Exporting Your Project in Premiere Document
Monday, December 14, 2015
Monday, December 7, 2015
Sunday, November 29, 2015
Sunday, November 22, 2015
Saturday, November 21, 2015
Final Project: Narrative Option - Continuity Story
Narrative Option - Continuity Story
Option A involves one person with a clear task to accomplish. Your character needs to move through space to accomplish this task but obstacles get in the way and they try to overcome these complications. They either succeed or fail. The task, the environment, and the action should reveal character.
Option B involves creating a story, or a mystery, which involves one person chasing (or following) another. The dramatic/ narrative purpose of the chase needs to become clear at some point.
Whichever option you chose, your piece should be a complete dramatic unit with a simple but clear beginning (set up), middle (development) and end (resolution). You will be expected to maintain cinematic continuity. Emphasis is on moving character(s) through space, so you’ll need multiple locations. Take time to create interesting and appropriate frames for the action. You MUST utilize at least ONE looking/ POV/ reaction sequence.
*DUE Mon, Nov. 23rd - Pre-production deliverables for this option: brief description of your story, a list of locations, a list of characters/actors, and detailed storyboards.
Look at slides from Lecture 10 which will be helpful.
Pre-Production
Storyboards: p.107
- images follow the linear story of how your film will tell the story
- one panel = one shot
- indicate the scene/shot #, scale (LS, MS, etc), character and action in shot
- note key dialogue
- note how actor moves into/out of frame, or camera move within frame
Shooting Script (Lined Script): p. 101
-shows coverage needed in each scene
-camera angles, shot size, camera moves
-next step is to organize the order in which shots will be filmed, as well as the scenes
1- Mark each scene with a number
2- Mark the script, “lined script”
3- Length of vertical lines indicates the duration of the take
4- Some actions will be covered multiple times, called “ACTION OVERLAPPING”, shot in various shot sizes or moves. You can choose how to use it in editing.
5-Each new shot begins with a letter (a) (b), etc
Overhead diagrams: p. 104
-includes camera set-ups in order of shoot
-blocking for actors
-direction of actors’ movement
Shot List: Organize what you’re shooting by shooting day, location, set ups: p. 115
-YOU DON’T SHOOT IN SEQUENCE OF YOUR STORYBOARD (there are exceptions to the
rule, but 99.99% of the time, this is true!) -Organize your shots by priority 1) Location: time of day, exterior vs. interior 2) Shot size: shoot wide first to CU
Option A involves one person with a clear task to accomplish. Your character needs to move through space to accomplish this task but obstacles get in the way and they try to overcome these complications. They either succeed or fail. The task, the environment, and the action should reveal character.
Option B involves creating a story, or a mystery, which involves one person chasing (or following) another. The dramatic/ narrative purpose of the chase needs to become clear at some point.
Whichever option you chose, your piece should be a complete dramatic unit with a simple but clear beginning (set up), middle (development) and end (resolution). You will be expected to maintain cinematic continuity. Emphasis is on moving character(s) through space, so you’ll need multiple locations. Take time to create interesting and appropriate frames for the action. You MUST utilize at least ONE looking/ POV/ reaction sequence.
*DUE Mon, Nov. 23rd - Pre-production deliverables for this option: brief description of your story, a list of locations, a list of characters/actors, and detailed storyboards.
Look at slides from Lecture 10 which will be helpful.
Pre-Production
Storyboards: p.107
- images follow the linear story of how your film will tell the story
- one panel = one shot
- indicate the scene/shot #, scale (LS, MS, etc), character and action in shot
- note key dialogue
- note how actor moves into/out of frame, or camera move within frame
Shooting Script (Lined Script): p. 101
-shows coverage needed in each scene
-camera angles, shot size, camera moves
-next step is to organize the order in which shots will be filmed, as well as the scenes
1- Mark each scene with a number
2- Mark the script, “lined script”
3- Length of vertical lines indicates the duration of the take
4- Some actions will be covered multiple times, called “ACTION OVERLAPPING”, shot in various shot sizes or moves. You can choose how to use it in editing.
5-Each new shot begins with a letter (a) (b), etc
Overhead diagrams: p. 104
-includes camera set-ups in order of shoot
-blocking for actors
-direction of actors’ movement
Shot List: Organize what you’re shooting by shooting day, location, set ups: p. 115
-YOU DON’T SHOOT IN SEQUENCE OF YOUR STORYBOARD (there are exceptions to the
rule, but 99.99% of the time, this is true!) -Organize your shots by priority 1) Location: time of day, exterior vs. interior 2) Shot size: shoot wide first to CU
Final Project: Mini-Documentary Option
Hunter College, with its tens of thousands of students and thousands of staff members, is as big as a small town, and there are myriad activities that go into making it what it is. Pick an individual, group, faculty member, student or staff person who you think has something of interest to offer and create a documentary “portrait” of them. Your piece must involve at least one interview as well as other visual material that helps tell the story.
