Technology Basics

Display Schedule

Code	Completion	Credits	Range	Language Instruction	Semester
305TZ	Z	1	10/S	Czech	winter

Subject guarantor:

Michal LÁNSKÝ

Name of lecturer(s):

Michal LÁNSKÝ

Learning outcomes of the course unit:

The course aim is to clarify individual technological steps to the extent that the students will not merely be executors of requests but be able to demonstrate and ability to judge the proposed treatment using their knowledge and ideally provide a different treatment. Examples from personal practis and in the cited literature are used for the clarification of the technological steps.

Mode of study:

This course is divided in to 6 lectures, each for 2 instruction hours.

The main topics are: The technological basics of production with an emphasis on the direct relationship of the shooting phase to post-production. The principle: the resulting product is completely defined by all previous steps. Therefore, an understanding of post-production reflects back on the shooting. Without an understanding of the fundamental principles, needs of each element, production cannot be understood and corrected in cases of excessive, egoistic or other overall damaging behaviour of individual crew elements.

Therefore, through the whole, the film lies in the healthy ambitions of the individuals. Overall, I compare American industry practice with European origination tendencies, because production in our environment must be prepared for both and often contrasting methods.

A general knowledge of both methods allow the use of the advantages which those methods offer for achieving various results. Diverse concepts come from the application of European tradition in the music trade, differing from Anglo-Saxon practice where the film is a part of the literary department. I attempt to cover this breadth at the expense of transparency. An awareness of other methods, in my opinion, is important. I, myself,came similarly disenchanted in meeting this practice which prefers the structure and its enthusiasm before personal experience. For production, I think, it is important that the methods which guide the talent and mystery of the enlightened idea become the nature and logic for development of characters and flow of the narrative. Contrary to feeling and sensation, the measurement of audience reaction during editing is controlled by screenings of a target group of viewers on location with a group of friends.

1. Lecture - production and post-production

2. Lecture - frequent fatal mistakes in shooting

3. Lecture - film vs video

4. Lecture - shot and sequence recording technology

5. Lecture - excursions to off-line editing facilities - discussed examples

6. Lecture - dates, budgets, and parallel technological steps, the result as the main sense, sense of production.

Study helps:

Students receive a 3 page summary of technological steps of post-production with possible variations. The updated version was available for download in pdf format in Sept. 2005.

Prerequisites and co-requisites:

Active, informal collaboration in classes. Application of the issues covered to student personal experience. Greater than 50% attendance.

Course contents:

This course is divided into six lectures. Each one two class-hours long.

The main topics are: The technological basis of prodution with an emphasis on the direct connection of the shooting phase with the post-production stage. Thesis: The resulting product is completely defined by all previous steps. Therefore an understanding of post production explains the previous shooting. Without and understanding of the basic principles and needs of individual elements the producer cannot comprehend and correct possible excessive, egoistic and other completely damaging mannerisms of individual elements of the crew. Therefore through the whole, the film is put in order by healthy single ambitions. Overall I compare of the American industry practice with the European original tendencies, because production in our environment must be prepare for both, and often contrary methods.

A framework knowledge of both methods allows the use of the advantages of those methods for achieving various results. Differing concepts start in the well seded European tradition of the muses, differing from the Anglo-Saxon practice, where the film is part of the Literature Dept. I attempt to achieve this breadth, consciously and at the risk of less transparency, With an awareness of other methods is, in my opinion, important. I was, myself, similarly disappointed in the meeting of this practice which prefers construction and its festering before personal experience. For production, it is, I think, important that the methods which along with talent and the mystery of enlightening a idea builds a nature and logic in the development of the figure and fall of the narrative. Against feeling and emotions, the measure of the reaction of the public during the editing of a preview screening of a group of viewers in place of a group of friends.

1. Lecture - production for postproduction

2. Lecture - Frequent fatal mistakes in shooting

3. Lecture - Film vs. video

4. Lecture - take and sequence technology of recording

5. Lecture - excursion to and off-line editing room - practical examples covered

6. Lecture - dates, budgets and parallel technological steps. The result as the main sense, the sense of the production.

Study aids: Students receiv a 3 page summary of technological steps of post-production with potential variants, the current verison is available for download in pdf format in Sept. 2005.

Recommended or required reading:

Francois Truffaut: Rozhovory Hitchcock Truffaut ČS filmový ústav, 1986

Karel Reisz: The technique of Film Editing 2nd Edition Focal Press 1968, 2002

Dominic Case: Film Technology in postproduction Focal Press 2001

Walter Murch: In the blick of an eye 2nd edition Silman-James Press 1998

Barbara Clark-Susan J.Spohr: Guide to postproduction for TV and Film 2nd edition Focal Press 2002

Ken Dancyger: The technique of film and video editing 3rd edition Focal Press 2000

Peter Biskind: Easy Riders Ragging Bulls Simon & Schuster, 1998

Peter Biskind: Down and dirty pictures Bloomsbury 2004

Robert McKee: Story Methuen 1998

Syd Field: Screenplay 3rd edition Dell Publishing 1994

Alistair Owen: Story and Character Bloomsbury 2003

George Perry: Steven Spielberg Orion 1998

George O. Custen: Twentieth Century Fox - Darryl F. Zanuck And The Culture Of The Hollywood Basic Books 1997

American Cinematographer Manual 8th edition ASC press 2001

DVD:

Alfred Hitchcock - série - making of

Universal 2003

Charles Chaplin - série

Mk2 2003

A personal Journey with Martin Scorsese Through American Movies The British film institute 1995

Assessment methods and criteria:

Active, informal collaboration in classes. Application of the issues covered to student personal experience.

More than 50% attendance.

Course web page:

Note:

5 lectures - 1st lecture: 11. 10. 2016

Schedule for winter semester 2017/2018:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue	room 334 Room No. 334 (Lažanský palác) LÁNSKÝ M. 12:20–13:55 (přednášková par. 1)
Wed
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Tue	12:20–13:55	Michal LÁNSKÝ	Room No. 334 Lažanský palác		přednášková par. 1

Schedule for summer semester 2017/2018:

The schedule has not yet been prepared

The subject is a part of the following study plans: