1 Aralık 2009 Salı
Note for producers
Producers are expected to find two possible actors/actresses for each role. They are supposed to collect short CVs (name, contact information, photos and previous acting experience) and bring them to class. We will discuss and choose the actors/actresses together.
24 Kasım 2009 Salı
Second drafts of the scenarios - grading information
The second drafts of the scenarios will be graded as such:
Character development: %20
Unity: %30
Coherence: %10
Emphasis: %20
Interest: %20
Note: I had only three third drafts in my mailbox. As I have said you can put the third drafts into my mailbox you do not have to find me. If you need assitance in your projects please e-mail me and we will set up a meeting together.
Character development: %20
Unity: %30
Coherence: %10
Emphasis: %20
Interest: %20
Note: I had only three third drafts in my mailbox. As I have said you can put the third drafts into my mailbox you do not have to find me. If you need assitance in your projects please e-mail me and we will set up a meeting together.
19 Kasım 2009 Perşembe
3rd drafts of the scenarios
Directors and assistant directors are expected to prepare the 3rd and final draft of the scenarios. They are expected to bring them in class on Sunday make-up lecture.
Tuesday section scenarios
Tuesday section scenarios are left to the dormitory security. You may go there give my name and th course name and say that you need to take the scenarios back. They will give them to you.
Canon XL2 Manual
Canon XL 2 manual is at the Trio copy center. Camera operators are responsible from this manual and they will be tested. The test will be in English so I advise you to learn the English terms as well as the Turkish ones. Sound operators are also responsible from he part concerning them (namely the sound panel). Sound operators will be responsible for additional readings alongside the part they are responsible in the Canon XL 2 manual.
12 Kasım 2009 Perşembe
Script First Draft Feedback
First drafts of the scripts are in my mailbox (Faculty of Communication Secretary's office) with feedback notes. Please collect them and use them as a reference source for your script revisions. Director, assistant director and script writer are supposed to meet and answer together the questions mentioned in class. After that meeting script writer can start revising the script. Second drafts will be handed in next week in class hours.
5 Kasım 2009 Perşembe
The Character Resume
The Character Resume
One useful way to learn more about your characters is to fill out a ``resume'' for them--at least for the more important ones. Such a resume might include the following information:
- Name:
- Address & Phone Number:
- Date & Place of Birth:
- Height/Weight/Physical Description:
- Citizenship/Ethnic Origin:
- Parents' Names & Occupations:
- Other Family Members:
- Spouse or Lover:
- Friends' Names & Occupations:
- Social Class:
- Education:
- Occupation/Employer:
- Social Class:
- Salary:
- Community Status:
- Job-Related Skills:
- Political Beliefs/Affiliations:
- Hobbies/Recreations:
- Personal Qualities (imagination, taste, etc.):
- Ambitions:
- Fears/Anxieties/Hangups:
- Intelligence:
- Sense of Humor:
- Most Painful Setback/Disappointment:
- Most Instructive/Meaningful Experience:
- Health/Physical Condition/Distinguishing Marks/Disabilities:
- Sexual Orientation/Experience/Values:
- Tastes in food, drink, art, music, literature, decor, clothing:
- Attitude toward Life:
- Attitude toward Death:
- Philosophy of Life (in a phrase):
You may not use all this information, and you may want to add categories of your own, but a resume certainly helps make your character come alive in your own mind. The resume can also give you helpful ideas on everything from explaining the character's motivation to conceiving dramatic incidents that demonstrates the character's personal traits. The resume serves a useful purpose in your project bible, reminding you of the countless details you need to keep straight.
Thursday Groups
Group 1 (Çocuk)
Mert Burak
Merve Bozkan
Merve Mert
Özlem İlgen
Miraç Üzgen
Murat Aybars
Hamit Erol Salkur
Necmettin Burak İşlek
Berna Tan
Nadide Pınar Koç
Egemen Beşer
Özde Eroğlu
Group 2 (Uyuşturucu)
Cihan Karaağaçlı
Petek Hançer
Jülide Çalışır
Gizem Arabacı
Naz Arman
Dilara Molvalı
Gizem Güngör
Gülçin Sezen Karaegemen
Özge Akaytar
Gamze Kaçar
İbrahim Mut
3 Kasım 2009 Salı
Tuesday Section Groups
Group A (Para)
Can Kırhan
Nazlı Onay
Pelin Eras
Yağmur Sönmez
Cem Mutlu
Gökçe Bilgiç
Felat Atan
Elif Yekenkınrul
Doğuş Çapal
Selin Güney
Dorukhan Barkan
Mustafa Kolcu
Group B (Cam)
Can Akbaş
Begüm Bilgin
Erman Arda
Engin Özbatır
Murat Pışat
İpek Başpınar
Ahmet Feyzi Mirhanoğlu
Çağdaş Altınok
Yiğit Can Mumcu
Açelya Arslantaş
Gamze Bilgen
Faruk Tan
26 Ekim 2009 Pazartesi
27 October Tuesday Film Production and Editing Lecture
29 October Thursday lecture is cancelled due to the National Holiday. This course is designed to continue through parallel sessions. Keeping up with the deadlines about checking out equipment, shooting and editing is the main reason. So 27 October Tuesday lecture will also be cancelled. Date of the make up lecture will be decided in class and announced on the blog. Have a good holiday. Cumhuriyet bayramınız kutlu olsun.
