The course aims to provide students with the basic knowledge about the realization of an audiovisual product, through the direct involvement of the participants. In particular, it aims to provide knowledge concerning: 1) the three production steps of writing, production, post-production; 2) the functioning of audiovisual language, including its rhetoric; 3) the making of short audiovisual stories through easily accessible technological devices.
Curriculum
teacher profile teaching materials
The cinematic language as a universal form of communication. The point of view of a story. Elements of an audiovisual work.
Exercise: narrate and interpret a concept through images.
2. Audiovisual products are not all the same: Genres and styles
Screening and analysis of commercials, video art, cinema, documentary, and videoblogs. Stylistic differences. Introduction to directing and cinematography.
Exercise: first ideas for the final project.
3. What does framing mean? Speaking through images
The meaning of every visual choice. Distance, space, planes, and the invisible editing of mise-en-scène.
Exercise: narrate with 3 photos.
4. Through what do I see the world? The camera
Types of cameras (photo camera, video camera, handycam). The relationship between medium and language. Analysis of scenes shot with different tools.
Workshop: proposal of project ideas.
5. Cinematic language: Fixed shots and camera movements
Use of tripod and fixed lenses. Sequence analysis.
Types of camera movements and related tools (slider, crane, stabilizers). When and why to move the camera.
Workshop: writing and analysis of the idea.
6. Handheld camera
Creative and realistic use of handheld shooting. Supporting tools.
Exercise: narrate with handheld camera.
Workshop: organization of shooting and shot list.
7. Cinematography (Direction of Photography)
Light, shadows, and colors as a language. Basic technical parameters (ISO, aperture, shutter, lenses).
Exercise: narrate with light.
Workshop: visual analysis of the project.
8. Natural and artificial light
Managing natural light (reflectors, flags, ND filters). Types of artificial lights and lighting schemes.
Exercises: outdoor image with natural light; studio self-portrait.
Workshop: stylistic design and project dossier.
9. Sound is more important than images: Sound as language
The importance of sound in audiovisual works. Recording, microphones, manipulation. How sound changes images.
Exercise: recording and editing different sounds on the same image.
Workshop: shooting.
10. Editing as rewriting
Functions and techniques of editing. Breaking the rules. Sequence analysis.
Workshop: beginning of editing.
11. Technical editing: What tools do I use to edit?
Main editing software. Tools for post-production. Integrating new technologies into editing.
Workshop: editing practice.
12. Work on personal projects
Development, shooting, editing, and finalization of students’ projects. Class presentation of works.
• Mamet, David, Three Uses of the Knife: On the Nature and Purpose of Drama
• Tarkovsky, Andrei, Sculpting in Time
• Bowen, Christopher J., Thompson, Roy, The Grammar of the Shot: The Complete Guide to Cinematographic Composition
• Bowen, Christopher J., Thompson, Roy, The Grammar of the Edit: The Complete Guide to When and Why to Cut
Programme
1. How do I communicate what I have in mind? Communicating through imagesThe cinematic language as a universal form of communication. The point of view of a story. Elements of an audiovisual work.
Exercise: narrate and interpret a concept through images.
2. Audiovisual products are not all the same: Genres and styles
Screening and analysis of commercials, video art, cinema, documentary, and videoblogs. Stylistic differences. Introduction to directing and cinematography.
Exercise: first ideas for the final project.
3. What does framing mean? Speaking through images
The meaning of every visual choice. Distance, space, planes, and the invisible editing of mise-en-scène.
Exercise: narrate with 3 photos.
4. Through what do I see the world? The camera
Types of cameras (photo camera, video camera, handycam). The relationship between medium and language. Analysis of scenes shot with different tools.
Workshop: proposal of project ideas.
5. Cinematic language: Fixed shots and camera movements
Use of tripod and fixed lenses. Sequence analysis.
Types of camera movements and related tools (slider, crane, stabilizers). When and why to move the camera.
Workshop: writing and analysis of the idea.
6. Handheld camera
Creative and realistic use of handheld shooting. Supporting tools.
Exercise: narrate with handheld camera.
Workshop: organization of shooting and shot list.
7. Cinematography (Direction of Photography)
Light, shadows, and colors as a language. Basic technical parameters (ISO, aperture, shutter, lenses).
Exercise: narrate with light.
