DOCUMENTARY PRODUCTION   Comm Studies 635  Spring 2014
 Prof Kindem  Office hrs.: 11:30-12:30 TTH  Rm 205 Swain Hall kindemg@email.unc.edu
Course Purposes and Objectives:
1) to work in a small group producing a short documentary video that has cultural, aesthetic, and/or social value and 2) to acquire video/digital media writing and production skills used in documentary preproduction, production, and postproduction
Required Texts:
Rabiger, Michael, Directing The Documentary, 5th ed. Focal Press, 2009.
Bernard, Sheila Curran, Documentary Storytelling, Making Stronger and More Dramatic Nonfiction Films, 3rd ed. Focal Press, 2011.
Recommended Texts:
Hampe, Barry, Making Documentary Films and Videos, Holt Paperbacks, 2007.
Kindem, Gorham and Musburger, Robert, Introduction to Media Production: the Path to Digital Media Production, 4th ed., Focal Press, 2009
Nichols, Bill, Introduction to Documentary, IU Press, 2001.
Nichols, Bill, Representing Reality, Issues and Concepts in Documentary, IU Press, 1991 (required of graduate students only)
Rosenthal, Alan, Writing, Directing, & Producing Documentary Films,  Revised ed., SIU Press, 1996.
Requirements:
Editing Exercise  10%  (Feb.6)
Proposal, Treatment, Budget & Schedule, Presentation  20%  (Feb.4 & 11)
Midterm Examination  10%  (Mar.4)
Documentary Still Images & Counterpoint/Overlap Sequences  20%  (Mar.18 &  Apr.1)
Completed Documentary Video  40%  (Apr.24)
Proposal and Treatment:
A  proposal and treatment for your ten minute documentary video should be approximately 8 to 10 typewritten double-spaced pages in length.  The proposal should include each of the following items: 1) a film statement, indicating what you hope to say; 2) background and need, indicating your purposes and objectives; 3) your approach, structure, and style; 4) a budget;  5) a shooting schedule, 6) an equipment list, and 7) a short summary of the creative staff’s prior credits and relevant experiences.  Your treatment should be written as a third person, present tense narrative and include each of the following: 1) action sequences; 2) main characters/social actors; 3) conflicts; and 4) stylistic features that will enhance your piece.   A treatment visualizes the story as it will unfold on the screen, and includes all the majors actions and scenes in reduced form.  A good treatment adopts a lively prose style that effectively communicates the tone of the piece. Your video project should be provocative and insightful.  It should have something significant to say and you should find an effective means of saying it.
Counterpoint/Overlap Editing:
Counterpoint editing brings sounds and images into juxtaposition.  In practice this means bringing together the sound from one shot, such as an interview, with the images from another, such as B-Roll of the interviewee actually doing or not doing what they are talking about.  The benefits are multiple.  Talking-head material is kept to an interesting minimum as an interview is pared down and the audience is challenged to reconcile people’s ideas with what they are actually doing.  The overlap cut is a contrapuntal editing device, which is often used to hide the telltale seams between shots.  It brings sound in earlier than picture, or picture in earlier than sound, and thus avoids the jarring level cut, that is, abruptly cutting sounds and images simultaneously.
    (All projects will be done in groups of three or four, and all members of a group will receive the same grade on group projects unless two members of the group indicate that a particular member, who will receive 0 out of 100 points on that project, did not participate in the production of a specific project.  Grades are calculated on a ten point basis: 92.5+pts.=A, 90-92.5pts.=A-; 87.5-90pts.=B+, etc.  Assignments and projects are considered 24 hrs. late, if they are not turned in during the class at which they are due, and they drop 10 points at the end of that class and another 10 pts. for each additional 24 hrs. they are late.)

