COGN 21: Methods of Media Productionpages.ucsd.edu/~bgoldfarb/cogn21w10/Week1.pdf · Trip to the...
Transcript of COGN 21: Methods of Media Productionpages.ucsd.edu/~bgoldfarb/cogn21w10/Week1.pdf · Trip to the...
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COGN 21: Methods of Media Production
Professor Brian Goldfarb, Communication Dept Office hours Wednesday 10:30 - 12pm, MCC 205 Email bgoldfarb @ ucsd.edu TAs 21: Michaela Walsh, A02, A05
Chuck Miller, A01, A06 Laurel Friedman, A03, A04 Dolissa Medina, A07, A08
TAs 22: Aaron Gurlly, C00, E00 Andrew Whitworth-Smith, B00, D00
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All COGN 21 sections are fully enrolled. If students drop a section, wait-listers will be added automatically in the order they signed up. We are sincerely sorry that we can not expand the sections, however the course is offered twice a year (winter and spring).
If you want to switch sections, you must find a willing classmate, then inform both TAs together.
All COGN22 sections are full: if you are wait-listed you can go to the first meeting to see if a seat opens up.
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Books: available at Price Center Bookstore and on reserve in library
Readings not in the books are on e-reserve or linked to website (log in: 21student pass: 21text)
Readings and assignment due dates might change. Check the updated syllabus each week online: http://communication.ucsd.edu/goldfarb/cogn21w10
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Assignments, (Assignment handouts will be linked to course site)
Exams and Grading
DV CAM tapes are on order at UCSD bookstore tech supply section for COGN22 students. Should arrive by next week.
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////////////////////////////////////////////////
BE SURE TO CHECK YOUR UCSD EMAIL ADRESS OR SET UP FORWARDING TO AN EMAIL ADRESS THAT
YOU DO CHECK!!! /////////////////////////////////////////////// (can I say it any louder?)
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Goals of the Course Become a more ACTIVE & ENGAGED
viewer / listener Develop fluency in the language of
(cinematic) media production Gain basic skills in media production Connect critical understanding of production
to other areas of the Communication major Begin to translate theoretical ideas into
media projects (and vice versa) Think more broadly about the scope and
possibility of media viewing and making
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Announcements Any problems finding or accessing reading
materials. Some are on ereserves. Some linked to syllabus and require password.
Note a change to reading for next week listed on the online syllabus (pp17-132 of chapter 4, Bordwell & Thomson, Film Art)
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Analysis of Audio-Visual Media
Intention and Reception Interpretation Style, Form, Formal Systems Genre Political Economy - Institutional Analysis Social Cultural Context of Production
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what we don’t see that frames what we do see:
• Aspects of viewing context (historical, regional, local, etc)
• Discursive knowledge we bring to our interpretations (personal experience, beliefs, ideological frameworks, knowledge of other media examples, participation, etc)
Mediation takes various forms
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Approaches to Looking, Listening, & Analysis 1. Who (what group) made this? when? why where?
2. What is the argument or message being presented by the maker(s)?
3. What is the visual design of this work ?
4. What is the sound design of the film/video/program?
5. What is the editing style?
6. How does this relate to other media examples or genres (styles/types)? (Intertexuality)
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Media Clips for this Week Mad Men cable series created by Matthew Weiner
for AMC, (US, 2007-8) Trip to the Moon, George Méliès, France, (1902) Living in Oblivion, Tom DiCillo (US, 1995) Tony Oursler interview w/installation clips (US,1998) CUBO Street Video Installation/Performance by 6
groups (São Paulo, 2005) Pipilotti Rist's video installation (two overlapping
projections) Ever is All Over (Swiss Artist, NYC’s MOMA,1997).
Safe, film by Todd Haynes, (USA, 1995)
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Mise-en-Scene Putting into a scene: “the director’s control over what
appears in the film frame.” French term from theatre (Re-mediation, Jay Bolter & Richard Grusin)
Setting Lighting
Costume & Props Staging
Composition Color
Movement in Frame Camera Movement
Space Time
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Trip to the Moon George Méliès, France, 1902
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Trip to the Moon George Méliès, France, 1902
In what ways was it a precursor to Hollywood style production / narrative form? What did it lack? How has it been a model of other cinema forms?
