tdde 151-Digital Video Design
This is a HYBRID course

SYLLABUS•  *subject to change
check for updates in Weekly Lesson Plans

Fall 2021
​Prof. Victoria Petrovich
4 units
GH104 (Theater & Dance Dept.)/or by Zoom
Office Hours: Wed. 3-4pm, and by appointment 
cell: 760-497-8241
vpetrovich@ucsd.edu
Thursdays 2-4:50 pm
In-person meetings: GH321 and sometimes GH 18b (Computer Lab)
Zoom meeting:
Join Zoom Meeting
https://ucsd.zoom.us/j/93655802204

Meeting ID: 936 5580 2204

Course Website: www.digitalvideodesign.weebly.com
PW: given in class
(pr0jecti0n)

An introductory studio course that examines the field of projection design for theater and dance performance. 
​
This course will build knowledge and skills in a series of conceptual, ,experiential, and technical assignments based on theoretical reading/discussion, practical ideation strategies, motion sequence techniques, and peer critiques of the assignments. 

*Attendance and participation 20%
This course is built as synchronous, but all recordings can be accessed via Canvas:
• No unexcused absences-please contact me if you need to miss class, and for any make-up assignments
*Please contact the professor regarding the need to take the course asynchronously. This attendance requirement will be adapted for the entire class if anyone must take the course asynchronously. Written descriptions of process in lieu of live participation, and all assignments are due at the same time for everyone. Share any questions/comments in the live lesson plans and/or via email.

See additional campus resources and policies attached to the syllabus on Canvas
>. Contact me directly with any special needs. 

*Assignments-10 weekly assignments (10% each=100%) that build to a final project (+ **supplemental paperwork); 2 Quizzes worth 15% ea. + *Attendance/participation @ 20%=150 total
1a. Color=emotional intensity scale slide presentation 
1b. based on one of the 5 poems by Maya Angelou, create a digital collage (slideshow or pdf) using images that relate to the lines of the poem. DUE WK. 2
2. Stop Motion 
3. TImelapse
4. Storyboard/s
5. Mediated character/simulation research board
6. Animatic (rough cut)
7. Title graphics
8. Interactivity proposal 
9.  Sound and music edits
10. Final video render
  • 1 final project in lieu of a final exam:  
The final project is a finished 5-10 minute maximum video design/compilation for a performance in lieu of a written exam. Include all research boards, emotional intensity graphs, animatics, sound clips in the G-drive folder for final grade.
*Assignments may be adapted to support student learning-adaptations noted in Lesson Plans
**Supplemental Paperwork:  Action breakdown, Emotional Intensity Graph (with sublime statement), cuesheet (if we can access QLab on CloudLab) TBD

  • 2  multiple choice quizzes on the reading assignments will be given approx. wks. 6/9 TBD 15% each
  • Weekly Lesson Plans shared via g-doc. These live documents will have more details and any updates to the assignments
  • 1 page written performance critique will be assigned that must be turned in by Week 11 
  • A second written performance critique can be used to make up an absence. 

​Course requirements
  • No previous video/animation experience required
  • Basic knowledge of computer OS (either Mac or PC)
• Equipment and video editing software-IMPORTANT and necessary for this course
  • In-Person /Hybrid
  • GH public computer lab will have multiple editing software available such as Adobe After Effects and Premiere Pro; other UCSD labs may also have Final Cut Pro and Motion
  • If working on your own computer, you will need to install the non-linear video editor of your choice if you don’t have one installed or through your OS
  • Remote and In-person Options-note that the Adobe Creative Suite is NOT available on the UC Cloud Labs, only for individual student monthly rental - see options below
There are several software programs for non-linear video editing. You may choose your own software if you prefer to work on your personal computer.
Some options other than the industry standards - Adobe Creative Suite (After Effects, Premier), or Apple’s Final Cut Pro, Motion - include:
  • DaVinci Resolve (https://www.blackmagicdesign.com/products/davinciresolve/whatsnew)
  • Shot Cut (https://shotcut.org/)
  • iMovie (comes bundled with the MAC OS)
  • Powerpoint and Keynote - slide presentation programs bundled with Windows and Mac OS. These have animation capabilities which allow you to animate stills and integrate motion graphics and moving film files-NOT the best choice, but an option
  • Projection display software (Isadora and QLab Viceo) can be accessed for free online, but you can’t save your work-good for tests.  
  • Matrix for production alternative software created by ITS:
https://docs.google.com/spreadsheets/d/1Ug8u01Uto3xkNqCbfEXJlfcKQjo8e5B9/edit#gid=2064691814

  • Digital camera (mobile devices such as smartphones/iPads, etc. are all OK, but video editing on a smartphone is not recommended)

