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Digital Cinema
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DC
105 DIGITAL MEDIA LITERACIES
This course is designed to help students develop an informed, critical and practical understanding of new communication media, including ways to read, write and produce in a digital environment. We will explore implications of these technologies and their uses in schools, communities, and workplaces. The course also focuses on practices involving current and future technologies that hold promise for the creation and distribution of all media.
DC 110 FOUNDATIONS OF CINEMA FOR MAJORS
This course deals with visualization and cinema literacy skills. Drawing heavily on a wide array of historical examples, the course will examine the many expressive strategies potentially usable in the creation of moving image art forms: image construction and manipulation, editing, composition, sound, narrative, and performance. An emphasis will be placed on story and storytelling. In addition to analyzing the works of others, students will also produce their own projects - putting theory into practice. Prerequisite(s): None
DC 113 SOUND FOR MULTIMEDIA
This course for non DC and ANI majors is an introduction to the uses and practical applications of sound for multimedia. Students will study various uses of sound and music in multimedia from presentation software to the internet. Using free or inexpensive hardware and software, students will learn to create and edit podcasts and attach audio files to programs and web pages such as Facebook, MySpace, Keynote, PowerPoint and video. The course will cover both Mac and PC applications so all students will be able to work on projects from any computer. The course will also cover digital rights and responsibilities. PREREQUISITES: NONE
DC 120 VIDEO EDITING
Students analyze and assemble dramatic scenes under a variety of conditions and narrative strategies. Editing theories, techniques and procedures, issues of continuity, effects, movement and sound are examined as they relate to the fundamentals of cinematic montage and visual storytelling. This class presents a variety of topics and experiences that are designed to broaden the student's understanding of the art of cinematic storytelling and montage. Work on more advanced projects is integrated into the class as a means to an understanding of advanced editing tools and techniques. PREREQUISITE(S): NONE
DC 125 Digital Still Photography for Non-Majors
This course is an introduction to the history and aesthetics of still photography and to the concept of photography as a descriptive and interpretive artistic medium. Students studying photographs in this context will discover relationships between individual photographers choices and their own understanding of meaning. The role these artistic choices play in conveying meaning in still photography. Discussions of the photos' cultural contexts and meanings will deepen their understanding of the role of still photography as a conduit for cultural values.
Students will learn the fundamental concepts necessary to shoot, edit, manipulate, and print digital still photographs. Also, students will acquire the knowledge needed to analyze and critique existing work. Students will be required to use their own digital still cameras for this course.
DC 200 Media Literacies
This course is designed to help students develop an informed, critical and practical understanding of new communication media, including ways to read, write and produce in a digital environment. We will explore implications of these technologies and their uses in schools, communities, and workplaces. The course also focuses on practices involving current and future technologies that hold promise for the creation and distribution of all media. Prerequisities: None
DC 201 INTRODUCTION TO SCREENWRITING
This course is an introduction to and overview of the elements of theme, plot, character, and dialogue in dramatic writing for cinema. Emphasis is placed on telling a story in terms of action and the reality of characters. The difference between the literary and visual medium is explored through individual writing projects and group analysis. Development of synopsis and treatment for a short theatrical screen play: theme, plot, character, mise-en-scene and utilization of cinematic elements. PREREQUISITE(S): None.
DC 202 HISTORY OF MOTION PICTURE EDITING
This course studies the origins and rise of film editing as an art form, an industry, a set of technological practices ranging from analog film to digital video. The course examines critical historical events that impacted film editing: the emergence of the studio system, the coming of sound, narrative, experimental and documentary film, MTV, and audience shifts. For many, editing is the unique source of the art of filmmaking. This course addresses this question. PREREQUISITE(S): NONE
DC 203 HISTORY OF MOTION PICTURE SOUND
From William Dickson's 1895 experimental sound film to THX and Dolby 3D sound, this course studies the origins and rise of film sound as an art form, an industry, a set of technological practices. The course examines critical historical events that impacted film sound: early Edison experiments, faster film stock, quieter and more mobile camera systems, The Jazz Singer, MTV, Lucasfilm, video games and beyond. PREREQUISITE(S): NONE.
