TVR 16A TELEVISION PRODUCING AND DIRECTING MONDAY/WEDNESDAY SECTION INSTRUCTOR: Barbara Naylor OFFICE: C 121-H LAB: C 125, 9:15-11:15 PHONE: (626) 585-7215 LECTURE: C 116, 11:15-12:25 EMAIL: bmnaylor@pasadena.edu OFFICE HOURS: M & W 12:30-1:30 & 3:00-3:30; T & TH 5:25-6:40 TEXT: GROSS & FAUST, VIDEO PRODUCTION DISCIPLINES AND TECHNIQUES, 10TH EDITION and 16A COURSE PACKET. COURSE DESCRIPTION: Concepts and practices in scripting, producing and directing a variety of television program formats for multi-camera studio production. RECOMMENDED PREPARATION: Completion of TVR 7; completion of or concurrent enrollment in TVR 107 and TVR 14A. CONDUCT AND ATTITUDE: Professional conduct and attitude is expected at all times in the studio and in the classroom. Students are expected to arrive on time consistently, to respect the efforts and contributions of others and to help maintain an environment conducive for learning and for professional work. Remember, television is a collaborative medium. Please turn off cell phones and other electronic devices during lab and lecture. NO FOOD OR DRINK IS PERMITTED IN THE TV STUDIO, CONTROL ROOM OR CLASSROOM FOR ANY REASON. DRINKS FOR TALENT CAN BE KEPT IN THE GREEN ROOM. ATTENDANCE POLICY: Attendance at all class meetings/studio labs is expected. Each student is allowed up to 3 absences without penalty. These may be excused or unexcused. Additional absences may affect the student’s final course grade or result in a drop from the class. An absence from an assigned directing/producing project day will be interpreted as having missed the theoretical air deadline of the program and will be evaluated with a grade of ZERO. No make-ups can be guaranteed, as the studio schedule will become inflexibly set as the semester progresses. No make-ups, if allowed, will receive a grade higher than a B. Contact me ASAP if you will/do miss an assigned production day. TARDIES: All students are expected to be in the classroom/studio at 9:15 sharp. If a student is as much as 5 minutes late, he/she will be marked with 1 hour of absence. DROPS FROM CLASS: A student may be dropped from class for any of the following: 1) Excessive absences, tardiness, or failure to attend the entire class-don’t leave early. 2) Lack of respect for the contributions of others. 3) Lack of respect for the equipment/facilities. 4) Failure to operate in a collaborative spirit. 5) Any disruption of classroom discussion, lecture or studio production by excessive noise, excessive talking or other disruptive behavior. 6) Plagiarism All students are expected to sign a professionalism clause acknowledging understanding of the above information regarding drops from class. Students in violation of the professionalism clause will be given a warning form to sign and will be counseled regarding their behavior. The student is subject to being dropped from class from that time on. However, one additional warning may be given at the instructor’s discretion. Failure to heed a second warning will result in the student being dropped from the class. STUDENT LEARNING OUTCOMES: 1. Demonstrate producing ability by submitting pre-production packages for each assigned production. 2. Execute a short (less than 6 minutes) multi-camera, live-to-capture, TV studio production by directing at least one assigned project during the semester. 3. Operate as an Associate Director of a short (less that 6 minutes) multi-camera, live-to-capture TV studio project by functioning as Associate Director for at least one assigned project during the semester. COURSE OBJECTIVES: upon completion of this course the student should be able to: 1. Identify and perform the responsibilities of producer, director, associate director and stage manager. 2. Generate, interpret and mark TV director’s scripts and run sheets for production using accepted symbols. 3. Demonstrate the use of correct terminology necessary to functioning effectively as a director of live-to-tape, multi-camera productions. Students will direct simple, non-dramatic formats such as newscasts, talk shows, or story telling with visuals. 4. Demonstrate basic understanding of the process involved in directing dramatic formats for TV/video by directing simple, short, two to three character dramatic scenes. 5. Critically appraise the production values contained in both professionally generated and student produced television/video projects. 6. Demonstrate acquired discipline and ability to operate within the collaborative/cooperative structure of the TV production team. * COURSE PRIORITIES: 1.Understand and demonstrate time management by selecting, organizing and executing projects that can be produced with few mistakes in the time allotted. 2. Organization 3. Quick and effective decision-making 4. Adaptability 5. Collaboration TOPICS TO BE COVERED, TIME PERMITTING, INCLUDE: -simple shot composition, camera angles, visual-audio cues, shot calling -production team responsibilities -types of script format, marking scripts and preparing run sheets -preparing storyboards -studio and control room terminology -timing of transitions -basic TV lighting, -roles and relationships of a director -dramatic scene blocking for camera coverage -working with actors -art direction/aesthetics of line and color -approaches to producing/budgets -application of special effects -writing news/commercials/PSA’s -use of graphics -camera coverage and transitions for studio musical pieces -unions and guilds THE NUMBER OF SESSIONS ON ANY TOPIC MAY VARY IN ACCORDANCE WITH STUDENT/COURSE NEEDS. PROJECT EVALUATION: Due to the nature of this course, some subjective evaluation by the instructor of the student’s producing and directing efforts is unavoidable. Bear in mind that student progress and attitude throughout the semester will be important factors in assessing final course performance. The degree of difficulty of any project will always be a factor considered when determining a project grade. However, the most important factors will be degree of preparation, organization, time management AND the level of “polish” attained by the final take. Level of preparation is evaluated on the basis of pre-production work. Organization is evaluated in both pre-production and production work. Good time management begins with the concept, not in the studio. For good time management it is expected that the studio schedule will be followed, that breaks are taken in a timely fashion, and