1 / 60

COGN 21: Methods of Media Production

COGN 21: Methods of Media Production. Professor Brian Goldfarb, Dept of Comm Office hours Wednesday 10:30 - 12pm, MCC 102 Email bgoldfarb@ucsd.edu TA’s 21: Katrina Boulding, Rachel Cody, Terra Eggink, and Chuk Moran, TA’s 22: Lauren Berliner , Emma Johnson,

vala
Download Presentation

COGN 21: Methods of Media Production

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. COGN 21: Methods of Media Production Professor Brian Goldfarb, Dept of Comm Office hours Wednesday 10:30 - 12pm, MCC 102 Email bgoldfarb@ucsd.edu TA’s 21: Katrina Boulding, Rachel Cody, Terra Eggink, and Chuk Moran, TA’s 22: Lauren Berliner , Emma Johnson, and Eduardo Santana

  2. COGN 21 all sections fully enrolled. If students drop, wait-listers will be added in the second week. Offered twice a year (winter and spring) COGN 22 sections open. Extra space in: A01 609446 Tue 9:30 – 12:20 Eduardo A03 609448 Wed 9:00 – 11:50 Emma A04 609449 Thur 9:30 – 12:30 Lauren A05 609450 Thur 12:30 – 3:20 Lauren A06 609451 Fri 9:00 – 11:50 Emma

  3. Books: Price Center bookstore and reserve in library Readings not in the books are on electronic reserve (through Roger) Additional handouts linked to Course Web Site (CWS) Official (up to date) version of syllabus: http://communication.ucsd.edu/goldfarb/cogn21w08

  4. Goals of the Course • Learn the language of (cinematic) media production • Gain elementary skills in media producing • Connect media production to other areas of the Communication major • Begin to translate theoretical ideas into media projects (and vice versa) • Become a more ACTIVE & ENGAGED viewer / listener

  5. Analysis of Audio-Visual Media • Frames • Intention • Interpretation • Style, Form, Formal Systems • Genre

  6. Media Clips for Today • Safe, by Todd Haynes, 1995 • American Beauty, Sam Mendes, 1999, 122 min. • Scenes from the House Dream, (Media Installations) by David Hoffos, 2003-present • Trip to the Moon, George Méliès, France, 1902 • The Most Beautiful Man in the World, by Alicia Duffy, Great Britain, 2002.

  7. Mise-en-Scene Putting into a scene: “the director’s control over what appears in the film frame.”

  8. Scenes from the House Dream David Hoffos: I have sought to reveal and examine the sources of illusion found within genre movies, stage magic, theme park attractions, 19th century parlours, and museum displays. The evolution of my work has been a steady process of accumulating and inventing techniques and devices and then applying and refining them. In 2002 I embarked on a five-year/five-phased project which will result in a series of fifteen to twenty small installations down a long hallway, forming a sort of dream narrative. The installations incorporate multiple channels of video and audio, miniature models, mirrors, lighting effects, video projections, phantom figures, hidden doorways and false walls down a dark hallway.

  9. Scenes from the House Dream • Experimental • Installation work • Reflexive (directs us to think about the conventions of the medium and it’s history)

  10. Trip to the Moon George Méliès, France, 1902 • Early narrative construction • Inspired by novels by Jules Verne and H G Wells • Series of single shot scenes • Used cinema in new ways to extend theatrical staging and magic shows

  11. Constructing Images Framing and the frame

  12. Elements of a “Good” Shot • No rules that can’t be broken • Elements - cohesive? • Eye Trace • Thought provoking • Cues

  13. Photography Framing Composition: X, Y and Z axes Type of Shot: Medium, Wide, Close Up, Extreme Close up Depth of Field Camera Angle Lighting Color

  14. Framing • Removing unnecessary, confusing or competing elements.

  15. Framing • Rule of Thirds

  16. Framing • Rule of Thirds

  17. Rule of 3rds • Divide the frame into nine areas • Avoid placing object in red area • Horizon lines are top and bottom thirds • Place objects at points 1, 2, 3, or 4

  18. Framing • Rule of Thirds

  19. Rule of 3rds

  20. Framing: The portrait

  21. Framing: The portrait • Headroom

  22. Framing • Headroom - too little

  23. Framing • Headroom - too much

  24. Framing • Headroom - just right

  25. Framing • Nose-room or lead room

  26. Framing • Nose-room

  27. Close-up Offset

  28. Close-up Offset: Wider Aspect Ratio

  29. Composition • X Axis

  30. Composition • X Axis

  31. Composition • Y Axis

  32. Composition • Vectors - Z Axis Blocking

  33. Composition • Vectors - Z Axis

  34. Composition • Vectors - Z Axis

  35. Depth of Field The area of the z-axis in which the objects appear in focus. Allows for differences of focus of objects in foreground, middle, and background.

  36. Depth of Field • Ways to decrease depth of field: • Telephoto lens setting • Subject closer to camera • Open Iris (letting more light into the camera) Lower F-stop.

  37. Depth of Field

  38. Wide Shot Shallow Depth of Field

  39. Wide Angle Shot

  40. Medium Shot

  41. Medium Shot

  42. Close Up Shot

  43. Extreme Close Up Shot shallow depth of field

  44. Low Angle High Angle Angle

  45. Low Angle High Angle Angle

  46. “Normal” Tripod Height Angle

  47. Terms we use: High key Low key Soft light Hard light Contrast Fill Flat Direct Indirect Lighting

  48. Lighting Terms we use: • High key • Soft light

  49. Lighting Terms we use: • Low key • High contrast

  50. Lighting • Low key • High contrast

More Related