Sections as per Schedule of Classes at https://classes.usc.edu/term-20153/classes/ctpr/
under CTPR 547L
Editing Lab #18786
Recommended but not required
Clearance and Copyright: Everything the Independent Filmmaker Needs to Know, Michael Donaldson, 3rd edition, Silman-James Press, 2008, ISBN 1879505394 Directing the Documentary, Michael Rabiger, 5th edition, Focal Press, 2009 The Film Editing Room Handbook: How to Tame the Chaos of the Editing Room, Norman Hollyn, 4th Edition, Peachpit Press/Pearson. ISBN 13: 978-0321679529 Sound for Digital Video, Tomlinson Holman, Focal Press, 2nd edition, 2005, ISBN 0-240-80720-0 DOCUMENTARY PROJECTS: Lost and Found (LF)
Follows senior women as they rebuild their lives after losing their husbands. Black and Blue (BB)
An authentic exploration of the personal perspectives and experiences of Black Police Officers and the Black community in a racially charged climate. Children of the Rising Phoenix (CRP) Explores how the lives of Syrians living in Southern California are affected by the Syrian war and how psychological turmoil affects their ability to establish new lives for themselves.
Crew lists to be distributed at the first class. “A camera is a tool for learning how to see without a camera.”
Dorothea Lange Week 1 CLASS COME HAVING READ THE SAFETY RULES &
STUDENT PRODUCTION HANDBOOK & ATTENDED THE
SAFETY SEMINAR if possible, at least before Test
Week-end – (S.A. will verify your attendance) Wed. Aug. 26 Class orientation: directors introduce crews & present their films. Discuss class policies, safety, guidelines and production schedule. Review crew roles and dynamics, cooperation, and support. Discuss film test — shoot material sufficient to create a sequence (30 minutes of footage) — in terms of content, variety of coverage and usable cutaways. Directors’ Tutorial — Explore basic approach to a Documentary: sources of creativity, choice in determining structure; film as a microcosm of life; film test – director’s opportunity to test her/his interviewing skills, the appeal of prospective subjects, rapport with crew. Fri. Aug. 28 SOUND CREW ONLY
Equipment checkout for production recording
1-4 pm Weekend Shoot film test – 28 minutes Week 2
1:30-3 pm CLINIC: Entire class together exploring how to cover a scene and answering creative and technical questions that came up during test shoot.
3-4 pm meet in separate sections. Weekend PRINCIPAL PHOTOGRAPHY #1 (1.5 hours of dailies, max Week 3
Mon. Sept. 7 LABOR DAY – no class
Wed. Sept. 9 VIEW DAILIES #1 (BB,CRP,LF)
(25 min. of unedited selected dailies).
Editors show cut sequences from test footage. Sound/editing S.A.s need dailies/cuts at 8:30 am at the latest to cue them up and test them so there are no disasters in class. BAG LUNCH – “Lost and Found” crew & faculty Directors’ Tutorial – discuss shooting weekends. Explore how to cover a scene in terms of content & technique. Creative choice, casting your documentary subjects, choosing situations to film them in. What discoveries did you make about yourself, your crew, your subjects, the conceptual direction of the project? Review the structure/approach and content of your project and your production schedule. Weekend PRINCIPAL PHOTOGRAPHY #2 Week 4
Mon. Sept. 14 Guest screening
Wed. Sept. 16 VIEW DAILIES #2 (CRP,LF,BB) BAG LUNCH – “Black and Blue” crew & faculty
Directors’ Tutorial – Communication with your subjects – possibilities and problems; review content essential to each film. Is it evident in the dailies? Discuss style - director as a player or behind-the-scenes – implications of each choice
Weekend PRINCIPAL PHOTOGRAPHY #3
Mon. Sept. 21 Rory Kennedy Last Days of Vietnam
Wed. Sept. 23 View Dailies #3 (LF,BB,CRP)
Explore relationship of style and camera coverage to conceptual and character issues of projects: sync and cutaways, the close-up and wide shot, choice of settings. BAG LUNCH – “Children of the Rising Phoenix” crew & faculty Directors’ Tutorial – Dealing with failure and disappointment in the dailies, analyzing mistakes, making changes, technical problems, problems with subjects, self-consciousness, limited access. Weekend PRINCIPAL PHOTOGRAPHY #4 Week 6
Mon. Sept. 28 guest
Wed. Sept. 30 VIEW DAILIES #4 (BB, CRP,LF))
Assign directors interim outline:
1) to meet with editors & review material that has been shown.