Inspired by novels by Jules Verne and H G Wells Used cinema technology in new ways to extend theatrical staging and magic shows (Re-mediation) Early narrative construction Series of single shot scenes
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Living in Oblivion Written and Directed by Tom DiCillo, US, 1995
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Living in Oblivion Phases, Roles, and Organization of Production
Pre-production | Production | Post-production | Distribution
Director • Executive Producer • Producer • Managing Producer • Scriptwriter • Art Director • Casting Director • Storyboard Artist • Director of Production / Set designer • Costume Designer • Make-up Artist • Clapper • Composer • Sound Designer • Cinematographer / DOP • Director of Audiography • Location Manager • Gaffer • Grip • Best Boy • Editor • Special Effects/Graphics • etc …
http://www.statemaster.com/encyclopedia/Filming-production-roles
Independent / Indie • Low Budget film
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Standardization of Production System / Division of Labor
Hollywood/Industry vs. Independent • Low Budget(?) • Studio System • Motion Picture Patents Company or "Edison Trust” (established in 1908) • Society of Independent Motion Picture Producers (1941) • The Film-Makers' Cooperative (1962)• Anthology Film Archives (1970) • Sundance Institute (1981) • etc
Variety in approaches to film making can relate to: • Scale of production (and budget) • Directorial style: tighter planning vs more improvisation and experimentation
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Constructing Images
Framing and the frame (terms for description, analysis and
conscious production)
• Why have different types of shots? • Maintain interest • Provide different information: different shot communicate differently • A film language? • What is the relationship between shot variety and realism?
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Elements of a “Good” Shot Thought provoking Efficient: Using design and focus to
support the meaning or message Cues Eye Trace (Activating the movement of
the viewers’ eyes) Creating dynamic or engaging
relationships among elements There are no rules that can’t be broken!
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Photography Framing Arrangement of elements: X, Y and Z axes Shot distance: Medium, Wide, Close Up,
Extreme Close up Depth of Field Camera Angle Lighting Color
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Framing Observing and controlling the boundary and
contents of your image.
Positioning and adjusting the size/distance of key elements in relation to the overall space.
Controlling depth.
Removing unnecessary, confusing or competing elements.
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The Rule of Thirds
Divide the frame into 9 equal areas Avoid placing object in red area Horizon lines at top and bottom thirds Place objects at points 1, 2, 3, or 4
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Framing: The Rule of Thirds
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Things to look out for or avoid Avoiding clutter Maintain separation of subjects and background (through lighting, color/contrast, focus, etc) Tangential objects that might appear connect to
subject Avoid cropping limbs subjects at joints Avoid too much headroom (above a subject).
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Framing: shot distance and size of subject in the frame
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• Medium shot • Eye-level • ¾ view • Centered
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Medium close-up Frontal view Shallow depth of field
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Close-up ¾ View
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Extreme close-up
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Too little headroom
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Nose or Lead Room
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Close-up Offset
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Close-up Offset: Wider Aspect Ratio
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X-axis ====
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Y-axis
•
• •
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Z Axis (into distance)- Blocking
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Z Axis - Vectors
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Depth of Field
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Shallow Depth of Field Eye-line vectors
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Ways to decrease depth of field:
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Camera Angle
Bird’s Eye View
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Camera Angle
Low Angle
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Camera Angle
Low Angle
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High Angle
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Dutch Angle, Canted Angle Shot, Dutch Tilt: A shot composed with the horizon not parallel with the bottom of the frame.
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Lighting
Terms we use: High key Low key Soft light Hard light
Contrast Fill Flat Direct Indirect
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High Key Lighting Softens features; Low contrast
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Low Key Lighting
(High contrast)
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Color: Saturated
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Color: Muted
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Color Temperature Color Temperature-- the spectrum of light illuminating a
scene (not the color of objects in the scene)
Exterior light - 5400K Blue Mid day sun exterior - Bright Blue Sunset exterior - blue/orange Interior (tungsten set lights) - 3200 K Orange Fluorescent - Green
White Balance is the video camera adjustment to compensate for color temperature.
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Shifts in Color Temperature can be used to set mood or
provide connotations Clips from Traffic (Steven Soderbergh, 2001)
Scenes in San Diego - white balanced normal Scenes in Tijuana - color balanced orange Scenes with Drug Tsar and family - color
balanced blue
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Still Image Checklist
Framing: Centered, use of rule of 3’rds Tripod height: High, medium or low angle Wide, medium, close up shot Hard or soft lighting Focus and Depth of Field Direct or indirect lighting Colors in the frame