROUP 2
GROUP 2 EDIT Group 2 Paper Edit Due (Doc)
-- - - - - - - - - - - -
12) Lecture Production Stories; screen raw footage
T 11-15 Screen Student Projects
Lab R 11-17 A/B EDIT EXERCISE DUE, GROUP 3
GROUP 3 EDIT Group 3 Paper Edit Due (Doc)
-- - - - - - - - - - - -
13) Lecture TBA
T 11-22
R 11-24 -- THANKSGIVING
-- - - - - - - - - - - -
14) Lecture Screenings--Early Bird and Group 1
T 11-29 EARLY BIRD & GROUP 1 PROJECTS DUE
Lab R 12-1 Screenings--Early Bird and Group 1
T.A. Evaluations
-- - - - - - - - - - - -
15) Lecture Screenings--Group 2
T 12-6 GROUP 2 PROJECTS DUE
Lecture Evaluations
Lab R 12-8 Screenings--Group 2
-- - - - - - - - - - - -
16) Lecture Screenings--Group 3
T 12-13 GROUP 3 PROJECTS DUE
Lab R 12-15 Screenings--Group 3
PRODUCTION LOGS/CRITIQUE DUE
(no late materials accepted after this date)
-- - - - - - - - - - - -
Chad Dell, cedell@students.wisc.edu