22 Ekim 2009 Perşembe
Thursday Section Role Assignments
Özge Akaytar: Sound Operator
Özlem İlgen: Director of Photography
Cihan Karaağaçlı: Director (Team B)
Merve Mert: Script Writer
Egemen Beşer: Editing (Team A)
Merve Bozkan: Assistant Director (Team A)
Gamze Kaçar: Lighting Operator
Gülçin Sezen Karaegemen: Camera Operator (Team A)
Hamit Erol Salkur: Camera Operator (Team B)
Berna Tan: Sound Operator
Miraç Üzgen: Production (Team A)
Gizem Arabacı: Director of Photography
Naz Arman: Production (Team B)
Murat Aybars: Assistant Director (Team B)
Mert Burak: Director (Team A)
Jülide Çalışır: Script Writer
Gizem Güngör: Editing (Team B), Camera Operator (Team A)
Petek Hançer: Production (Team A)
İbrahim Mut: Editor (Team B)
Özde Eroğlu: Editor (Team A)
Necmettin Burak İşlek: Camera Operator (Team B)
Nadide Pınar Koç: Lighting Operator
Dilara Molvalı: Production (Team B)
20 Ekim 2009 Salı
Tuesday Section Role Assignments
Can Akbaş: Director (1st directing team)
Begüm Bilgin: Assistant Director (1st directing team)
Can Kırhan: Director (2nd directing team)
Nazlı Onay: Assistant Director (2nd director)
Erman Arda: Script Writer
Pelin Eras: Script Writer
Yağmur Sönmez: Director of Photography
Engin Özbatır: Director of Photography
Cem Mutlu: Producer (1st producing team)
Gökçe Bilgiç: Producer (1st producing team)
Murat Pışat: Producer (2nd producing team)
İpek Başpınar: Producer (2nd producing team)
Felat Atan: Camera Operator (1st camera team)
Elif Yekenkınrul: Camera Operator (1st camera team)
Ahmet Feyzi Mirhanoğlu: Camera Operator (2nd camera team)
Çağdaş Altınok: Camera Operator (2nd camera team)
Doğuş Çapal: Lighting Operator
Yiğit Can Mumcu: Lighting Operator
Açelya Arslantaş: Sound Operator
Selin Güney: Sound Operator
Faruk Tan: Editor (1st editing team)
Gamze Bilgen: Editor (1st editing team)
Dorukhan Barkan: Editor (2nd editing team)
Mustafa Kolcu: Editor (2nd editing team)
Shoot Stills Project
In this project you are expected to tell a story with 16-24 still photographs. Each student will complete the assignment individually. The deadline for the assignment is 20th of October 17:20 for Tuesday section, 22nd of October 12:20 for Thursday section.
The aim of the project is to develop students’ skills in visual narration. The story ideas will not include dialogue, which cannot be visualized by photographs. Several exercises might help you in developing and refining your film idea. You may watch Kim Ki Duk’s “Iron 3” again and randomly stop the film to interpret the still images. You may analyze the frame sizes in Michael Haneke’s “Seventh Continent” and you may contemplate on the story development in Kieslowski’s “Dekalog 4”. These exercies have been done in class to an extent, students are expected to repeat these activities by themselves.
You may use your own cameras or you may borrow them from Faculty of Communication facilities. Please make a reservation if you are planning to use faculty equipment.
Evaluation:
Use of different frame sizes: %40
Delivery of the story idea: %40
Frame setting: %10
Originality of the story idea: %10
13 Ekim 2009 Salı
Academic Honesty
The most common academic honesty violations are
cheating and plagiarism. Cheating includes,
but it is not limited to
1) Submitting material that is not one's own.
2) Fabricating information.
3) Copying from a book or class notes during
a closed-book exam.
4) Violating procedures prescribed to protect
the integrity of a test, or other
evaluation exercise.
5) Cooperating with or helping another student
to cheat.
6) Having another person take an examination
in student's place.
7) Altering exam answers and requesting that
the exam be re-graded.
8) Communicating with any person during an
exam other than the faculty member or
exam proctor.
9) Making unauthorized use of technological
devices in the completion of assignments
or exams.
Plagiarism includes, but is not limited to:
1) Directly quoting the words of others without
using quotation marks or indented format
to identify them.
2) Using sources of information
(published or unpublished) without
identifying them.
3) Paraphrasing materials or ideas without
identifying the sources. Plagiarism is the use,
intentional or unintentional, or another's words
and ideas without providing proper credit
to the originator. Penalty for plagiarism
will be determined by the professor.
The lowest penalty will be failure of the
assignment, while the highest will be
disciplinary action. Cheating on homework,
quizzes, and exams is inexcusable,and you may
automatically fail the course if you are caught.
If you begin to feel like you are having trouble
with this course or a particular assignment,
please come and see us. We will be more than
happy to assist you in any way possible so that
you can succeed in this class without resorting
to dishonesty.
Questionnaire
1. What is your favorite movie/s?
2. Why do you like the film. Explain briefly.
3. Who is your favorite director/s?
4. What is the last book you have read?
5. Please state your three desired role in the short film project.
1.
2.
3.
