Acting Methods Review

Thanks for a great class this week! I am excited to finally be meeting.

As I mentioned last Wednesday, due to the limited amount of weeks we have before everyone is in full production-mode, we will not really be covering acting methods in this course. My assumption is that a lot of you were exposed to various acting methods in the course Directing for Film.

If you did not get that information or just want to refresh your memory about the various methods, check out this excellent document from Jesse Wolfe. He does a great job of explaining the most commonly studied methods.

It is very important to understand the training your actors have had, in order to provide them with the best information they need to deliver a great performance.

Jesse Wolfe - Acting Methods Overview

Before class next, I'll be posting something and/or sending an email out about individual meetings. I'd like to iron out a schedule before class, so no one is stuck hanging around for longer than they need to.

Enjoying your scripts so far! Talk to you soon!

Course Syllabus, Graduate Students, WebCourses@UCF

Greetings! A final course update before we meet this coming Wednesday:

Syllabus

I have uploaded the course syllabus to the blog and sent a google doc link to you all in an email. Please let me know if you are having trouble viewing the syllabus and I'll send you a PDF. 

PLEASE NOTE: The syllabus for this course is not the Vow of Chastity or the course schedule! Those documents were distributed ahead of time to allow as much time for planning film scripts and shooting schedules as possible. Please take the time to look over the syllabus for grade breakdowns and course policy. We will be reviewing this document in class this week!

Graduate Students!

I am happy to announce that our class will be joined by graduate film students Yesi Lima and Tim Ritter. They are in the process of casting their own feature films and will be available as casting mentors for you and your projects. They have been through everything you are going through this semester and are excellent resources for advice on all stages of production. Yesi and Tim will also help us run the UCF General Casting Call.

We are very lucky to have these graduates as resources for our class, so get to know them if you don't already!

WebCourses@UCF

There will be a WebCourses section for this course, as means of keeping track of grades and assignment rubrics ONLY. WebCourses will become available starting Aug. 19th and you will be able to see all the assignments, their grade weight, and grading rubrics (coming soon!).

All outside of class communication will remain via email and the course blog, not WebCourses.

You are all responsible for keeping track of your grades on WebCourses and reporting any problems to me as soon as they arise. If you have not used the new WebCourses system, please take some time in the next week to familiarize yourself.

That's all for now! Everyone have great first week back, and I'll see you Wednesday!!

Vow Clarifications, More Course Updates

After talking to some of you about your scripts and proposals, I have addressed some aspects of the Vow of Chastity that are unclear or unsaid. The document has been updated, but here is what I added:

1. Script length and film length have consequences tied to them are not negotiable. If your script is too long, you lose points on your script grade (10% of overall grade). If your film is too long, you lose points on the final film grade (20% of overall grade) + forfeit your film's spot at the D2 screener.

For this reason, if your script or film are over the page/time limit, you will NOT be penalized for breaking the Vow of Chastity (which is also part of your final film grade). This is to prevent double-punishment for something that already has pretty severe consequences built-in.

WHAT THIS MEANS: You do not need to write a proposal for a script that is longer than 5 pages. Just be aware of the consequences of a long script and/or film.

2. Some vows in the Vow of Chastity document cover multiple production elements under one general heading. For this reason, writing a proposal does not mean, "I plan to break this vow in as many ways as is applicable to this vow." It means you are breaking the vow to use one, specific production element.

For example, if you plan to use ariel photography AND a crane shot, that will require TWO proposals, one for each element of "elaborate camera setups" you want to utilize. Even though these two techniques are listed under one vow, they require one proposal each.

Another example, if you need two additional actors, this also will require TWO proposals, one for each character explaining why they are necessary.


SOME TIP FOR WRITING YOUR PROPOSALS:
Including information about additional crew that you will be taking on is a great way to get your proposal approved. The best way to assure me that you personally won't be worrying about the extra flourishes of your production is to clue me in to the extra crew members you will be using.

For example, in a proposal for the use of atmosphere actors, I will be looking to see that you will be hiring a 2nd AD to be in charge of the atmosphere, as well as crew to cover the extra catering & craft service, wardrobe, etc. I'll want know that your location can support atmosphere and how you'll be casting them.

If you are unsure your proposal will be accepted - be on the safe side and send it to me before the first day of class. I'll let you know what is needed (if anything).


ADDITIONAL COURSE UPDATES:
- The "Production Books" tab has been added to the blog. This is to give you all a heads-up on what will be required in your production notebooks. I will explain these requirements more fully during the semester.

- I have created a section on Webcourses2 for this class, so you can keep up-to-date with your grades. It will become available to you Aug.19th and will include a comprehensive breakdown of what you'll be graded on this semester.

-Speaking of grades, I am in the process of changing my original plan for grade breakdowns. You'll be happy to know this no longer includes a final exam and distributes the weight of assignments more evenly. Stay tuned for the full grade break down in the course syllabus (coming soon)!

That's all for now! Thanks for being patient with me while I get all these materials online and organized for you!