Workshop: visual analysis of the project.
8. Natural and artificial light
Managing natural light (reflectors, flags, ND filters). Types of artificial lights and lighting schemes.
Exercises: outdoor image with natural light; studio self-portrait.
Workshop: stylistic design and project dossier.
9. Sound is more important than images: Sound as language
The importance of sound in audiovisual works. Recording, microphones, manipulation. How sound changes images.
Exercise: recording and editing different sounds on the same image.
Workshop: shooting.
10. Editing as rewriting
Functions and techniques of editing. Breaking the rules. Sequence analysis.
Workshop: beginning of editing.
11. Technical editing: What tools do I use to edit?
Main editing software. Tools for post-production. Integrating new technologies into editing.
Workshop: editing practice.
12. Work on personal projects
Development, shooting, editing, and finalization of students’ projects. Class presentation of works.
Core Documentation
Recommended Bibliography:• Mamet, David, Three Uses of the Knife: On the Nature and Purpose of Drama
• Tarkovsky, Andrei, Sculpting in Time
• Bowen, Christopher J., Thompson, Roy, The Grammar of the Shot: The Complete Guide to Cinematographic Composition
• Bowen, Christopher J., Thompson, Roy, The Grammar of the Edit: The Complete Guide to When and Why to Cut
Reference Bibliography
Recommended Bibliography: • Mamet, David, Three Uses of the Knife: On the Nature and Purpose of Drama • Tarkovsky, Andrei, Sculpting in Time • Bowen, Christopher J., Thompson, Roy, The Grammar of the Shot: The Complete Guide to Cinematographic Composition • Bowen, Christopher J., Thompson, Roy, The Grammar of the Edit: The Complete Guide to When and Why to CutType of evaluation
• Final Project (60%): evaluation of the quality, originality, and coherence of the audiovisual work produced, as well as the student’s ability to integrate theoretical knowledge and practical skills developed during the course. • Active Participation (20%): assessment of the student’s engagement in class sessions, workshops, and practical exercises, with attention to individual contributions and collaborative work. • Knowledge Assessment (20%): verification of the notions acquired on audiovisual languages, shooting techniques, cinematography, sound, and editing, through written/oral tests or discussion of the works produced. teacher profile teaching materials
The cinematic language as a universal form of communication. The point of view of a story. Elements of an audiovisual work.
Exercise: narrate and interpret a concept through images.
2. Audiovisual products are not all the same: Genres and styles
Screening and analysis of commercials, video art, cinema, documentary, and videoblogs. Stylistic differences. Introduction to directing and cinematography.
Exercise: first ideas for the final project.
3. What does framing mean? Speaking through images
The meaning of every visual choice. Distance, space, planes, and the invisible editing of mise-en-scène.
Exercise: narrate with 3 photos.
4. Through what do I see the world? The camera
Types of cameras (photo camera, video camera, handycam). The relationship between medium and language. Analysis of scenes shot with different tools.
Workshop: proposal of project ideas.
5. Cinematic language: Fixed shots and camera movements
Use of tripod and fixed lenses. Sequence analysis.
Types of camera movements and related tools (slider, crane, stabilizers). When and why to move the camera.
Workshop: writing and analysis of the idea.
6. Handheld camera
Creative and realistic use of handheld shooting. Supporting tools.
Exercise: narrate with handheld camera.
Workshop: organization of shooting and shot list.
7. Cinematography (Direction of Photography)
Light, shadows, and colors as a language. Basic technical parameters (ISO, aperture, shutter, lenses).
Exercise: narrate with light.
Workshop: visual analysis of the project.
8. Natural and artificial light
Managing natural light (reflectors, flags, ND filters). Types of artificial lights and lighting schemes.
Exercises: outdoor image with natural light; studio self-portrait.
Workshop: stylistic design and project dossier.
9. Sound is more important than images: Sound as language
The importance of sound in audiovisual works. Recording, microphones, manipulation. How sound changes images.
Exercise: recording and editing different sounds on the same image.
Workshop: shooting.
10. Editing as rewriting
Functions and techniques of editing. Breaking the rules. Sequence analysis.
Workshop: beginning of editing.
11. Technical editing: What tools do I use to edit?
Main editing software. Tools for post-production. Integrating new technologies into editing.
Workshop: editing practice.