You should pre-interview, as we did with our audio profiles, and restrict yourself to 5 to 10 minutes of raw interview material. You will be working with our zoom recorders, with limited capabilities, so you will have to get close and pick a quiet location. Remember that visuals are more than just “B-roll,” and they should help tell the story on their own.
While not required, you can add additional info through narration or text cards. (No on-camera hosts please!) You will also need to create a main title, as well as “lower thirds” identifying the people you interview.
*DUE Mon, Nov. 23rd -Preproduction deliverables for this option: a one-page treatment, a list of interview questions and a shot list of the visuals you hope to film.
Look at slides from Lecture 10 which will be helpful.
Pre-Production
Tools - Treatment
Includes only what the viewer will see and hear as they watch the film (no background on the issue, camera angles, etc.)
Example from the sample film:
The film opens with an unusual angle of a ballet dancer as she moves her arms into second position, then third. The camera is at her waist level, and it moves with her. We see the concentration on her feet and feel the fluidity of her movements. Next, over a few shots of the same dancer putting on her toe shoes and fixing her hair, we hear her introduce herself. “My name Soltari Gomez and I’ m a professional contemporary Ballet dancer ...”

Tools: Shot list
Interview
Shots of Soltari dancing
LS, MS, CU
Shot from perspective of her body
Shots of Soltari getting dressed - various
Visuals from studio: books, out the window, boombox, signs on wall, other details.
LS Soltari walking down hallway after practice (from front and behind)
Shots of neighborhood where her studio is

Sync vs. Non-Sync Sound
Do not use camera microphone for dialogue! Must use zoom recorder and sync in editing
(will review next week)
Think creatively about how to minimize sync sound

Key Concepts
Documentary - definition Documentary elements
Visual Evidence
Observational Footage
Narration: first person, third person Sync vs. Non-sync Sound Treatment
Shot list
You should pre-interview, as we did with our audio profiles, and restrict yourself to 5 to 10 minutes of raw interview material. You will be working with our zoom recorders, with limited capabilities, so you will have to get close and pick a quiet location. Remember that visuals are more than just “B-roll,” and they should help tell the story on their own.
While not required, you can add additional info through narration or text cards. (No on-camera hosts please!) You will also need to create a main title, as well as “lower thirds” identifying the people you interview.
*DUE Mon, Nov. 23rd -Preproduction deliverables for this option: a one-page treatment, a list of interview questions and a shot list of the visuals you hope to film.
Look at slides from Lecture 10 which will be helpful.
Pre-Production
Tools - Treatment
Includes only what the viewer will see and hear as they watch the film (no background on the issue, camera angles, etc.)
Example from the sample film:
The film opens with an unusual angle of a ballet dancer as she moves her arms into second position, then third. The camera is at her waist level, and it moves with her. We see the concentration on her feet and feel the fluidity of her movements. Next, over a few shots of the same dancer putting on her toe shoes and fixing her hair, we hear her introduce herself. “My name Soltari Gomez and I’ m a professional contemporary Ballet dancer ...”

Tools: Shot list
Interview
Shots of Soltari dancing
LS, MS, CU
Shot from perspective of her body
Shots of Soltari getting dressed - various
Visuals from studio: books, out the window, boombox, signs on wall, other details.
LS Soltari walking down hallway after practice (from front and behind)
Shots of neighborhood where her studio is

Sync vs. Non-Sync Sound
Do not use camera microphone for dialogue! Must use zoom recorder and sync in editing
(will review next week)
Think creatively about how to minimize sync sound

Key Concepts
Documentary - definition Documentary elements
Visual Evidence
Observational Footage
Narration: first person, third person Sync vs. Non-sync Sound Treatment
Shot list
Wednesday, November 18, 2015
Blog #4: Field Trip / Museum of the Moving Image
Fall 2015 – Nov. 25 Visit and Blogging Assignment
The Museum of the Moving Image is in Queens, on 35th Avenue at the corner of 36th Street in Astoria. See www.movingimage.us for more information.
There will be no lecture that day. Instead we will be going to the museum as a class. We will meet at the museum at 11:15 AM, and we have booked for a 60 minute tour with museum guides.
You are welcome to stay afterwards. Please give your lab instructors $6.50 cash ahead of time.
From Hunter, you take the 6 train to 59th Street(or walk down). Then take the M or R train to Steinway Street (do NOT take the N train). Use the 34th Avenue exit near the back end of train. Walk south along Steinway Street; turn right on 35 Avenue. Proceed three blocks to the Museum entrance just past 37th Street. Check www.movingimage.us for other options.
At the museum you will find exhibits and demonstrations relating to many aspects of media production. Your assignment is to go to the museum and, with your group, experience at least one of those demos, and report on your blog about that participation. In this blog you should make an effort to explain what you discovered about a specific aspect of media production, what you learned that you didn’t know before, in a way that might communicate to the non-initiated. How have the changes in moving image technology changed the way moving images are created, how they look, and how we experience them?