• No required textbooks (all required reading will be provided on course website and/or linked to syllabus and lesson plans)
Recommended Texts:  Reading, bibliography, and supplemental material is available on course website
  • https://digitalvideodesign.weebly.com/bibliography.html

Course structure: 
* Syllabus is updated with more detail as g-doc Lesson Plans for each class session 
  1. Check-in, announcements, reading assignment discussion; 15 min. Break 
  2. Student progress critique; view artists working in projection/video design/week’s topic (students are encouraged to share their own inspirations)
  3. Class activity or “Lab” work- either in teams or individually; demos and questions answered; next assignment introduced


Assignment due for this Thursday Week 0/Class 1
  1. Please read  How to critique a work of art: Critical Response Processes–Liz Lehrman- we’ll discuss the 4 core steps of constructive response to an artist and their work of art in preparation for our future conversations about one another’s projects in this course
  2. Please view Wendall Harrington’s’ USITT Keynote address on empathy: (21:19)Wendall Harrington - USITT 2018 Keynote Speaker
Wendall K. Harrington, the “godmother of projection” and head of the MFA program in Projection Design at the Yale School of Drama was the keynote speaker for the 2018 Conference & Stage Expo.
  1. Bring your reasons for taking the course and your expectations; also share your college, major, and any of your latest passions (regardless of its connection to this course).

Part 1 Demystification
Week 0 -  What is Projection Design? Historical overview on Zoom
System  design
Collaborate with lighting
Content creation:
Animation
Stills
sound/midi
Copyright


  • Introductions/course housekeeping (syllabus overview, expectations, questions, etc.)
  • Discussion on Critical Response and Wendall Harrington’s Keynote address on Empathy
  • time-based media: Refers to art that is dependent on technology and has a durational dimension
  • Visual dramaturgy: Cultural context and Iconography discussion

Discussion: Early technology in performance:  view Film Before Film • Historical devices: 


  • What are the responsibilities of the projection designer? These will be on a quiz
  • Projection design in contemporary performance: (these will be updated on each Lesson Plan)
Wendall Harrington • Jeff Sugg • Guy Sherwin • Batwin & Robin • Es Devlin • Peter Nigrini • Sven Ortel • 
59 Productions • Jeanette Yew • Lucy Mackinnon
Wk. 1 Assignment: 
Reading: >Note how the projections are used and the different kinds of projections-to be discussed
Optional: listen to  podcast with Wendall Harrington
  • https://lighttalk.libsyn.com/light-talk-episode-217-the-spirituality-of-projection-interview-with-wendall-harrington
Action: (these will be due wk. 2, so there is more than one assignment)
  1. 1a.Color as emotional response-an exercise in how to use color to express emotional intensity
    1. Create a slideshow using a color of your choice represented by images.  Start at the  pale end and gradually add images with more of color intensity as you get to the end of your slideshow.  20 slides. Make these play so we don’t have to click through them
 
  1. Value refers to the lightness or darkness of a color. It defines a color in terms of how close it is to white or black. The lighter the color, the closer it is to white. The darker the color, the closer it is to black. For example, navy blue emits less light and has a lower value than sky blue.
  2. https://www.sensationalcolor.com/hue-value-chroma/

1a.  Choose a poem from the Maya Angelou 3 poem collection-more instructions  will be sent out this coming Thursday

  • Collect images that relate to the lines and intentions of the poem you choose. Try not to be illustrative, but more metaphorical
  • Create a digital collage for the poem from these images
  • Think about how the lines make you feel rather than showing the action that is described.
  • See instructions on Canvas for creating Mood Boards
  
Great free resource for images: Unsplash



Week 1  (Sept. 30) NO  CLASS,  see homework from Wk. 0 above-we  will  make this class up in  Finals Week 11
  • I am available via email for any questions

Week 2  Demystification-the science behind the illusion-in-person
Shadowgraphy•Ombromanie•Ombres Chinoises•Cinema in Silhouette
  • Light + Shadow -projection as a light source
Class activity (see assignment below)
  • If in-person: teams will create a short shadow play presentation- we will work on in-class and as part of your homework assignment  for the following week
  • Anthony McCall https://www.tate.org.uk/art/artworks/mccall-line-describing-a-cone-t12031
    • Line Describing a Cone is made from a beam of white light emitted from a film projector positioned at one end of a darkened room. Passing through the projector is an animated film of a thin, arcing line that, frame by frame, gradually joins up to become a complete circle. Over the course of thirty minutes this line of light traces the circumference of the circle as a projection on the far wall while the beam takes the form of a three-dimensional hollow cone. Mist from smoke machines gives the beam of light a greater density, making it appear almost tangible.
Wayang Kulit • Shadowlight Theater • Takashi’s Seasons • Kheimeh Shab Bazi-Iranian traditional puppetry • Chinese puppetry • Kara Walker • Christian Boltanski-Theater of Shadows • Manual Cinema • Pilobolus • Momix
  • Tim Noble and Sue Webster
  • Kumi Yamashita
  • Fabrizio Cornelli
  • Larry Kagan
  • Shegeo Fukuda
  • Vincent Bal (shadowology)
  • Bohyun Yoon-Unity installation
  • Guy Sherwin (light+time)
Assignment: Light + Shadow performance - how can light and shadow tell a story?
  • In-person: assigned teams create 3-5 min. shadow performance using the 3 overhead projectors; work in class 
  • Remote: Create a 3 minute light/shadow performance using your available lighting/lanterns/candles, etc.
Consider basic low-tech elements of lighting/ experiment with different combinations: 
  • Sun/moon
  • Candle
  • Flashlight
  • Utility light
  • Desk lamp
Reflected light (bounce)
Ambient light