3) determine the material that will go into video from what has been shot.
4) write a step outline of film listing scenes in order of their appearance. Indicate what has been shot, what needs to be shot.
5) prepare for next class a progress assessment of the film. What is the present focus for your film? The theme? The audience? Directors’ Tutorial – Discuss issue of commitment to a concept/approach, commitment in shooting style; emotional thruline; program’s unique set of visual symbols. Weekend PRINCIPAL PHOTOGRAPHY #5
Mon. Oct. 5 guest
Wed. Oct. 7 VIEW DAILIES #5 (CRP,LF,BB)
VIEW CUT SCENES
Directors present Interim Critiques to the class.
Discussion. Does class & faculty agree with director’s assessment of subjects, progress, strengths/weakness of each project?
COMPOSER SELECTION STARTS Directors’ Tutorial – Continue discussion of interim critique; monitor remaining pick-up plan; structure; what is beginning, middle and end of the story? A time to go back and look at the creative underpinnings of project. Why are you doing this film? Weekend No shooting Week 8
Mon. Oct. 12 guest
Wed. Oct. 14 VIEW ASSEMBLY (LF,BB,CRP)
SELECT COMPOSER, SIGNED CONTRACT DUE Director’s Tutorial – re-examining the Assembly Weekend No shooting Week 9
Mon. Oct. 19 guest
Wed. Oct. 21 FIRST CUT --(BB,CRP,LF)
GUEST CRITICS What is missing? Voice-over versus sync as means of telling the story. Use of music to delineate character. Director’s Tutorial – director/editor collaboration. What does fresh vision of an editor bring to the project? Weekend FIRST PICK-UPS Week 10
Mon. Oct. 26 guest
Wed. Oct. 28 VIEW DAILIES FIRST PICK-UPS
SECOND CUT (CRP,LF,BB)
Weekend FINAL PICKUPS – END OF PRINCIPAL PHOTOGRAPHY
REINE-CLAIRE/PAUL PETSCHEK SUPERVISION COLOR CORRECTION DATES SCHEDULED WITH
GREG VANNOY – *******4 WK ADVANCE NOTICE REQUIRED FOR OUTSIDE COLOR GRADING
Wed. Nov 18 PREP FOR COLOR GRADING 1st Project – day 1
Thurs. Nov 19 COLOR GRADING 1st Project – day 2
Fri. Nov 20 PREP FOR COLOR GRADING 2nd Project – day 1
Fri. Nov 20 PITCH DAY FOR NEXT SEMESTER’S DOCS – welcome all
Mon. Nov 23 COLOR GRADING 2nd Project – day 2
Tues. Nov 24 PREP FOR COLOR GRADING 3rd Project – day 1 Wed. Nov 25 COLOR GRADING 3rd Project – day 2
FINAL MUSIC DELIVERY – see tech. specs.
Nov. 26-27 POST FACILTIES CLOSED ON THANKSGIVING AND FRI
Mon. Nov. 30 PRE-DUB lst Project – all day - B130
Tues. Dec. 1 PRE-DUB 2nd Project – all day - B130
Wed. Dec. 2 PRE-DUB 3rd Project – all day - B130
Thurs. Dec. 3 FINAL MIX 1st Project – day 1 – B130
Fri. Dec. 4 FINAL MIX 1st Project – day 2 – B130
Sat. Dec. 5 FINAL MIX 2nd Project – day 1- B130 Sun. Dec. 6 FINAL MIX 2nd Project – day 2 – B130 Week 16
Mon. Dec. 7 FINAL MIX 3rd Project – day 1 – B130
Tues. Dec. 8 FINAL MIX 3rd Project – day 2 – B130
Wed. Dec. 9 Hold for 547 FIX DAY IF NEEDED – 127A
546/547/508B Load-ins 6-10pm
Fri. Dec. 11 FINAL CLASS SCREENING AT NORRIS, 7:30 PM CLASS ATTENDANCE REQUIRED
BRAVO! TIME TO CELEBRATE STUDENTS WITH DISABILITIES: Any student requesting accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to the directing instructor as early in the semester as possible. DSP is located in STU 301 and is open 8:30 am – 5:00 pm Monday through Friday. The phone number for DSP is (213) 740-0776.