This blog is 250 words in length. NOTE: Attendance is required.
Given that this is the day before Thanksgiving, we realize some of you might not be able to attend. Please let you lab instructor know as we have already paid the museum for your ticket and we need to change the number of students attending so we don’t lose the money. If you can’t attend with the lcass, you will have to visit the museum on your own. You will not, however, get either a tour or a discount.
Blog is due in Lab 13.
The Museum of the Moving Image is in Queens, on 35th Avenue at the corner of 36th Street in Astoria. See www.movingimage.us for more information.
There will be no lecture that day. Instead we will be going to the museum as a class. We will meet at the museum at 11:15 AM, and we have booked for a 60 minute tour with museum guides.
You are welcome to stay afterwards. Please give your lab instructors $6.50 cash ahead of time.
From Hunter, you take the 6 train to 59th Street(or walk down). Then take the M or R train to Steinway Street (do NOT take the N train). Use the 34th Avenue exit near the back end of train. Walk south along Steinway Street; turn right on 35 Avenue. Proceed three blocks to the Museum entrance just past 37th Street. Check www.movingimage.us for other options.
At the museum you will find exhibits and demonstrations relating to many aspects of media production. Your assignment is to go to the museum and, with your group, experience at least one of those demos, and report on your blog about that participation. In this blog you should make an effort to explain what you discovered about a specific aspect of media production, what you learned that you didn’t know before, in a way that might communicate to the non-initiated. How have the changes in moving image technology changed the way moving images are created, how they look, and how we experience them?
This blog is 250 words in length. NOTE: Attendance is required.
Given that this is the day before Thanksgiving, we realize some of you might not be able to attend. Please let you lab instructor know as we have already paid the museum for your ticket and we need to change the number of students attending so we don’t lose the money. If you can’t attend with the lcass, you will have to visit the museum on your own. You will not, however, get either a tour or a discount.
Blog is due in Lab 13.
Sunday, November 15, 2015
Project 3: Continuity Storytelling / Mini-Documentary
PROJECT 3: CONTINUITY STORYTELLING / MINI-DOCUMENTARY
You have the option of doing either a MINI-DOCUMENTARY or a CONTINUITY STORY for your final project. You will work in groups of two and create one project together. Your film may not be longer than 3 minutes.
This is an assignment that includes video and audio, so if you will have to sync sound (dialogue or interview) you will have to use double system sound (we will go over this in lecture and lab). You may also use ambience recorded at your location, music, sound effects or narration.
IMPORTANT DATES:
Preproduction documents are due in Lab 11!
Final Project due in Lab 14 (or when your lab instructors tell you)
You will shoot during class time, but you should expect to do some editing on this project OUTSIDE of class time.
NARRATIVE OPTION: Choose A or B
Option A involves one person with a clear task to accomplish. Your character needs to move through space to accomplish this task but obstacles get in the way and they try to overcome these complications. They either succeed or fail. The task, the environment, and the action should reveal character.
Option B involves creating a story, or a mystery, which involves one person chasing (or following) another. The dramatic/ narrative purpose of the chase needs to become clear at some point.
Whichever option you chose, your piece should be a complete dramatic unit with a simple but clear beginning (set up), middle (development) and end (resolution). You will be expected to maintain cinematic continuity. Emphasis is on moving character(s) through space, so you’ll need multiple locations. Take time to create interesting and appropriate frames for the action. You MUST utilize at least ONE looking/ POV/ reaction sequence.
*Pre-production deliverables for this option: brief description of your story, a list of locations, a list of characters/actors, and detailed storyboards.
DOCUMENTARY OPTION
Hunter College, with its tens of thousands of students and thousands of staff members, is as big as a small town, and there are myriad activities that go into making it what it is. Pick an individual, group, faculty member, student or staff person who you think has something of interest to offer and create a documentary “portrait” of them. Your piece must involve at least one interview as well as other visual material that helps tell the story.
You have the option of doing either a MINI-DOCUMENTARY or a CONTINUITY STORY for your final project. You will work in groups of two and create one project together. Your film may not be longer than 3 minutes.
This is an assignment that includes video and audio, so if you will have to sync sound (dialogue or interview) you will have to use double system sound (we will go over this in lecture and lab). You may also use ambience recorded at your location, music, sound effects or narration.
IMPORTANT DATES:
Preproduction documents are due in Lab 11!
Final Project due in Lab 14 (or when your lab instructors tell you)
You will shoot during class time, but you should expect to do some editing on this project OUTSIDE of class time.
NARRATIVE OPTION: Choose A or B
Option A involves one person with a clear task to accomplish. Your character needs to move through space to accomplish this task but obstacles get in the way and they try to overcome these complications. They either succeed or fail. The task, the environment, and the action should reveal character.
