MA 420A NEW
ELECTRONIC CINEMATOGRAPHY & COMPOSITING
Office Hours : W 2-3
Office Location: 918A
Course Hours : M & W 12-1:45
Course Location: 180 Tremont Street, Room: T809
This course is an introduction to the study and practice of electronic cinematography techniques. The main focus of the course will be practical, affording students ample time to produce original works. In doing so, students will begin to master the use of the computer as an artistic tool and to explore how they might draw on other media (music, painting, theater, and sculpture) in their productions. We will inform this practical focus by attending, as well, to the theoretical and historical context of digital cinema in order to better understand the current problems facing the genre and the role that digital technology might have in expanding cinematic language and tradition.
Previous experience with Photoshop, animation, video, and/or filmmaking is required.
Course Requirements and Grading
1. Regular class attendance.
2. Timely completion of all production assignments (60%).
3. Timely completion of all reading assignments (20%).
4. Participation in class critique and discussion (20%).
Please note that absences will negatively affect your participation grade, as will failure to prepare the assigned readings in advance. The production grade will be based on the 5 assignments (4 account for 40% and the final for 20%) .
Introduce concept + viewing/screening + in-class workshop + weekly journal.
Students will acquire the practical skills necessary to produce digital cinematic projects by being required to complete a series of weekly production projects that use both optical and computer-generated imagery. The specific technical skills that students can expect to learn touch on all technical aspects pertaining to digital multimedia, our goals here being to:
1. master digital post production
2. experiment with 2D and 3D compositing and environments and
3. learn Macromedia Flash and Adobe After Effects
The course will provide theoretical and historical context by means of assigned readings and viewings. We will critically reflect on the fruits of our labor in the course of in-class critique and discussion pertaining to the nature of digital cinema and its place within traditional cinematic. Our goals here will be to:
1. cultivate constructive criticism of our own artistic products and those
2. place digital art, including our own, within the tradition of contemporary culture and aesthetics
Bhangal, Sham; Farr, Amanda; & Rey, Patrick, Foundation Flash 5, Friends of Ed, 2000.
Meyer, Trish & Meyer, Chris, Creating Motion Graphics with AfterEffects, CMP Books 2000.
Laybourne, Kit, The Animation Book, Three Rivers Press, 1998.
Katz, Steven, Film Directing: Shot by Shot, Michael Wiese Productions, 1991.
Manovich, Lev, The Language of New Media, MIT Press 2000.
Bhangal, Sham, Foundation Action Script, Friends of Ed, 2001.
Rand, Paul, A Designer's Art, Yale University Press, 2000.
Meyer, Trish & Meyer, Chris, After Effects in Production, CMP Books 2001.
Musser, Charles, The Emergence of Cinema: The American Screen to 1907, Vol. 1, University of California Press, 1994.
Bordwell, David & Thompson, Kristin, Film Art: An Introduction (5th edition), McGraw-Hill Companies, 1996.
|1.28 M||Course Introduction||screenings:
|1.30 W||Concepts in 2D motion graphics (motion graphics using FLASH 1)||screenings:
1 (design a stroyboard using 15-20 scenes in FLASH)
Present your work
Read pp. 1-46 in The Animation Book
|2.4 M||Principles of Animation (motion graphics using FLASH 2)||screenings:
|FLASH topics 1
Read Ch. 1 in LNM
|2.6 W||Forms of Animation||screening:
Ladislas Starewicz & Jan Svankmajor
|FLASH topics 2
Present your preferred FLASH topics
Read pp. 47-113 in The Animation Book
|2.11 M||Class discussion||Students present their work||Assignment 1
Assignment 2 (animate & create interactivity for the FLASH storyboard)
Read Ch. 2 in LNM
|2.13 W||Intro to After Effects (interface, importing, etc.)||screenings:
early abstract films
|Prepare parts 1 & 2 in CMG
Read pp. 114-170 in The Animation Book
|2.18 M||President's Day (no class)||President's Day (no class)||President's Day (no class)|
|2.20 W||Story boarding||screening:
Orson Welles' Falstaff
|Read pp. 23-84 in Film Directing
Read pp. 171-249 in The Animation Book
|2.25 M||AE modes, masks & mattes||Assignment 2
Prepare part 3 in CMG
Read Ch. 3 in LNM
|2.26 W||Topics in 2D compositing||screening:
Abel Gance & F.W. Murnau
|Read pp. 229-258 in Film Directing|
|3.4 M||AE nesting & transformations||Guest lecturer||Assignment 3 (mid-term,
create & animate mattes using AE)
Prepare part 4 in CMG
Read Ch. 4 in LNM
|3.6 W||Topics in 3D compositing||screening:
Zbig Rybzcynski & Christian Boustani
|Read pp. 250-296 in The Animation Book|
|3.11 M||Spring Recess||Spring Recess||Spring Recess|
|3.13 W||Spring Recess||Spring Recess||Spring Recess|
|3.18 M||AE keying & effects||screening:
Hollis Frampton & Michael Snow
Prepare part 5 in CMG
Read Ch. 5 in LNM
|3.20 W||Optical and computer-generated environments||screening:
|3.25 M||AE plug ins & sound||screening:
|Assignment 4 (optical
and CG environments)
Prepare parts 6 & 7 in CMG
Read Ch. 6 in LNM
|3.27 W||Technology of the image||screening:
Jack Smith, Stan Brakhage, & Jordan Belson
|Read P. Adam Sitney (hand outs on experimental film)|
|4.1 M||AE time & tracking||Guest lecturer||Prepare part 8 in CMG
Final project topics
|4.3 W||Light & motion||screening:
Norman McLaren & Paul Driessen
|4.8 M||AE format & rendering||Assignment 4
Prepare part 9 in CMG
|4.10 W||The symbolic image||screening:
|4.15 M||Patriot's Day (no class)||Patriot's Day (no class)||Patriot's Day (no class)|
|4.17 W||Individual workshops|
|4.22 M||Individual workshops|
|4.24 W||Student presentations||Final assignment due|
|4.29 M||Student presentations|