FTV 122D – FILM EDITING Section 2 – Summer Institute ...€¦ · 4/17/20 UCLA FTV 122D-2 Summer...

4/17/20 UCLA FTV 122D-2 Summer Institute SSA – Smalley 2020 Preliminary

p1

FTV 122D – FILM EDITING Section 2 – Summer Institute

Preliminary Course Syllabus – Summer Session A 2020 INSTRUCTOR Karen Smalley Email [email protected] OFFICE HOURS Email for appointment on Zoom Class TA TBD LECTURES & LAB Zoom via CCLE class website link CLASS MEETINGS LECTURE: Tues/Thurs 9:30am – 12:30pm PDT

Times vary – check schedule LAB:

Lab times vary – check schedule for your section by the week. Open Labs – supervised but not mandatory

CLASS WEBSITE: https://ccle.ucla.edu/course/view/201A-FILMTV122D-2 COURSE DESCRIPTION: FTV 122D offers an overview of “the invisible art”: Film and Digital Editing. An editor’s job is to decide, twenty-four times a second, where the audience needs to be. Do we stay in a shot or transition to another, and if so, what shot and how do we get there? Working side-by-side with the director to craft the movie that ultimately hits the screen – or your phone – editing is really about manipulating the audience, in the best possible way, all in the service of storytelling. In this class, we will study terminology and concepts, learning both the rules and how to break them, as we look at the aesthetic choices and technological workflow for both picture and sound editing. As part of the Summer Institute, FTV-122D includes “hands-on” editing projects and labs which provide students with a practical application of theory and the opportunity to experiment, collaborate and ultimately gain the skills to empower their personal artistic visions. Summer of 2020 will be held remotely via Zoom. There will be individual and collaborative projects as well as lab exercises using professional footage. REQUIRED TEXT: Grammar of the Edit Roy Thompson, Christopher J. Bowen - Focal Press, 2017. ISBN: 978-1138632202 * Fourth edition only. REQUIRED HARD DRIVE: 500 GB or larger hard drive suitable for digital editing USB 3 interface. 7200 RPM or SSD drives recommended Current best portable drive: https://tinyurl.com/y6n5ma6h Note: only 1TB G-drive is 7200 RPM. Required text is available as a 90-day digital rental through the class website. Paperback copies are available through Amazon or other online vendors. Required external hard drive may be purchased in advance or at the UCLA Computer Store in Ackerman Student Union.


p2

There will be handouts in addition to the assigned text, which will be posted on the class website. Changes to the syllabus in the course of the Summer Session will be emailed to students and posted on website. Please note that you must have a current email address linked to your UCLA summer registration and check it regularly in order to receive class updates and readings. Instructions on Zoom class participation: To access the zoom lectures, please log into my.ucla and go to the class website. A “Click here for Zoom Classroom” link will go live each day we have class. If you are in another time zone and cannot attend the live Zoom class, please get in touch with the instructor or TAs. Lectures will be recorded – see below – and available on CCLE for a limited time, but the quality may be an issue. ZOOM – ONLINE CLASS RECORDING – Privacy Issues This class is being conducted over Zoom. As the host, the instructor will be recording this session. The recording feature for others is disabled so that no one else will be able to record this session through Zoom. No recording by other means is permitted. This session will be posted at the CCLE class website unless otherwise notified. If you have privacy concerns and do not wish to appear in the recording, do not turn on your video. If you also prefer to use a pseudonym instead of your name, you must let us know what name you will be using so that we know who you are during the session. If you would like to ask a question, you may do so privately through the Zoom chat by addressing your chat question to me only (and not to “everyone”), or you may contact me by another private method. If you have questions or concerns about this, please contact me. Pursuant to the terms of the agreement between the vendor and UCLA, the data is used solely for this purpose and the vendor is prohibited from re-disclosing this information. UCLA also does not use the data for any other purpose. Recordings will be deleted when no longer necessary. However, the recording may become part of an administrative disciplinary record if misconduct occurs during a videoconference. ATTENDANCE IS MANDATORY. Unexcused absences and habitual late arrivals will affect your grade. If you need to be absent or late, you must email prior to the beginning of class. Documentation for excused absences will be required. ACADEMIC INTEGRITY Plagiarism is a serious offense. It is the presentation of another author’s words or ideas as if they were your own. If you have any questions about documentation, quotations, and related matters, please do not hesitate to ask your instructor before submitting your work. Please refer to the UCLA Rules of Student Conduct for further information: http://www.deanofstudents.ucla.edu/Student-Conduct