Option B involves creating a story, or a mystery, which involves one person chasing (or following) another. The dramatic/ narrative purpose of the chase needs to become clear at some point.
Whichever option you chose, your piece should be a complete dramatic unit with a simple but clear beginning (set up), middle (development) and end (resolution). You will be expected to maintain cinematic continuity. Emphasis is on moving character(s) through space, so you’ll need multiple locations. Take time to create interesting and appropriate frames for the action. You MUST utilize at least ONE looking/ POV/ reaction sequence.
*Pre-production deliverables for this option: brief description of your story, a list of locations, a list of characters/actors, and detailed storyboards.
DOCUMENTARY OPTION
Hunter College, with its tens of thousands of students and thousands of staff members, is as big as a small town, and there are myriad activities that go into making it what it is. Pick an individual, group, faculty member, student or staff person who you think has something of interest to offer and create a documentary “portrait” of them. Your piece must involve at least one interview as well as other visual material that helps tell the story.
You should pre-interview, as we did with our audio profiles, and restrict yourself to 5 to 10
minutes of raw interview material. You will be working with our zoom recorders, with limited
capabilities, so you will have to get close and pick a quiet location. Remember that visuals are
more than just “B-roll,” and they should help tell the story on their own.
While not required, you can add additional info through narration or text cards. (No on-camera hosts please!) You will also need to create a main title, as well as “lower thirds” identifying the people you interview.
*Preproduction deliverables for this option: a one-page treatment, a list of interview questions and a shot list of the visuals you hope to film.
While not required, you can add additional info through narration or text cards. (No on-camera hosts please!) You will also need to create a main title, as well as “lower thirds” identifying the people you interview.
*Preproduction deliverables for this option: a one-page treatment, a list of interview questions and a shot list of the visuals you hope to film.
Sunday, November 8, 2015
BLOG POST #3: Relationships Between Shots
For this assignment, you will pick a section of linear media (any genre) and examine the way it is constructed. Pick an example where you think the editing has made a significant contribution to the storytelling and the feel of the piece. What is the relationship of the sounds to the images? Of the images to one another? How are the shots organized in terms of their content, composition, color, movement, etc.? What determines how long the shots are and what order they are placed in? It there a “right” place to cut or not to cut? Are the cuts seamless or obvious? Why?
You should choose a short piece of media (2-3 minutes) you can watch several times, so preferably it will be available online or on DVD. Providing a link within your blog to the media, or embedding a clip (if you are able to – analyzing a piece of media allows you to reproduce it under the Fair Use aspects of Copyright Law) would be great but is not required.
250 Words Due in Lab #10
(Should be posted on your blog by Monday, November 16th)
You should choose a short piece of media (2-3 minutes) you can watch several times, so preferably it will be available online or on DVD. Providing a link within your blog to the media, or embedding a clip (if you are able to – analyzing a piece of media allows you to reproduce it under the Fair Use aspects of Copyright Law) would be great but is not required.
250 Words Due in Lab #10
(Should be posted on your blog by Monday, November 16th)
Sunday, November 1, 2015
Sunday, October 25, 2015
Wednesday, October 21, 2015
Extra Credit Opportunity - Blog Post
Attend the The Third Work symposium on sound at Hunter College on Friday, Nov. 13 and Saturday, Nov. 14th
The symposium takes place on the afternoon and evening of Friday, November 13th and all day and evening on Saturday, November 14th.
Attend one workshop and write a blog about it.
You can find more information on the website here. The full schedule is here. A list of participants is here. There's a schedule-at-a-glance here.
The symposium takes place on the afternoon and evening of Friday, November 13th and all day and evening on Saturday, November 14th.
Attend one workshop and write a blog about it.
You can find more information on the website here. The full schedule is here. A list of participants is here. There's a schedule-at-a-glance here.
Assignment 2: Audio Portrait of a Person - Due: Lab 9
Your second assignment for the semester is based on an interview with one of your classmates. First, you will pre-interview a classmate in order to define a theme for your piece. As you listen to your classmate, try to identify something unique about their story that “grabs” you. The following week, you will interview the person using questions you have written up before the interview, recording the interview with the Zoom recorder. Finally, you will create a multi-track audio piece in Premiere Pro based on the interview.
When you do your recording, record ample material, but try not to go overboard. 15 minutes worth should work. The final piece should be 3 to 4 minutes in length. Your audio portrait should mix elements including the voice of the interviewee, your voice (if you choose to include it), ambient background sound, music, and other sound effects as you see fit. When you have a finished piece you will upload it so it can be accessed through your blog site.
Remember to identify a theme that will make your piece say something special about the world, or the “human condition.” A story becomes compelling when it communicates something unique that others can relate to.
DUE: Lab 9
Blog Assignment #2: “What I Hear” - 2 Parts
Post on your own blog by Monday, Oct. 26th
Part 1. The Soundwalk
Spend an hour doing a “Soundwalk” around a particular neighborhood in NYC.