6. Have you ever used a camera?
7. Have you ever used an editing software?
8. Have you ever used a sound equipment?
9. What is your major?
10. What is the last film you have watched in cinema and on DVD?
Readings
Readings have been left to Trio photocopy center. They will be available beginning this week. Additional readings will be announced in the lectures or on the blog.
Working in a Short Film Project
MCS 301 FILM PRODUCTION AND EDITING SHORT FILM PROJECT ROLE DESCRIPTIONS
Fall 2009
Working in a short film project
In this course you are supposed to work in a short film project. Each and every student has to take a role in one of these projects. The roles are defined in detail and they will be explained to students. Students will have an opportunity to specify which roles they would like to take.
Role Allocations
Students will be asked which role they wish to take at the beginning of the course. The instructor will decide the final role allocations. Student wishes will be the first concern yet it is not guaranteed that every student will take his/her desired role. Objections to role allocations are NOT appreciated.
Roles
Director & Assistant Director
The responsibilities of this team can be listed as follows:
• Organizing the group work
• Ensuring good communication among group members
• Conflict resolution in group work
• Monitoring script-writing process
• Monitoring storyboard preparation process
• Taking part in casting decision
• Organizing the shooting schedule
o The shooting schedule should be in written format and distributed to team members and the instructor before the shooting starts.
• Monitoring the editing process
Script Writer
The script writer takes the chosen idea from the shooting stills project and develops it. S/he adds dialogue and scene descriptions. S/he works closely with the directing team in finalizing the script. S/he hands in two drafts of the scripts: 1st draft and final draft. Deadlines for the drafts will be announced later.
Director of Photography
Director of photography creates a detailed storyboard of the script. The storyboard includes all the shot descriptions and possible camera movements. S/he works closely with script writer in modifying the script during the storyboard writing process and creates the first draft of the storyboard. S/he finalizes his/her work with the directing team and hands in the storyboard on the specified deadline.
1st Producer & 2nd Producer
The duties of the producing team are:
• Preparing and managing the production budget: All participants in the project are supposed to contribute to the production budget. Project contribution fee for the movie project is 10 TL. Production team is in charge of collecting the project contribution fees and handing in receipts to the payers. S/he is supposed to put the copies of all receipts in the budget dossier. After collecting the budget s/he makes a list of the cost items for the project with the director. S/he collects slips for the expenses and puts them in the budget dossier. If any money is left over s/he is responsible for distributing the remaining amount equally to the payers and collect discharges for the left over payments. Copies of discharges should also be included in the budget dossier.
• Transportation: If any need for transportation occurs (actors, equipment, crew etc.) production team is in charge of arranging it properly. Transportation expenses should be documented with slips and put in the budget dossier.
• Food & Beverage: The food and beverage needs of the crew and actors are VERY important for the shooting. The producing team plans carefully these needs. Collects information about specific needs of the crew or the actors beforehand. The food and beverage consumption times should be determined before shooting day with the director and these times should be noted down in the shooting schedule.
• Casting: Producing team is in charge of arranging the casting calls. The directing team and producing team determine the possible actors for the film project together. Producing team is responsible for contacting with these possible actors. S/he fixes the date for the rehearsal shooting and announces the date and time to the crew. S/he is in charge of supplying the accommodation needs of the actors.
• Booking and checking equipment: Producing team is responsible for checking the necessary equipment out for the rehearsal, location and studio shootings. S/he is supposed to ensure the necessary equipment is working properly and the crew is ready to do their work without any major technical problems.
• Copying documents: Copying necessary documents and distributing them to the relevant crewmembers is the responsibility of producing team. Shooting schedule and script should be distributed to all crewmembers.
• Shooting runner: Producing team is supposed to have in close contact with the director during shooting. Any kind of practical problem occurred during the shooting should be handled by the producing team first. If it’s not fixed then director or instructor can intervene in the issue.
1st Camera Operator & 2nd Camera Operator
In location shootings two camera operators work together. They are supposed to help each other in mounting and balancing the tripod and safely placing the camera on it. They are expected to follow all the instructions given in class on operating the camera safely.
They are simply expected to follow the instructions noted down in the camera checklist. Their roles are predetermined with the shooting schedule prepared by the director. During shooting they take the instructions from the director or director of photography.
1st Editor & 2nd Editor
The editing team completes the short film project. They both finalize the visual and sound editing of the project. They prepare the titles. After finishing the project they burn the film to a DVD. They also prepare the DVD cover of the project and hand in the final project at the specified deadline. During this process they work together with the directing team. If any conflict occurs in the editing process director gives the final decision.
Lighting Operator/s
Lighting operators are supposed to operate the lights during shooting. They are supposed to decide the right lighting for each scene. They work closely with the director of photography in determining the lighting scheme of each scene. They hand in the lighting scheme document to the instructor at the specified deadline. They are responsible in choosing the right lighting equipment. They work together with producing team in checking out the lighting equipment. Lighting operators are responsible for the safety of both the equipment and the crew.
Sound Operators
Sound operator/s are responsible for recording sound during shootings. S/he is in charge of choosing the right audio equipment and properly operating it during the shooting. S/he listens the whole shooting and intervenes if any problem occurs. They also record the white noise and prepare follies if it is needed. They help the editing team during the sound editing process.