DC 204 HISTORY OF DOCUMENTARY
Course explores the variety of styles and concerns that shape documentaries. Content covers the first outdoor films made at the beginning of film history, the lyrical documentaries of Robert Flaherty, and the institutional documentaries inspired by John Grierson. Course also examines the broad range of developments of the post-World War II era, including the television documentary, cinema verite movement, collective and personal documentaries of anti-war and women's movements, role and impact of video in the '80s and '90s, and recent trend to incorporate narrative techniques. PREREQUISITE(S): NONE
DC 205 FOUNDATIONS OF CINEMA
This course will examine the craft, technology, and aesthetic principles of media production. Drawing heavily on a wide array of historical examples, the course will examine the many expressive strategies potentially usable in the creation of moving image art forms: the importance of story and controlling ideas, storytelling with images, the basics of composition and editing, and an examination of narrative, documentary, and experimental approaches. In addition to analyzing the works of others, students will also produce their own projects thus, putting theory into practice.
DC 206 INTRODUCTION TO FILM HISTORY
This course studies the origins and rise of film as an art form, an industry, a set of technological practices, and cultural documents. The course examine critical historical events that impacted the industry; the emergence of the studio system, the coming of sound, the U.S. depression, the world wars, audience shifts, emergence of other communication media. We also examine various world film industries in order to understand the relationships existing among national media producers. PREREQUISITE(S): NONE.
DC 207 HISTORY OF CINEMA I, 1890-1945 (FORMERLY 1895-1945)
This course examines the history of cinema as one of the most influential cultural forms of the 20th Century. We will study the aesthetic and technological developments of cinema during its first 50 years, as well as examine the social and economic factors shaping its history. Initially influenced by other art forms (theater, literature, painting) filmmaking quickly acquired its own formal system, language, and traditions. We will trace the changing styles, techniques, content, and methods of filmmaking as an art form, as popular culture, and as an industry. We will consider how cinema is bound to its social context via audience relations, economics, technology, and ideology. The limited scope of this course will cover primarily feature-length, narratives films as the dominant mode of filmmaking, although we will also look at the development of documentary and experimental filmmaking. The class will consist of lectures, screenings, and discussions.
DC 208 HISTORY OF AMERICAN CINEMA, 1946-1975
From Film Noir to Hitchcock, an examination of post war Hollywood, film noir, wide screen and epic films, the development of the star system, the director as auteur, and the influence of international film movements and directors. Screenings, lecture, and discussion. PREREQUISITE(S):NONE
DC 209 HISTORY OF CINEMA III, 1975-PRESENT
This final course in the film history sequence is designed to introduce students to a sense of modern film history and the multiple permutations of cinema around the modern film history and the multiple permutations of cinema around the globe. It presents film history from a global perspective, concentrating primarily on the development of new national and transnational cinemas. The course continues to chart the development of the American studios since the mid-1970s while examining the effects of media consolidation and convergence. Moreover, the course seeks to examine how global cinemas have reacted to and dealt with the formal influence and economic domination of Hollywood filmmaking on international audiences. Class lectures, screenings, and discussions will consider how cinema has changed from a primarily national phenomenon to a transnational form of communication in the 21st century.