“Soundwalk” is a term invented by R. Murray Shafer, a musician and professor at Simon Fraser University. Shafer noticed in working with his music students that most of them couldn't remember even five sounds they had heard earlier that day. He created the soundwalk, a kind of walking meditation, as an “ear cleaning exercise,” a way to increase sonic awareness.
In An Introduction to Acoustic Ecology, Kendall Wrightson writes, “In order to listen we must stop, or at least slow down – physically and psychologically. We need to try to be human beings, instead of “human doings.” So – during your sound walk, do not answer your phone, text, browse, read or do anything but be, and listen.
The goal of this exercise is to “open your ears.” New York offers a rich sound environment. Close your eyes and listen.
Part 2: The Blog
What is the texture of the sound? What are the specific instruments in the city symphony? What sounds are clues to a specific neighborhood? A specific time of day? What are sounds that are unique or meaningful to you? Expected or unexpected?
Some of Shafer's terminology might be useful to you in writing about your experience on the soundwalk:
Part 1. The Soundwalk
Spend an hour doing a “Soundwalk” around a particular neighborhood in NYC.
“Soundwalk” is a term invented by R. Murray Shafer, a musician and professor at Simon Fraser University. Shafer noticed in working with his music students that most of them couldn't remember even five sounds they had heard earlier that day. He created the soundwalk, a kind of walking meditation, as an “ear cleaning exercise,” a way to increase sonic awareness.
In An Introduction to Acoustic Ecology, Kendall Wrightson writes, “In order to listen we must stop, or at least slow down – physically and psychologically. We need to try to be human beings, instead of “human doings.” So – during your sound walk, do not answer your phone, text, browse, read or do anything but be, and listen.
The goal of this exercise is to “open your ears.” New York offers a rich sound environment. Close your eyes and listen.
Part 2: The Blog
What is the texture of the sound? What are the specific instruments in the city symphony? What sounds are clues to a specific neighborhood? A specific time of day? What are sounds that are unique or meaningful to you? Expected or unexpected?
Some of Shafer's terminology might be useful to you in writing about your experience on the soundwalk:
-
Keynotes: background sounds
-
Sound Signals: foreground sounds intended to attract attention.
-
Soundmarks: sounds particularly regarded by a community or its visitors
(analogous to visual “landmarks”)
250 words. Due in Lab 7.
Monday, October 19, 2015
Lab 8 Project #1 Assignment - Define a Place
Alexandrine Baldillo
https://vimeo.com/141466911
Michael Cady Jr.
https://vimeo.com/141467380
Kaman Cheung
https://youtu.be/OMfpANOxfGQ
Jessica Flaumenbaum
https://www.youtube.com/watch?v=xlj6eziqdNY&feature=youtu.be
Gabriella Good
https://vimeo.com/141466271
Jason Honstetter
https://vimeo.com/141466981
Brandon Lee
https://vimeo.com/141569853
Gabriela Leon
https://vimeo.com/141467525
Vivian "Rae" Leonard
https://vimeo.com/141467229
Raven Lui
https://vimeo.com/141499532
Marwin Ospina
https://www.youtube.com/watch?v=nrr6F9t7s9g
Tiara Patterson
https://www.youtube.com/watch?v=bTKQs7LjFUk&feature=youtu.be
Nyaisha Pete
https://vimeo.com/141466199
Marcos Prado
https://vimeo.com/141467033
Eleanor Vassil
https://vimeo.com/141466425
Danielle Wright
https://vimeo.com/141566683
https://vimeo.com/141466911
Michael Cady Jr.
