| 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 | face to face | |||||
| Teaching Methods and Techniques of the Course | DiscussionGroup WorkProblem SolvingQ&ACritical feedbackJuryLecture / Presentation | |||||
| Course Coordinator | ||||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | To familiarize the students with the langugage of digital filmmaking and lead students through the production process for digital image production. Assist students to understand and execute the basics of framing, composition, natural lighting, camera movement, editing and sound recording. Demistify the creative process so students develop their own voice and methods for accomplishing creative goals. The coursework will enable students to integrate theoretical and creative ideas about digital media into the context of visual and aural expression. |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | This is a studio course and is comprised of lectures on pertinent topics and hands-on teaching with demonstrations of various techniques and skills for using digital filmmaking equipment. There will be individual assignments pertaining to developing skills for digital filmmaking and participation during the class is part of the evaluation. |
| Related Sustainable Development Goals | |
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| Core Courses | X |
| Major Area Courses | ||
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction to the course | |
| 2 | Fundamentals of film language: Camera Demonstration DSLR’s and Digital Film Cameras - Recording Bitrate and File Formats - Lenses and Aperture Length Conversions - Tripods and other peripherals Digital Filmmaking Workflow | Bruce Mamer, Film Production Technique, chapter 7 |
| 3 | Visual Language of Film Scene, Shot, Sequence - Camera Angles - Subject Size - Subject Angle - Camera Height - Two-Shots Master Scene Technique - Triple-Take Technique - Directional Continuity - Action Axis | Five C’s of Cinematography, “Camera Angles” s. 11-147 |
| 4 | Composition in FIlm Lines, Forms, Masses, Movements - Compositional Balance - Center of Interest - Lighting, Tonao Value and Colors - Selective Focusing - Eye Scan - Perspective - Backgrounds - Frames Directional Terminology - Tripods, Rigs and Dollies - Pan/Tilt - Tracking/Crabbing | Five C’s of Cinematography, “Composition ” s. 197-245 Homework: Camera |
| 5 | 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 | Discussions on Camera assignment |
| 6 | 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 | Camera assignments submission In class sound exercise and equipment quiz |
| 7 | Editing with DaVinci Resolve Davinci Resolve Interface - Organizing Footage for Editing - Bins and Timelines Cut Editing - Trimming - JKL Scrubbing - Inserting and Overwriting - Splitting Clips - Replacing Shots - Importing Projects and Relinking Media | Homework: Found footage editing assignment |
| 8 | Basics of editing and montage theory Editing/Montage - Continuity, Duration, Rhythm, Style - Action Cut - Direction - Transitions - Shot/Scene/Sequence | Found footage editing assignment submission and reviews Homework: Short film editing |
| 9 | Film Editing and Narrative Spatial/Temporal Relations - Establishing Shot - Shot/reverse shot - Eyeline Match - Match on Action - 30° Rule - 180° Rule | Short film editing assignment submission and reviews |
| 10 | Short Film Project I Idea development | Homework: Short film project Project Project idea presentation |
| 11 | Short Film Project II Production planning | |
| 12 | Short Film Project III Raw footage review | |
| 13 | Short Film Project IV Rough cut review | Rough cut |
| 14 | Short Film Project V Fine cut review | Fine cut |
| 15 | Screenings of Final Projects | Fine cut with subtitles Final cut due /Jury |
| 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 | 2 | 20 |
| Presentation / Jury | 2 | 60 |
| Project | ||
| Seminar / Workshop | ||
| Oral Exam | 1 | 10 |
| Midterm | - | - |
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 5 | 60 |
| Weighting of End-of-Semester Activities on the Final Grade | 1 | 40 |
| 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 | 2 | 30 | |
| Presentation / Jury | 2 | 50 | |
| Project | - | - | |
| Seminar / Workshop | |||
| Oral Exam | 1 | 20 | |
| Midterms | - | ||
| Final Exams | |||
| Total | 276 |
| # | Program Competencies/Outcomes | * Contribution Level | ||||
1 | 2 | 3 | 4 | 5 | ||
| 1 | To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms. | |||||
| 2 | To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts. | X | ||||
| 3 | To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media. | X | ||||
| 4 | To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level. | X | ||||
| 5 | To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives. | X | ||||
| 6 | To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality. | X | ||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | |||||
| 8 | To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior. | |||||
| 9 | To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments. | X | ||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | X | ||||
| 11 | To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1). | |||||
| 12 | To be able to use a second foreign language at the medium level. | |||||
| 13 | To be able to connect the knowledge accumulated throughout human history to the field of expertise. | |||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