DC 210 DIGITAL CINEMA PRODUCTION I
This course is a beginning workshop in narrative film production. The course provides an introduction to the fundamentals of cinema, including camera and lens technology, composition, lighting, directing and sound recording. Utilizing digital technology, students will produce several films with an emphasis on visual storytelling and personal expression. PREREQUISITE(S): DC 220
DC 211 PRE-PRODUCTION FOR CINEMA
This course will cover the pre-production phase of short and feature-length flimmaking, including fundraising, breaking down scripts, scheduling, budgeting and pre-visualizing. Professional scheduling, budgeting and pre-visualization software will be utilized. Additionally, the rules of the creative producer, line producer and assistant director will be examined. Prerequisite(s): None
DC 215 DIGITAL SOUND DESIGN
This course is an introduction to sound editing and sound design. The course examines the place of sound in cinema, both artistic and technological. The course will cover the basics of sound, microphones, and analogue-to-digital conversion. Lectures, readings, and film clips will be used to illustrate the language of film sound, as practiced by film directors, sound designers, and editors. Students will learn to edit sound assignments with Pro Tools and current technologies. PREREQUISITE(S): None
DC 216 FOLEY AND VOICES FOR CINEMA, ANIMATION AND GAMING
This course will focus on Foley and voices as they are used in live-action film, animated films, and games. There will be studio demonstrations of Foley and voice work, an introduction to editing both Foley and Automated Dialogue Replacement, and an emphasis on how these crafts differ when used in live-action, animation and gaming. Students will apply their knowledge through practical application with various projects throughout the quarter.
DC 220 EDITING I
Students analyze and assemble dramatic scenes under a variety of conditions and narrative strategies. Editing theories, techniques and procedures, issues of continuity, effects, movement and sound are examined as they relate to the fundamentals of cinematic montage and visual storytelling. PREREQUISITE(S): NONE.
DC 222 STORY STRUCTURE IN CINEMA
Critical analysis of narrative structure in Cinema. Students will learn how to identify key story concepts and break down three act structure in finished films and scripts. Students will also be introduced to the underlying genre constituents of the films covered in class. Students will understand and be able to identify, among others, the following concepts: Three-Act Structure, Protagonist vs. Antagonist, Plant & Payoff, Revelation & Recognition, Want vs. Need, Hope vs. Fear, Elements of the Future/Foreshadowing, Poetic Justice etc. (when applicable, evquivalent Aristotelian terminology will be covered as well). PREREQUISITE(S): NONE
DC 225 Digital Still Photography
This course is an introduction to the history and aesthetics of still photography and to the concept of photography as a descriptive and interpretive artistic medium. Students will learn the fundamental concepts necessary to shoot, edit, manipulate, and print digital still photographs. Students will learn to scan, capture, correct and enhance digital images and prepare files for output on black and white and color printing devices. Introduces students to theories, terminology, and applications of digital imaging technologies. Students will acquire the knowledge needed to analyze and critique existing work.
In addition, students will involve themselves in hands-on exercises with digital still photography, manipulation and printing. Demonstrations will facilitate learning software techniques and systems of working. Use of Adobe Photoshop will be extensively covered in this course.
DC 227 FILM PHILOSOPHY
This course is a seminar on the philosophical analysis of film art, with an emphasis on the ways in which it creates meaning through techniques that define a formal structure. There is a particular focus on aesthetic problems about appearance and reality, literacy and visual effects, communication and alienation through film technology.
DC 228 ETHICS IN COMPUTER GAMES AND CINEMA
Societies function based on normative ethics utilizing commons sense to distinguish between ethical and unethical behavior. Most of us are not aware of the underlying theories when arriving at ethical judgments about right and wrong. However, the fast pace of progress in information technologies and digital entertainment creates an environment, in which ethical challenges are particularly complex.
In the eyes of many, games and movies are violent, offensive and immoral. This course will concentrate on analyzing the impact of digital entertainment on an individual and society. Implications of certain values embedded games and movies will be discussed. Elements of the ethical code of conduct for a game or movie creator will be formulated. The issue of balancing individual creativity vs. cultural impact particularly on children will be discussed.
DC 232 CINEMA AND SOCIAL CHANGE
This course explores cinema that is created with the primary intention of effecting social, cultural or political change. Forms as varied as propaganda, documentary, narrative feature films, and music video will be discussed. In conjunction with this study, students will make a film or animation with the primary intention of effecting some measure of social change.
DC 233 CINEMA & ART
This course will provide an overview of avant-garde film, video, animation and installation, and the relationship of these cinematic forms to Modern and Contemporary art. Students will be introduced to the major styles and themes of alternative and experimental moving image work from the past hundred years. Cinema & Art places emphasis on moving image work that is not usually included in a survey of mainstream cinema or film history. A major concern for the class is first-hand exposure to these original sources, and an examination of the relationship of these works to mainstream cinema and other types of popular culture. Topics covered in the class include the avant-garde and kitsch, Surrealism, experimental film, abstract animation, video art, camp, and video installation. In addition to lectures by visiting artists and viewing films, videos, and installation work, students will produce a short creative work in the style of their choice that responds to the work studied during the quarter.
