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Tuesday/Thursday
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Barney Haynes:
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Your final grade will be based on the successful completion of ALL studio and writing projects, participation in the discussions about the readings, participation in the critique process, attendance, work habits, craft, completion each of the project's requirements, as well as the willingness push oneself and to take risks. ALL PROJECTS MUST BE COMPLETED TO GET A PASSING GRADE. SUPPLIES |
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Assignment 1: In Camera Edit: Self Portrait -DUE 2/1 Create a video no more then 5 minutes in length, that explores an otherwise hidden world. Your subject should be something that would remain unknown, private or simply foregotten without the presence of the video camera. Editing shoud all be done in-camera. The only other rule is that no zooms are allowed. Assignment 2: Visual Narrative -DUE 2/16 Create a video that tells a story visually. That means no dialogue, no monologue, no voice of God. The video will be about something coming together and then falling apart. Or, if you want, something falling apart then coming together. You may repeat the cycle within the tape if you wish. You can approach this assignment metaphorically, or physically. Assignment 3: Sound Project -DUE 3/7 Describe a space sonically. The only rule is that you can't use music. You can use the tropes of music such as rhythm, duration, pacing, sustain and decay to evoke the essence of a place, or a movement through space, but not pre-recorded songs. Assignment 4: Rough Cuts Screenings DUE-4/7 See description of the final project. Assignment 5: FINAL CRITIQUE -DUE 5/1 & 5/3 The theme of the final project is up to you. It can use sections of the previous projects and it can take whatever form you wish. It can be narrative, experimental, installation based or if you have the chops, interactive. Again the only restriction is that it cannot use music unless it comes from a diagetic source. The reasons for this our many, but can be summed up by simply stating that music is a crutch that conceals shoddy crafstmanship. |
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| Video Art is a hybrid medium. Historically, it has translated into a variety of formats and utilizations. This course will be an examination of these permutations through individual + collaborative studio projects, reading, writing, research, viewing of, and *field trips. The structure of the class begins with a series of conceptually driven short projects and will culminate in a final work informed by your previous investigations. We will explore video through performance, installation, site, sound, surveillance, screen-based narrative, animation, web and interactivity. Although digital video and sound editing will be introduced the primary focus is EXPLORATION and critical analysis. The goal is to begin this process with an open mind, and proceed through editing all elements of the work. Video Art is and can be what we make it. |
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| Back to top 1/16 Introduction to the class Expectations and Goals |
1/18 Intro to theTRV950 Reading for Tuesday |
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| This Weekend, January 19-21 Media Arts Now in Oliver Arts Center Opening Saturday 1/20/07 6PM |
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| Back to top 1/23 Composition/Blocking Static Composition Screening: Kitchen Sink, Rope, Maltese Falcon For Thursday: Prepare themes for the Class Shoot |
1/25 Class Shoot: The class will be divided into separate production teams. Each group will video a simple story that portrays simple actions using blocking techniques, varying camera angles, ellipses, and manifests a goal.
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| Back to top 1/30 No Class- CCA Centennial Celebration SF Campus |
2/1 Lighting Equipment & Aesthetics Read: Lighting and Art Direction, Digital Filmmaking Handbook |
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| Back to top 2/6 DUE: Self Portrait in Class Critique Note: While we are going over Final Cut you should be shooting for the Visual Narrative Assignment. |
2/7 Final Cut Pro Bring the following: DV Source Material External Hard Drive Headphones 4 to 6 pin firewire cable |
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| Back to top 2/13 Final Cut Pro |
2/15 Cancelled due to illness |
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| Back to top 2/20 Narrative// Anti-Narrative Screenings: Birds, Time Code Read: The Relation of Shot to Shot: Editing, Film Art: an Introduction by David Bordwell and Kristin Thompson For extra credit: If there is time: |
2/22 EditingLAB Read: Story Telling by David Mamet |
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| 2/27 Back to top Screening/Critique: Visual Narrative |
3/1 Microphones Sound Acquisition with the Edirol ProTools Intro: Read: Production Sound, Digital Filmmaking Handbook |
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| Back to top 3/6 ProTools |
3/7 ProTools |
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| Back to top 3/13 Aesthetics of sound and image Reading: Audio Vision: Sound on Screen by Michel Chion |
3/15 SoundLAB |
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| Back to top 3/27 Sound Assignment Presentations |
3/29 Net Art Soft Cinema: Ambient Narrative Read: Concepts->Form Learning To Love You More Read: Essay Data Diaries Read: Alex Galloway's intro meta.am pulp.href The Central City äda `web jodi.org Presentation Formats |
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| Back to top 4/3 DVD PRO |
4/5 Work Day:Cameras and Audio gear will be reserved specifically for class |
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| Back to top 4/10 Interactive Installations/Reactive Machines/Technology and the Body |
4/12 Individual Meetings 4:00 Colin |
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| Back to top 4/17 Individual Meetings 3:35 Olivia S |
4/19 Rough Cut Presentation and Critique |
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| Back to top 4/24 Video Art: Poetics Read: Video Art, If you want to participate in the Media Arts Juried Screenings submit your projects at the check out counter. |
4/26 LAB |
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| Back to top 5/1 FINAL Presentation and Critique |
5/3 FINAL Presentation and Critique |
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