PRELIMINARY SYLLABUS – SUBJECT TO CHANGE


p3

PRELIMINARY OUTLINE – FINAL TO FOLLOW

FTV 122D – SUMMER INSTITUTE – CLASS OUTLINE – SUMMER SESSION A CLASS MEETING TOPICS ASSIGNMENTS

WEEK 1

Tue 6/23

Lecture: 9:30am

• Class Introduction – Syllabus • Overview – The Invisible Art & Role of the Editor • Discussion of Edit Analysis paper assignment • Intro – Editing Basics & Vocabulary • Stages of Post Production & Post Crew • Intro to Codecs / Transcoding

Grammar of the Edit 4th Edition Ch. 1 – pp 1-12 Ch. 6 – pp 95 -112

Lab: 2pm

• Drive Formatting • Project Management • Intro to Premiere Pro Editing / Basic Cuts

Thu 6/25

Lecture: 9:30am

• Editing Grammar / Concepts • Discussion / Clips: Coverage and Basic Shots • Editing Grammar - Continuity Editing • Discussion / Clips: Five Types of Edits

Grammar of the Edit 4th Edition Ch. 2 – pp 15-37 Ch. 6 – pp 112-123

Open Lab: 1:30pm

• Non-mandatory supervised editing – if Premiere and/or editing is new to you, please attend.

WEEK 2

Tue 6/30 Lecture: 9:30am

• Discussion / Clips: When to Cut and Why? • Understanding Visual Media

Grammar of the Edit 4th Edition Ch. 4

Wed 7/1 Added Lab: 6 - 8pm

• Non-Narrative Location project setup

Thu 7/2 Lecture: 9:30am

• Editing Grammar - Concepts • 3D “reality” in a 2D format – Film Geography


Fri 7/3 S1

Open Lab: 5:30-8:30pm

• Location Exercises editing

WEEK 3

Mon 7/6 Lab Sec 1 9:30am

• Importing music • Audio Editing – fades & keyframes • Titles / Exporting Quicktimes / Mp4s • Project Q&A

Tue 7/7 Lecture:

9:30am

• Film Clip Analysis: selection of film clip due • Sound – Half the Story • Editiing Dialogue, Sound Effects & Music

Grammar of the Edit 4th Edition Ch. 3 – all Handouts on Sound

Fri 7/10 Lecture: 9:30am

• Quiz: Editing Grammar / Concepts / Sound • Cutting for Genre: Drama Action & Suspense

Selected Handouts


p4

WEEK 4

Mon 7/13

Lab Sec 1 8:00pm

• Footage for class editing exercise • Stages of Editing / Project Management • Lined Scripts

Tue 7/14 Lecture: 4pm

• Style – Cutting for Genre: Comedy & Romance Selected Handouts

Thu 7/16 Lecture: 9:30am

• Film Clip Analysis - short paper due • Style - Cutting for Genre: Reality & Documentary

Selected Handouts

Fri 7/17

Open Lab: 11:30-1:30pm

• Non-mandatory supervised editing

WEEK 5

Tue 7/21 Lecture 9:30am

• Working Practices – preproduction through post • Post Production Workflow and Departments • Post Production role assignment


Wed-Sat 7/22-7/25

• Production! J No classes or labs

WEEK 6

Mon 7/27

Lab 3pm • FINALPROJECT EDITING • Titles & Basic Effects

Tue 7/28 Lecture: 9:30am

• The new digital reality on screen Selected Handouts

Wed 7/29

Open Lab: 6pm

• Non-mandatory supervised editing

Thu 7/30

Lecture: 2:30pm

• Finishing your projects – overview • Conclusion: the power of editing

Lab: 6pm • Final audio mix and color correction

Fri 7/31 8:00am • Final project files due

7pm • Screen final projects and celebrate!

Additional Suggested Texts: The Invisible Cut: How Editors Make Movie Magic – Bobbie O’Steen Cut by Cut: Editing Your Film or Video – Gael Chandler In the Blink of an Eye: A Perspective on Film Editing – Walter Murch Film Editing: Great Cuts Every Filmmaker Should Know – Gael Chandler

PRELIMINARY SYLLABUS – SUBJECT TO CHANGE


p5

Websites of Interest: The Cutting Edge: The Magic of Movie Editing - documentary https://www.youtube.com/watch?v=U76MBDKQe8s Walter Murch: Editing Choices & Switching to Adobe Premiere Pro CC https://www.youtube.com/watch?v=zprzAROe9i4 Premiere Pro forums and other links

http://www.editorslounge.com/more.html

FTV 122E - DIGITAL CINEMATOGRAPHY

UCLA School of Theater, Film & Television Summer Institute 2020

Class: See Full Calendar for Exact Class Dates/Times

Workshops: Friday June 26th, Friday July 3rd, Friday July 17th

Instructor/Contact: Paul Cannon

[email protected]

Teaching Assistant/Contact: TBD

COURSE DESCRIPTION & GOALS

The goal of FTV 122E is to introduce students to the concepts and practices of

cinematography through both a theoretical and hands-on approach. We will look at

specific examples of camera operation, shot choice, and lighting through film history.