Part 2  Visual Methodologies
Week 3  Frame by frame; Visual Metaphor-in-person
The process by which we transform the meaning of one thing into something different is an essential part of human intelligence. Without symbols, and the ability to understand them, there would be no writing, no numbers, no drama, no art. Everything you create is a representation of something else; in this sense, everything you create is enriched by metaphor. ~Twyla Tharp
http://visualmetaphor.com/
  • Synergy between emotion, image, motion/proto-cinematic techniques
    • http://greatwomenanimators.com/category/stop-motion-animation
View:
  • The Brothers Quay
  • PES
  • Terry Gilliam
  • Rumiko Takahashi
  • Tim Burton
  • Noriko Okaku
  • Lotte Reiniger
  • Pattagraph
  • William Kentridge
  • Mercedes Gaspar
  • Jan Švenkmajer
  • Wes Anderson
 
  • https://vimeo.com/138790270
  • https://futureofstorytelling.org/video/glen-keane-step-into-the-page
  • Copyright - discussion regarding the professional world requirements.  Visit free sites and archives for stills and videos listed in the Course Resources folder and on the website. Use your own resources to create content whenever possible.
See Kendrick Lamar’s music video SZA-All the Stars Black Panther music and Lina Iris Viktor’s Constellations Series; and Yayoi Kusama+ WARNING! this music video uses offensive language - view the comparative photographs here instead, if you prefer:
  • https://www.instagram.com/travisjensen/

Assignment:
Reading:  Action: Stop motion assignment (details given in class)
  • Stop Motion studio - free app for mobile devices or computer (Adv. is $5 comes with filters and a few extra options 
  • Remember to keep the camera STILL and the lighting CONSISTENT (unless you purposely want to use light to make a transition or create a particular mood)
  • You may want to create more still frames than you made in the first pass, or swap in/out new ones in your editing/refinement process
  • https://www.youtube.com/results?search_query=stop+motion+animation+tutorial

Week 4  The Sublime  on ZOOM  Bill Viola •  TeamLab • Jennifer Steinkamp •  Olafur Eliasson • Refik Anadol • Vashti Harrison

Assignment:
  • Reading: 
A Short History of the Sublime–Morley
  • TEXT assigned -
  • Action: Timelapse assignment given in class 
    • indentify moments in the text that suggest the possibility of evoking the sublime
    • Write a paragraph discussing how you would evoke sublimity using audio/video elements; share a sublime experience with the class
    • Based on your critical analysis of the relationship of this moment to the sublime, how would you recreate or interpret that feeling for the audience? How might you incorporate and transform that feeling into visual/aural metaphor in your design?

Week 5: Elements of Cinema: Montage Theory/Cinematographic Principle & the Ideogram/
  • Review quiz material for Wks. 1-5
  • Cinematic syntax
  • Montage is a film editing technique in which a series of short shots are sequenced to condense space, time, and information.
  • Montage Theory: Eisenstein//contemporary examples
  • Storyboard assignment-how visual research transforms into design
• Robert Lepage and Ex Machina • The Builder’s Association 
  • Collage film - Frank Film by Frank and Caroline Mouris
    •  https://www.dailymotion.com/video/x700s6
    • This animated short features two soundtracks - in one, Frank narrates an autobiography, in the other, he reads off a list of words beginning with the letter "f." Tying the two soundtracks together and influencing their subject matter is the animated collage of photos collected from magazines - all arranged by theme and each theme merging into the next. 1974 Academy Award for Animated Short Film
  • Title Graphics and Trailers -  selections from Art of the Title, Motionographer
    • Student recommendations:....




