DIGM 4374 Syllabus (Spring 2012) - Graphic Communications ...

University of Houston
DIGM 4374 – Advanced Video Planning and Production
Introduction to Documentary Production
Tuesday 1:00PM - 3:00PM, Room T2 207
Thursday 8:30AM - 11:30AM, Room T 102A (morning section)
Thursday 1:00PM - 4:00PM, Room T 102A (afternoon section)
Instructor: Daniel Levin
Emergency Phone: (213) 713-0406 (emergencies ONLY)
E-mail:
dblevin@uh.edu
I. COURSE DESCRIPTION:
This is an advanced video production course designed to develop hands-on skills in creating
audio-visual projects from concept to delivery through hands-on exercises in story, editing,
cinematography, sound, and producing. The course establishes and reinforces skills in visual
storytelling and aesthetic criticism.
II. COURSE OVERVIEW:
1. Course Philosophy
The instructor assumes that by taking this class you aspire to master the craft of filmmaking. You
will therefore accept full responsibility for completing the requirements of this course.
DIGM 4374 is a course that has been designed to accomplish a range of purposes.
• An advanced introduction to the range of basic motion picture technical skills as the
essential tools of storytelling, not as ends in themselves.
• Direct experience of the many filmmaking crafts and roles.
• The opportunity to supervise production of a short film produced by students across several
courses and learn how to integrate the many filmmaking crafts and roles into a cohesive
production team.
• The opportunity to learn and practice these skills while developing one individual project in
multiple craft roles (producer, director, cinematographer, sound, editor, etc.) with the sole
responsibility for the effectiveness of the resulting film. This individual project also requires
(and can greatly develop) individual leadership and communication skills of each student.
• A basic principle of the course is “learn by doing” which means that students start making
films as they are learning the skills. This sparks the “need to know” and a great deal of
instruction and learning occurs with the screening of students’ rough footage and cuts.
Critiquing the films after screenings is another key set of skills - the open and honest analysis
of others’ films has a direct relationship to understanding the strengths and weaknesses of
one’s own films.
• We believe that students learn by encountering diverse perspectives and by taking risks to
push beyond their personal comfort zones. The instructor’s responsibility will be to create a

classroom environment that encourages honesty, experimentation, and growth. The technical
proficiency of a DIGM 4374 movie is as important as the quality and originality of what it is
saying.
• Personal integrity, regard for safety and wellbeing of crew and cast, and willingness to put
ethics ahead of getting the “great shot” are important elements in DIGM 4374 and are often
the qualities of an experience remembered long after the films themselves have faded.
• If your film contains audio or video that might be offensive to some, you should say so
before screening it. Your right to show your work the way you see fit doesn’t preclude
someone else’s right not to be exposed to what he/she could consider objectionable material.
2. DIGM 4374 Filmmaking Goals:
Upon completing the course, students will be able to:
• Experiment with personal expression through cinema;
• Create interactions between images and sounds for expressive purposes;
• Demonstrate capability in creating and developing audio-visual project concepts, creating
project pitches and proposals, producing, directing, photographing, editing, and creating
sound;
• Show ability to lead and be the project’s driving force;
• Develop starting ideas into complete short films;
• Show skills in characterization and story telling;
• Deliver and receive effective critiques of work in progress;
• Establish ethical and aesthetic standards for movie-making and critiquing.
3. Additional Filmmaking Fundamentals That Will Be Explored:
• What is your story really about and how are you going to tell it?
• What is the “dream” you are making and the hidden forces at work?
• Where are you going to “put the camera” and why?
• Developing critical creative dialogue with your subjects and colleagues.
• Pitching your ideas with a sense of story structure, character, the audience, the costs and
being able to learn from creative “testing” and “feedback.”
• Taking complete responsibility for every aspect of your work. No excuses.
• Working in a collaborative fashion to help others improve their work through careful and
thoughtful dialogue and supportive “what if” attitude.
• Learning to respect the process of filmmaking as a collaborative art form and experience.
4. Production Requirements:
a. Complete one personally originated documentary project, which you write, produce, direct,
operate camera for, light, create sound for and edit. The film will be made following
conventional stages of documentary production in which students learn to develop a project in
sequential steps of growing complexity. Individual projects are shot, edited and screened
according to the class calendar schedule. Students will be assigned to one of three groups (A, B,
or C) and will share camera equipment with other classmates.
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. Project Requirements:
• LENGTH/FORMAT: All films will be made in HDV digital video (DV NTSC). Projects
are to be no more than 14 minutes long.