Focus will be tailored to the equipment to be used during exercises and projects.

Concepts to be explored will include composition, framing, basic lens function/

design, lens choice, types of camera movement and equipment, exposure, lighting

techniques and equipment, shot design, set protocol, and collaboration.

RECOMMENDED READINGS (available on Amazon):

The Five C’s of Cinematography: Motion Picture Filming Techniques by Joseph V.

Macelli

The Camera and I by Joris Ivens

The Logic of Images by Wim Wenders

The ASC Manual Edited by Michael Goi, ASC

Painting With Light by John Alton, ASC

Set Lighting Technician’s Handbook by Harry Box

In the Blink of an Eye by Walter Murch

On Filmmaking by Alexander Mackendrick

WEEKLY COURSE SCHEDULE:

WEEK #1

Mon, June 22 Introduction to Class History/Evolution of Cinematography Safety Briefing Discussion of Different Cameras (What is “The Best”?) Lens Design/Construction & Lens Choice Aperture/DOF Color Temperature

Tues, June 23 Composition/Framing - Rule of Thirds Shot Sizes Aspect Ratio Camera Essentials Camera Operation Demonstration

Fri, June 26 TA Leads: Camera Operation Exercise Lens Exercise Composition/Framing Exercise

WEEK #2

Mon, June 28 Review Workshop Exercises Introduction to Camera Movement Introduction to Types of Equipment (Gimbal, Handheld) Camera Movement & Emotional/Aesthetic Choices

Tue, June 29 Shot Sizes Review Lighting Essentials Lighting for Story Safety Review Introduction to Lighting Color Temperature & Lighting DIY Lighting

HW: Lighting Analysis

Thu, July 1 Review HW Coverage 180 Degree Rule Review

Blocking for Camera

Shot Structure

Fri, July 3 TA Leads Lighting & Camera Movement Exercises

WEEK #3

Mon, July 6 Review Workshop Exercises

Color

Tues, July 7 Project Prep - Look Books, Shot Lists, Shot Order

Script to Screen

WEEK #4

Mon, July 13 In-Class Camera & Lighting Quiz

Lighting Continuity

Wed, July 15 Screening and critique of Collaborative Projects

WEEK #5 Look Books/Floor Plans/Shot Lists & Order Due by Sunday

Mon, July 20 Individual Group Cinematography Meetings

WEEK #6

Wed, July 29 TA Leads:

Color Grading

ADDITIONAL COURSE INFORMATION:

Safety is first. Always.

Attendance and Participation are essential to your learning and your final grade, as is

active involvement in all In-Class Exercises/Mock Shoots. Respect and understanding

towards one another is mandatory.

All students are required to create Look Books, Floor Plans, Shot Lists and Shot

Orders for the FINAL SHOOTS, and present these materials professionally during

their production meetings. This is your only chance to go through these materials with

your Production and Digital Cinematography Instructors prior to your Final Shoots.

PLEASE BE PREPARED.

The Journal will consist of a description/review of the concepts and terminology we

learn throughout the quarter, as applied in a practical way on set. More details

regarding this assignment will be reviewed in class. Journal is due during final week

(Week 6), prior to final class meeting.

STATEMENT OF GRADING:

15 minutes early is on time. All unexcused absences and more than one unexcused

tardy will result in the loss of a full letter grade. Per University policy, a doctor’s note

is required in order for any absences to be excused.

Attendance and Participation are large factors in your overall grade. In order to

participate, you must complete your safety training ASAP. Failure to do so could

result in a failing grade.

Below is the weight given to each component of the final grade:

Attendance and Participation: 30%

In-Class Exercise Participation/Final Shoot Preparation: 30%

Camera/Lighting Quizzes: 15%

Homework: 15%

Final Class Journal: 10%

———————————————————————————————————————

Final Course Grade: 100%

A (90-100%)

B (80-89%)

C (70-79%)

D (60-69%)

F (< 59%)

Please note that ALL COURSE GRADES ARE FINAL.

