Dev Studio 2 （1）： Media Production Module
Introduction
Instructor: Kate Parsons
The fundamental aspect of the video is not the image, even though you can stand in amazement at what can be done electronically, how images can be manipulated and the really extraordinary creative possibilities. For me, the essential basis of video is the movement - something that exists at the moment and changes in the next moment. -Bill Viola
Process
Week 1：
A) For each of the approaches (objective, elemental, interpretive, etc) create 2 shots that explore the approach in an interesting way. You should have a total of 12 shots. (2x6 approaches)
B) The idea here is to explore your camera's limitations and capabilities. Please do
not use effects, filters or apps.
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One shot of subject with correct white balance.
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One shot of same subject with incorrect white balance. Note that virtually every camera enables you to change white balance in one way or another
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One shot outdoors (any subject). In class we'll check for clipping.
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One shot indoors at night with conventional lighting. In class we'll check for grain and shadow detail.
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Zoom out all the way to give yourself a relatively short lens. Show someone or something moving closer to or farther away from the camera. You need to be far away (maybe 30 ft. or more) for this to work.
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Zoom in all the way to give yourself a relatively long lens. Show someone or something moving closer to or farther away from the camera. You need to be far away (maybe 30 ft. or more) for this to work.
Week 2：
A) Assignment: Static Edit, tight edit, loose edit, splitting an event (match cut/cut on action), create an event by slowing down footage, cut on natural wipe, create a forced transition by flickering video at the frame level, smooth edit, dynamic edit.
B) Create a shot/edit using a method of anticipation, and a shot/edit using a mapping technique
Week 3：
A) Create an animation/motion experiment using one of the approaches described in class, (except for character-style animation)
B) Kuleshov effect: edit together two shots in such a way that the meaning comes from the juxtaposition of the shots. For more of a challenge don’t use a shot of a person looking/thinking.
C) Create a spatial montage to show what a person is thinking or to show simultaneous action. Create a shot that functions as a moving painting. Find and shoot a location in such a way that it communicates something about a character's psychology. This could be something small like a tableau you set up, a diorama, or even a full size location appropriately shot.
Week 4：
A) Create three shots 5-10 seconds long. Analog only patina, digital only patina, analog/digital patina
B) Create one or two short sequences (20 seconds or so, depending on what’s needed) no pets! Sequence 1: Objectified person, Sequence 2: Non-objectified person
Week 5：
A) Create a shot that shows performance conflict, create a shot that shows the qualities of the “ragged edge”, create a shot that shows goal-seeking behavior. Show something shot in small scale (eg close up) but make it interesting enough to carry the shot. Remember, when you are shooting tight, you are essentially shooting the subject matter as a vast landscape.
B) Lab tutorial: Each group shoots video or photo of: Two high key shots, Two low key shots , One three-point lighting, One two-point lighting, One experimental