12. Work on personal projects
Development, shooting, editing, and finalization of students’ projects. Class presentation of works.
• Mamet, David, Three Uses of the Knife: On the Nature and Purpose of Drama
• Tarkovsky, Andrei, Sculpting in Time
• Bowen, Christopher J., Thompson, Roy, The Grammar of the Shot: The Complete Guide to Cinematographic Composition
• Bowen, Christopher J., Thompson, Roy, The Grammar of the Edit: The Complete Guide to When and Why to Cut
Mutuazione: 20709148 LABORATORIO DI FILMMAKING 4 in DAMS (Discipline delle Arti, della Musica e dello Spettacolo) L-3 R BALDACCI BEATRICE
Programme
1. How do I communicate what I have in mind? Communicating through imagesThe cinematic language as a universal form of communication. The point of view of a story. Elements of an audiovisual work.
Exercise: narrate and interpret a concept through images.
2. Audiovisual products are not all the same: Genres and styles
Screening and analysis of commercials, video art, cinema, documentary, and videoblogs. Stylistic differences. Introduction to directing and cinematography.
Exercise: first ideas for the final project.
3. What does framing mean? Speaking through images
The meaning of every visual choice. Distance, space, planes, and the invisible editing of mise-en-scène.
Exercise: narrate with 3 photos.
4. Through what do I see the world? The camera
Types of cameras (photo camera, video camera, handycam). The relationship between medium and language. Analysis of scenes shot with different tools.
Workshop: proposal of project ideas.
5. Cinematic language: Fixed shots and camera movements
Use of tripod and fixed lenses. Sequence analysis.
Types of camera movements and related tools (slider, crane, stabilizers). When and why to move the camera.
Workshop: writing and analysis of the idea.
6. Handheld camera
Creative and realistic use of handheld shooting. Supporting tools.
Exercise: narrate with handheld camera.
Workshop: organization of shooting and shot list.
7. Cinematography (Direction of Photography)
Light, shadows, and colors as a language. Basic technical parameters (ISO, aperture, shutter, lenses).
Exercise: narrate with light.
Workshop: visual analysis of the project.
8. Natural and artificial light
Managing natural light (reflectors, flags, ND filters). Types of artificial lights and lighting schemes.
Exercises: outdoor image with natural light; studio self-portrait.
Workshop: stylistic design and project dossier.
9. Sound is more important than images: Sound as language
The importance of sound in audiovisual works. Recording, microphones, manipulation. How sound changes images.
Exercise: recording and editing different sounds on the same image.
Workshop: shooting.
10. Editing as rewriting
Functions and techniques of editing. Breaking the rules. Sequence analysis.
Workshop: beginning of editing.
11. Technical editing: What tools do I use to edit?
Main editing software. Tools for post-production. Integrating new technologies into editing.
Workshop: editing practice.
12. Work on personal projects
Development, shooting, editing, and finalization of students’ projects. Class presentation of works.
Core Documentation
Recommended Bibliography:• Mamet, David, Three Uses of the Knife: On the Nature and Purpose of Drama
• Tarkovsky, Andrei, Sculpting in Time
• Bowen, Christopher J., Thompson, Roy, The Grammar of the Shot: The Complete Guide to Cinematographic Composition
• Bowen, Christopher J., Thompson, Roy, The Grammar of the Edit: The Complete Guide to When and Why to Cut
Reference Bibliography
Recommended Bibliography: • Mamet, David, Three Uses of the Knife: On the Nature and Purpose of Drama • Tarkovsky, Andrei, Sculpting in Time • Bowen, Christopher J., Thompson, Roy, The Grammar of the Shot: The Complete Guide to Cinematographic Composition • Bowen, Christopher J., Thompson, Roy, The Grammar of the Edit: The Complete Guide to When and Why to CutType of evaluation
• Final Project (60%): evaluation of the quality, originality, and coherence of the audiovisual work produced, as well as the student’s ability to integrate theoretical knowledge and practical skills developed during the course. • Active Participation (20%): assessment of the student’s engagement in class sessions, workshops, and practical exercises, with attention to individual contributions and collaborative work. • Knowledge Assessment (20%): verification of the notions acquired on audiovisual languages, shooting techniques, cinematography, sound, and editing, through written/oral tests or discussion of the works produced.