ACADEMIC INTEGRITY AND STUDENT CONDUCT:

With its status as a world-class research institution, it is critical that the University

uphold the highest standards of integrity both inside and outside the classroom. As a

student and member of the UCLA community, you are expected to demonstrate

integrity in all of your academic endeavors. Accordingly, when accusations of

academic dishonesty occur, The Office of the Dean of Students is charged with

investigating and adjudicating suspected violations. Academic dishonesty, includes,

but is not limited to, cheating, fabrication, plagiarism, multiple submissions or

facilitating academic misconduct. Plagiarism is a serious offense. It is the presentation

of another author’s words or ideas as if they were your own. If you have any questions

about documentation, quotations, and related matters, please do not hesitate to ask

your instructor before submitting you work.

Please also refer to the UCLA Rules of Student Conduct at the below website:

http://www.deanofstudents.ucla.edu/Student-Conduct

UNIVERSITY OF CALIFORNIA DIVERSITY STATEMENT:

Adopted by the Assembly of the Academic Senate May 10, 2006. Endorsed by the

President of the University of California June 30, 2006.

The diversity of the people of California has been the source of innovative ideas and

creative accomplishments throughout the state’s history into the present. Diversity – a

defining feature of California’s past, present, and future – refers to the variety of

personal experiences, values, and worldviews that arise from differences of culture

and circumstance. Such differences include race, ethnicity, gender, age, religion,

language, abilities/disabilities, sexual orientation, socioeconomic status, and

geographic region, and more.

Because the core mission of the University of California is to serve the interests of the

State of California, it must seek to achieve diversity among its student bodies and

among its employees. The State of California has a compelling interest in making sure

that people from all backgrounds perceive that access to the University is possible for

talented students, staff, and faculty from all groups. The knowledge that the

University of California is open to qualified students from all groups, and thus serves

all parts of the community equitably, helps sustain the social fabric of the State.

Diversity should also be integral to the University’s achievement of excellence.

Diversity can enhance the ability of the University to accomplish its academic mission.

Diversity aims to broaden and deepen both the educational experience and the

scholarly environment, as students and faculty learn to interact effectively with each

other, preparing them to participate in an increasingly complex and pluralistic society.

Ideas, and practices based on those ideas, can be made richer by the process of

being born and nurtured in a diverse community. The pluralistic university can model a

process of proposing and testing ideas through respectful, civil communication.

Educational excellence that truly incorporates diversity thus can promote mutual

respect and make possible the full, effective use of the talents and abilities of all to

foster innovation and train future leadership.

Therefore, the University of California renews its commitment to the full realization of

its historic promise to recognize and nurture merit, talent, and achievement by

supporting diversity and equal opportunity in its education, services, and

administration, as well as research and creative activity. The University particularly

acknowledges the acute need to remove barriers to the recruitment, retention, and

advancement of talented students, faculty, and staff from historically excluded

populations who are currently underrepresented.

DISABILITY STATEMENT:

The UCLA Center for Accessible Education (CAE) facilitates academic

accommodations for regularly enrolled, matriculating students with documented

permanent and temporary disabilities. Accommodations are designed to promote

successful engagement in the UCLA academic experience. The CAE is committed to

ensuring all UCLA students can participate fully in the numerous educational

opportunities on our campus. If you need academic accommodations based on a

qualifying disability, please visit the CAE website, http://www.cae.ucla.edu/, which

explains how to get started with CAE and to request services. CAE administrative

offices are at A255 Murphy Hall, and their phone number is (310) 825-1501. The CAE

administrative office is open Monday-Friday, 8AM-5PM.

FTV 178 SUMMER INSTITUTE PRODUCTION LABORATORY UCLA School of Theater, Film and Television

Session A: June 22nd - July 31st, 2020Please see Session A Calendar for specific class times - schedule subject to change

Instructor: Melissa Finell - [email protected] Assistant: TBA

COURSE OVERVIEW FTV 178 provides a hands-on overview of the film production process, from initial story concept through final post-production. Through class discussions, lectures, workshops, and projects, students will be introduced to the fundamentals of filmmaking. Throughout this course students will form a basic understanding of the aesthetic and logistical decisions involved in making a film.