Course Schedule/Google Calendar

Hi Everyone!

I recently invited you all to view the google calendar I have created for this course. It includes all of the deadlines and assignments as well as a few details about what we will be doing in class. You can also find a version of the calendar embedded on this blog.

If you have a gmail account that you'd like me to share the calendar with, please let me know!
We will also be using google drive to store production and assignment documents in the future.

Below is a text version of the course schedule. This schedule is subject to change, pending the schedules of the actors that will be coming in. I anticipate that all due dates for assignments and productions will remain the same.

There will be 5 groups with 6 films each. Each group with have their own due dates and production schedule. Please look this over and get an idea of what group works best for your film. Try to have a top 3. Not everyone will get their first pick.

ALSO PLEASE NOTE: attending the casting call on Saturday, Sept. 7th is mandatory. Please make sure your personal schedule is clear!

Details about each assignment are coming soon!

CURRENT D2 COURSE SCHEDULE:

Key:

* - graded or grade impacting

[ ] - indicates what is due that day

bold - a guest speaker or visiting actors

Aug. 21 - [Scripts due*] Review syllabus, Sign vow and acknowledgment contract*, guest speaker: Jesse Wolfe, Short response #1*, After-class screening: The Five Obstructions

Aug. 28 - Table readings, Individual meetings*, HW: Changing Directions, pp. 75-99, revise scripts

Sept. 4 - Casting lecture, Improv script workshop, guest speaker: Jon Bowen, HW: Write character descriptions

SEPT. 7 - UCF GENERAL CASTING CALL - REQUIRED ATTENDANCE*

Sept. 11 - [Character descriptions due*] Production paperwork review, Directing workshop, HW: Changing Directions, pp. 101-137

SEPT. 14 - UCF MEET & GREET - Attendance is extra credit!

Sept. 18 - [Group A notebooks due*, everyone should have DP and Producer by now] Rehearsal review, Result-based direction lecture, Short response #2*, screen: FFF submissions, HW: Digital Filmmaking, pp. 95-109

Sept. 25 - [Group A pickup (9/26), Group B notebooks due*] Set procedure lecture, screen: Michael Caine on Acting for Film, Short response #3*

Oct. 2 - [Group A return*, Group B pickup (10/3), Group C notebooks due*] Group A de-briefing, Class exercise: blank scenes

Oct. 9 - [Group B return*, Group C pickup (10/10), Group D notebooks due*]

Group B de-briefing, screen: FFF submissions

Oct. 16 - [Group C return*, Group D pickup (10/17), Group E notebooks due*] 

Group C de-briefing, Group A screens*

Oct. 23 - [Group D return*, Group E pickup (10/24)] 

Group D de-briefing, Group B screens*

Oct. 30 - [Group E return*] 

Group E de-briefing, Group C screens*

Nov. 6 -  Group D screens*, TBD

Nov. 13 - Group E screens*, discuss final and what’s due

Nov. 20 - [Picture Lock films due*, Audience survey*] screen films

Nov. 27 - No Class - Thanksgiving Holiday 

Dec. 4 - [Final films due*, Production Notebooks due*] 

D2 Vow of Chastity

Everyone will receive a copy of this document of the first day of class. Please review its contents:

D2 VOW OF CHASTITY

Fall 2013

Students of the Fall 2013 UCF Directing 2 course must sign the following agreement in order to be greenlit for production. Failure to adhere to this vow will result in grade penalization and exclusion from the D2 screener.

Exceptions to any of these limitations should be requested in the format explained at the end of this document. Please read the entire document before signing or asking questions.

1. The Script

●   No more than 5 pages in industrial script format. (Failure to adhere to the page count will result in a loss of script points and DOES NOT count as breaking a vow. No proposal needed for longer scripts)

●   Directors do not have to write their scripts. Adaptations are encouraged!

●   No more than 2 principle (lead) acting roles, no more than 2 featured (supporting) roles. (that's 4 speaking roles total - a proposal must be submitted PER additional speaking role.)

●   All lead roles must be played by human actors (for example, no puppets or objects as characters).

●   The use of atmosphere (extras, crowd scenes) is prohibited.

●   The use of child actors in a lead role is prohibited. If children are used, SAG guidelines must be followed.

●   The use of animals is prohibited.

●   No more than 3 locations total (inserts and establishing shots not included)

●   All films must be set here and now, on location (no period pieces, artificial sets, or locations outside Central Florida)

●   No stunts, elaborate special effects, or elaborate setups. This includes but is not limited to:

●   Fire

●   Explosions

●   High falls

●   Car chases

●   Mechanical (not in post) Gun play

●   Water (unless SAG guidelines are followed)

●   Green screen

●   Animation

●   3D technology

●   All costumes, makeup, props, and set design should appear natural to the setting. (i.e. no zombies or time traveling Marie Antoinettes) Labor intensive costuming, makeup, prop preparation, and set design is prohibited. The Instructor reserves the right to determine what is too elaborate.