• DIALOGUE: There is no restriction on sync (on-camera) dialogue. However, emphasis
should be made on story, characterization, and physicality of characters. There will
absolutely be NO SIT DOWN INTERVIEWS.
• SOUND: The project will have a "mixed" track, that is, a blending of two or more
elements. All projects will be expected to have a full sound design including all
conventional elements: dialog, sound effects, and backgrounds. THERE WILL BE
ABSOLUTELY NO BACKGROUND MUSIC AND NO VO NARRATION.
• LABELS/COUNTDOIWN/CREDITS: When brought to class, tapes should be labeled
with your name, class number and title. Begin class screenings with an SMPTE
COUNTDOWN, followed with Main Title and credits for cast and crew.
• Complete a Filmmaker’s Critique for each of your screenings. Include a brief synopsis,
main idea, summary of major learning and any problems. All documents are to be
TYPED, and submitted at the beginning of the screening day. * No project will be
screened unless accompanied by the filmmaker’s critique.
• Complete a critique for each screening of your classmates’ projects. Submit to instructor
and to the filmmaker after each screening.
III. DEADLINES:
All assignments are to be handed in at the beginning of the class, even if the movie-maker feels
that it is unfinished. We consider these assignments as works-in-progress, and the emphasis is on
process. Completion of each class assignment on time for in-class screening is imperative for
successful completion of your film. Do not use class time to finish your project, come on time so
that you can see your classmates’ films. Do the final outputting of your film at least 4 hours
before screening time to give yourself time for technical problems.
IV. PLAN PROJECTS WITHIN YOUR RESOURCES
Calculate the time you need for all your coursework (not just DIGM 4374), and schedule shoots
and editing within your limits. If there is one thing students tell me about handling the course, it
is that they wish they had planned their projects more carefully, and managed their time better.
The workload is heaviest in the first few weeks, because you’ll be getting into habit of using the
camera, lights, and editing system. Not having enough time to shoot or no equipment available at
the time when you needed it are NOT valid excuses.
IV. READING
Required Text:
Directing the Documentary by Michael Rabiger, Fifth Edition, Focal
Press, 2009
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V. REQUIRED WRITTEN ASSIGNMENTS:
Personal Critique:
This self-critique is an important part of your film project (and grade) and reflects the learning
process you went through. One copy of your TYPED critique (using the following format as a
guide) must accompany each screening of your work (your work will not be screened without
this critique):
• Filmmaker’s name. Project title, production stage, and date.
• Brief, clear synopsis of the story- what we actually see on screen.
• Intent- how you wanted to affect us.
• Source of the main idea for the story or the character that you started with and its
importance to you.
• Effectiveness of your footage and its potential into making the cut.
• Main tension/conflict: be specific, look for this element in all films.
• Strengths of the film.
• Problem areas and “what I want to learn to do better.”
• Journal-type notes on your own learning process, discoveries, and frustrations.
Project Critiques:
After each screening by a student we each prepare a written critique. Please use the following
format:
• Name of Film Maker, Project Title, Production Stage
• INTENT: The theme, premise or basic concept the filmmaker was trying to
communicate.
• SYNOPSIS: A very brief overview of the story line.
• STRENGTHS: What worked best and why?
• SUGGESTIONS: Where is there room for improvement?
• A brief discussion on the merits of the work will follow.
• Your Signature
VI. GRADES:
Grading Criteria:
Poor
Projects exhibit basic technical and/or aesthetic deficiencies that make it obvious the student has
not mastered the techniques necessary to handle more advanced classes. Inability to demonstrate
satisfactory growth by integrating feedback into subsequent work. Minimal participation in class
discussion and exercises. Poorly developed written and/or oral critiques. Failure to meet
deadlines. Inability to develop accessible characters and stories.
Average
• All assignments completed on time.
• High level of constructive class participation in exercises, discussions and written
critiques.
• A minimum of two screenings, which clearly demonstrate technical proficiency.
• Evidence that feedback has been integrated into subsequent work.
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• Steady improvement in the ability to tell a story simply and concisely.
Very Good
• The entire above plus student attempts projects which explore original concepts.
• A minimum of three screenings, which are both technically and aesthetically
outstanding.
• A unity of form and content.
• A sound design, which is consistently creative and brings added depth to the project.
• Student assumes a leadership role in class discussions and exercises.
Superior in All Respects
• All of the above plus; project exhibits a unique application of visual and dramatic
structure
• Exceptional ability to use craft technical skills to enhance story.
• Thematic concepts are communicated with intensity on both an emotional and
intellectual level.
• Innovative use of sound to open up new levels of meaning not inherent in the visuals.