ASSIGNMENTS

Camera Exercise: Each student will shoot and edit a 1-3 minute non-narrative film. Using the skills introduced in Weeks 1 and 2, shoot and edit a sketch of a location, object, person (who lives with you) or pet. Apply what you have learned about composition, camera movement, color, depth, shot size, focus. You may not sync sound (no dialogue or production audio), voiceover, or subtitles; you may add music in post. Social distancing and safety must be practiced at all times. -Collaborative Project: Students will be placed into groups of three, and each group will create a project together. One student in the group will serve as the screenwriter, another student will be the director and cinematographer, and the third will be the editor. Groups will meet via Zoom to create a concept for the project based on the resources that the director/cinematographer has safe access to for production. Groups will present their plans to the class and give each other feedback throughout the writing and editing process. Social distancing and safety must be practiced at all times.

Final Project Screenplay: Students will write a narrative screenplay of no more than three-four pages for production in Week 5 and post-production in Week 6. The script must be crafted with the resources that the director/cinematographer has safe access to in mind. The script must include at least three scenes but no more than six scenes. This script must be a self-contained story, rather than an excerpt of a longer project. Be sure to follow proper screenplay formatting. Drafts are due according to the course schedule.

�1

Final Project Stylistic Plan Presentation: Students will present stylistic plans for their films, which will include: - Brief Description of the Story / Logline- Ideal Casting Choices- Brief Description of The Look and Tone of the Film- Color Palette- Photos of Ideal Locations- Visual References for Production Design, Costume Design, Lighting- Brief Description of Camerawork

Final Project Pre-Production Portfolio: At the end of the course, students will turn in a final portfolio, which will include:- Final Shooting Draft of the Script with Numbered Scenes- Script Analysis- Script Breakdown- Shooting Schedule- Shot Lists - Floor Plans- Shot Order- Props/Set Dressing List with Photos- Cast List with Photos (if applicable)

Production of Final Project: In Week 5, students will shoot their final projects according to the screenplay, stylistic plan, pre-production portfolio developed throughout the course. Social distancing and safety must be practiced at all times.

COURSE SCHEDULE Week 1 Mon, Jun 22 Introductions, Syllabus Overview, Course Logistics Discussion of Camera/Location Exercise Discussion of Collaborative Exercise Lecture: Story What is a Director? Discussion of Final Projects Practice Pitches Assignments: - Prepare story pitches for final projects - Create list of what you have at your disposal for socially-distant production (rooms. furniture, outdoor space, people you live with, pets, potential props) (upload list and photos to class drive by 8pm on Tues, 6/23)

�2

Wed, Jun 24 Screening of The Graduate Pitch Stories for Final Projects Lecture: The Filmmaker’s Toolkit: Casting, Production Design, Costume Design, Lighting, Color, Camerawork, Editing, Sound, Music Assignments: - Begin Final Project Writing Process (outline due by 8pm Fri, 6/26; first draft due by 8pm Mon, 6/29) - Plan Camera Exercise (location photos and idea description due by 8pm on Sun,

6/28) - Hold initial Zoom meetings with Collaboration Project

group members

Week 2 Mon, Jun 29 Discuss Camera Exercise Ideas Lecture: The Filmmaker’s Toolkit (Continued) Lecture: Coverage Assignments: - Create shot list for Camera Exercise (due by 9am Weds, 7/1) - First draft of Final Project Script (due by 8pm Mon, 6/29)

Weds, July 1 One-on-one Camera Exercise Shot List Feedback Meetings

Thurs, July 2 Students Shoot Camera Exercise Assignments: - Edit camera exercises (due Sunday, 7/5 by 8pm)

- Collaborative project writers begin writing scripts (first draft due by 8pm on Sunday, 7/5) - Second draft of Final Project Script (due by 8pm on Mon, 7/6)

Week 3 Mon, July 6 Screening and Critique of Camera Exercises Students Groups Present Plans for Collaborative Exercises Script Analysis, Emotional Beats Assignments: - Second draft of Final Project Script (due by 8pm on Mon, 7/6) - Collaborative Project Screenwriters revise scripts (second draft due by 8pm Tues, 7/7)

- Scene Analysis Exercise (due in class on Weds, 7/8)

�3

Wed, July 8 Script Analysis (continued) Lecture: Casting, Performance, Directing Actors Casting Workshop Scene Workshop Assignments: - Collaborative Project Directors complete shot lists, floor plans, location photos, and props/set dressing lists with photos (due by 11pm Weds, 7/8) - Third draft of Final Project Script (due by 8pm Sun, 7/12) Thurs, July 9 Production Meetings for Collaborative Exercises Individual Directing Actors Scene Exercises Directing Actors Exercise Assignments: - Third draft of Final Project Script (due by 8pm Sun, 7/12)

Friday, July 10 - Collaborative Project Director/Cinematographers Shoot Saturday, July 11 Assignments: - Collaborative Project Editors edit projects (cuts due by 8pm Tues, 7/14)