Sharing the workload
Roles allocated to team are team projects. Teams should specify how they will be sharing the work load and write down their work allocations. Workload sharing documents should be hand in on specified deadlines.
Fall 2009
Working in a short film project
In this course you are supposed to work in a short film project. Each and every student has to take a role in one of these projects. The roles are defined in detail and they will be explained to students. Students will have an opportunity to specify which roles they would like to take.
Role Allocations
Students will be asked which role they wish to take at the beginning of the course. The instructor will decide the final role allocations. Student wishes will be the first concern yet it is not guaranteed that every student will take his/her desired role. Objections to role allocations are NOT appreciated.
Roles
Director & Assistant Director
The responsibilities of this team can be listed as follows:
• Organizing the group work
• Ensuring good communication among group members
• Conflict resolution in group work
• Monitoring script-writing process
• Monitoring storyboard preparation process
• Taking part in casting decision
• Organizing the shooting schedule
o The shooting schedule should be in written format and distributed to team members and the instructor before the shooting starts.
• Monitoring the editing process
Script Writer
The script writer takes the chosen idea from the shooting stills project and develops it. S/he adds dialogue and scene descriptions. S/he works closely with the directing team in finalizing the script. S/he hands in two drafts of the scripts: 1st draft and final draft. Deadlines for the drafts will be announced later.
Director of Photography
Director of photography creates a detailed storyboard of the script. The storyboard includes all the shot descriptions and possible camera movements. S/he works closely with script writer in modifying the script during the storyboard writing process and creates the first draft of the storyboard. S/he finalizes his/her work with the directing team and hands in the storyboard on the specified deadline.
1st Producer & 2nd Producer
The duties of the producing team are:
• Preparing and managing the production budget: All participants in the project are supposed to contribute to the production budget. Project contribution fee for the movie project is 10 TL. Production team is in charge of collecting the project contribution fees and handing in receipts to the payers. S/he is supposed to put the copies of all receipts in the budget dossier. After collecting the budget s/he makes a list of the cost items for the project with the director. S/he collects slips for the expenses and puts them in the budget dossier. If any money is left over s/he is responsible for distributing the remaining amount equally to the payers and collect discharges for the left over payments. Copies of discharges should also be included in the budget dossier.
• Transportation: If any need for transportation occurs (actors, equipment, crew etc.) production team is in charge of arranging it properly. Transportation expenses should be documented with slips and put in the budget dossier.
• Food & Beverage: The food and beverage needs of the crew and actors are VERY important for the shooting. The producing team plans carefully these needs. Collects information about specific needs of the crew or the actors beforehand. The food and beverage consumption times should be determined before shooting day with the director and these times should be noted down in the shooting schedule.
• Casting: Producing team is in charge of arranging the casting calls. The directing team and producing team determine the possible actors for the film project together. Producing team is responsible for contacting with these possible actors. S/he fixes the date for the rehearsal shooting and announces the date and time to the crew. S/he is in charge of supplying the accommodation needs of the actors.
• Booking and checking equipment: Producing team is responsible for checking the necessary equipment out for the rehearsal, location and studio shootings. S/he is supposed to ensure the necessary equipment is working properly and the crew is ready to do their work without any major technical problems.
• Copying documents: Copying necessary documents and distributing them to the relevant crewmembers is the responsibility of producing team. Shooting schedule and script should be distributed to all crewmembers.
• Shooting runner: Producing team is supposed to have in close contact with the director during shooting. Any kind of practical problem occurred during the shooting should be handled by the producing team first. If it’s not fixed then director or instructor can intervene in the issue.
1st Camera Operator & 2nd Camera Operator
In location shootings two camera operators work together. They are supposed to help each other in mounting and balancing the tripod and safely placing the camera on it. They are expected to follow all the instructions given in class on operating the camera safely.
They are simply expected to follow the instructions noted down in the camera checklist. Their roles are predetermined with the shooting schedule prepared by the director. During shooting they take the instructions from the director or director of photography.
1st Editor & 2nd Editor
The editing team completes the short film project. They both finalize the visual and sound editing of the project. They prepare the titles. After finishing the project they burn the film to a DVD. They also prepare the DVD cover of the project and hand in the final project at the specified deadline. During this process they work together with the directing team. If any conflict occurs in the editing process director gives the final decision.
Lighting Operator/s
Lighting operators are supposed to operate the lights during shooting. They are supposed to decide the right lighting for each scene. They work closely with the director of photography in determining the lighting scheme of each scene. They hand in the lighting scheme document to the instructor at the specified deadline. They are responsible in choosing the right lighting equipment. They work together with producing team in checking out the lighting equipment. Lighting operators are responsible for the safety of both the equipment and the crew.
Sound Operators
Sound operator/s are responsible for recording sound during shootings. S/he is in charge of choosing the right audio equipment and properly operating it during the shooting. S/he listens the whole shooting and intervenes if any problem occurs. They also record the white noise and prepare follies if it is needed. They help the editing team during the sound editing process.
Sharing the workload
Roles allocated to team are team projects. Teams should specify how they will be sharing the work load and write down their work allocations. Workload sharing documents should be hand in on specified deadlines.