• Consistently original and fully developed characters.
Final evaluations for successful completion of the course will be based upon finishing all
projects, class participation, and attendance.
NB: UNDER NO CONDITION WILL GRADES EVER BE DISCUSSED IN CLASS. NO
EXCEPTION. To discuss your grade, please make an appointment.
Grading Scale
The following number points to letter grade scale will be followed for this course:
Grade Summary
93 – 100% = A 77 – 79% = C+
90 – 92% = A- 73 – 76% = C
87 – 89% = B+ 70 – 72% = C-
83 – 86% = B 65 – 69% = D+
80 – 82% = B- 60 – 64% = D
0 – 59% = F
Class Grade:
Screenings: 60%
Final projects: 30%
Participation 10%
VII. PROCEDURAL ISSUES:
1. Sound Design:
For films produced in this class, I would like you to focus on the expressive potential of visual
and aural images. Use body language and physical behavior to reveal a character’s emotions,
attitudes and problems. It is what the characters do rather than say that is important. Remember
what Hitchcock said: "to photograph people talking is not filmmaking." Thanks to non-linear
editing systems all sound effects, music cues, voice-overs etc. can be placed in an exact and
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permanent relationship with the picture. Take advantage of this to create an expressive sound
design, which builds emotional impact.
2. Deadlines:
All due dates as outlined in the class schedule are firm. Deadlines are sometimes onerous but
they are a harsh reality in the film business. All projects and written assignments are to be
delivered to the instructor at the beginning of class.
ALL SUBSEQUENT WORK IN THE COURSE BUILDS UPON PREVIOUSLY
SUBMITTED ASSIGNMENTS, THEREFORE COMPLETING ALL ASSIGNMENTS
ON TIME IS IMPERATIVE. Besides, being on time is a good professional habit and an
integral part of the discipline of filmmaking.
The class will be divided into three groups: A, B and C. Project due dates are staggered by group
as per the class schedule. Group A projects, for example, are all due the same day followed a
week later by group B and so forth. Again, every project is to be turned in at the beginning of the
class, even if the filmmaker feels that it is unfinished.
DIGM 4374 films are works-in-progress and the emphasis is on process. Being on time is part of
the discipline of filmmaking and I encourage you to work on developing time management
skills, especially if you have a culture of missing due dates. I can assist you with “back-up” ideas
that can be used in the event your current project falls completely apart. NOTE: Films arriving
late (after the start of class) will have a grade penalty and will be screened at the instructor's
discretion.
3. Facilities:
The school will provide digital cameras and editing stations. The cameras and editing stations
will be shared between groups.
4. Titles & Credits:
Each project screening should include the title of the film and credits listing the director, cast,
and crew, others if needed. Be sure to acknowledge copyrighted material, music and story
sources, etc.
5. Reel Preparation:
Each reel should be clearly labeled with you name, class number, title and project stage (i.e. Cut
2). Begin each show with the SMPTE countdown leader. After the 2 seconds of black, fade in the
first shot or title card of your project. Pre-cue your tapes before coming to class screening.
VIII. SAFETY:
Filmmaking can be an unpredictable and even dangerous undertaking at times so use common
sense when shooting. Under no circumstances is it permissible to do projects that require stunts
or special effects, which might compromise the safety of the crew, the actors, or passersby.
Please pay particular attention to three concerns: Weapons, stunts and vehicles. Such things as
explosions, falls, car chases, fires, blood spurts, real weapons, tying into electrical mains,
shooting in unsafe areas, interfering with the flow of traffic, shooting in a moving car etc.
are strictly forbidden.
Our intent is not to limit your creativity but to assure your physical well-being. Use common
sense: do not shoot alone at night; do not leave equipment in your car (not even the trunk) for
any length of time. Work with others in the class whenever possible.
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NB: NO WEAPONS OR GUNS OF ANY KIND. NOT EVEN SQUIRT GUNS.
Health & Well-Being:
Film production is intense. But an important aspect of production is learning to manage one's
time, energy and health. This translates into scaling projects to a size that is do-able, having
back-up ideas, locations, equipment and actors in case of problems (weather, accidents, etc) and
realistically estimating the workload. If you are feeling overwhelmed, discuss your experiences
with fellow students. Chances are they too are experiencing pressure but, as the semester
progresses, you will be amazed at how much you are capable of and how quickly you become a
seasoned filmmaker. Regardless of the circumstances, don’t hesitate to ask for help. If you have
an ethical or professional dilemma or need to discuss your story ideas or progress, email me.
