| Course Name | Theory and Practice of the Moving Image I |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 201 | Fall | 2 | 4 | 4 | 8 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Required | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | ||||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | ||||||
| Assistant(s) | ||||||
| Course Objectives | This course aims to introduce students to digital film production, helping them develop basic skills in framing, composition, lighting, camera movement, editing and sound recording. The course clarifies the creative process so that students develop their own voice and methods while accomplishing their creative goals. The course also aims to cultivate skills in collaboration and effective team-work. |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | Through in-class demonstrations, lectures, and hands-on projects, this class offers students the opportunity to learn skills and techniques of basic video production and post-production. Students work on their own projects (individually and in groups) – producing, directing, shooting and editing. There will be individual assignments pertaining to developing skills for digital filmmaking and participation during the class is part of the evaluation. Students are expected to film and edit a dramatic sequence at the end of the semester as a part of their course work. |
| Related Sustainable Development Goals | |
|
| Core Courses | |
| Major Area Courses | X | |
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction to the course | Bring scene example |
| 2 | Digital Filmmaking Workflow - Video Resolution/Bitrate and File Formats - Video Codecs - Digital Film Cameras - Recording Formats - Lenses - Aperture Length Conversions | Film language sequence and scene analysis |
| 3 | Working with Natural Light and Available Light Daylight Color Temperatures - White Balance - Shadows and Contrast - Reflectors - Creative use of Available Light - Available Artificial Light Sources Basics of sound recording On Camera Sound Recording - Sound Level/Monitoring - Audio Recorders - Microphone types - Audio Pickup Patterns - Phantom Power/Audio Connections - Windscreens/Boom Poles - Ambient Sound Recording | Interview recording: in class assignment |
| 4 | Introduction to DaVinci Resolve Davinci Resolve Interface - Organizing Footage for Editing - Bins and Timelines - Trimming - JKL Scrubbing - Inserting and Overwriting - Splitting Clips - Replacing Shots - Importing Projects and Relinking Media | — Paul Saccone and Dion Scoppettuolo, The Beginner’s Guide to DaVinci Resolve 16 Camera - Light - Lens - Sound Practice Found footage editing assignment |
| 5 | Basics of editing and montage theory Editing/Montage - Continuity, Duration, Rhythm, Style - Action Cut - Direction - Transitions - Shot/Scene/Sequence FIlm Editing and Narrative Spatial/Temporal Relations - Establishing Shot - Shot/reverse shot - Eyeline Match - Match on Action - 30° Rule - 180° Rule | Editing assignment submission Mise-en-scene assignment |
| 6 | Mise-en-scene assignment How to create a mise-en-scene: Visualizing a written text | Idea development |
| 7 | Mise-en-scene assignment: Planning and Shooting | Raw Footage |
| 8 | Mise-en-scene assignment: Sound editing | Rough cut |
| 9 | Mise-en-scene assignment: Final cut reviews | Final cut submission |
| 10 | Short Film Project Idea Development | Interview with cut aways assignment |
| 11 | Short Film Project Production planning | Pitching |
| 12 | Short film Project Raw footage review | |
| 13 | Short film Project Rough cut Review | Rough cut |
| 14 | Short film Project Final cut Review | Fine cut with subtitles |
| 15 | Short Film Project Screenings | Final cut due |
| 16 | Semester review |
| Course Notes/Textbooks | Paul Saccone and Dion Scoppettuolo, The Beginner’s Guide to DaVinci Resolve 16, Blackmagic Design, 2020 ISBN: 978-1-7342279-1-8 |
| Suggested Readings/Materials | The Complete Film Production Handbook, Eve Light Honthaner, Focal Press, 4th edition, 2010, ISBN 9780240811505 Bruce Mamer, Film Production Technique: Creating the Accomplished Image, Wadsworth Publishing; 6 edition (2013). ISBN-13 : 978-0840030917 DSLR Cinematography Guide, Ryan Koo. (free download at http://nofilmschool.com/dslr/) |
| Semester Activities | Number | Weigthing |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 40 |
| Presentation / Jury | 1 | 10 |
| Project | 2 | 40 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 5 | 100 |
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 2 | 32 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | 4 | |
| Study Hours Out of Class | 0 | ||
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 1 | 70 | |
| Presentation / Jury | 1 | 44 | |
| Project | 2 | 30 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 270 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to define and discuss the history, underlying concepts and theories of cinema and digital media. | X | ||||
| 2 | To be able to develop a storytelling idea for cinema and digital media arts by using creativity and critical thinking. | X | ||||
| 3 | To be able to operate specialized technical equipment and competently use software in the fields of cinema and digital media arts. | X | ||||
| 4 | To be able to execute the main tasks in the pre-production, production and post-production of an audio-visual work at the basic level including screenwriting, production planning, operating the camera, sound recording, lighting and editing. | X | ||||
| 5 | To be able to perform a specialized task at an advanced level either for pre-production, production or post-production of an audio-visual work. | |||||
| 6 | To be able to discuss how meaning is made through works of cinema and digital media; in what ways economics, politics and culture affect visual representation; how the conditions of production, consumption, distribution and interpretation shape images. | |||||
| 7 | To be able to perform specialized tasks for creating digital media narratives with interactive elements. | |||||
| 8 | To be able to conduct a critical analysis of a film or a work of digital media arts from technical, intellectual and artistic points of view. | X | ||||
| 9 | To be able to take individual responsibility of a film or a digital media work from scratch to product in a problem-solving manner. | |||||
| 10 | To be able to work as a crewmember by following norms of ethical conduct and taking initiative to improve the ethical standards of his/her working environment. | X | ||||
| 11 | To be able to collect data in the areas of Cinema and Digital Media and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1). | X | ||||
| 12 | To be able to speak a second foreign language at a medium level of fluency efficiently. | |||||
| 13 | To be able to relate the knowledge accumulated throughout the human history to their field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
