Theory and Production
Trigilio | email: email@example.com |
Hours: Monday, 3pm - 4pm at MCC 221; Thursday
1pm - 2pm at VAF studio 511
If you intend to visiting during office-hours, please send me an
email to confirm.
I WILL NOT BE REVIEWING PETITIONS DURING THESE OFFICE HOURS.
These office hours are for course/career/research matters only.
This will be at the heart of your coursework in Editing. While we will
often refer to readings derived from your VIS 70N reader and other writings
over the course of the quarter, we will principally focus on a series
of focused editing projects. We will treat this class like an intensive
visual arts course one might find in another discipline (painting, ensemble
performance, etc). The course has been designed as an intensive production
and crit class at the Intermediate level of the Media Major and critiques
will include discussion of a.) conceptual rigor and b.) technical execution.
You should take notes. When films, artworks, artists are mentioned in
discussion or lectures, I suggest writing them down and then looking
them up later. The Geisel Library is good for this and the website Google.com
is very easy to use. Ubuweb.com is another excellent resource to find
films to watch and research.
will be a Visual Arts class, not an Apple Store demonstration.
This is not a "Final Cut Pro" course, insofar as our discussions will
be principally concerned with your ideas, choices, and strategies as
an editor. I will regularly demonstrate editing techniques towards this
broad pedagogical agenda (including techniques universally found in
most editing environments, such as Media Composer and Premiere Pro).
Students should expect to be able to translate these techniques across
a constantly evolving technological landscape (i.e., "learning how to
learn" new software is key).
There will only be one assignment in which collaboration with a classmate
is required (Asgn #2). Beyond that, I expect students to collaborate,
and otherwise contribute to the productions of their peers.
60% will be based on all assignments (exercises, quizzes,
40% will be based on class participation in discussions
I will only accept assignments late if you have an excused absence from
class or in an emergency situation about which you have spoken with
me directly. Late assignments will be accepted at my sole discretion.
Students are expected to attend all of every class meeting. “Absence”
is a word describing “the state of being away from a place.” If you
are away-from-class, you will be considered absent (notwithstanding
absence due to illness).
absences = Lower final grade by one letter Each additional absence =
Lower final grade by an additional half-letter
to class late twice will be noted as an “absence.” Thus,
arriving to class late four times will lower the final grade by one
you are ill, you may miss class provided you present official documentation
indicating your illness (a note from student health-services will suffice).
If you miss more than three classes due to illness, I will apply the
above grading policy and you should prepare to withdraw from the class.
Students will be active and engaged in participation, coursework, and
Students will demonstrate professional use of the media center
Students will show creative and courageous responses to assignment prompts.
Students will actively resist cynicism and foster open-mindedness
I expect you to be actively practicing the editing strategies we discuss
even as you experiment with cinematographic, compositional, and sonic
techniques. I expect you to be making considered choices when composing
and producing your footage. Legibility of the image is critical, and
you should be prepared to discuss your specific methodology for shot-composition,
camera-work, sound-recording, etc.
students can expect:
Presentation of challenging examples and techniques prepared
to broaden your experience as an editor.
Respect and honest critical feedback
A passionate and engaged articulation of course material, free of cynicism
or contemptFair and honest grading of your participation, projects,
and other classwork.
1. Three shots about a.) euphoria or b.) heartbreak (Due Wednesday,
2. Video in Public (collaborative) (Due Wednesday, January 16)
3. Over The Shoulder Improv (Due Wednesday, February 1)
4. dance video edits / continuity vs. style (Due January 30)
5. comic-timing: make the cut the joke. (Due Feb 11 or Feb 13, by alphabet)
6. make a series of between 5 and 7 short films around a theme. (Due
March 11 or 13, by
- - - works in progress during week 9 (March 4, March 6)
1. alarm clocks
2. walking/running in Eucalyptus grove
3. working on a computer
4. stuffed animals
5. masculine self-discovery at La Jolla cliffs
6. shots without physical stabilization
SCHEDULE (subject to change)
Week 1 - Introduction to Editing, Framing, Pacing
assignment 1 DUE Wednesday January 9
2 - Timing, pace, sync, public spaces.
Expect discussions of pacing, stylistic practice, and public-spaces.
assignment 2 DUE Wednesday January 16
Week 3 - (Monday holiday) | Wednesday, January 23: Directing improvisation
4 - Body Continuity.
Framing, editing, and presenting the body on screen with attention towards
continuity. assignment 3 DUE Wednesday February 6
5 - The Cut's the Joke.
Comic-timing and the role of editing in generating a comic-moment.
6 - Critique week
assignments 5 DUE MONDAY and WEDNESDAY (by last name) (Feb 11 and Feb
7 - (Monday holiday) | Wednesday, February 20: motion-graphics
8 - Serial
A discussion & presentation of works made in series and a discussion
of serialization techniques for generating editing decisions.
9 - Works-in-Progress / FCS workshop
10 - FINAL CRITS (serial works)
assignment 6 DUE MONDAY AND WEDNESDAY (March 11 and March 13)
JANUARY 6, 2013