Thursday Syllabus
MCS 301 Production and Film Editing
Instructor: Instr. İbrahim Cansızoğlu
Office: 523
Office Hours: Wednesday 15:30-16:30
e-Mail: ibrahimcansizoglu@gmail.com
Phone: Ext. 324
Class Hours: Tuesday 08:30-12:20
Objectives:
The main goal of this course is to teach the student the necessary theoretical and practical knowledge about film production and editing. Lectures in all aspects of filmmaking will be held based on the textbook and reference sources. Students will have a chance to experience different aspects of filmmaking in moving image projects. Each student will be assigned a role in the moving image project. Several workshops will be held on script writing, directing actors and sound recording for film. Each week students are expected to watch the assigned films. The films have been chosen according to their relevance to the lecture content. At the end of the course two different moving image projects will be completed. Films are supposed to be at three minutes length at most. At the end of the course copies of films will be provided for the participant students and actors to use them in their show reels.
Course Outline:
1 Oct. Introduction: Film as Journey
Introduction to the course, description of course content.
Screening: “Iron 3” by Kim Ki Duk
8 Oct. Storyboarding
Shot descriptions and visual storytelling basics
Thompson, Roy, Grammar of the Edit, Oxford: Focal Press, 1993, Pp. 10-40
Screening: “Seventh Continent” by Michael Haneke
15 Oct. Dramatic Construction
Elements of narrative, narrative structure
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp. 230-248
Screening: “Dekalog” by Krzystof Kieslowski
22 Oct. Stills projects due
Workshop: Dramatic Construction
Storyboards will be discussed and further developed
Screening: “American Gigolo” by Paul Scrader
29 Oct. Acting in film
Acting, gesture, performance and expression
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.110-138
Workshop: Directing Actors
Screening: “Dangerous Liasons” by Stephen Frears
5 Nov. Editing Stills Projects
Introduction for moving image project, role assignments, description of roles
Bordwell&Thompson, Film Art, New York: McGraw Hill, 1997, Pp. 3-42
Screening: Selected short films
12 Nov. Basics of Film Production
Introduction to schedule organization, how to use planning sheets effectively
Screening: “Masumiyet” by Zeki Demirkubuz
19 Nov. Structure and the Camera
Camera position, angle, movement, lenses
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.10-46
Screening: “City Lights” by Charles Chaplin
26 Nov. Camera and Light
Exposure, depth of field, filters, basics of lighting design, introduction to 35 mm filmmaking
Screening: “Citizen Kane” by Orson Welles
3 Dec. The Film Sound and Basics of Film Editing
Types of sound, sound design, film scores, narration and point of view
Workshop: Sound Recording for Film
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.149-159, 183-226
Screening: “Rear Window” by Alfred Hitchcock
10 Dec. Midterm
17 Dec. Film Editing on Final Cut Pro.
The principles of continuity editing
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.159-170
Screening: “Casablanca” by Michael Curtiz
24 Dec. Film Editing on Final Cut Pro.
Alternatives of continuity editing
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.170-183
Screening: “Breathless” by Jean Luc Godard
31 Dec. Sound Editing, Captioning and Titles
Bordwell&Thompson, Film Art, New York: McGraw Hill, 1997, Pp. 327-341
Screening: “Playtime” by Jacques Tati
7 Jan. Submission of Moving Image Projects
Textbook:
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007
References:
Bordwell&Thompson, Film Art, New York: McGraw Hill, 1997
Attendence:
Attendance is required at all times. Students are expected to come to class fully prepared to discuss assigned readings and films. Some percentage of your final grade will be based on your attendance and class participation. Attending lectures in the other section is strictly forbidden.
Projects:
Projects constitute the main body of this course. Each student will complete shoot stills project individually. After the stories to be used in moving image projects are chosen by the instructor each student will be assigned a role in the ongoing film production projects. Each and every student has to take a role at one of the ongoing projects and complete their duties on time. Teamwork is crucial in moving image projects. Students will be both evaluated on their individual performances in their assigned roles and on the end product.
Assigned films:
Film copies will be reserved at library. Students are liable to borrow the films and watch them before they come to class discussion. There will be several pop quizzes about the assigned films.
Evaluation:
Students will receive a final letter grade according to the scale indicated in the university website. Performance shown in projects, midterm and participation will make up instructor's final opinion. Performance in the role will be evaluated individually according to the sheets (each specific to the considered role) distributed in the production lectures.
Evaluation Percent
Shoot Stills Project 10
Moving Image Project 40
Pop Quizzes 10
Attendance and Participation 10
Midterm 30
Audition and Shooting Days:
Auditions will be held no later than 28th and 29th of November. Director, producer and director of photography of the moving image project will be present in the auditions and they will give the final decision on casting.
Deadlines for shooting schedule for moving image projects are as follows:
1st project shooting day: 12th of December
2nd project shooting day: 13st of December
All shootings must be completed before these dates. Students asking for using equipment to complete their moving image projects after these dates will most likely be refused.
Students SHOULD BE present on the shooting day from its beginning till the end if they have an assigned role in it. Being absent on the planned shooting day without any material reason (a significant health problem, loss of a family member) most likely to result in failing the course.
Additional Readings and Screenings:
Additional readings and screenings might be assigned throughout the course. Necessary information will be provided in lectures.
