Subject to change!
Subject to change!
No surprise in the writer, no surprise in the reader. Robert Frost
. I don't believe in total freedom for the artist. Left on his own, free to do anything he likes, the artist ends up doing nothing at all. If there's one thing that's dangerous for an artist, it's precisely this question of total freedom, waiting for inspiration and the rest of it. Frederico Fellini
Moving Images and Sound
Production and Reading Assignments
Fall 09
Eads 013 Office Hours: Wednesdays & Thursdays
(two sections)
Umrath 253 Wed. 2-4 p.m.
& Thurs. 3-4 p.m.
(Appt. Pref.)http://get.to/pier 935-4055/marton@artsci.wustl.edu
Movies show... and then tell!. Alexander Mackendrick
Please read the instructions below carefully &
consult repeatedly this page of advice and these tips.
It is recommended that you back-up your work regularly, either onto or hard/flash drive, or onto a DVD-R disk.
Check-out hours are:
Monday through Friday from 8:30 a.m. to 12'noon and 2 p.m. to 4:30 p.m. (x5 4056)
Remember that ALL of your work can be geared, whenever possible, towards your two-minute final piece.
It is often not what you say, but how you say it, that makes the biggest impact, hence it might be useful to consult such a book as Matt Madden's book 99 Ways To Tell a Story, (a variation on the original Exercises in Style by Raymond Queneau - on reserve in Olin).
Beyond "style" though, it is hoped that, after realizing how few elements you need to conjure up thousand of images, you will explore the ramifications of a rich soundtrack, This is well illustrated with the annual Third Coast Radio Festival (also inspired by Queneau & Madden)..
Write your comments by the clips you watch: everyone is to comment on everyone so that your pieces do improve, week after week. If some comment can still help your project during a particular week (meaning you still have time to make those improvements), by all means,
try to produce a second or third version that you would post...
Young people should learn to see things for themselves and not ask for advice.
Auguste Renoir as quoted by Jean Renoir, his filmmaker son.The work is ALWAYS due the day before class by 8 p.m.at the latest.
Work done at the last minute will likely end in failure:
start your production assignments over the week-end.
Rainer Maria Rilke
2- Week of Aug. 31 |r|h|y|t|h|m|s|
For Next Week: Use refined colors and well composed frames. Import them into iMovie to form a pulsating sequence full of rhythms (21 seconds, like the Glitch piece).
Simplicity, unity of color/action, a strong beginning and ending with some surprises along the way should be key factors. These clips might inspire you for this specific assignment Autechre & Alva Noto's Unitxt, Berlin & Neu Stadt:
Watch In the Mood for Love.
Post on the Ning 1. your Glitch animation. 2. your reactions to "Mood". 3. After viewing the project you will use as backbone (ad or trailer), describe WHAT WORKS. Go into sound, picture, their relation, juxtaposiiton and structure.
tExt! Week of Sept. 7- 3
1. Produce another color matte animation to the same Glitch soundtrack This time, synchronize text and fonts too, along with the colors (can be the same as before or an enhanced version- imagine that this is your future title sequence.
Check out Kyle Cooper and others in the field of design and motion graphics.
2. Watch the deleted scenes on the In the Mood for Love DVD extras. Describe (on the Ning) why those scenes were not present in the final version.
3. Read Photo Idea Index (PII) all the way to page 205. There might be a quiz!
4 - Week of Sept. 14 in place
With your final project in mind, use the Storyboard software to create artificial compositions of spaces and people - you can tweak the images to enhance the atmosphere. Import them onto the visual portion of the backbone piece you selected - the original soundtrack for your backbone clip DOES remain unchanged. If you have access to a digital camera, feel free to use actual locations. FYI your final piecet should not require lots of acting nor many lines to remember. Keep it in the realm of the feasible with some tangible tension & unknown elements.
s s s s o u n d s Week of Sept. 21-5
Create a sound piece that lasts the entire duration of your piece. Think of atmosphere, theme, subtlety, and the book-end principle. Consider the Silent Light'and the Primer railer's Wabi-Sabi principle as you assemble the various (relevant) sound effects. This soundtrack might become the overall layer for your final project! Refine the layering in Soundtrack Pro. Make sure you keep a feel for the very tight soundtrack from your original backbone piece.
6- Week of Sept. 28 THICK
Create three thematically linked stingers to create suspense or surprises, Avoid the obvious techniques (violins, hearbeat...).If you can link these to the background soundtrack you worked on last week, so much the better.
Feel free to keep improving either the image or the sounds from last week.anchors - For Week of Oct. 5 -7
Considering the short amount of time you will have with the camera, provide us only with three shots (a maximum of seven seconds, each/select the best portion): 1. Videotape your main character to be able to present the quality that brings out the reality of that person (their "IS-ness"). 2. An action shot, done in the most dynamic fashion, can be LS or CU, or a combination of both (no cuts though) 3. The "Roller-Coast Shot": the camera allows us to experience a most subjective form of an activity. Goal: To provide us with some of the foundations from which you will build your piece + read the entire Barebones book.8- For Week of Oct. 12 intensities
Post onto the appropriate Ning discussion:
1. The five categories that will become part of your navigation menu, by decreasing importance.
2. List the name of the particular iWeb template you will work from and the reasons for your choice.
3. Describe briefly how you might try to customize it.
Just like the is-ness which might require repeated attempts, give your climactic scene a serious attempt. It is important to tackle the hardest tasks first! In anticipation of the following week assignment, you are welcome to shoot more material though.