https://vimeo.com/141467380
Kaman Cheung
https://youtu.be/OMfpANOxfGQ
Jessica Flaumenbaum
https://www.youtube.com/watch?v=xlj6eziqdNY&feature=youtu.be
Gabriella Good
https://vimeo.com/141466271
Jason Honstetter
https://vimeo.com/141466981
Brandon Lee
https://vimeo.com/141569853
Gabriela Leon
https://vimeo.com/141467525
Vivian "Rae" Leonard
https://vimeo.com/141467229
Raven Lui
https://vimeo.com/141499532
Marwin Ospina
https://www.youtube.com/watch?v=nrr6F9t7s9g
Tiara Patterson
https://www.youtube.com/watch?v=bTKQs7LjFUk&feature=youtu.be
Nyaisha Pete
https://vimeo.com/141466199
Marcos Prado
https://vimeo.com/141467033
Eleanor Vassil
https://vimeo.com/141466425
Danielle Wright
https://vimeo.com/141566683
Lab 7 Project #1 Assignment - Define a Place
Andrea Alaba
https://vimeo.com/141472180
Cassidy Bock
https://vimeo.com/141682861
Anthony Caroccia
https://vimeo.com/141452424
Kristie Douglas
https://vimeo.com/141453367
Alexandra Karounos
https://vimeo.com/141452409
Erin Narvaez
https://vimeo.com/141560718
Carla Muevecela Pacheco
https://vimeo.com/141453350
Kara Paternostro
https://vimeo.com/141452387
Christopher Perez
ON DRIVE
Kaitlin Rae Silver
https://vimeo.com/141452696
Ayana Tan
https://vimeo.com/141664837
Giuliana Videla
https://vimeo.com/141452440
Qasim Warraich
https://vimeo.com/141450316
Hayley Watkins
https://vimeo.com/141615752
https://vimeo.com/141472180
Cassidy Bock
https://vimeo.com/141682861
Anthony Caroccia
https://vimeo.com/141452424
Kristie Douglas
https://vimeo.com/141453367
Alexandra Karounos
https://vimeo.com/141452409
Erin Narvaez
https://vimeo.com/141560718
Carla Muevecela Pacheco
https://vimeo.com/141453350
Kara Paternostro
https://vimeo.com/141452387
Christopher Perez
ON DRIVE
Kaitlin Rae Silver
https://vimeo.com/141452696
Ayana Tan
https://vimeo.com/141664837
Giuliana Videla
https://vimeo.com/141452440
Qasim Warraich
https://vimeo.com/141450316
Hayley Watkins
https://vimeo.com/141615752
Monday, September 28, 2015
Sunday, September 27, 2015
Wednesday, September 16, 2015
Media 160 Project #1 Define a Place
PROJECT #1: DEFINE A PLACE
In this exercise students are required to “define a space or location” through visually controlled and expressive shooting.
Begin by choosing a location either on campus or close by.
Before shooting anything, observe the space for a while. What is happening there? What details exist that can tell a story about the space (signs, activities, objects, etc.)?
Now, make a mental “shopping list” of shots. Think about what camera position, shot size and composition will work best for each shot. Try not to move the camera unless your move has a clear beginning and end. Remember that a still frame with movement going on in the frame can be more powerful than a moving shot.
Each team member will conceive of and shoot 10 shots and then all the shots will be pooled for editing.
Think carefully about what you wish to convey. It could be an emotional tone you feel in the location (claustrophobia, fear, energy); or it could be that you are interested in the quality of light in the space; or perhaps what intrigues you is what goes on there; or maybe you like the architectural details, or the colors; you could also contrast interior with exterior, light and dark, movement and stillness ... it’s up to you! You don’t need to make a huge statement, but you must find some specific angle on the space and reveal that visually.
Also consider how your shots might eventually come together in the editing. Do you want your images to lead us into the space from the outside? Or do you want to create a question as to where we are before you reveal the larger space? There are many different ways to approach this.
Each student will then edit their own short film using the team’s material. Although the material should be silent (no natural sound) footage can be cut to an appropriate music track.
THIS IS A GROUP PROJECT. You must both agree on the location and the concept. Each person can design their own shots or you can agree together on each shot. Everyone must handle the camera and shoot.
HAVE FUN WITH THIS!
In this exercise students are required to “define a space or location” through visually controlled and expressive shooting.
Begin by choosing a location either on campus or close by.
Before shooting anything, observe the space for a while. What is happening there? What details exist that can tell a story about the space (signs, activities, objects, etc.)?
Now, make a mental “shopping list” of shots. Think about what camera position, shot size and composition will work best for each shot. Try not to move the camera unless your move has a clear beginning and end. Remember that a still frame with movement going on in the frame can be more powerful than a moving shot.
Each team member will conceive of and shoot 10 shots and then all the shots will be pooled for editing.
Think carefully about what you wish to convey. It could be an emotional tone you feel in the location (claustrophobia, fear, energy); or it could be that you are interested in the quality of light in the space; or perhaps what intrigues you is what goes on there; or maybe you like the architectural details, or the colors; you could also contrast interior with exterior, light and dark, movement and stillness ... it’s up to you! You don’t need to make a huge statement, but you must find some specific angle on the space and reveal that visually.
Also consider how your shots might eventually come together in the editing. Do you want your images to lead us into the space from the outside? Or do you want to create a question as to where we are before you reveal the larger space? There are many different ways to approach this.
Each student will then edit their own short film using the team’s material. Although the material should be silent (no natural sound) footage can be cut to an appropriate music track.
THIS IS A GROUP PROJECT. You must both agree on the location and the concept. Each person can design their own shots or you can agree together on each shot. Everyone must handle the camera and shoot.
HAVE FUN WITH THIS!
