CDM 232 | Course Introduction and Application Information - Department of Cinema and Digital Media

Course Name

Digital Film Studio II

Code	Semester	Theory (hour/week)	Application/Lab (hour/week)	Local Credits	ECTS
CDM 232	Spring	2	4	4	8

Prerequisites

CDM 231 To succeed (To get a grade of at least DD)

Course Language

English

Course Type

Required

Course Level

First Cycle

Mode of Delivery

-

Teaching Methods and Techniques of the Course

Discussion
Group Work
Problem Solving
Q&A
Critical feedback
Jury
Lecture / Presentation

National Occupation Classification

-

Course Coordinator

-

Course Lecturer(s)

Assistant(s)

-

Course Objectives	This studio course aims to teach advanced pre-production, production, and post-production skills through lectures, screenings, discussions and hands-on practice. It also aims to provide the students with theoretical understanding of visual language and the comprehension of narrative storytelling structure in a cinematic context.
Learning Outcomes	The students who succeeded in this course; Execute best film practices/habits including detailed planning, management, collaboration and division of labor. Describe the entire filmmaking process from idea to final cut. Engage in collaboration with other team members in film production Demonstrate intermediary level technical skills pertaining to camera-work, editing, lighting, post-production and sound editing in digital filmmaking. Analyze various techniques used in visual storytelling.
Course Description	This is a studio course consisting of lectures and screenings on pertinent topics as well as hands-on teaching and demonstrations of various techniques and skills for digital filmmaking. There will be individual assignments pertaining to story development and translating ideas and concepts into visual language. In addition, there will be individual in-class presentations, assignments and a post-production assignment.
Related Sustainable Development Goals

Course Category	Core Courses
	Major Area Courses	X
	Supportive Courses
	Media and Management Skills Courses
	Transferable Skill Courses

Week	Subjects	Related Preparation
1	Session 1: Course Overview and Documentary Today - Course goals and expectations - Documentary Assumptions and Creative Possibilities - In-class exercise: Self-discovery and creative orientation \| Session 2: From Curiosity to Filmable Ideas - Turning personal interests into concrete project directions - Discussion of ideas & formation of groups	Project idea statement (Upload to Blackboard and be prepared to discuss in class)
2	Session 1: Knowing the Territory / Theoretical Research - Context, history, what already exists - Sharing findings, refining focus \| Session 2: Documentary Modes and Forms - How form shapes voice, meaning, and audience experience	Research notes and list of textual and visual References (Upload to Blackboard and be prepared to discuss in class) - Read Wilma de Jon et al., Ch. 9 “Life Doesn’t Tell Stories: Structuring Devices in Documentary Filmmaking”
3	Session 1: Field Research, Finding Access and Building Trust - Characters, locations, permissions - Sharing findings, refining focus - Imagining your film across modes / forms \| Session 2: Writing a Proposal and Pitching the Project - How to turn ideas into a clear, grounded project proposals and pitching your film	Field research findings and visual documentation (Be prepared to discuss your findings, as well as possible documentary modes/forms your film might take)
4	Session 1: Pitch Session - In-class pitches and group critique \| Session 2: Interview Strategies + Sound - Asking better questions, listening, meaningful conversations - Interviews as cinematic and ethical encounters - Recording good sound	Documentary project proposal and pitch file (Upload to Blackboard and be prepared to pitch your film in class) Brief interview outline stating the purpose of the interview, key themes, and main questions. (Upload to Blackboard)
5	Session 1: Cinematography and Lighting - How framing, movement, and lens choice shape tone, intimacy, and point of view - Working with daylight and artificial light \| Session 2: Discussion of the Shooting Plans	Brief shooting plan outlining where you will film, who you will film, what you will shoot, and why. The plan should make your overall intention and storytelling focus clear before production begins. (Upload to Blackboard)
6	Field Shooting	Production in progress
7	Preliminary Footage Review and Feedback -What is missing? - What is working?	Selected preliminary footage (rushes) (Bring to class on a hard drive)
8	Session 1: Midterms Week – Presentation: Revised Pitch and Fundraising Trailer \| Session 2: Midterms Week – Independent Work: Reshoots and Additional Shooting	Revised and refined pitch file and fundraising trailer (Upload to Blackboard and be prepared to present in class) Production in progress
9	Production Review and Feedback	Revised or additional footage (Bring to class on a hard drive)
10	Editing as Thinking - Logging, selecting, finding structure	Editing in progress
11	Rough Cut Review and Feedback - Story development in the edit (rhythm, clarity, narrative flow)	Rough cut (Bring to class on a hard drive)
12	Fine Cut Review and Feedback - Finalizing structure and pacing	Fine cut (Bring to class on a hard drive)
13	Sound, Color, and Titles - Sound editing and sound design - Color correction and visual consistency - Titles and credits	Updated fine cut with sound and color adjustments (Bring to class on a hard drive)
14	Final Cut Review - Final adjustments - Trailer and poster review	Final cut with subtitles, trailer, and film poster (Bring to class on a hard drive)
15	Final Screening and Reflection	Final film and publicity material (Upload to Blackboard as Google Drive link)
16	Final - Jury	Be prepared to present and discuss your creative and production decisions

