Syllabus - Usc

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Cinefex Magazine. Course Outline: Week 1. January 16. Introduction to Visual Effects in Film. In preparation Read: VES Handbook of Visual Effects - Chapter 1 – ...
CTAN-432 The World of Visual Effects Spring Semester 2014 Syllabus Thurs 4:00 – 6:50PM Michael Fink

SA:

SCB 104

Units: 2

[email protected] Office Hours: Thurs 2:00-4:00 and Fri 10:00-12:00, and by appt. Offices – SCB 210J, SCA 424

Joseph Yeh [email protected]

This course will combine discussions of the history and practice of visual effects. The goal is to explore the rich opportunity visual effects offers to enhance story and character. In discussing historical as well as current visual effects, we will analyze and dive into the creative problem solving that went into early films, and how that compares to what is done today. Going back and looking at early efforts, as well as current work, is not only fun (and funny), but is also incredibly revealing of the creative process. Beginning with a brief discussion of Western art history in the first class, we will proceed as the weeks go by to view and discuss specific shots, scenes, or entire films, looking at them both technically and dramatically. Basing our discussions on film clips we view in class (which will also be available for download), students should be prepared to analyze and present in class their assumptions and guesses as to how the effects being considered were done, how they might have accomplished these shots/scenes, and how effective (or not) the effect is in enhancing the film. From this, we will discuss how the shots/scenes were actually accomplished, and what the reasons were for the techniques used to get the final result. Each week we will have reading, and viewing, assignments. You may be asked to discuss what we are reading and viewing during each class each week. Consult the following schedule for more specific information. During most classes we will break into groups for some collaborative analysis of effects both recent and historical. For some sessions we will have guest lecturers, people I have worked with in the industry, who will bring clips of their work and discuss the making of that material. Our class discussions will all be directed toward the final exam, in which you will be assigned specific films to analyze and discuss. These exams can range from discussion of very technical to dramatic issues, but always with the focus on how the effects were done, and how they helped the filmmakers tell their story. In the end, it is my goal that each student comes away from the class with an understanding of how to think about visual effects. The power of

visual effects to help filmmakers tell stories should be understood by all those who choose filmmaking as a career.

CTAN-432 The World of Visual Effects A course focused on how and why visual effects are done, and how they have been used in filmmaking from the beginning of motion pictures to the present. Your Final Grade is Based On: Unswerving Attendance Compulsive Reading and Viewing of Assignments Dedicated and Heartfelt Discussion and Participation in Class Artfully Crafted and Wonderfully Perceptive Written Work A Sense of Humor As percentages: Class Participation –10% Homework – 10% Mid-term – 20% Final Project – 40% Final Exam – 20% Missing homework or assigned projects will not be excused without documented medical or personal emergencies. A late assignment may not be accepted. There are no unexcused absences - you need to document explanations of absences for which you want to be excused. You will receive a reduction of one-third letter grade for each unexcused absence. Tardiness will not be tolerated, as there is simply too much that needs to be accomplished. There will be one “official” warning for tardiness, and then we will lower grades by one-third letter grade each occurrence.

Required Reading: VES Handbook of Visual Effects Visual Effects Society - Focal Press, 2010 Edited by Jeffrey A. Okun, Susan Zwerman I recommend you purchase at www.amazon.com, as they seem to have the best price.

Recommended Reading: Special Effects – The History and Technique Richard Rickitt Aurum Press, 2006 History of Art 8th Edition – Janson ISBN 10: 0-205-72700-X The Annotated Mona Lisa – Strickland ISBN 13: 9780740768729 The Invention of Infinity – Field ISBN 10: 0198523947 Masters of Deception – SeckelI SBN 10: 140275101X The History of Photography – Newhall ISBN 10: 0870703811 A Trick of the Eye – Hollmann & Tesch ISBN 10: 3791331639 An Animated Life – Ray Harryhausen ISBN 10: 0712349197 Melies: Magie et cinema – Malthete & Mannoni (editors) ISBN 10: 2879005981 Cinema of Adventure, Romance, & Terror – G. Murphy (editor) ISBN 10: 0935578099 Special Effects: Wire, Tape, and Rubber Band Style – L.B. Abbott ISBN 10: 0935578064 ASC Treasury of Visual Effects – Dunn (Conceived by) & Turner (editor) ISBN 10: 093557803X ASC Manual ISBN 10: 0935578153 And: Cinefex Magazine Course Outline: Week 1 January 16 Introduction to Visual Effects in Film In preparation Read: VES Handbook of Visual Effects - Chapter 1 – Introduction Viewing of history footage and images going back centuries to examine the common thread of story telling through the use of visual effects. Week 2 January 23 We will watch Bladerunner in its entirety in class this week.

In preparation Read: VES Handbook – Chapter 2 pages 37-49 – Designing Visual Effects Shots to be posted on Blackboard. Cinefex Magazine – Blade Runner article to be posted on Blackboard. Complete this week your "Visual Effects Question" and submit it to Prof. Fink and the SA via email prior to this class. Week 3 January 30 How not to make a visual effects movie. An in depth analysis, with much viewing of "making of" shots, of the film The Golden Compass. In preparation read: Cinefex Magazine - The Golden Compass article to be posted on Blackboard. Submit: Via email questions regarding The Golden Compass to Prof. Fink and the SA during the week prior to this class. Week 4 February 6 Old School #1. In preparation Read: VES Handbook - Chapter 3, pages 273-283 – Stop Motion Animation. Read: About Charles Bowers – Internet Research. View: Any Charles Bowers clips or films that you might find online. We’ll view many clips of Bowers’ films in class. Submit: Via email to Prof. Fink and the SA, a short question or statement about Charles Bowers or stop motion animation. Week 5 February 13 Old School #2 – Ray Harryhausen In preparation Read: About Ray Harryhausen – Internet Research. View in class: Clips from Mighty Joe Young (1949), Mighty Joe Young (1998) Clash of the Titans (1981), Clash of the Titans (2010), Earth vs. The Flying Saucers (1956), Mars Attacks! (1996). Week 6 February 20 Discussion of Mid-Term Exam, then… Old School #3. In preparation – In-camera Mastery - Peter Ellenshaw research on internet. Read: VES Handbook – Chapter 2, pages 292-296 – Acquisition/Shooting View in class: Clips from Darby O’Gill and the Little People, and 20,000 Leagues Under the Sea, and short documentary about Peter Ellenshaw. During this week: Submit via email, questions to Prof. Fink and the SA that you think would be

pertinent to a conversation with a visiting director and a visual effects supervisor. Week 7 February 27 Open Discussion about visual effects with a feature director (tba), and Professor Fink, regarding the relationship of the director and visual effects supervisor while working on a feature motion picture. Also – a brief discussion and description of the mid-term exam for the following week. Week 8 March 6 Mid-Term Exam, followed by: War of the Worlds, new and old – View in class: Clips from War of the Worlds 1953 & 2005 Read: About these two films - Internet research. Week 9 March 13 Guest Lecture A prominent Visual Effects Supervisor discussing techniques – artistic, technical, political, used on recent feature films. ******SPRING RECESS****** Week 10 March 27 Lessons from Robert Zemeckis In preparation Read: Articles from Cinefex Magazine – Posted on Blackboard, regarding the following films: View in class: Clips from Roger Rabbit/Contact/Forrest Gump/Cast Away. Week 11 April 3 Guest Lecture A prominent Visual Effects Producer – A Discussion about Visual Effects production on a Very Large Scale. In preparation – Read Cinefex articles on X-Men 2, Avatar, Men in Black 3 to be posted on Blackboard. Week 12 April 10 Assignment of Final Project and discussion regarding Final Exam. Telling a Story: Clips from a Career in Visual Effects. Discussion, and descriptions, of the planning and execution of visual effects for these films.

In preparation – Watch Constantine (2005), and Tree of Life (2011). View in class – Clips from the above films. Week 13 April 17 Braveheart (1995) – A discussion of the economical use of visual effects, and how these techniques can be used in other (student) films. In preparation – Watch Braveheart View in class – Clips from the film revealing many cheats and interesting ways to create the illusion of mayhem from simple techniques. Week 14 April 24 Visual Effects and VFX Supervision for Television Guest speaker who specializes in visual effects for television. What’s different, what’s the same, how do you do it? Week 15 May 1 Open Discussion about visual effects with a feature editor tba, and Professor Fink. In preparation – Read article from Editors’ Guild Magazine entitled So You’re Editing a Visual Effects Film? To be posted to Blackboard. Submit: Via email, questions appropriate to a conversation between a director and a visual effects supervisor. Final Project is DUE at the scheduled Final Exam, May 8 at 4:30-6:30, which will be announced and discussed in class during the Week 12 class discussion regarding the Final Project and Final Exam. Students With Disabilities: Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to Instructor (or S.A.) as early in the semester as possible. DSP is located in STU 301, and is open 8:30am-5:00pm Monday through Friday. The phone number for DSP is (213) 740-0776. Statement on Academic Integrity: USC seeks to maintain an optimal learning environment. General principles of academic honesty include the concept of respect for the intellectual property of others, the expectation that individual work will be submitted unless otherwise allowed by an instructor, and the

obligations both to protect one’s own academic work from misuse by others as well as to avoid using another’s work as one’s own. All students are expected to understand and abide by these principles. Scampus, the Student Guidebook, contains the Student Conduct Code in Section 11.00, while the recommended sanctions are located in Appendix A: http://www.usc.edu/dept/publications/SCAMPUS/gov/. Students will be referred to the Office of Student Judicial Affairs and Community Standards for further review, should there be any suspicion of academic dishonesty. The Review process can be found at: http://www.usc.edu/student-affairs/SJACS/ MISSING AN EXAM OR FINAL PRESENTATION, INCOMPLETES: The only acceptable excuses for missing an exam or taking an incomplete in the course are personal illness or a family emergency. Students must inform the professor before the exam and present verifiable evidence in order for a make-up to be scheduled. Students who wish to take incompletes must also present documentation of the problem to the instructor or teaching assistant before final grades are due. Incompletes are only available after the Week 12 withdrawal deadline. Disruptive Student Behavior Behavior that persistently or grossly interferes with classroom activities is considered disruptive behavior and may be subject to disciplinary action. Such behavior inhibits other students’ ability to learn and an instructor’s ability to teach. A student responsible for disruptive behavior may be required to leave class pending discussion and resolution of the problem and may be reported to the Office of Student Judicial Affairs for disciplinary action.