*We will be shooting this assignment during Monday's Lab on Sept. 21st
Blog Assignment #1: Artist Statement
Blog Assignment #1: ARTIST STATEMENT
FILM/MEDIA 160
FALL 2015
LENGTH: 250 Words
This short statement is to help you and your potential audience get an initial glimpse of the media maker behind the work. It is an important part both of thinking about yourself as a creator, a producer of ideas, images and more, and of getting the word out about your work. You should think about your personal motivation, as well as about the medium in which you work (or in which you hope to work!) and your background. Where do your curiosities lie? What have you studied that interests you? What experiences have helped shape your worldview? Try to be specific. Questions of memory? Family relationships? Identity? Music? Theater? Politics? What about influences? Are there certain artists or filmmakers that you admire or appreciate? TV Shows? Websites? Games? Most importantly, think not only about “what you’re interested in,” but about why something interests you, and about what you are trying to say with your work. What truths about the world or your life are you trying express in your work? What are you truly passionate about? In other words, it's not enough to say, “I’m interested in cartooning.” Rather, dig into what cartoons might express that you identify with: “I’m interested in showing that humor can help people broach the most difficult ideas and feelings.”
DUE: Lab 2
This short statement is to help you and your potential audience get an initial glimpse of the media maker behind the work. It is an important part both of thinking about yourself as a creator, a producer of ideas, images and more, and of getting the word out about your work. You should think about your personal motivation, as well as about the medium in which you work (or in which you hope to work!) and your background. Where do your curiosities lie? What have you studied that interests you? What experiences have helped shape your worldview? Try to be specific. Questions of memory? Family relationships? Identity? Music? Theater? Politics? What about influences? Are there certain artists or filmmakers that you admire or appreciate? TV Shows? Websites? Games? Most importantly, think not only about “what you’re interested in,” but about why something interests you, and about what you are trying to say with your work. What truths about the world or your life are you trying express in your work? What are you truly passionate about? In other words, it's not enough to say, “I’m interested in cartooning.” Rather, dig into what cartoons might express that you identify with: “I’m interested in showing that humor can help people broach the most difficult ideas and feelings.”
DUE: Lab 2
Wednesday, September 9, 2015
Media 160 - Fall 2015
Section 8 - 3:10-5:00pm
Lab Instructor: Betty Yu / email: bettyyu21@gmail.com
Alexandrine Baldillo
Michael Cady Jr.
Ka Man Cheung
Jessica Flaumenbaum
Gabriella Good
Jason Honstetter
Brandon Lee
Gabriela Leon
Vivian "Rae" Leonard
Hoi Lun Lui
Marwin Ospina
Tiara Patterson
Nyaisha Pete
Marcos Prado
Eleanor Vassil
Danielle Wright
Section 8 - 3:10-5:00pm
Lab Instructor: Betty Yu / email: bettyyu21@gmail.com
Alexandrine Baldillo
Michael Cady Jr.
Ka Man Cheung
Jessica Flaumenbaum
Gabriella Good
Jason Honstetter
Brandon Lee
Gabriela Leon
Vivian "Rae" Leonard
Hoi Lun Lui
Marwin Ospina
Tiara Patterson
Nyaisha Pete
Marcos Prado
Eleanor Vassil
Danielle Wright
Media 160 - Fall 2015
Section 7 - 1:10-3:00pm
Lab Instructor: Betty Yu / email: bettyyu21@gmail.com
Andrea Alaba
Cassidy Bock
Anthony Caroccia
Kristie Douglas
Jada Ferguson
Alexandra Karounos
Payton Mcdermott
Erin Narvaez
Carla Muevecela Pacheco
Kara Paternostro
Christopher Perez
Kaitlin Rae Silver
Ayana Tan
Giuliana Videla
Qasim Warraich
Hayley Watkins
Section 7 - 1:10-3:00pm
Lab Instructor: Betty Yu / email: bettyyu21@gmail.com
Andrea Alaba
Cassidy Bock
Anthony Caroccia
Kristie Douglas
Jada Ferguson
Alexandra Karounos
Payton Mcdermott
Erin Narvaez
Carla Muevecela Pacheco
Kara Paternostro
Christopher Perez
Kaitlin Rae Silver
Ayana Tan
Giuliana Videla
Qasim Warraich
Hayley Watkins
Course Description:
MEDP/FILMP 160 introduces students to the practical fundamentals of film, video, and digital media production in a lecture/lab format. It is a foundations course in time-based media. Students are introduced to a range of media production equipment and techniques, including:
● Time-based visual storytelling
● Film, video and audio technologies
● Basic editing techniques
● Image composition and framing for motion pictures
● The use of digital video cameras and digital audio recorders
This course is a prerequisite for all film majors. For media majors, both 150 and 160 are required.
Students will be required to host a blog that will be linked to their individual portfolio websites. In their blog entries, they will write about their class experiences and analyze the media around them, using analytical tools gained in the class. Blog entries are due on the date indicated in the syllabus and should be 250 words in length.
The required text for this class is Voice & Vision: A Creative Approach to Narrative Film and DV Production by Mick Hurbis-Cherrier, Focal Press: 2nd Edition. 2011 (available at Shakespeare & Co. across from Hunter on Lexington Avenue). Additional readings will be posted on Blackboard and are also required reading. Students are required to purchase a portable USB drive (16 GB minimum size), which will cost less than $20. This will give you space to store your original media.