DC 235 ADAPTATION: THE CINEMATIC RECRAFTING OF MEANING
This course explores contemporary cinematic adaptations of literature and how recent re-workings in film open viewers up to critical analysis of the cultural practices surrounding the promotion and reception of these narratives. What issues have an impact upon the borrowing and reinterpreting of narratives of film? How, when, and where can we identify such borrowings and reinterpretations in multiple contemporary iterations of the same narrative? PREREQUISITE(S): NONE
DC 250 WORKING WITH ACTORS 1
This course is an introduction and examination of the collaborative process between the actor and director. The class will examine the fundamentals of the craft of acting, provide students with a basic understanding of acting terminology, script analysis, the creative process, and explore effective ways to communicate with the actor. Methods of study include lecture, discussion, assignments, and in-class acting exercises.
DC 251 ACTING FOR THE CAMERA
This course is designed for acting and directing students who want to develop skills and gain experience in acting and directing for the camera. Course sessions include lecture, practical exercises and preparation for analyzing and blocking a scene and working on a set. Students will screen select film clips to evaluate performances, explore methods to prepare for an audition, discuss the actor/director relationship and examine the professional requirements or relating to a crew. The final project will include directing or acting a short dialogue scene for analysis and critique.
Prerequisites: DC 250 and DC 310 or PRF 313
DC 261 FIRST FILMS
This course will explore the first feature films of contemporary filmmakers, studying the roots of their respective styles of filmmaking, the obstacles they faced in making their first films and their respective filmmaking styles that have evolved in later films.
Prerequisites: none
DC 270 TOPICS IN DIGITAL CINEMA
Advanced study in cinema focusing on a specific genre each quarter such as: Science Fiction, Film Noir, Comedy, Action-Adventure, Nonfiction, etc. Please check the CTI website for description of specific quarter offerring.
DC 271 INTRODUCTION TO TELEVISION PRODUCTION
An Introduction to the basic principles, procedures, and techniques of television production. The course covers the fundamentals of producing, scripting, directing, videotaping, lighting, and editing for television. This course discusses how television and its programming impact the past, present and future of our society.
DC 272 WRITING FOR TELEVISION
The primary objective of this course is to learn how to write for television, for both network and cable, focusing on fiction and non-fiction TV programs including news, talk, documentaries, dramas and comedies.
The course will assist students in improving their writing skills as well as help them understand the basic approaches and techniques in writing for television.
Prerequisites: DC 201
DC 273 FILM/VIDEO AESTHETICS I
Course covers basic concepts and terminology of film and video as forms of art and mass culture. This course covers the aesthetic systems that constitute film and video: plot structures, sets, costumes and makeup, acting, lighting, cinematography, editing, and sound. We consider how the interaction of these elements produces meaning in film and video. We also examine how these concepts are practiced in film production. After mastering the aesthetic concepts, students also examine their use in three different modes of film communications: fiction, documentary, and the avant-garde. PREREQUISITE(S): NONE
DC 274 IMAGE, OPTICS AND CINEMATIC MOTION
Cinematography is the scientifically grounded discipline of making lighting and camera choices in order to record moving images. This course deals with the basic mathematics, physics, and photochemistry that underlies cinematography and that motivate camera design and construction. A student who masters the foundations of cinematography through a mixture of lectures, readings, exercises, and labs will be able to evaluate and understand how motion based recording choices affect perception of moving images they see every day.