Instructor: Instr. İbrahim Cansızoğlu
Office: 523
Office Hours: Wednesday 15:30-16:30
e-Mail: ibrahimcansizoglu@gmail.com
Phone: Ext. 324
Class Hours: Tuesday 08:30-12:20
Objectives:
The main goal of this course is to teach the student the necessary theoretical and practical knowledge about film production and editing. Lectures in all aspects of filmmaking will be held based on the textbook and reference sources. Students will have a chance to experience different aspects of filmmaking in moving image projects. Each student will be assigned a role in the moving image project. Several workshops will be held on script writing, directing actors and sound recording for film. Each week students are expected to watch the assigned films. The films have been chosen according to their relevance to the lecture content. At the end of the course two different moving image projects will be completed. Films are supposed to be at three minutes length at most. At the end of the course copies of films will be provided for the participant students and actors to use them in their show reels.
Course Outline:
1 Oct. Introduction: Film as Journey
Introduction to the course, description of course content.
Screening: “Iron 3” by Kim Ki Duk
8 Oct. Storyboarding
Shot descriptions and visual storytelling basics
Thompson, Roy, Grammar of the Edit, Oxford: Focal Press, 1993, Pp. 10-40
Screening: “Seventh Continent” by Michael Haneke
15 Oct. Dramatic Construction
Elements of narrative, narrative structure
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp. 230-248
Screening: “Dekalog” by Krzystof Kieslowski
22 Oct. Stills projects due
Workshop: Dramatic Construction
Storyboards will be discussed and further developed
Screening: “American Gigolo” by Paul Scrader
29 Oct. Acting in film
Acting, gesture, performance and expression
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.110-138
Workshop: Directing Actors
Screening: “Dangerous Liasons” by Stephen Frears
5 Nov. Editing Stills Projects
Introduction for moving image project, role assignments, description of roles
Bordwell&Thompson, Film Art, New York: McGraw Hill, 1997, Pp. 3-42
Screening: Selected short films
12 Nov. Basics of Film Production
Introduction to schedule organization, how to use planning sheets effectively
Screening: “Masumiyet” by Zeki Demirkubuz
19 Nov. Structure and the Camera
Camera position, angle, movement, lenses
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.10-46
Screening: “City Lights” by Charles Chaplin
26 Nov. Camera and Light
Exposure, depth of field, filters, basics of lighting design, introduction to 35 mm filmmaking
Screening: “Citizen Kane” by Orson Welles
3 Dec. The Film Sound and Basics of Film Editing
Types of sound, sound design, film scores, narration and point of view
Workshop: Sound Recording for Film
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.149-159, 183-226
Screening: “Rear Window” by Alfred Hitchcock
10 Dec. Midterm
17 Dec. Film Editing on Final Cut Pro.
The principles of continuity editing
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.159-170
Screening: “Casablanca” by Michael Curtiz
24 Dec. Film Editing on Final Cut Pro.
Alternatives of continuity editing
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.170-183
Screening: “Breathless” by Jean Luc Godard
31 Dec. Sound Editing, Captioning and Titles
Bordwell&Thompson, Film Art, New York: McGraw Hill, 1997, Pp. 327-341
Screening: “Playtime” by Jacques Tati
7 Jan. Submission of Moving Image Projects
Textbook:
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007
References:
Bordwell&Thompson, Film Art, New York: McGraw Hill, 1997
Attendence:
Attendance is required at all times. Students are expected to come to class fully prepared to discuss assigned readings and films. Some percentage of your final grade will be based on your attendance and class participation. Attending lectures in the other section is strictly forbidden.
Projects:
Projects constitute the main body of this course. Each student will complete shoot stills project individually. After the stories to be used in moving image projects are chosen by the instructor each student will be assigned a role in the ongoing film production projects. Each and every student has to take a role at one of the ongoing projects and complete their duties on time. Teamwork is crucial in moving image projects. Students will be both evaluated on their individual performances in their assigned roles and on the end product.
Assigned films:
Film copies will be reserved at library. Students are liable to borrow the films and watch them before they come to class discussion. There will be several pop quizzes about the assigned films.
Evaluation:
Students will receive a final letter grade according to the scale indicated in the university website. Performance shown in projects, midterm and participation will make up instructor's final opinion. Performance in the role will be evaluated individually according to the sheets (each specific to the considered role) distributed in the production lectures.
Evaluation Percent
Shoot Stills Project 10
Moving Image Project 40
Pop Quizzes 10
Attendance and Participation 10
Midterm 30
Audition and Shooting Days:
Auditions will be held no later than 28th and 29th of November. Director, producer and director of photography of the moving image project will be present in the auditions and they will give the final decision on casting.
Deadlines for shooting schedule for moving image projects are as follows:
1st project shooting day: 12th of December
2nd project shooting day: 13st of December
All shootings must be completed before these dates. Students asking for using equipment to complete their moving image projects after these dates will most likely be refused.
Students SHOULD BE present on the shooting day from its beginning till the end if they have an assigned role in it. Being absent on the planned shooting day without any material reason (a significant health problem, loss of a family member) most likely to result in failing the course.
Additional Readings and Screenings:
Additional readings and screenings might be assigned throughout the course. Necessary information will be provided in lectures.