Schedule:

Jan    9   Introduction: Producing and Directing Low Budget Designed to Fulfilm Aesthetic Cultural, and/or Social Purposes
        14   Jon Kasbe, visiting filmmaker; Formulating Ideas for Documentary Projects
        16   Research and Writing the Proposal; PRELIMINARY PROJECT IDEA PRESENTATIONS
        21   Shaping the Approach, Structure, and Style: Modes of and Aesthetic Approaches to Documentaries
        23   Basic Digital Editing
        28   Julia Haslett, visiting filmmaker
        30   Kat Keene Hogue, visiting filmmaker. Writing the Treatment and Narration; Directing the Documentary
Feb   4   Budgeting and Scheduling; PROPOSAL PRESENTATIONS
         6  VIEWING OF EDITING EXERCISES; Still Image Scanning & Counterpoint/Overlap (B Roll) Recording & Editing
        11  Digital Video Recording;  WRITTEN PROPOSAL/TREATMENT/BUDGET/SCHEDULE DUE
        13  Digital Video Recording Practice
        18  Lighting
        20  Lighting Practice
        25  Audio Recording and Dubbing
        27  Audio Recording and Dubbing Practice
Mar   4  MIDTERM EXAMINATION
         6   Equipment Checkout for Break
        11  Spring Break                   
        13  Spring Break                                                                                                                                                                                                                                                                                                        
        18  Still Image Scanning/Editing & COUNTERPOINT/OVERLAP (B-Roll) RECORDING RAW MATERIAL PRESENTATIONS
        20  Still Image Scanning/Editing Practice
        25  More Advanced Digital Editing
        27  Digital Editing Practice
Apr   1  COUNTERPOINT/OVERLAP EDITED SEQUENCE (approx. 2-5 minutes) PRESENTATIONS
         3   Full Frame Documentary Film Festival in Durham
         8   Special Effects
        10  Audio Mixing
        15  Titles
        17  Ian Krabacher, visiting filmmaker and postproduction specialist
        22  Project Problem Solving
        24  FINAL PROJECTS DUE; CLASS SCREENING of Completed Documentary Projects

Required Reading  Documentary Production  Comm. Studies 635   Spring 2014

Required Texts:
Bernard, Sheila Curran, Documentary Storytelling, Making Stronger and More Dramatic Nonfiction Films, 3rd ed., Focal Press, 2011.
Rabiger, Michael, Directing The Documentary, 5th ed., Focal Press, 2009.

Recommended Texts:
Rosenthal, Alan, Writing, Directing, & Producing Documentary Films, 2nd ed., SIU Press, 1996.
Hampe, Barry, Making Documentary Films and Videos, Holt Paperbacks, 2007.
Kindem, Gorham & Musburger, Robert, Introduction to Media Production 4th ed., Focal Press, 2009.
Nichols, Bill, Introduction to Documentary, 2001. [Nichols I]
Nichols, Bill, Representing Reality, IU Press, 1991. (required of graduate students only)

Required Reading Schedule:                                                                                  (Recommended)          (Recommended)        (Recommended)    
                               Bernard                                                       Rabiger            Rosenthal & [NicholsI ] Kindem & Musburger       Hampe
Jan      9                   1-11                                                           65-98                             1-13                            1-38                             1-88
          14               133-147                                                    27-50; 257-282            14-44; 223-258                39-42                           91-143
          16        119-132; 157-171                                                 51-64                   [Nichols I 99-138]              42-52                         144-172
          21           15-91; 100-107                                           99-130; 283-334           45-103; 181-213          61-72; 83-88                  173-215
          23                187-203                                                205-253; 504-521                                                   331-346                      315-345
          28
          30        149-157; 205-221                       5-26; 131-137; 361-381; 449-461;492-503                                                                 256-313
Feb     4                                                                      128-130; 366-369;375-381           105-131                      52-58                         347-389
           6                                                                                      513-521                           65-180
          11                173-186                                                   99-117;139-160           133-163; 281-291           103-129                       217-251
          13                                                                              383-420; 438-484                                           217-238; 255-267
          18                                                                                     161-173                                                           181-214
          20
          25                                                                              174-194; 421-437                                                                                      252-255
          27
Mar    4
           6
          11
          13
          18                                                                                                                                                               403-405
          20
          25                                                                                         443-481                       214-221                    377-382
          27                                                                                         482-496                                                         281-311
Apr     1
           3   
           8
          10
          15
          17
          22