| Course Name | Digital Film Studio II |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| CDM 232 | Spring | 2 | 4 | 4 | 8 |
| Prerequisites |
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| Course Language | English | ||||||||
| Course Type | Required | ||||||||
| Course Level | First Cycle | ||||||||
| Mode of Delivery | - | ||||||||
| Teaching Methods and Techniques of the Course | DiscussionGroup WorkProblem SolvingQ&ACritical feedbackJuryLecture / Presentation | ||||||||
| Course Coordinator | - | ||||||||
| Course Lecturer(s) | |||||||||
| Assistant(s) | - | ||||||||
| Course Objectives | This studio course aims to teach advanced pre-production, production, and post-production skills through lectures, screenings, discussions and hands-on practice. It also aims to provide the students with theoretical understanding of visual language and the comprehension of narrative storytelling structure in a cinematic context. |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | This is a studio course consisting of lectures and screenings on pertinent topics as well as hands-on teaching and demonstrations of various techniques and skills for digital filmmaking. There will be individual assignments pertaining to story development and translating ideas and concepts into visual language. In addition, there will be individual in-class presentations, assignments and a post-production assignment. |
| Related Sustainable Development Goals |   |
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| Core Courses | |
| Major Area Courses | X | |
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Course Introduction: Documnetary Modes and Forms | |
| 2 | Structuring Documentary and proposal | |
| 3 | The pitching of the documentary idea and presentations | Pitching in-class |
| 4 | Dramatic Development | |
| 5 | Cinematography and Lighting | |
| 6 | Directing and Interviewing | Filming and interview |
| 7 | Filming a process | Assignment: Film a process on campus |
| 8 | Sound Basics | |
| 9 | Midterm week | |
| 10 | Workshop | |
| 11 | Creating First Assembly | Raw footage review |
| 12 | Advanced Editing and Sound Design | |
| 13 | Post Production I | Rough Cut |
| 14 | Post Production II | Fine Cut with Subtitles |
| 15 | Submission of final projects | Jury |
| 16 | Final exams week |
| Course Notes/Textbooks | Kelly Anderson, Martin Lucas. Documentary Voice & Vision: A Creative Approach to Non-Fiction Media Production. Routledge, 2016. Andy Glynne. Documentaries and How to Make Them. Harpenden : Creative Essentials, 2012. |
| Suggested Readings/Materials | Bill Nichols. Introduction to Documentary. Indiana UP, 2017. |
| Semester Activities | Number | Weighting |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | 1 | 10 |
| Portfolio | ||
| Homework / Assignments | 1 | 20 |
| Presentation / Jury | 1 | 10 |
| Project | 1 | 50 |
| 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 | 3 | 48 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | 3 | |
| Study Hours Out of Class | 0 | ||
| Field Work | |||
| Quizzes / Studio Critiques | 1 | 24 | |
| Portfolio | |||
| Homework / Assignments | 1 | 36 | |
| Presentation / Jury | 1 | 24 | |
| Project | 1 | 60 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 240 |
| # | 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. | |||||
| 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. | |||||
| 7 | To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives. | X | ||||
| 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. | |||||
| 10 | To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media. | |||||
| 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