I would like everybody to start commenting on each others' projects.
no holds barred! For Week of October 19 -9
Shoot EVERYTHING needed (you will need a shot list). Assemble a rough cut of what you have videotaped during the past week. No need to tweak the transitions, just show the best takes in the order in which you want them to appear .Goal To see clearly what is "in the can" and what is missing.
+ Publish your site with your latest clip, and post its link onto the Ning forum.
10- For Week of October 26 finish v.1
Spend this time correcting shots that are defective, or add what will make your piece more coherent + don't forget some effective/affective subjective shots. Goal: To get us inside one of the characters' vision/emotions, and to achieve a substantial difference between the previous version and this one - do play it to "a bunch of strangers" to see their reaction, without telling them what your piece is about.
finish v.2 For Week of November 2 -11
Atmospheric shots a must!! + Make it work, either by completely reorganizing or rethinking your project or by shooting extra material. This time, your transitions should be smooth and there should be a clear variety in the pacing.. Goal: To have something that functions well on your timeline, a fine cut, with a sense of presence for your particular piece.12- For Week of November 9 aural pleasures
Keep thinking where your piece might need to improve and re-shoot or add pick-up shots throughout the next weeks + with the help of Soundtrack Pro and sound effects, take as a model the way animators dress up their work with fine sound work and use a (small to large - your choice) portion of your imagery to "animate" certain object/environments. Edit sounds from the environment you will use (the on/off-screen sound) and see what kind of musical composition you can achieve. May the first part of this video clip inspire you (without the beat track - before the keyboard is played). Goal: To learn the basics of Soundtrack and the creative potential of existing sounds (à la Primer).music to your ears For Week of November 16 -13
Add a Soundtrack Pro original "music" track with textures and sound effects only (NO musical instruments or electronica!) for EMPHASIS ONLY. Make it as diegetic as possible. Also bring out certain sync sound elements from your track to create further accents. Goal: Subtle mood enhancing bits of sounds appear and the audience barely notices as they could be part of the environment. We will listen to your piece as a radio piece (without the visuals). The most exciting moment is the moment I add sound. At this moment, I tremble - Akira Kurosawa.14- For Week of November 23 unnaming
The FINAL version! E-mail me a list, by decreasing preference, five titles you are contemplating using. They should connect with the piece, yet NOT tell you what the film is about (remember, multiple meanings will make your title come alive - avoid the generic/big). Select one title for today and use it, preferably at the end of your piece. Goal: To frame your piece and yet keep it intriguing.
A Beckett quote for this period: You must go on. I can't go on. I'll go on.
show-shine For Week of November 30 -15
Final Piece is Screened on Computers. Remember that your piece is there to whet your audience's appetite, rather than fill them up. Keep your viewers hungry! What could still be improved? Titles/Credits (use some "non-type" way of working -as my students or with numbers?) or any Voice-Over. Eliminate bland visuals. Smooth and/or sudden animation: use keyframes to lively up some aspect of your piece. Integrate your soundtrack building skills. Keep your project tightly trimmed words: Student films come in three sizes: TOO LONG - MUCH TOO LONG - VERY MUCH TOO LONG - Alexander Mackendrick. Where is the lull? Where to modulate and create one of those contrasts that will revitalize a section? Your DV Tape Screened in Class. PLEASE don't try to "go to tape" the same day it is due. That would be a recipe for disaster.
I compile your tapes for the public screening so you need to provide me your final tape with bars/black, tone, and your piece and more black (you might want to make another copy for your archive).
Sunday Dec. 6th (right after the last day of class)
The Fine Print: Most of the grading will be a reflection of your sustained effort and creativity in the production of the assignments. Avoiding last minute tasks and backing up your files are essential to surviving in a technology-based environment. As it takes lots of feedback sessions to eliminate problem areas, it is not recommended you try to finalize your piece only during the last weeks. If you want to have an idea of the type of grade you might receive, keep an account of the various times you find yourself late or with an excuse, instead of with the work due.
More specifically though, an A reflects outstanding work (content/form/technique) , a B, all the work required was done well and on time, but either the content or the form is predictable and lacks extraordinary qualities, a C, the work was done, but barely fulfills the requirement. Anything below a C would reflect serious incompleteness or a pattern of lateness or sloppiness. No incompletes will be given. Irregular attendance (a set of two unexcused absences - without doctor's notification), or repeated lateness will bring down your grade by a full mark. If absent, it is still your responsibility to keep in touch and forward your assignment to me on the day of class. There might be also a few quizzes which can act as leverage towards the final grade.People have got to think. Thinking isn't to agree or disagree, that's voting. Robert Frost