DC 275 CINEMATOGRAPHY
This course is an intensive exploration of the craft, technologies and aesthetic principles of cinematography and lighting techniques. Lectures and in-class demonstrations will cover film and video formats, film stocks, film and digital cameras, exposure, lenses and optics, lighting units, lighting placement, lighting control, camera support, and camera movement. Class sessions will consist of lectures, demonstrations, hands on with cameras and lighting units, exercises, and screenings of selected film clips which demonstrate specific cinematography and lighting techniques. PREREQUISITES: DC 210, DC 220
DC 280 STORYTELLING WITH MACHINIMA
The course will focus on two areas: the craft and technology of Machinima filmmaking and the use of Machinima in storytelling. Within the context of learning the craft of Machinima, students will explore character and character development, production design, and the fundamentals of visual storytelling.
DC 298 INTERNSHIP IN MEDIA PRODUCTON/POST-PRODUCTION
This course offers students an excellent opportunity to gain professional experience, industry contacts, and referrals while still in school. Opportunities in post-production, motion picture production, advertising, television, animation, motion graphics and interactive media. Admission to the program requires consent of internship course instructor. Current work experience plus classroom time is required. Supervisor evaluation will contribute to the final grade. Prerequisites: NONE
DC 299 INTERNSHIP IN MEDIA PRODUCTION/POST-PRODUCTION
This course offers students an excellent opportunity to gain professional experience, industry contacts, and referrals while still in school. Opportunities in post-production, motion picture production, advertising, television, animation, motion graphics and interactive media. Academic credit is variable and admission to the program requires consent of internship course instructor. Supervisor evaluation will contribute to the final grade. Prerequisites: NONE
DC 301 ADVANCED SCREENWRITING I
In this course, students study, analyze and produced motion picture scripts. This course emphasizes the use of traditional storytelling, classic mythology and how these devices apply to contemporary screenplays. Students will move from concept/treatment to a completed first act of a feature length screenplay of their own. This script will be completed, revised, and polished in DC 302 and DC 303. PREREQUISITE(S):NONE
DC 302 ADVANCED SCREENWRITING II
This course focuses on the writing of the second and third acts of feature length screenplays. Students finish and begin revising the first draft of the script started in DC 301. Emphasis is placed on proper character development, effective use of conflict, and adherence to the three act structure. PREREQUISITE(S): DC301
DC 303 ADVANCED SCREENWRITING III
Students finish revising and polish the script from DC 302. Characters, dialogue, conflict, and structure are further refined. The goal is for the students to have a producible feature length screenplay by the end of the course. Concerns such as getting an agent and/or getting the movie produced are also covered. PREREQUISITE(S): DC302
DC 304 TOPICS IN SCREENWRITING
Advanced study in screenwriting focusing on a specific genre each quarter such as: Science Fiction, Film Noir, Comedy, Action-Adventure, Nonfiction, etc. May be repeated for credit. PREREQUISITES: DC 201 or by consent of the instructor
DC 310 DIGITAL CINEMA PRODUCTION II
This course expands on topics covered in DC 210 Production I. Students will refine their skills in the areas of line-producing, pre-production, cinematography, lighting, sound recording, post production work flow. PREREQUISITES: DC 210, DC 220, DC 275
DC 311 MUSIC VIDEO PRODUCTION
In this course, we will analyze ways in which artists combine visual imagery with music as with MTV-style music videos. The music business and how it relates/effects music videos. Each student will develop his or her own music video project from script to final edit with a local band of their choice, through their own scheduling process. PREREQUISITE(S): DC 210, DC 220
DC 312 MUSIC FOR FILM AND VIDEO (SOUNDTRACK SCORING)
Students are introduced to elements of music and ways in which these elements may be used to create a musical style that enhances the visual statement. Course emphasizes understanding the function of the score and how it relates to texture, color, and drama in music. Students explore their creativity using the tools available, work on projects of increasing complexity, and complete a score for their own film or video as a final project. Listening skills, music vocabulary, and business and legal aspects of the profession are also studied. PREREQUISITE(S): DC 215
DC 313 PRODUCTION SOUND
This workshop based course offers production recording and mixing techniques. Subjects include microphone selection, basic acoustics, boom techniques, dual system recording practices, and mixing. Several projects will be completed throughout the quarter. PREREQUISITE(S): DC 215
DC 315 ADVANCED DIGITAL SOUND DESIGN
This course expands on topics covered in DC 215. Emphasis will be on mixing and editing techniques for music and sound effects. Coursework also includes the recording of natural sounds and special effects to reinforce images and the story. The course is intended for advanced students who wish to develop their skills and gain more experience in preparing and mixing sound tracks for traditional as well as interactive narratives. PREREQUISITE(S): DC 215
DC 316 TOPICS IN POST-PRODUCTION SOUND
Advanced study in post-production sound focusing on a specific area each quarter such as: A.D.R., Foley, Scoring, Sound Effects, Mixing, etc.
