Digital Video Intensive
San Francisco State University - College of Extended Learning
spring 2013
student handbook
DVI SFSU College of Extended Learing
Welcome to the Digital Video Intensive
In the next 16 weeks you will be exposed to cutting edge tools and techniques tried and true practices from film and video production.
On this journey you may discover a specific area that interests you or you may decide you want to do it all. Either way, you’ll have a
clear understanding of the entire process, which is important in both cases. SFSU CEL proudly welcomes you to the DVI (not a film
school).
Craig Abaya
Director, Digital Media & Entertainment
"Slep IsOverated."
CONTENTS
Resources ....................................................... 3
Policies ............................................................ 4
Course Descriptions ...................................... 5
Benchmarks .................................................... 7
Connecting to the File Server ........................ 9
Additional Information ..................................10
DVI Lab (625)
The majority of DVI classes and reserved labs are held in room 625.
DVI ACCESS HOURS
Monday through Saturday - 8:30 am to 5:00 PM
OUT BY 5 PM
Room 625 is often used by evening, classes. Although most Intensive classes
end at 4 PM, the DVI is allowed extra “wrap time" but must vacate by 5 PM
sharp giving SFSU Tech Services time to perform maintenance and prepare
for evening classes.
EMERGENCY MAINTENANCE
Occasionally, maintenance or prep needs may force us to temporarily change
room availability times. In this case, Intensive students will be notified ASAP.
CLEAN AND SECURE
To protect your personal property and that of the DVI, always request that
room 625 be locked when leaving it unattended (i.e. - lunch and after class).
As an exception to campus the policy, DVI students are allowed to keep food
and drink handy at the table located on the side of the lab as long as they
clean up after themselves.
Please keep the DVI lab clean and secure at all times.
LAB COMPUTERS
Campus computers'' automated system erases all non-standard files and
settings on shutdown. For this reason, NEVER store your files on lab worksta-
tion. DVI students are provided with hard drives plus limited fileserver space.
Lab computer Login - USER: Student PASSWORD: Casa
RESERVED LABS (625)
“Reserved Labs” are booked in room 625 so DVI students have the a place to
work on their projects if they don’t have systems of their own. Reserved Labs
run from 9 AM - 4 PM and are open to DVI STUDENTS ONLY. Equipment
may be checked out or back in from DVI staff on these days at 11:30 AM and
4:00 PM or by an agreed meeting time arranged in advanced.
TECHNICAL PROBLEM REPORT
http://msp.sfsu.edu/forfaculty/tech/problemreport.html
This website is a way to quickly get word out to Tech staff when experienc-
ing technical difficulties in the lab. Please include the computer name and
number and a detailed description of the problem as well as troubleshooting
measures that you performed.
DVI EQUIPMENT SHEDS AND CABINET
This is where DVI production equipment is stored. Sheds and file cabinet
should be secured when not needed and when the room is unattended. This
includes locking them during lunch breaks and at the end of the day. Always
scramble the combination when locking.
resources
SFSU Tech Services (624)
SFSU Tech Services is located in room 624. Request to unlock and lock the lab for instructors
and DVI students. They are also available for urgent technical assistance. For most non-urgent
matters please use the aforementioned Technical Problem Report.
CEL Open Lab (611)
The Open Lab is available to SFSU CEL students who are enrolled in hands-on courses, on a
first-come, first-serve basis. On evenings, when 625 is unavailable, DVI students may use the
Open Lab which contains a variety of computer workstations including Macs running all soft-
ware except for Movie Magic Scheduling & Budgeting. Please remember that you are sharing
these resources with other CEL students.
A limited number of SFSU Cinema Students are allowed to use the Open Lab but priority is
given to CEL students. Operating Hours:
Monday through Thursday 12 - 9 PM
Friday 12 - 5 PM
Saturday 10 AM - 5 PM
Please use your Reserved Lab, rather than the Open Lab, before 5 PM.
Production Classroom (616)
DVI classes that require a production space are held in the production classroom (616).
Only DVI staff and production faculty are able to access this room. Lights and backdrops may
not be checked out of this room. Additional equipment from 625 will be required for produc-
tion classes (i.e. - cameras, tripods, additional lighting).
DVI students wishing to reserve the production classroom for use in a DVI-related produc-
tion, must make arrangements in advance with DVI staff. In addition to production class
meetings, room 616 may be available during the following periods...
Mondays & Wednesdays - 9 AM - 5 PM (except from 12 PM - 2 PM)
Tuesdays, Thursdays and Fridays - 9 AM - 5 PM
Grading
SFSU Digital Video Intensive is a an acredited, continuing education unit (CEU) pro-
gram. Grading for such programs comes in the form of CR (credit), NC (no-credit)
and I (incomplete). DVI criteria for credit is based on:
1. Midterm & final project participation delivery and deadlines
2. Exercise participation, delivery and deadlines
3. Attendance and punctuality.
More information on grading and policy can be found in the SF State University
Extended Learning catalog.
Student courtesy and cooperation are also crucial to success in the program and in
the industry. Faculty and classmates are future colleagues, so this is an opportunity
to develop your working style and repuation. In addition, in registering as a DVI
student you are bound by the SFSU student code of conduct.
http://www.sfsu.edu/~helpdesk/docs/rules/conduct.htm.
Projects & Exercises
Main Projects
First Project
Second Project
more (optional)
Main Exercises
Interview Exercise
Narrative Script
Matlock edit
Blocking Exercise
Blocking edit
Additional Exercises
Crewing on classmates'' projects
Shooting practice
In-class exercises
Feedback
Feedback is an important training tool in the DVI. Because we do not issue letter
grades based on the "quality" of your work, we provide feedback on all exercises and
projects (including the final project). This feedback is a crucial part of your training
with criteria based best practices in production and aesthetics.
policies
Video Equipment
The DVI provides the video hardware for students use so they can learn and work on
projects. Equipment should always be handled carefully, only by DVI students, and should
never be left unattended. Students are required to sign university equipment contracts
before accessing DVI gear. Students are not responsible for equipment damage and
failure due to normal wear-and-tear or defects.
Continued abuse or mishandling of DVI equipment can lead to a revocation of equipment
contract and, where necessary, may result in a charge for repair or replacement costs.
Best Practices (and the DVI rules)
1. Footage (imported or raw) must be saved on 2 different drives at all times.
2. Once footage is backed up in two places, P2 cards should be erased.
3. Always return a camera with its battery fully charged.
(You can always recharge it during class).
4. Whenever possible, use AC adapter to power camera.
(You''ll want the battery to have a charge when you need it).
5. Always return tripod quick release to the tripod.
5. Treat equipment with the utmost of care.
DVI students are welcome to use their own equipment if they prefer. However, we stress
the importance of learning the functions that are common to most professional level gear.
Production Equipment Policy
DVI equipment may be checked out by DVI students after
1).They have read and signed the DVI equipment contract and
2). They have attended their first VideoTech camera class.
CHECKING EQUIPMENT OUT AND IN
When checking equipment out and in, DVI students using the equipment check-out
binder, students must obtain the initials of DVI staff or faculty (in addition to their own).
This insures that equipment is always in good condition and includes all of its parts.
Jenifer Graff will come to the DVI lab at 11:30 AM and 4 PM each day to co-sign for you.
Equipment can be checked out for a total of 3 consecutive days and then returned.
Should additional days be required, equipment can be checked out for an additional
3-day period.
Camera batteries must be returned fully charged and P2 memory cards installed.
P2 cards should be promptly erased/formatted once footage is imported onto the
computers.
RESERVING EQUIPMENT
Equipment can be reserved in advance using the equipment reservation sheets. Once
again, equipment must be returned to SF State Downtown after the 3rd day but can be
checked back out for an additional 3 day period if needed.
course descriptions
Aesthetics
Philip Gallegos
Aesthetics is the study of specific techniques
and principles and the resulting audience
perception. This course, coupled with
feedback on student exercises and projects,
train students in their decision making when
telling a story using film and video. Key topics
include composition, motion, editing, lighting
and color. Topics of this course go hand in
hand with those taught in VideoTech and
Directing.
After Effects
Michael Higashi
This course teaches popular effects software,
Adobe After Effects, stressing its strengths
in the production environment. This class
provides the rudiments needed to create mo-
tion graphics or to make informed decisions
when working with a compositing and effects
professional.
Directing
instructor: Philip Gallegos
The Director is ultimately responsible for
every creative decision on a video, film or mul-
timedia project. His task is to guide a talented
group of collaborators, which include actors,
writers, cameramen, editors, designers, and
composers, towards a single vision. We will
examine the Director’s journey from the first
reading of the script to the delivery of the final
project. Along the way we will cover working
with writers, the script breakdown, collaborat-
ing with key members of your creative team,
the casting process, the rehearsal process,
production and postproduction.
Screenwriting
Paul Martin
This course explores the strength of story, the
backbone of a successful digital video project. With
exposure to Final Draft writing software, students
will accomplish assignments in character, dialog, plot,
dramatic movement and dramatic structure.
Final Cut Pro
Michael Higashi
Apple Final Cut Pro is a cutting edge software NLE
(non-linear editor), which makes it possible for
independents to create anything from shorts to full
length features on a shoe string budget. This course
covers the essentials of logging, capturing, editing,
compositing and rendering.
Final Cut Pro acts as the hub of all post-production
work in the DVI and will be used extensively, with
learning extending beyond the hours of this course
alone.
Producing I
instructor: Philip Gallegos
The three main documents, or blueprints, needed for
any video, film, or multimedia project are a script, a
schedule and a budget. We will focus on the latter two
in this class. Using, industry standard, EP Scheduling
and Budgeting, we’ll learn how to break down a script
to account for all of a project’s needs, from actors and
props to locations and vehicles. Then we’ll learn how
to transfer that information into a time-saving, cost-
efficient shooting schedule. Finally, we’ll figure out
how much it will all cost by discussing the decisions to
be made when creating your budget.
Producing II
Philip Gallegos
Managing even the simplest digital project can be a
formidable task. There are the questions of union vs.
non-union, clearances and releases, negotiating with ven-
dors, and even which caterer to hire. Through it all, the
Producer is the one responsible for keeping the project
running on schedule and on budget. We’ll discuss the Pro-
ducer’s role in that process from the inception of an idea,
through pre-production, shooting, and post, to delivery of
the final product, and even on through distribution and
exhibition.
VideoTech
Jarid Johnson, Craig Abaya, Frank Rinella, Shane King
VideoTech teaches the students how to operate video
production equipment including cameras, lighting,
audio and supporting accessories along with critical
technical concepts. This includes nuts-and-bolts on the
components of a video camera and lens. A special seminar
is included to cover dslr filmmaking.
Topics in VideoTech intesect with those taught in the
Aethetics and Directing courses. Some post-production
concepts are covered as well.
Working with Music for Film
instructor: Marshall Crutcher
This half-day seminar is designed to make the visual artist
aware of how their choice of music will impact an audi-
ence’s perception of a film or other visual media. Music
licensing will also be covered.
benchmarks
AESTHETICS
Screen Forces and Vectors
Head room
Lead room
Framing cut off points
Editing
Cutting on action (continuing motion vector)
L-cuts (continuing audio vector)
J-cuts (audio vector leads to next shot)
Lenses
Depth-of-Field and Rack Focusing – 3 influences
Focal length and influence on perception of speed, Depth
and size
Light and Color
Lighting types
Lighting Styles
3-point lighting
Color and perception
AFTER EFFECTS
Titling
Compositing
Motion Tracking
Chroma Keying
Color and Image Correction
DIRECTING
Blocking
Screen Direction
Pickups
Coverage
Interview Technique
Preparing for auditions
PRODUCING
Script breakdown
Call Sheets
Budgeting
Industry Terms
Unions and laws
Set logistics
The Studio System
Support software: EP Scheduling, EP Budgeting
Professional Development - Jobs, Internships, etc.
SCREENWRITING
Character/Conflict
Visual Storytelling
Script Proposal
Script Format
Character Dossiers
Treatments
Adaptation
Dialogue
Support software: Final Draft
FINAL CUT PRO
Apple FCP 101 Certification Milestones (see FCP book)
Exporting, formats and codecs
Importing
Multicam editing
Audio in FCPX
Dealing with P2 files
DVI benchmarks cross the boundaries of the individual courses. For example, camera usage is covered in Video
Tech, Aesthetics and Camera Review courses. Audio and Sound are covered in Audio, Video Tech, Aesthetics
and Final Cut Pro. However, true learning takes place during exercises and projects which cut across all courses.
WORKING WITH MUSIC FOR FILM
Basic understanding of the affect of music choice.
Music legalities and licensing basics.
VIDEOTECH
Camera
Exposure – iris, shutter speed, zebra, auto, manual
Focus – manual, push-focus, auto
White Balance & Color Temperatures
Aspect Ratio
Formats
OIS
MCR/VCR and PC/DUB modes
Timcode
dslr rigs
Overview of the camera universe
Lenses
Focal length
Depth-of-Field
Zoom - SERVO SWITCH
Audio Fundamentals
Signal levels
Frequencies
Amplitude
Dynamic Range
Sample Rate & Bit Rate
Camera Audio Controls
Basic audio setup and adjustment (camera, mic & head-
phones)
Attenuation (-50/-60 dB)
ALC
Connectors – firewire (1394), composite, component
Handheld and Tripod Techniques
benchmarks continued
Field Recording w/boom mics
Practice with headphones
Getting it right during production
(garbage in, garbage out)
Best practice in handling booms.
Field mixer.
Getting room tone.
Post Audio
When and why to use Pro Tools vs. FCPX’s audio tools
EQ-ing - graphic, parametric
Noise reduction
Dynamic adjustments
Adding room tone/ambience
ADR
What is re-recording mixing?
Mixing
Lighting and Support Equipment
Lighting Types
Lighting Styles
Setup and handling of lighting fixtures
Procedures and safety
The fileserver is a hard drive located on our campus network. You can access three different folders or “shares” on the server from
your DVI workstation:
DVI - which contains 4 folders:
1. Your Personal Folder - where you can create temporary backups of your files (however, a second hard drive is recommended).
2. “DVI_INSTRUCTOR” where you can gather course materials
3. “DVI” where files can be shared, etc.
4. MUSIC_AND_FX - where you can preview and obtain music and sound effects clips
(Note: These files must be licensed to be used other than for class. See DVI website for licensing information).
ACCESSING THE FILE SERVER
1. Select “Connect to Server...” or type ?- K 2. Enter the IP address 130.212.8.47
The mounted share appears as would any other volume on that is connected to your compute
r.
Disconnect from it in the same way you would any other mounted volume (ie - drag to trash)
.
4. Select the share you wish to “mount.”
(?-click to select mutlple shares)
Conneting to the File Sever
3. Enter your first name (lower case) and password.
LINKS TO REMEMBER
http://dvisf.com
http://dvisf.com/dvisf/aesthetics_web
http://dvisf.com/dvisf/matlock/
WIFI Password
USER: Your SFSU ID
PASSWORD: Your SFSU Password
Forgot your ID or Password?
http://www.sfsu.edu/online/troubletips.htm
CONTACTS
Craig Abaya - 415.817.4230, craig@sfsu.edu - Usually, M, T, F; 8:30 AM - 4:00 PM
Jenifer Graff - 415.817.4253, jeniferg@sfsu.edu - Usually M-F; 2 - 6 PM
Dr. Afitap Boz - 415.817.4227 aboz@sfsu.edu - Usually M-F; 9 AM - 6 PM
SFSU front Desk (sixth floor) - 415.405.7700
PUBLIC TRANSIT
BART and MUNI METRO TRAINS - Powell Street Station
Before 10 AM - Enter/Exit on street level at 835 Market St.
After 10 AM - Enter/Exit either on street level or on "C (Concourse)" level which is connected directly to the Powell St. station.
BART http://www.bart.gov/
MUNI http://www.sfmta.com/cms/home/sfmta.php
CALTRAIN - From the Peninsula and South Bay
Take Caltrain to the Fourth & King Station.
Across the street, take the Muni Metro "N" or "T" to Powell St. Station. ($2)
CALTRAIN http://www.caltrain.com/
MUNI BUS & STREET CAR
Serveral lines run stop on our block of Market St. (Between 4th and 5th St.)
Check with the MUNI website (above) for a map of their Market St. lines.
PARKING (CARS & MOTORCYCLES)
Mason O''Farrell & Garage sometimes gives SFSU students and staff a discount rate.
http://www.harsch.com/properties/template.cfm?id=12297®ion=6&type=5
General Parking List
http://www.unionsquareshop.com/parking.html
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