Blackboard Site: We will be using Blackboard as an integral part of the class. You will be required to download readings from Blackboard and to check Blackboard for general course announcements. We are using a Master Course (Fall 2015: FILMP MEDP 160 Master Course) so make sure you use that for course access instead of your particular section. If you need help accessing Blackboard please contact SNET help desk at 212-650-3624 or email snet@hunter.cuny.edu.
Labs: In order to complete required assignments, you may have to work on editing your assignments outside of class time. Weekly open lab hours will be available in 432HN, 478HN and the ICIT Mac lab on the 10th floor of the North Building.
Video and sound equipment will not be able to be used outside of class time (there are limited exceptions).
Lateness and Absences: Attendance to both lecture and lab sections is mandatory. Three missed classes (either lab or lecture) will result in the reduction of your grade by one full letter grade on top of the 10% for attendance! Medical emergencies must be documented to be excused. Being late to class negatively impacts your attendance record and will damage your grade. Late assignments that are not excused by your section leader will have their grades reduced at the rate of one letter grade per week.
Please note that you must notify your section leader ahead of time if you cannot attend class on the day of a quiz or exam, so we can arrange an alternate time for you to take it. This will only be done in cases where there is a well-documented reason for missing the exam date.
Grading Breakdown:
Attendance and participation (including in lecture): 10% Blogs (4) 10%
Assignment #1 (Define a Space): 10%
Assignment #2 (Audio Portrait): 15%
Assignment #3 (Final Project): 15% Quiz #1: 10%
Quiz #2: 10%
Final Exam: 20%
Academic Integrity:
Hunter College regards acts of academic dishonesty (e.g., plagiarism, cheating on examinations, obtaining unfair advantage, and falsification of records and official documents) as serious offenses against the values of intellectual honesty. The College is committed to enforcing the CUNY Policy on Academic Integrity and will pursue cases of academic dishonesty according to the Hunter College Academic Integrity Procedures.
MEDP/FILMP 160 introduces students to the practical fundamentals of film, video, and digital media production in a lecture/lab format. It is a foundations course in time-based media. Students are introduced to a range of media production equipment and techniques, including:
● Time-based visual storytelling
● Film, video and audio technologies
● Basic editing techniques
● Image composition and framing for motion pictures
● The use of digital video cameras and digital audio recorders
This course is a prerequisite for all film majors. For media majors, both 150 and 160 are required.
Students will be required to host a blog that will be linked to their individual portfolio websites. In their blog entries, they will write about their class experiences and analyze the media around them, using analytical tools gained in the class. Blog entries are due on the date indicated in the syllabus and should be 250 words in length.
The required text for this class is Voice & Vision: A Creative Approach to Narrative Film and DV Production by Mick Hurbis-Cherrier, Focal Press: 2nd Edition. 2011 (available at Shakespeare & Co. across from Hunter on Lexington Avenue). Additional readings will be posted on Blackboard and are also required reading. Students are required to purchase a portable USB drive (16 GB minimum size), which will cost less than $20. This will give you space to store your original media.
Blackboard Site: We will be using Blackboard as an integral part of the class. You will be required to download readings from Blackboard and to check Blackboard for general course announcements. We are using a Master Course (Fall 2015: FILMP MEDP 160 Master Course) so make sure you use that for course access instead of your particular section. If you need help accessing Blackboard please contact SNET help desk at 212-650-3624 or email snet@hunter.cuny.edu.
Labs: In order to complete required assignments, you may have to work on editing your assignments outside of class time. Weekly open lab hours will be available in 432HN, 478HN and the ICIT Mac lab on the 10th floor of the North Building.
Video and sound equipment will not be able to be used outside of class time (there are limited exceptions).
Lateness and Absences: Attendance to both lecture and lab sections is mandatory. Three missed classes (either lab or lecture) will result in the reduction of your grade by one full letter grade on top of the 10% for attendance! Medical emergencies must be documented to be excused. Being late to class negatively impacts your attendance record and will damage your grade. Late assignments that are not excused by your section leader will have their grades reduced at the rate of one letter grade per week.
Please note that you must notify your section leader ahead of time if you cannot attend class on the day of a quiz or exam, so we can arrange an alternate time for you to take it. This will only be done in cases where there is a well-documented reason for missing the exam date.
Grading Breakdown:
Attendance and participation (including in lecture): 10% Blogs (4) 10%
Assignment #1 (Define a Space): 10%
Assignment #2 (Audio Portrait): 15%
Assignment #3 (Final Project): 15% Quiz #1: 10%
Quiz #2: 10%
Final Exam: 20%
Academic Integrity:
Hunter College regards acts of academic dishonesty (e.g., plagiarism, cheating on examinations, obtaining unfair advantage, and falsification of records and official documents) as serious offenses against the values of intellectual honesty. The College is committed to enforcing the CUNY Policy on Academic Integrity and will pursue cases of academic dishonesty according to the Hunter College Academic Integrity Procedures.
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