May be repeated for credit. PREREQUISITES: DC 215 or by consent of the instructor.
DC 317 ADVANCED SOUND MIXING FOR CINEMA
This workshop based course offers advanced mixing techniques for Stereo and Surround Sound. Subjects include mixing philosophies, techniques, advanced digital signal processing, and monitoring. A history of Surround Sound and contemporary surround techniques will be covered. Several projects will be completed throughout the quarter. PREREQUISITE(S): DC 315
DC 318 ADVANCED DIALOGUE RECORDING AND EDITING
This workshop based course offers dialogue recording and editing techniques. Subjects include voice processing, basic acoustics, room tone matching, proximity processing, frequency analysis and dialogue mixing. Several projects will be completed throughout the quarter. PREREQUISITE(S): DC 315
DC 319 ADVANCED SOUND EFFECTS RECORDING AND EDITING
This workshop based course offers sound effects recording and editing techniques. Subjects include hard effects, backgrounds, room tone, Foley, basic acoustics, sound processing, layering and mixing. Several projects will be completed throughout the quarter.
PREREQUISITE(S): DC 315
DC 320 EDITING II
This course expands on topics covered in DC 220. Emphasis is on developing the student?s understanding of the art of cinematic storytelling and montage. Work on more advanced projects is integrated into the class as a means of mastering advanced editing tools and techniques. PREREQUISITE(S): DC 220
DC 333 CINEMATIC SPACE
This seminar mixes theory and practice to expose students to an in-depth exploration of different techniques and possibilities concerning cinematic space. Beginning with an introduction to the fundamental differences between montage and mise-en-scene, the course will teach students the art and craft of designing, blocking and executing plan sequences, starting with static camera shots and ending in complex 3D camera moves. PREREQUISITE(S), DC 210 and DC 275
DC 350 MODES OF DIGITAL DISTRIBUTION
This course deals with the process of creating video for multiple modes of distribution, i.e.: DVD authoring, compression and streaming. It also covers the various outlets available for content distribution. Students will learn content creation, authoring, capture, encoding and serving with an emphasis on video compression and encoding. Students will also come to have a working understanding of codecs, DVD chapters, Easter eggs, region coding, and be able to create a working web page with embedded streaming content. PREREQUISITE: DC 320
DC 370 FILM MAVERICKS
This course will analyze the possibility of pursuing the ideals of an "author cinema" - a personal way of expressing ideas that can deal with Hollywood mainstream and also with the independents, but will never be considered an integral part of either one. The "author cinema" would be a cinema of personal expression that refuses the mainstream's prison of "three acts, happy ending, stars, etc." Filmmakers from all over the world will be analyzed, focusing in particular on the authors that are able to keep alive their personal vision while dealing with studios, limited budget or other hardships. PREREQUISITES: none
DC 371 DOCUMENTARY PRODUCTION
This course covers all phases of documentary filmmaking including interview techniques, storytelling with interviews and B roll, and documentary cinematography. For the final project each student will produce a completed documentary film. PREREQUISITE(S): DC 210, DC 220
DC 372 TOPICS IN TV PRODUCTION
This course is a hands-on experience in television production of news and public affairs programs. Students learn through theory and practice the role TV Producers and their teams play in creating various TV programs.