8 Ekim 2009 Perşembe
Tuesday Syllabus
MCS 301 Production and Film Editing
Instructor: Instr. İbrahim Cansızoğlu
Office: 523
Office Hours: Wednesday 15:30-16:30
e-Mail: ibrahimcansizoglu@gmail.com
Phone: Ext. 324
Class Hours: Tuesday 13:30-17:20
Objectives:
The main goal of this course is to teach the student the necessary theoretical and practical knowledge about film production and editing. Lectures in all aspects of filmmaking will be held based on the textbook and reference sources. Students will have a chance to experience different aspects of filmmaking in moving image projects. Each student will be assigned a role in the moving image project. Several workshops will be held on script writing, directing actors and sound recording for film. Each week students are expected to watch the assigned films. The films have been chosen according to their relevance to the lecture content. At the end of the course two different moving image projects will be completed. Films are supposed to be at three minutes length at most. At the end of the course copies of films will be provided for the participant students and actors to use them in their show reels.
Course Outline:
29 Sept. Introduction: Film as Journey
Introduction to the course, description of course content.
Screening: “Iron 3” by Kim Ki Duk
6 Oct. Storyboarding
Shot descriptions and visual storytelling basics
Thompson, Roy, Grammar of the Edit, Oxford: Focal Press, 1993, Pp. 10-40
Screening: “Seventh Continent” by Michael Haneke
13 Oct. Dramatic Construction
Elements of narrative, narrative structure
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp. 230-248
Screening: “Dekalog” by Krzystof Kieslowski
20 Oct. Stills projects due
Workshop: Dramatic Construction
Storyboards will be discussed and further developed
Screening: “American Gigolo” by Paul Scrader
27 Oct. Acting in film
Acting, gesture, performance and expression
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.110-138
Workshop: Directing Actors
Screening: “Dangerous Liasons” by Stephen Frears
3 Nov. Editing Stills Projects
Introduction for moving image project, role assignments, description of roles
Bordwell&Thompson, Film Art, New York: McGraw Hill, 1997, Pp. 3-42
Screening: Selected short films
10 Nov. Basics of Film Production
Introduction to schedule organization, how to use planning sheets effectively
Screening: “Masumiyet” by Zeki Demirkubuz
17 Nov. Structure and the Camera
Camera position, angle, movement, lenses
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.10-46
Screening: “City Lights” by Charles Chaplin
24 Nov. Camera and Light
Exposure, depth of field, filters, basics of lighting design, introduction to 35 mm filmmaking
Screening: “Citizen Kane” by Orson Welles
1 Dec. The Film Sound and Basics of Film Editing
Types of sound, sound design, film scores, narration and point of view
Workshop: Sound Recording for Film
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.149-159, 183-226
Screening: “Rear Window” by Alfred Hitchcock
8 Dec. Midterm
15 Dec. Film Editing on Final Cut Pro.
The principles of continuity editing
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.159-170
Screening: “Casablanca” by Michael Curtiz
22 Dec. Film Editing on Final Cut Pro.
Alternatives of continuity editing
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.170-183
Screening: “Breathless” by Jean Luc Godard
29 Dec. Sound Editing, Captioning and Titles
Bordwell&Thompson, Film Art, New York: McGraw Hill, 1997, Pp. 327-341
Screening: “Playtime” by Jacques Tati
5 Jan. Submission of Moving Image Projects
Textbook:
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007
References:
Bordwell&Thompson, Film Art, New York: McGraw Hill, 1997
Attendence:
Attendance is required at all times. Students are expected to come to class fully prepared to discuss assigned readings and films. Some percentage of your final grade will be based on your attendance and class participation. Attending lectures in the other section is strictly forbidden.
Projects:
Projects constitute the main body of this course. Each student will complete shoot stills project individually. After the stories to be used in moving image projects are chosen by the instructor each student will be assigned a role in the ongoing film production projects. Each and every student has to take a role at one of the ongoing projects and complete their duties on time. Teamwork is crucial in moving image projects. Students will be both evaluated on their individual performances in their assigned roles and on the end product.
Assigned films:
Film copies will be reserved at library. Students are liable to borrow the films and watch them before they come to class discussion. There will be several pop quizzes about the assigned films.
Evaluation:
Students will receive a final letter grade according to the scale indicated in the university website. Performance shown in projects, midterm and participation will make up instructor's final opinion. Performance in the role will be evaluated individually according to the sheets (each specific to the considered role) distributed in the production lectures.
Evaluation Percent
Shoot Stills Project 10
Moving Image Project 40
Pop Quizzes 10
Attendance and Participation 10
Midterm 30
Audition and Shooting Days:
Auditions will be held no later than 28th and 29th of November. Director, producer and director of photography of the moving image project will be present in the auditions and they will give the final decision on casting.
Deadlines for shooting schedule for moving image projects are as follows:
1st project shooting day: 12th of December
2nd project shooting day: 13st of December
All shootings must be completed before these dates. Students asking for using equipment to complete their moving image projects after these dates will most likely be refused.
Students SHOULD BE present on the shooting day from its beginning till the end if they have an assigned role in it. Being absent on the planned shooting day without any material reason (a significant health problem, loss of a family member) most likely to result in failing the course.
Additional Readings and Screenings:
Additional readings and screenings might be assigned throughout the course. Necessary information will be provided in lectures.