- Prepare Stylistic Plan Presentations (due by 8pm Sun, 7/12) - Third draft of Final Project Script (due by 8pm Sun, 7/12)

Week 4 Mon, July 13 Stylistic Plan Presentations Assignments: - Collaborative Project Editors continue editing projects (cuts due by 8pm Tues, 7/14) - Script Revisions (final Shooting Script due by 5pm on Sun, 7/19)

- Work on Final Pre-Production Portfolio (due by 5pm on Sun, 7/19)

�4

Weds, July 15 Screening and critique of Collaborative Projects Lecture: The Production Team, Key Crew Positions Set Protocol, Production Procedure Scheduling, Creative Problem Solving

Production Documents Assignments: - Prepare for Production Meetings: Shotlists, Floorplans, Script Analysis, Script Breakdowns, Shooting Schedules, Shot Order, Location Photos, Props/Set Dressing Lists with Photos, Cast Lists with Photos (if applicable) (Pre-Production Portfolio due by 5pm on Sun, 7/19) - Final Script Revisions (final Shooting Script due by 5pm on Sun, 7/19)

Week 5 Mon, July 20 Production Meetings for Final Projects

Wed, July 22 - Production of Final Projects - NO CLASSSat, July 25

Week 6 Tues, July 30 Screen and Discuss Rough Cuts

Thurs, Aug 1 Course Conclusion

STATEMENT OF GRADING: Attendance & Class Participation - 10%Camera/Location Exercise - 10%Collaborative Project - 20%Final Project Script - 10%Final Project Stylistic Plan Presentation - 20%Final Project Pre-Production Portfolio - 30%

�5

ACADEMIC POLICIES & ACCOMMODATIONS

UCLA Statement of Academic Integrity and Information on Student Conduct: With its status as a world-class research institution, it is critical that the University uphold the highest standards of integrity both inside and outside the classroom. As a student and member of the UCLA community, you are expected to demonstrate integrity in all of your academic endeavors. Accordingly, when accusations of academic dishonesty occur, The Office of the Dean of Students is charged with investigating and adjudicating suspected violations. Academic dishonesty, includes, but is not limited to, cheating, fabrication, plagiarism, multiple submissions or facilitating academic misconduct. Plagiarism is a serious offense. It is the presentation of another author’s words or ideas as if they were your own. If you have any questions about documentation, quotations, and related matters, please do not hesitate to ask your instructor before submitting your work. Please also refer to the UCLA Rules of Student Conduct here: http://www.deanofstudents.ucla.edu/Student-Conduct

University of California Diversity Statement: The diversity of the people of California has been the source of innovative ideas and creative accomplishments throughout the state’s history into the present. Diversity – a defining feature of California’s past, present, and future – refers to the variety of personal experiences, values, and world-views that arise from differences of culture and circumstance. Such differences include race, ethnicity, gender, age, religion, language, abilities/disabilities, sexual orientation, socioeconomic status, and geographic region, and more.

Because the core mission of the University of California is to serve the interests of the State of California, it must seek to achieve diversity among its student bodies and among its employees. The State of California has a compelling interest in making sure that people from all backgrounds perceive that access to the University is possible for talented students, staff, and faculty from all groups. The knowledge that the University of California is open to qualified students from all groups, and thus serves all parts of the community equitably, helps sustain the social fabric of the State.

Diversity should also be integral to the University’s achievement of excellence. Diversity can enhance the ability of the University to accomplish its academic mission. Diversity aims to broaden and deepen both the educational experience and the scholarly environment, as students and faculty learn to interact effectively with each other, preparing them to participate in an increasingly complex and pluralisticsociety. Ideas and practices based on those ideas can be made richer by the process of being born and nurtured in a diverse community. The pluralistic university can model a process of proposing and testing ideas through respectful, civil communication. Educational excellence that truly incorporates diversity thus can promote mutual respect and make possible the full, effective use of the talents and abilities of allto foster innovation and train future leadership.

�6

http://www.deanofstudents.ucla.edu/Student-Conduct

Therefore, the University of California renews its commitment to the full realization of its historic promise to recognize and nurture merit, talent, and achievement by supporting diversity and equal opportunity in its education, services, and administration, as well as research and creative activity. The University particularly acknowledges the acute need to remove barriers to the recruitment, retention, and advancement of talented students, faculty, and staff from historically excluded populations who are currently underrepresented.