Assignment:
  • Reading: 
    • Cinematic Syntax– http://accad.osu.edu/~pgarrett/730/readings/; 
    • Understanding Comics-Ch. 4 Time Frames
  • Action:
    • Assemble assets - “how to” methods of organization for effective workflow
    • Keep all your assets organized in one project folder and subfolders - do NOT move!!! Use an external HD to store as video files are pretty hefty (5 min.=1 gigabyte)
    • Begin rough storyboards using research imagery, sketches, and notes-these will be used for your animatic
    • Consider using montage to build energy and tension

Week 6  Aura & Mediation in-person
Mid-term quiz
Virtuality and Materiality
  • Discussion: Excerpts from Benjamin's Work of Art in the Age of Mechanical Reproduction
  • Space: constructing the world/environment of the play//scenography
  • Breaking the Frame
Josef Svoboda • Laterna Magika • Complicite • Big Art Group • Hotel Modern 

Assignment:
Week 7   Simulation and the Uncanny Valley-on ZOOM
  • Transcendence, projection and the uncanny
Discussion: Robots, holograms, and projection mapping; animatic 1
View: 
  • R.U.R (exerpts)
https://www.youtube.com/watch?v=nHF8FHW0sY0
  • Death and the Powers/MIT Opera of the Future Group
https://opera.media.mit.edu/projects/deathandthepowers/
https://www.media.mit.edu/groups/opera-of-the-future/overview/
  • Yoshimi Battles the Pink Robots
https://www.youtube.com/watch?v=vbujal3IcZM

George Coates •  Hatsune Miku •  Billie Holiday • Tupac Shakur • The HoloCinema: ILMX Studio 
Taylor Mac • GSRT • Tony Oursler • The Wooster Group 

Assignment:  Week 8   Immersive Environments: Site-specific- Telematic Performance and VR in-person/or ZOOM
  • the omnipotence and vulnerability of the virtually present
  • the metaphysics of telematic space 
  • the private and the public
View: 
https://www.pbs.org/video/immersive-theater-qy9hup/

Punchdrunk • Dream Think Speak • Forkbeard Fantasy • Richard Maxwell • Wilson’s Video Portraits •  Station House Opera • 

Assignment:
  • Reading:
    • Speech Introducing Freud-R.Wilson
    • Immersive Art-Have Audiences Earned Their Place in the Show?
    • Interactivity and Immersion in a Media-based Performance–Bouko
 
  • Action:
Write a short paragraph proposing how you envision integrating interactivity into your video design. Note these in your storyboard/animatic [If in-person, this can be incorporated into your final presentation. I’ll have Isadora set up so you can experiment in class] 
  • Assemble video assets, add screenshots to animatic


Week 9  Public Space and Video Graffiti NO CLASS-HAPPY THANKSGIVING! 
Assignment follows for Wk. 10
  • Compositing in 2.5 space, Editing to Sound/music  (After Effects intro)
  • Mapping video and Volumetric filmmaking
Krzysztof Wodiczko • Graffiti Research Lab •  Ai Weiwei & Olafur Eliasson (Draw on the Moon) Assignment
  • Reading:  
    • Framing the Fragments–K. Malone; 
      • file:///Users/victoriapetrovich/Downloads/KirbyMalone_LiveMovies_essay.pdf
    • Ch. 5 Technology as Performance/Scenography
• Action:
>Schedule Individual tutorial meetings with instructor
• Assemble sound assets (see website for free sources) if you want to add more than what the score provides
>Use pre-loaded fonts or add to your inventory - See free, open source fonts on website resource page. Choose selectively- some fonts can mess with your operating system. Velvetyne Type Foundry - https://velvetyne.fr/ has some unusual open-source fonts.
  • Text animators and Scale


Week 10: Live Cinema and Interactivity in-person• Quiz on reading from wk. 5-10
Performance delivery systems: Isadora/QLab intro
  • Live action with film/interactivity
  • Laser art
• Katie Mitchell/59 Productions • Cinema Chile • Complicité • heavenly BENTO • Chunky Move • The Inheritance, Chris Milk;  (https://www.youtube.com/watch?v=SOPPucQgfPQ)
Live Cinema: https://www.youtube.com/watch?v=jSj7cnwY-sg&ab_channel=BarbicanCentre (https://www.youtube.com/watch?v=SOPPucQgfPQ)

Assignment:
Reading:
http://www.rogerebert.com/rogers-journal/dim-future-for-interactive-film
http://www.indiewire.com/2014/01/are-interactive-films-transforming-modern-storytelling-sundances-new-frontier-has-the-answer-30702/
  • Ch. 8-Movement 
  • Time Has No Concept-R. Wilson
Action:
  • Final edits; render process tutorial
  • Integrate titles and sound; rendering output/see instructions


Week 11: Final Presentations  in-person
  • Present/perform final projects; upload to your folder on G-drive:  final rendered project (compressed MP4). Also include all action breakdowns, storyboards, animatic clips, research boards, sound clips, emotional intensity graphs for final grade
  • all other assignments including any make-up assignments, and written media-based performance critiques are due by this date unless otherwise arranged with professor-hard copy or electronic copies accepted