There are no dumb questions and to struggle alone is not necessary or recommended. Ask for
and offer your classmates help on their projects. One important bit of advice is to stay organized
and be realistic. This translates to:
• Keep projects small and feasible.
• Don't overshoot.
• Always have a few back-up ideas in case the current project falls apart.
• Work well in advance. Be always planning the next step.
• Be prepared!
Students with Disabilities:
The University of Houston is committed to providing qualified students with a disability an equal
opportunity to access the benefits, rights and privileges of school services, programs and
activities. The University of Houston provides reasonable accommodations to students with
documented disabilities.
IX. ETHICS & EXPECTATIONS:
It is critical to guard your opportunity to learn. Do not relinquish it to someone more
experienced. I expect you to operate your own camera, set your own lights, direct your own
characters, and edit your own film. Keep projects simple enough to handle in the allocated
amount of time with the resources you are given. Work together with other students -- it’s safer,
more effective and more fun!
Making movies involves additional issues of professional conduct off campus. Student
filmmakers need to observe the highest professional standards of behavior with documentary
subjects, crew, and location owners. The behavior of each class affects the reputation of the
entire University.
Learning is not a spectator sport. You are responsible for learning. For learning to happen you
must take an active role in the process. You must come to each class prepared to learn from the
lectures and from each other. This will require you to prepare the weekly assigned project. Being
prepared will enable you to intelligently participate in discussions and to construct a foundation
of knowledge on which you can build subsequent learning and to develop a thought process that
integrates concepts together.
During this course I do not just lecture about content. Instead, you help lead the class by telling
us what you know and what you are learning. You will engage in learning tasks during class that
will require you to use a variety of reasoning strategies to address issues and problems. You will
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write reflectively about what you are learning, how it relates to what you already know and how
you might apply an idea to an actual situation.
By choosing to take this class you agree to fulfill the following expectations:
• Class time must be spent in active participation.
• All assignments must be submitted on their due dates to receive a grade. Any work that is
late will be penalized. Work that is not turned in will be averaged as a zero.
• There will be NO make-up assignments.
• PLAN AHEAD. Documented mitigating circumstances may exempt an assignment from
the “late-zero” with the approval of the instructor, if the assignment is completed within
an agreed upon timetable. In these circumstances, an “Exception Contract” agreement
must be signed. Only one such agreement will be allowed per student during the
semester.
• ACADEMIC HONESTY IS EXPECTED. A student may be penalized, suspended or
expelled for academic dishonesty, including plagiarism.
Attendance Policy
Class attendance is mandatory. In each class we discuss assignments of increasingly growing
complexity that students will use to make the final film. Students with perfect attendance will
have their final grade adjusted upward by one letter grade step, i.e., a C- to C or a B+ to A-.
Students missing one class will face no penalty. All subsequent absences will be penalized by a
grade of ZERO for that day’s assignment. Tardy arrivals after role is taken will count toward
absences. Chronically arriving to class late is highly disrespectful to other students and to the
instructor. Those arriving late to class risk being locked out of class.
Student Conduct Policy
Disruptive or inappropriate behavior is not permitted. Definition of such behavior is the sole
judgment of the instructor. This will include, but is not limited to:
• Policy regarding cell phones, laptop computers or any other electronic device: All
cell phones, laptop computers and other electronic devices must be turned off before
entering the classroom. Anyone whose cell phone, blackberry or any other device
disturbs class or who is found text-messaging or reading email during the class time will
have 2 points deducted from their final grade for the first offense and 3 points for each
subsequent offense. One warning will be given before this penalty applies.
• Talking amongst students; passing notes.
• Comments that are made to distract from the class.
• Disrespectful comments to or about anyone or any group of people.
• Food shall NOT be permitted in the classroom.
• Do not attempt to discuss grades before, during or after class hours. Please make an
office appointment for these discussions.
Disclaimer
This syllabus and the associated schedule are subject to change at the discretion of the instructor.
Every effort will be made to communicate changes to students, but this may not always be
possible. All changes will be made with the intent of improving the original course objectives
and/or enhancing the students learning centered experience.
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Class Schedule
Week 1:
(Jan 18)
(Jan 20)
Introduction to class, Direct Cinema/Cinema Verite
Course assignments:
Short film – form groups
Lecture: Direct Cinema/Observation
Film: Place of Birth by Pawel Lozinsky
Setting guidelines and priorities for the course project
Film: Sherman’s March by Ross McElwee
Reading: Rabiger, Ch. 1-3
Week 2: Setting sketch
(Jan 24) Lecture: Character environment
Film: Prince is Back by Marina Goldovskaya
(Jan 26) Film: Grey Gardens by Albert and David Maysles;
Reading: Rabiger, Ch. 5-6
Week 3: Interview styles and techniques
(Jan. 31) Screening: Group A: Setting sketch
Lecture: Interview styles and techniques
Film: 3 Songs About Motherland by Marina Goldovskaya
(Feb 2) Film: Fog of War by Errol Morris
Reading: Rabiger, Ch. 7, 30
Week 4: Character development and observation
(Feb 7) Screenings: Group A: Interview
Lecture: Character Development and Observation
Film: A Married Couple by Alan King
(Feb 9) Screenings: Group B: Setting sketch
Film: Soldier Girls by Nick Broomfeld
The Salesman by Albert and David Maysles
Reading: Rabiger, Ch. 17-19
Week 5: Editing I: Manipulating reality
(Feb 14) Lecture: Pitching
Screenings: Group A: Character sketch
Film: Man With a Movie Camera by Dziga Vertov
F for Fake by Orson Welles
(Feb 16) Screenings: Group B: Interview
Group C: Setting sketch
Film: Capturing the Friedmans by Andrew Jarecki;
Reading: Rabiger, Ch. 4
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Week 6: Editing II: Integrating elements
(Feb 21) Screenings: Group A: Project Pitch
Lecture: Integrating Story Structure, Character, and Setting
Film: Spellbound by Jeffrey Blitz
(Feb 23) Screenings: Group B: Character sketch
Group C: Interview
Film: The Story of the Weeping Camel by Luigi Falorni
Reading: Rabiger, Ch. 23
Week 7: Directing
(Feb 28) Screenings: Group A: Rough footage screening I
Lecture: Directorial vision, concept development, editing
Film: A Bitter Taste of Freedom by M. Goldovskaya & D. Levin
(Mar 1) Screenings: Group B: Project Pitch
Group C: Character sketch
Film: Darwin’s Nightmare by Hubert Sauper
Reading: Rabiger, Ch. 12, 29
Week 8: Camera I, Investigative Documentary
(Mar 6) Screenings: Group A Rough footage screening II
Lecture: Investigative documentary
Film: Kamchatka: The Salmon Country by Daniel Levin
(Mar 8) Screenings: Group B Rough footage screening I
Group C Project Pitch
Film: Murder on a Sunday Morning by Jean-Xavier de Lestrade
Reading: Rabiger, Ch. 9-10
Spring Break
Week 9: Camera II, Ethnographic documentary
(Mar 20) Screenings: Group A: Cut 1
Lecture: Developing project presentation: structure & examples
Film: Les Maitres Foux by Jean Rouch
Man of Aran by Robert Flaherty
(Mar 22) Screenings: Group B: Rough footage screening II
Group C: Rough footage screening I
Film: Forest of Bliss by Robert Gardner
Reading: Rabiger, Ch. 25, 26, 28
Week 10: Editing, Experimental Documentary
(Mar 27) Screenings: Group A: Cut 2
Lecture: Developing Project Objective/Target Audience
Film: Sans Soleil by Chris Marker
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(Mar 29) Screenings: Group B: Cut 1
Group C: Rough footage screening II
Film: Films of Jay Rosenblatt
Reading: Rabiger, Ch. 13
Week: 11: Sound Design I, Documentary Shorts
(April 3) Screenings: Group A: Cut 3, Picture Lock
Lecture: Sound Design, Developing Synopsis/Project Description
Film: Short Subjects
(April 5) Screenings: Group B: Cut 2
Group C: Cut 1
Film: Short Subjects
Reading: Rabiger, Ch. 11, 14
Week 12: Sound Design II; Staged Documentaries and Re-enactments
(April 10) Screenings: Group A: Sound Design
Lecture: Developing Project Timeline
Film: What the Bleep Do We Know by William Arntz
(April 12) Screenings: Group B: Cut 3, Picture Lock
Group C: Cut 2
Film: The Thin Blue Line by Errol Morris
Reading: Rabiger, Ch. 20, 27, 15
Week 13: Integrating Visual Effects, Intellectual Documentaries
(April 17) Screenings: Group B: Sound Design
Lecture: Developing Project Budget
Film: In the Realms of the Unreal by Jessica Yu
(April 19) Screenings: Group C: Cut 3, Picture Lock
Film: Protagonist by Jessica Yu
Reading: Rabiger, Ch. 33, 34
Week 14: Final Projects and Project Presentations due
(April 24) Screenings: Group C: Sound Design
(April 26) Screenings: Group A: Premiere
Group B: Premiere
Group C: Premiere
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