Disability Statement: Students needing academic accommodations based on a disability should contact the Center for Accessible Education (CAE) at (310) 8251501 or in person at Murphy Hall A255. When possible, students should contact the CAE within the first two weeks of the term as reasonable notice is needed to coordinate accommodations. For more information, visit www.cae.ucla.edu.

�7

UCLA Department of Film, Television, and Digital Media FTV 101A Summer Speaker Symposium 2020 Summer Session A 6/22/2020- 7/31/2020

Instructor: Lisa Vangellow Email: [email protected] Daytime Number: 602-738-3810 Class Meetings: Tuesdays 7PM-8:50PM Location: Zoom Virtual Meetings- Link to follow

COURSE DESCRIPTION The Summer Speaker Symposium is a class that offers students the opportunity to learn about various areas of the TV and film industry from industry professionals. Each week, a new panel of industry professionals will participate in a comprehensive Q & A with the instructor focused on a particular topic of interest followed by a Q&A by the students. Students will have an opportunity to ask the experts questions that will help enhance their entertainment business education and inform more on their future career paths. At the completion of each class, students will write a paragraph evaluating the panel, what they learned, and how it affects their area of interest. The six paragraphs (one for each class) will be combined into a final paper (no longer than 2 pages) that will summarize their experience in the course and how their view of the TV and Film industry has changed. COURSE REQUIREMENTS Course work consists of attending weekly Zoom class meetings, participating in a meaningful manner in Q&A sessions with Guest Speakers, and writing a paragraph summary at the end of each class evaluating the panels. These summaries will be combined into a final paper to be turned in at the completion of the course. WEEKLY CLASS TOPICS Class One: TV series from pitch to screen Class Two: Documentary film/series production Class Three: Development Class Four: Working with Talent Class Five: Directors and Cinematographers- Dream team Class Six: Diversity and Inclusion in the entertainment industry FINAL PAPER At the end of the course students are required to write a paper summarizing their thoughts on the Guest Speaker panels and how the panels have influenced their view of

mailto:[email protected]

the industry. GRADING 50%: Participation in Class Discussions Guest Panels 25%: Final Paper 25%: Attendance UCLA Statement of Academic Integrity and Information on Student Conduct With its status as a world class research institution, it is critical that the University uphold the highest standards of integrity both inside and outside the classroom. As a student and member of the UCLA community, you are expected to demonstrate integrity in all of your academic endeavors. Accordingly, when accusations of academic dishonesty occur, the Office of the Dean of Students is charged with investigating and adjudicating suspected violations. Academic dishonesty, includes, but is not limited to, cheating, fabrication, plagiarism, multiple submissions or facilitating academic misconduct. Plagiarism is a serious offense. It is the presentation of another author’s words or ideas as if they were your own. If you have any questions about documentation, quotations, and related matters, please do not hesitate to ask your instructor before submitting your work. Please also refer to the UCLA Rules of Student Conduct at the below website: http://www.deanofstudents.ucla.edu/StudentConduct UCLA Statement of Equity Inclusion and Diversity The diversity of the people of California has been the source of innovative ideas and creative accomplishments throughout the state’s history into the present. Diversity – a defining feature of California’s past, present, and future – refers to the variety of personal experiences, values, and worldviews that arise from differences of culture and circumstance. Such differences include race, ethnicity, gender, age, religion, language, disabilities, sexual orientation, socioeconomic status, and geographic region, and more. Because the core mission of the University of California is to serve the interests of the State of California, it must seek to achieve diversity among its student bodies and among its employees. The State of California has a compelling interest in making sure that people from all backgrounds perceive that access to the University is possible for talented students, staff, and faculty from all groups. The knowledge that the University of California is open to qualified students from all groups, and thus serves all parts of the community equitably, helps sustain the social fabric of the State. Diversity should also be integral to the University’s achievement of excellence. Diversity can enhance the ability of the University to accomplish its academic mission. Diversity aims to broaden and deepen both the educational experience and the scholarly environment, as students and faculty learn to interact effectively with each other, preparing them to participate in an increasingly complex and pluralistic society. Ideas and practices based on those ideas, can be made richer by the process of being born and nurtured in a diverse community. The pluralistic university can model a process of