Instructor: Instr. İbrahim Cansızoğlu
Office: 523
Office Hours: Wednesday 15:30-16:30
e-Mail: ibrahimcansizoglu@gmail.com
Phone: Ext. 324
Class Hours: Tuesday 13:30-17:20
Objectives:
The main goal of this course is to teach the student the necessary theoretical and practical knowledge about film production and editing. Lectures in all aspects of filmmaking will be held based on the textbook and reference sources. Students will have a chance to experience different aspects of filmmaking in moving image projects. Each student will be assigned a role in the moving image project. Several workshops will be held on script writing, directing actors and sound recording for film. Each week students are expected to watch the assigned films. The films have been chosen according to their relevance to the lecture content. At the end of the course two different moving image projects will be completed. Films are supposed to be at three minutes length at most. At the end of the course copies of films will be provided for the participant students and actors to use them in their show reels.
Course Outline:
29 Sept. Introduction: Film as Journey
Introduction to the course, description of course content.
Screening: “Iron 3” by Kim Ki Duk
6 Oct. Storyboarding
Shot descriptions and visual storytelling basics
Thompson, Roy, Grammar of the Edit, Oxford: Focal Press, 1993, Pp. 10-40
Screening: “Seventh Continent” by Michael Haneke
13 Oct. Dramatic Construction
Elements of narrative, narrative structure
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp. 230-248
Screening: “Dekalog” by Krzystof Kieslowski
20 Oct. Stills projects due
Workshop: Dramatic Construction
Storyboards will be discussed and further developed
Screening: “American Gigolo” by Paul Scrader
27 Oct. Acting in film
Acting, gesture, performance and expression
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.110-138
Workshop: Directing Actors
Screening: “Dangerous Liasons” by Stephen Frears
3 Nov. Editing Stills Projects
Introduction for moving image project, role assignments, description of roles
Bordwell&Thompson, Film Art, New York: McGraw Hill, 1997, Pp. 3-42
Screening: Selected short films
10 Nov. Basics of Film Production
Introduction to schedule organization, how to use planning sheets effectively
Screening: “Masumiyet” by Zeki Demirkubuz
17 Nov. Structure and the Camera
Camera position, angle, movement, lenses
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.10-46
Screening: “City Lights” by Charles Chaplin
24 Nov. Camera and Light
Exposure, depth of field, filters, basics of lighting design, introduction to 35 mm filmmaking
Screening: “Citizen Kane” by Orson Welles
1 Dec. The Film Sound and Basics of Film Editing
Types of sound, sound design, film scores, narration and point of view
Workshop: Sound Recording for Film
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.149-159, 183-226
Screening: “Rear Window” by Alfred Hitchcock
8 Dec. Midterm
15 Dec. Film Editing on Final Cut Pro.
The principles of continuity editing
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.159-170
Screening: “Casablanca” by Michael Curtiz
22 Dec. Film Editing on Final Cut Pro.
Alternatives of continuity editing
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007, Pp.170-183
Screening: “Breathless” by Jean Luc Godard
29 Dec. Sound Editing, Captioning and Titles
Bordwell&Thompson, Film Art, New York: McGraw Hill, 1997, Pp. 327-341
Screening: “Playtime” by Jacques Tati
5 Jan. Submission of Moving Image Projects
Textbook:
Prince Stephen, Movies and Meaning, Boston: Allyn and Bacon, 2007
References:
Bordwell&Thompson, Film Art, New York: McGraw Hill, 1997
Attendence:
Attendance is required at all times. Students are expected to come to class fully prepared to discuss assigned readings and films. Some percentage of your final grade will be based on your attendance and class participation. Attending lectures in the other section is strictly forbidden.
Projects:
Projects constitute the main body of this course. Each student will complete shoot stills project individually. After the stories to be used in moving image projects are chosen by the instructor each student will be assigned a role in the ongoing film production projects. Each and every student has to take a role at one of the ongoing projects and complete their duties on time. Teamwork is crucial in moving image projects. Students will be both evaluated on their individual performances in their assigned roles and on the end product.
Assigned films:
Film copies will be reserved at library. Students are liable to borrow the films and watch them before they come to class discussion. There will be several pop quizzes about the assigned films.
Evaluation:
Students will receive a final letter grade according to the scale indicated in the university website. Performance shown in projects, midterm and participation will make up instructor's final opinion. Performance in the role will be evaluated individually according to the sheets (each specific to the considered role) distributed in the production lectures.
Evaluation Percent
Shoot Stills Project 10
Moving Image Project 40
Pop Quizzes 10
Attendance and Participation 10
Midterm 30
Audition and Shooting Days:
Auditions will be held no later than 28th and 29th of November. Director, producer and director of photography of the moving image project will be present in the auditions and they will give the final decision on casting.
Deadlines for shooting schedule for moving image projects are as follows:
1st project shooting day: 12th of December
2nd project shooting day: 13st of December
All shootings must be completed before these dates. Students asking for using equipment to complete their moving image projects after these dates will most likely be refused.
Students SHOULD BE present on the shooting day from its beginning till the end if they have an assigned role in it. Being absent on the planned shooting day without any material reason (a significant health problem, loss of a family member) most likely to result in failing the course.
Additional Readings and Screenings:
Additional readings and screenings might be assigned throughout the course. Necessary information will be provided in lectures.
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