2. Production

●   Films must have a total running time under 5 minutes, with 30 seconds for credits. Credit time must be used for text over black only, not as 30 extra seconds of film time. Films that exceed this requirement will lose a letter grade for every 5 seconds it runs over.

●   All images must be shot digitally. This means the following media are prohibited for use in this project:

●   Video tape or mixed video media

●   Film stocks of any kind

●   Found footage

●   The use of high end camera equipment, such as the RED, is prohibited. Exceptions to this rule will be addressed on a case by case basis. The instructor reserves the right to all final decisions regarding the use of camera technology in this course.

●   Elaborate shots or camera setups are prohibited. This includes extensive dollying, crane shots, underwater photography, car mounts, and aerial photography. The instructor reserves the right to determine a set up too elaborate upon reviewing the production notebook.

●   Directors may not shoot or produce their own images. All projects must have a Director (person receiving the grade on the film), a Director of Photography, and a Producer.

●   All films must have a minimum of one, professionally trained actor in a leading role. They must be hired through the casting process. Students must provide verification of their training, in the form of a resume, included in the production notebook.

●   Students must shoot coverage for each scene.

●   Productions must follow all SAG guidelines for work hours, turn around times for cast and crew, and working conditions on set.

●   Sound must be recorded on location.

●   Students will sign up for Wednesday through Monday shooting schedules. This means no production may shoot longer than their allotted 5 consecutive days. All principal photography must be completed during these assigned shoot dates. (Sign ups coming soon!!)

3. Post

●   Students will be required to picture lock by November 20th. This is to ensure time for post sound and color correction.

●   No reshoots will be permitted. Insert shots will be considered, if needed.

●   All students are required to screen two cuts of their film in class, before the final due date.

●   Students are required to provide copies of their final film to all actors with large speaking roles. Failure to provide copies of your film to your actors (or make the film accessible to them online) will result in a letter grade off your final film grade.

4. Breaking a Vow

Some of the guidelines stated above are not negotiable.

However, some circumstances or production ideas may break these vows while still remaining faithful to the aims of this course.

Anyone wishing to break a vow without being penalized must submit a proposal of intent along with their scripts on the first day of class.

Proposals of intent must, in one page, clearly state the rule you wish to be excluded from upholding, along with a detailed explanation of how your production warrants the exception. 

The instructor reserves the right to deny any proposal for any reason. That being said, I will do my best to give you a clear explanation for any decision to deny a proposal.

Students must write a proposal for each vow they seek to break. No student may submit more than 2 proposals. To reiterate, you may break two vows total, and must submit a proposal for each vow broken.

5. Signature

PLEASE FILL OUT THE FOLLOWING AND SIGN

The signature below acknowledges that I have read the above D2 Vow of Chastity and fully understand its contents as well as the penalties I will receive for not adhering to these guidelines.

I pledge to uphold these vows in the creation of my Directing 2 short film at UCF, for Fall 2013.

Signature                                Date

Print Name

Welcome to Directing 2!

I hope everyone is having a great summer!

In an effort to get as much info to you before the semester as I can, I will be putting information on this blog over the next few weeks.

Please read this entire message for valuable information about the upcoming semester!

In your first directing course, you were given highly restrictive filmmaking exercises and limitations. The goal of that course was not to allow you the opportunity to make a few short films, but to force you to encounter and address the use of camera as a tool for expression.

Similarly, the goal of Directing 2 is not to provide a course in which you can make another short film. In fact, most of you will find the limitations set for your films in this course to be much more restrictive than Directing 1.

The goal of Directing 2 is to encounter and address what it takes to direct the performances of actors.

To meet this goal, you will complete a bare-bones short film, with an emphasis on directing truthful, credible, and affecting performances from your actors.

All limitations that are put forth are designed to force creative decision-making and to restrict your emphasis on other aspects of filmmaking, such as image quality and production value.

All students participating in Directing 2 for Fall 2013, will be required to sign and adhere to the D2 Vow of Chastity on the first day of class. Inspired by Dogme 95, this set of guidelines will prevent you and your classmates from indulging too heavily in other elements of filmmaking that would distract from the nurturing of performances.

If the film you were hoping to make this semester does not fit within these limitations, save the idea and your production money for D3 or Capstone. 

Please read the vow, at the link at the top of this page, called D2 Vow of Chastity, in order to be sure your script follows this semesters guidelines.

Because we have so little time this semester, students are required to arrive on the first day of class with their proposed Directing 2 script. My sincerest apologies that these guidelines could not reach you sooner - I understand it takes time to write a script.

For that reason, I want to encourage as many of you as possible to direct a friend’s script or adapt previously written materials. No student is required to write the script they will be directing. Adaptations are strongly encouraged! Links to some good materials for adaptation are provided on this blog, under the link called Adaptation Ideas.

For questions or concerns before the first day of class, please email me at Katherine.Shults@ucf.edu . Keep an eye out to this website for the schedule and syllabus, which will go out as soon as possible.

I look forward to meeting some of you for the first time and working with you all these next two semesters!

Best,
Kate