http://www.deanofstudents.ucla.edu/StudentConduct

proposing and testing ideas through respectful, civil communication. Educational excellence that truly incorporates diversity thus can promote mutual respect and make possible the full, effective use of the talents and abilities of all to foster innovation and train future leadership. Therefore, the University of California renews its commitment to the full realization of its historic promise to recognize and nurture merit, talent, and achievement by supporting diversity and equal opportunity in its education, services, and administration, as well as research and creative activity. The University particularly acknowledges the acute need to remove barriers to the recruitment, retention, and advancement of talented students, faculty, and staff from historically excluded populations who are currently Underrepresented. UCLA Dissability and Discrimination Mandate Students needing academic accommodations based on a disability should contact the Center for Accessible Education (CAE) at (310)8251501 or in person at Murphy Hall A255. When possible, students should contact the CAE within the first two weeks of the term as reasonable notice is needed to coordinate accommodations. For more information visit www.cae.ucla.edu. “Class meetings held with Zoom may be recorded. Zoom uses video recording or other personal information capture for the purpose of facilitating the course and/or test environment. Pursuant to the terms of the agreement with UCLA, the data is used solely for this purpose and any vendor is prohibited from redisclosing this information. UCLA also does not use the data for any other purpose.” ______________________________________________________________________

UCLA Department of Film, Television, and Digital Media FTV 101A Summer Speaker Symposium

WEEKLY COURSE SCHEDULE NOTE: The order of panels is subject to change based on Guest Speaker availability. Week One: TV Series from Pitch to Screen The Week One panel will host TV Executives, Producers, and Showrunners and Literary Manager to discuss the process from a writer’s pitch, through development, production, and distribution of a TV series. • Introductory Questions regarding the Guest Speakers’ Career Paths • Open Q&A Session between Students and Guest Speakers Specific Discussion Topics will include: Pitching, distribution platforms, and series development in the OTT streaming world. This year’s guest speakers will be announced closer to the beginning of the course. ______________________________________________________________

http://www.cae.ucla.edu/

WeekTwo: Documentary Film and Series Production Students will learn from award winning documentarians the challenges and rewards of the unscripted world. • Introductory Questions regarding the Guest Speakers’ Career Paths • Open Q&A Session between Students and Guest Speakers • Summary Questions regarding priority Discussion Topics Specific Discussion Topics will include: Why is there a boom in unscripted content; particularly documentaries and doc series? How does the documentary world compare to Hollywood; diversity, age, gender, income, etc. This year’s guest speakers will be announced closer to the beginning of the course. ______________________________________________________________ Week Three: Development In this class, students will learn about the script development process and pitfalls from Creative Executives in the business. • Introductory Questions regarding the Guest Speakers’ Career Paths • Open Q&A Session between Students and Guest Speakers • Summary Questions regarding priority Discussion Topics Specific Discussion Topics will include: Why is development such a crucial but difficult part of getting a TV series or movie greenlit? What are the factors that keep a project in “development hell” versus propelling it into production. This year’s guest speakers will be announced closer to the beginning of the course. ______________________________________________________________ Week Four: Working with Talent In this class session, students will learn about the business of working with talent; whether it be as representation or working at the celebrity's production company to find and development projects specific to that performer. • Introductory Questions regarding the Guest Speakers’ Career Paths • Open Q&A Session between Students and Guest Speakers • Summary Questions regarding priority Discussion Topics Specific Discussion Topics will include: Why do so many entertainers start their own production companies? How does a manager or agent find talent, or decide to represent new talent? This year’s guest speakers will be announced closer to the beginning of the course. ______________________________________________________________ Week Five: Directors and Cinematographers, the Dream team

In this class session, students will learn about the important dynamic between the director and the camera department and how the synergy between them can elevate a TV, Film, or commercial production. • Introductory Questions regarding the Guest Speakers’ Career Paths • Open Q&A Session between Students and Guest Speakers • Summary Questions regarding priority Discussion Topics Specific Discussion Topics will include: How do you find a perfect marriage between a Director and their camera dept? How do directors and cinematographers break into the business? This year’s guest speakers will be announced closer to the beginning of the course. ______________________________________________________________ Week 6: Diversity and Inclusion in the TV and Film Business In the final class, the students and panelists will participate in an in-depth discussion about the state of diversity in the entertainment business. • Introductory Questions regarding the Guest Speakers’ Career Paths • Open Q&A Session between Students and Guest Speakers • Summary Questions regarding priority Discussion Topics Specific Discussion Topics will include: What are the struggles that people of diverse backgrounds face today in entering the entertainment industry. Post #Metoo and #timesup, what has changed for the better or worse for women in the industry? This year’s guest speakers will be announced closer to the beginning of the course. ______________________________________________________________

FTV 122D – FILM EDITING Section 2 – Summer Institute ...€¦ · 4/17/20 UCLA FTV 122D-2 Summer...

Documents

Transcript of FTV 122D – FILM EDITING Section 2 – Summer Institute ...€¦ · 4/17/20 UCLA FTV 122D-2 Summer...