Ctpr 547 production III documentary syllabus & calendar fall 2015 class code 18790D



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547 Fall 2015 Syllabus



CTPR 547 PRODUCTION III

DOCUMENTARY SYLLABUS & CALENDAR

FALL 2015

class code 18790D

Faculty:
Directing - Amanda Pope apope@cinema.usc.edu

310-397-0425
Producing - Lisa Leeman leeman@usc.edu

310-365-7176
Cinematography - James O’Keeffe jameswokeeffe@gmail.com

626-695-8631
Editing - Kate Amend kamend@cinema.usc.edu

323-222-1540
Editing Lab – Reine-Claire reineclaire@gmail.com

310-435-8216

Sound - Richard Burton richardmburton@mac.com

402-470-7990
Graduate Assistants:
Directing/Editing - Mei Na meina42@gmail.com

213-810-0063

Camera - Angelique Molina rowemolina@gmail.com

909-241-3179

Sound - Yuske Fukada yfukada@usc.edu

213-618-6060

Assistant Sound - Gisele Tong giseletong22@icloud.com

213-308-0231
Meeting times:

Sections as per Schedule of Classes at https://classes.usc.edu/term-20153/classes/ctpr/

under CTPR 547L


Lecture

#18790 (everyone)


10:00-12:50am



Monday



SCA 112











9:00-11:50am

Wednesday

SCB 115







Editing #18786

7:00-10:00pm

Monday

SCA 363






Editing Lab #18786


9:00-11:50am

Thursday

SCA B148







Cinematography #18785

1:00-3:50pm

Wednesday

RZC 108







Sound #18788

1:00-3:50pm

Wednesday

SCA B130







Directing #18789

1:00-3:50pm

Wednesday

OFFICE






Producing #18784


1:00-3:50pm

Wednesday

SCA 259








Textbooks:

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

Mon. Aug. 31 Guest Screening
Wed. Sept. 2 VIEW TEST DAILIES - (LF,BB,CRP)

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


Week 5

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.

2) review the transcripts of all material shot

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

Week 7


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)

GUEST CRITICS

Weekend FINAL PICKUPS – END OF PRINCIPAL PHOTOGRAPHY

Week 11


Mon. Nov. 2 last Monday class

RETURN CAMERA/SOUND EQUIPMENT

NO MORE SUBSEQUENT MONDAY CLASSES

Wed. Nov. 4 THIRD CUT (LF,BB,CRP)

LAST OUTSIDE GUEST CRITICS
Director’s Tutorial – individual sessions
Week 12

Wed. Nov. 11 FOURTH CUT (BB,CRP,LF)

LAST CLASS UNTIL FINAL SCREENING

Sun. Nov. 15: ALL GROUPS PICTURE LOCK

Week 13

Mon. Nov 16 EDITORS OF ALL 3 FILMS CLEAN UP/ADJUST

PROJECTS AND ADD FINAL TITLES

(No directors/producers; no changes)

Tues. Nov 17 ALL 3 GROUPS PREPARE FOR COLOR GRADING,

CHECK FINAL TITLES AND MAKE QUICK TIME

MOVIES, AND FINAL EXPORT FOR AAF UNDER

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

Week 14

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.

Thurs./Fri.

Nov. 26-27 POST FACILTIES CLOSED ON THANKSGIVING AND FRI

Week 15

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.
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