Course Notes/Textbooks

Suggested Readings/Materials

Kelly Anderson, Martin Lucas. Documentary Voice & Vision: A Creative Approach to Non-Fiction Media Production. Routledge, 2016.
Andy Glynne. Documentaries and How to Make Them. Creative Essentials, 2012.
Bill Nichols. Introduction to Documentary. Indiana University Press, 2017.
Wilma de Jong, Erik Knudsen, and Jerry Rothwell. Creative Documentary: Theory and Practice. Routledge, 2012.
Michael Rabiger and Courtney Hermann. Directing the Documentary. Routledge, 2020.

Semester Activities	Number	Weigthing
Participation	1	10
Laboratory / Application
Field Work
Quizzes / Studio Critiques	5	5
Portfolio
Homework / Assignments	5	10
Presentation / Jury	2	25
Project	1	50
Seminar / Workshop
Oral Exams
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade	14	100
Weighting of End-of-Semester Activities on the Final Grade
Total

Semester Activities	Number	Duration (Hours)	Workload
Theoretical Course Hours (Including exam week: 16 x total hours)	16	3	48
Laboratory / Application Hours (Including exam week: '.16.' x total hours)	16	3	48
Study Hours Out of Class			0
Field Work			0
Quizzes / Studio Critiques	5	6	30
Portfolio			0
Homework / Assignments	5	6	30
Presentation / Jury	2	12	24
Project	1	60	60
Seminar / Workshop			0
Oral Exam			0
Midterms			0
Final Exam			0
		Total	240

#	Program Competencies/Outcomes	* Contribution Level
#	Program Competencies/Outcomes	1	2	3	4	5
1	To be able to have fundamental knowledge about narrative forms in cinema, digital and interactive media, and the foundational concepts relevant to these forms.	-	-	-	-	-
2	To be able to create narratives based on creative and critical thinking skills, by using the forms and tools of expression specific to cinema and digital media arts.	-	-	-	X	-
3	To be able to use the technical equipment and software required for becoming a specialist/expert in cinema and digital media.	-	-	-	X	-
4	To be able to perform skills such as scriptwriting, production planning, use of the camera, sound recording, lighting and editing, at the basic level necessary for pre-production, production and post-production phases of an audio-visual work; and to perform at least one of them at an advanced level.	-	-	-	X	-
5	To be able to discuss how meaning is made in cinema and digital media; how economy, politics and culture affect regimes of representation; and how processes of production, consumption, distribution and meaning-making shape narratives.	-	-	-	-	-
6	To be able to perform the special technical and aesthetic skills at the basic level necessary to create digital media narratives in the fields of interactive film, video installation, experimental cinema and virtual reality.	-	-	-	-	-
7	To be able to critically analyze a film or digital media artwork from technical, intellectual and artistic perspectives.	-	-	-	X	-
8	To be able to participate in the production of a film or digital media artwork as a member or leader of a team, following the principles of work safety and norms of ethical behavior.	-	-	-	-	-
9	To be able to stay informed about global scientific, social, economic, cultural, political, institutional and industrial developments.	-	-	-	-	-
10	To be able to develop solutions to legal, scientific and professional problems surrounding the field of cinema and digital media.	-	-	-	-	-
11	To be able to use a foreign language to communicate with colleagues and collect data in the field of cinema and digital media. ("European Language Portfolio Global Scale", Level B1).	-	-	-	-	-
12	To be able to use a second foreign language at the medium level.	-	-	-	-	-
13	To be able to connect the knowledge accumulated throughout human history to the field of expertise.	-	-	-	-	-