DC 373 ADVANCED DOCUMENTARY PRODUCTION
This advanced course in documentary production is designed for students who already have experience with making documentaries. In this course, each student will direct and produce a substantial short subject documentary and serve as a crew member on at least one other student project. Topics covered will include choice of subject matter, filmmaker?s POV, dramatic structure, proposal writing, and a variety of technical, aesthetic, practical, and ethical concerns related to producing professional documentary projects.
PREREQUISITE(S): DC 371/471
DC 375 ADVANCED CINEMATOGRAPHY
This class explores the emerging HDTV/HDV technologies along with advanced production techniques of camera movement, lighting, rigging, camera filtration and shot composition. Students will be given hands on training in the use of the latest High Definition Video cameras and then create a short script which they will shoot and edit in High Definition. PREREQUISITE(S): DC 275
DC 376 VISUAL DESIGN
Definition, analysis, and structure of visual components that cinema employs to support and emphasize the story. Theory of visual design will be applied through student still photos, as well as an original, visually-oriented, narrative or documentary short film, animation or game design. PREREQUISITES: DC 310
DC 377 ADVANCED LIGHTING AND CAMERA MOTION
This class centers on lighting/camera movement in storytelling
and explores advanced lighting/cinematography techniques for both studio and field.
Students will operate light meters, determine set and lighting needs, set lights, operate a
jib and/or dollies, block scenes, and become familiar with topics including filmspace,
continuity, lenses, color, filters, and camera control. Over the course of the quarter, students will work together to produce a number of short stories in both field and studio environments. Besides the aesthetic component of the class, students will also learn set electrical breakdown, lighting control tools, basic grip equipment and procedures to use them safely and effectively.
Prerequisites: DC275
DC 378 COMPOSITING AND SPECIAL EFFECTS
Layering of live action and rendered 3D graphics to produce special effects. Includes such techniques as layered texturing / rendering, depth-based effects, motion tracking, and camera matching. Prerequisite: DC 210
DC 380 PROJECT BLUELIGHT
Production of a feature-length digital motion picture written by students or faculty within the Digital Cinema program. Students will work as crew under supervision of faculty members heading each of the various production areas. Goal is to produce a completed digital motion picture suitable for festivals or distribution
DC 389 THE BIG PICTURE: THE ENTERTAINMENT INDUSTRY
This course introduces students to vital information about the industry in which they will work. Students will learn industrial analysis of production, distribution, and exhibition sectors, including mastering concepts of revenue streams, constructing deals (gross points and net point participation), copyright, marketing, and box office analysis. Students will also study the structure of organizations and groups crucial to the entertainment industry: studios, talent, agents, exhibition (markets: theatrical, virtual and ancillary), professional organizations including guilds like ASC, and media licensing firms like ASCAP and BMI. There will be an emphasis on global industry. Prerequisite: DC 205
DC 390 TOPICS IN DIRECTING
This is a course in directing motion pictures. Topics include casting, rehearsals, the basic relationship between the director, actor, and script, script breakdown, camera placement, and shooting for continuity editing. Each student will produce and direct a scene study and a short narrative film. PREREQUISITE(S): DC 220, DC 310
DC 395 TOPICS IN PRODUCTION
This course allows advanced students to work in close conjunction with a faculty member to develop a digital media project. Topics focus on a specific genre or medium each quarter such as: traditional movie production (horror, comedy, action/adventure, documentary, experimental, etc.), animation (narrative, non-narrative, web-based, cinematic, etc.), and advanced digital game design (story, strategy, graphics, etc.). Students work to produce a five to ten minute project. PREREQUISITE(S): DC 310, DC 315 AND DC 320
DC 398 DIGITAL CINEMA CAPSTONE
This course provides a Digital Cinema-specific capstone experience for the student. Students must have completed at least one of the three Topics in Production courses before they enroll in this course. The capstone course will connect the students' Digital Cinema course work with the University courses s/he has taken through three components: student-generated production packages, class/instructor discussions, and the actual creation/production of the student's proposal. The production piece is the primary focus of this course. PREREQUISITE(S): DC 303 OR DC 310 OR ANI 350
DC 399 INDEPENDENT STUDY
Variable credit. PREREQUISITE(S): Consent of dean.
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