Course Catalogue

Module Code and Title:        CMS305 Video Production and Non-linear Editing Lab

Programme:                          BA in Mass Communication

Credit Value:                         12

Module Tutor:                       New #2

General objective: This module will build on the practical lab skills learned in Digital Storytelling and Audio Lab to begin production for video and non-linear editing. This module will also incorporate the theoretical background of The Art of Documentary and the proposal and treatment assessment as the basis to storyboarding, scripting, visuals, lighting, shooting, editing and mastering of their own video project.

Learning outcomes – On completion of this module, students will be able to:

  1. Create clear storyboards for planning video shoots for pre-production.
  2. Shoot short video segments demonstrating essential technical skills in a variety of environments.
  3. Use the tools and techniques in standard digital video editing software to organize footage in a coherent sequence.
  4. Mix a soundtrack into video using audio from independently recorded dialogue/narration and music.
  5. Apply appropriate techniques to expand or compress time perception in a video.
  6. Add digital graphics, titles, captions and credits to a video sequence in post-production.
  7. Apply intermediate concepts in non-linear video editing, film direction, and digital sound editing to create a documentary highlighting effective practices in digital filmmaking.

Learning and Teaching Approach:

Approach

Hours per week

Total credit hours

Lectures & discussions

1

15

Lab practicals

4

60

Independent study

3

45

Total

120

Assessment Approach:

A. Class test: Portion of Final Mark: 10%

Students will be tested on theory portions they have learned within the class in a written test of 1 hr duration.

B. Group video project: Portion of Final Mark: 20%

Students will be responsible for working in groups of 3-4 to produce a 3-5 minute news, current affairs, or advocacy video.

3%       Completed storyboard

4%       Ability to film good quality footage

5%       Ability to edit footage

2%       Creativity in video production

2%       Team process score

4%       Individual process score (assessed based on individual written reflection submission)

C. Viva: Portion of Final Mark: 15%

Students will be tested on their practical skills learned within the class. The viva will be one-on-one practical demonstration exams of 10-min duration in which students must individually demonstrate shooting and editing concepts as requested from the collection of techniques they would have learned up to that point.

D. Individual Final video project (documentary): Portion of Final Mark: 50%

Students will individually develop their 7-10 minute documentary proposed in The Art of Documentary, which they will broadcast for the class. They will write a 1500-1750 word reflection of the process from proposal to execution which will consist of 15% of their marks. This should reflect on the successes and lessons learned through the process and deviations made from the initial proposal. A rubric and instruction sheet will provided.

3%       Discussion of planning and execution process and issues

3%       Discussion on narrative concepts

3%       Discussion on audio

3%       Discussion on video

3%       Discussion on their editing decision making

For the 35% allocated to the video, students will be graded on their ability to utilize the skills in this class to produce their documentary based on a standard rubric to be provided prior to the start of the project.

5%       Completed storyboard

7%       Ability to film good quality footage

7%       Audio quality and integration

8%       Ability to edit footage based on best practices

3%       Creativity in video production

5%       Effectiveness of documentary storytelling

E. Individual Peer reviews for constructive criticism: Portion of Final Mark: 5%

Students must individually contribute meaningful constructive criticism for their classmates after they present pre-final drafts of their projects. Each student provide their comprehensive peer review on two different peer projects in writing, and the marks will be averaged from the two.

1%       Ability to identify and discuss narrative concepts and best practices in action.

2%       Ability to identify and discuss video recording concepts and best practices in action.

2%       Ability to identify and discuss video editing concepts and best practices in action.

Areas of assignments

Quantity

Weighting

A.    Class test

1

10%

B.    Group video

1

20%

C.   Viva

1

15%

D.   Final video project (documentary)

1

50%

E.    Peer review

1

5%

Total Continuous Assessment (CA)

 

100%

Pre-requisites: BRD201 Introduction to Broadcast Journalism, CMS204 Digital Storytelling and Audio Lab

Subject matter:

  1. Unit I: Introduction to digital video
    • Recording equipment: Usage of digital video recording devices
    • Digital image quality and formats: colour sampling, bit depth, compression ratios, data rate
    • Digital media files: video & audio container files, codecs, transcoding
    • Acquisition, intermediate, and finishing formats
  2. Unit II: Preparation for video pre-production
    • Review of identifying topics and researching for a story
    • Scheduling for video production
    • Breaking down a script
    • Use of production boards
  3. Unit III: Pre-production
    • Storyboarding
      • Importance of storyboarding
      • Elements of planning a visual story in time (establishing timeline; sequencing of the story; shots, coverage, cuts; camera angles)
      • Matching shooting styles with purposes
      • Interaction and sync between audio and visual elements of the story
      • Process
        • Templating
        • Adding a script
        • Sketching out the story
        • Adding notes: description; information about narration or dialogue and other audio; timing
      • Camera diagrams and shot lists
      • Production design
        • Location / set selections
        • Basics of art direction
        • Set dressing and props
      • Visual planning for documentaries
      • Lighting Standard techniques
        • Lighting types, colour temperatures, wattage
        • Controlling light quality; diffusion
        • Lighting people
        • Interior lighting fundamentals
        • Exterior lighting fundamentals
  1. Unit IV: Production
    • Camera control and movement
    • Exposure: aperture, gain, ISO
    • Depth of field
    • White balancing
    • Shooting in controlled (e.g., studio) vs. field environments
    • Shooting to edit: pre-planning shots; importance of rehearsal
    • Types of shots, their features, relative merits, and typical purposes: long (establishing/wide); medium; close-up
    • Essential rules / best practices for framing shots
      • Rule of thirds
      • Shots of people: Headroom, smart cropping, importance of the eyes
      • 180-degree rule for dialogue shots
      • Lead space
      • Varying depth of field
      • Choosing backgrounds wisely
      • Stabilizing shots
      • Levelling horizontal/vertical surfaces
      • Leading lines
      • Balance and symmetry
    • Production of sound for video
      • Mic recording and mixing
      • Mic placement and testing
    • Directing
      • Script to shooting script
      • Rehearsals
      • Set management and organization
      • Protocols of shooting
  1. Unit V: Preparing for post-production
    • Workstation setup
    • Use of networked systems such as render farms
    • Digital video and audio cables and connectors
    • Preparing to edit video: Common tools
      • Drag-and-drop editing
      • Three-point editing
      • JKL editing
      • Insert and overwrite editing
      • Trimming
      • Ripple and roll, slip and slide
      • Multi-camera editing
    • Recording (importing) and saving (exporting)
  2. Unit VI: Post-Production
    • Basics of video editing using DaVinci Resolve or Lightworks (or other Adobe Premiere equivalent) video non-linear editing software
    • Building a rough cut
    • Editing techniques
      • Cutaways and reaction shots
      • Matching action
      • Matching screen position
      • Overlapping edits
      • Matching emotion and tone
      • Pauses and pull-ups
      • Hard sound effects and music
    • Refining a rough cut
    • Transitions between scenes
      • Hard cuts
      • Dissolves, fades, wipes
      • Establishing shots
      • Clearing frame and natural wipes
    • Solving technical problems: Missing elements; temporary elements
    • Manipulating time through rhythm, motion, and effects
    • Introduction to multi-cam editing
    • Fine cutting: editing for style, duration
    • Colour grading
      • Advanced colour controls
      • Adjusting dark video
      • Compensating for overexposure
      • Correcting poor white balance
      • Matching footage from different sources and shoots
      • Use of tracks and layers to adjust colour
      • Simple video effects
    • Titles and effects
      • Titles: Choosing typeface and size, Ordering / placing titles, Colouring titles
    • Motion effects
      • Keyframe and interpolating
      • Slow-motion and speed ramps
      • Integrating still images and video
      • Introduction to special effects
    • Compositing
      • Keys: luminance key, chroma key
      • Mattes
      • Mixing footage of different definitions
    • Using effects to fix problems in footage
  3. Unit VII: Authoring and Mastering
    • Basic introduction to DVD and Blu-Ray disk authoring
    • Mastering audio and video; exporting a file-based master
    • Selecting formats for online publishing

Reading List:

  1. Essential Reading
    • B&H Online Videos. (2016). 6 Rules for Video Composition and Why Not to Break Them. B&H Photovideo. Retrieved from https://www.bhphotovideo.com/explora/video/tips-and-solutions/6-rules-video-composition-and-why-not-break-them
    • Burgess, C. (2016). How to Make a Storyboard for Video. Envato Tuts+. Retrieved from https://photography.tutsplus.com/tutorials/how-to-make-a-storyboard-for-video--cms-26374
    • Cassidy, K. (2017). The Basic Rules of Composition. Videomaker. Retrieved from https://www.videomaker.com/article/c02/18610-the-basic-rules-of-composition
    • Kenworthy, C. (2013). Master Shots Vol 3: The Director’s Vision. Studio City: Michael Wiese Productions.
    • (n.d.). Video Composition Rules: Establishing, Medium and Close-up Shots. Nikon. Retrieved from http://www.nikonusa.com/en/learn-and-explore/a/tips-and-techniques/video-composition-rules-establishing-medium-and-close-up-shots.html
    • Saccone, P. (2016). The Definitive Guide to Editing with DaVinci Resolve 12.5. Blackmagic Design.
    • Schenk, S. and Long, B. (2014). The digital filmmaking handbook, 5th Boston, MA: Cengage Learning.
    • Stockman, S. (2011). How to shoot video that doesn’t suck. New York, NY: Workman Publishing.
  2. Additional Reading
    • Ascher, S. and Pincus. E. (2013). The filmmaker’s handbook: A comprehensive guide for the digital age. New York, NY: Plume.
    • Dancyger, K. (2015). Alternative scriptwriting: Beyond the Hollywood formula. New York, NY: Focal Press.
    • Fossard, E. D., & Riber, J. (2015). Writing and producing for television and film. New Delhi: SAGE
    • Frome, S. (2009).The art and craft of screenwriting: fundamentals, methods and advice from insiders. Jefferson, NC: McFarland.
    • Geiger, J., & Rutsky, R. L. (2005). Film analysis: a Norton reader. New York: W.W. Norton & Company.
    • Hollows, J., & Jancovich, M. (1995). Approaches to popular film. Manchester: Manchester University Press.
    • Honthaner, E. L. (2015). The complete film production handbook. New York: Focal Press.
    • Musburger, R. B. (2014). An introduction to writing for electronic media: scriptwriting essentials across the genres. New York: Focal Press.

Date:  May 14, 2018
Royal Thimphu College