that most projects will have at least 3 completed takes. “Polish” means at least one take will be relatively error free. *PROJECT CONTENT: All projects produced in this class will contain material suitable for a “G” or “PG” rating. CBS, NBC, ABC standards for “mass audience viewing” apply to this class, not HBO, MTV OR SHOWTIME. NO EXCEPTIONS. EXECUTIVE PRODUCER: As executive producer of all 16A projects, the instructor has the authority to cancel the production of any project that does not measure up to the standards mentioned above. IF a replacement project is permitted, that project will receive a grade no higher than a B. GRADING SCALE: 90-100 A 60-69 D 80-89 B BELOW 60 F 70-79 C NO SHOW 0 GRADES: QUIZZES AVERAGED 10% MIDTERM 20% FINAL 20% 50% PROJECT #1 10% see later descriptions PROJECT #2 10% PROJECT #3 15% PROJECT #4 15% 50% PROJECT DESCRIPTIONS: Every group for every project will submit pre-production packages. See SLO #2 for a detailed breakdown of content. They are worth 37.5% of a project grade. Pre-production packages are due to the instructor the REGULARLY SCHEDULED CLASS DAY (M OR W) BEFORE YOUR SHOOT. Pre-production packages will be discussed in class. They consist of the following: 1) Cover page-overview of the project; identification of special considerations e.g roll-in with SOT, 2 sets, a lighting change, 3 themes, 2 SFX, shooting in B & W with letterboxing. 2) Objective and brief discussion of how you plan to use the major production tools in support of your objective e.g. lighting to set a mood. Motivation for special considerations should be discussed in your objective. 3) Marked script in correct format using accepted symbols 4) Floor plan with key 5) Lighting plan with legend 1) Talent description 2) Appropriate release forms (performers; materials) 8) Audio page 9) CG pages 10) Camera shot list & shot cards 11) DVD-R’s for each of your talent & member of the producing team 12) Storyboard (project 2, 3, 4) 13) Budget (final project only) with above and below-the-line costs. Depending on the option drawn, project #1 will also require numbered graphics in aspect ratio (story telling) or a run sheet with backtiming(talk show). PROJECT #1 (10%) Talk show or storytelling: Students will form producing-directing teams consisting of at least 2 members. Each team will draw 1 of 2 options, then produce and direct the drawn option. You may be assigned: OPTION A: 3- 31/2 minute, 2 person (1 host, 1 guest) talk show, semi-scripted. Topic must be bona fide-find a topic that engages your heart and mind and you will probably engage the hearts and minds of your audience. Instructor will provide one 29 second PSA or commercial roll-in for inclusion after the introduction. OPTION B: 3-31/2 minute story-telling with one on-camera talent. Talent must be on camera 50-70% of the time. All other time is to be allotted to camera graphics, in aspect ration or correctly mounted, relating to the story (about 8 graphics is a good #). PROJECT #2 (10%) PSA or commercial: Students will form DIFFERENT producing-directing teams consisting of at least 2 members to create a 28-29 second public service announcement or commercial. Prefer an original concept. May use up to 2 special effects (visual or aural) but they MUST be in support of the concept. The concept cannot be built around special effects. Must be shot in the studio using 1-3 talent, up to 3 marks. One roll-in is permissible (preferably on mini DV or previously stored in Profile) as background only (counts as 1 special effect= chroma key). Project #3 (15%) Music video: To the extent possible, students will form DIFFERENT producing-directing teams consisting of at least 2 members. Use of secondary movement is expected in most circumstances. Choose one of the following options: OPTION A: 3-5 minute lip sync using 1-3 performers that must use primary movement. Must have 3-6 marks. OPTION B: 3-5 minute lip sync using 4 performers. May be static-and make effective use of geometric configuration or primary talent may have up to 2 marks (4-5 marks). OPTION C: 3-5 minute, pre-recorded instrumental number with 2-5 performers. Must be static, must employ secondary movement. Project #4 (15%) Dramatic scene: Students may form own producing-directing teams consisting of at least 2 members. Fully staged, in studio, 3-5 minute dramatic scene incorporating verbal conflict (not physical conflict so no weapons or fights) with 2-3 characters that must use primary movement. Scene must have 4-6 marks. Roll-ins may be used as background in projects 3 & 4. If used full screen they cannot exceed more than 20% of total project length (36-60 seconds). Up to 2 special effects may be used (e.g. B & W, wipe) but are strongly discouraged within the scene in project 4. The focus in both project 3 & 4 should be on well-chosen material, effective camera coverage and credible performances (as always). ** EARLY SET-UP: On the days of your project each TEAM is expected to arrive in the studio between 7 & 7:30am to erect your set and dress it. TVR 107 does not do this for you. The more complex your set, the earlier you will need to arrive. Cardinal rule-KEEP IT SIMPLE. If the cage (storage area) is locked when you arrive ask Mr. Porreca to open it for you (office C 123). TVR 107 takes a break between 7:55 and 8:10am & will begin lighting your set and talent at 8:10. Expect it to take at least an hour, often more-again, keep it simple. Your production time begins at 9:15. You have 1 hour and 15 minutes of production time-use it efficiently. Fellow class members are expected to quietly take a seat in the control room when they arrive. TVR 16A and 107 break for 15 minutes at 10:00am. All production must cease at 10:45 am, or earlier, to allow time to strike your set and play back your best take. Adhering to this schedule is a vital part of your time management and will be taken into account when grading your project. All students and their guests are expected to conduct themselves and their studio work in a professional manner at all times. Producers must be in the studio no later than 7:30am. You should have your on-camera talent in full costume in the studio no later than 7:45am. Schedule: 7:00-8:10 16A producers create set (quietly, 107 is in lecture). The more complex your set, the earlier you should arrive. 7:55-8:10 107 break. 16A producers continue working. 8:10-9:15 ESU for 107 (lighting/sound/CG etc). Watch the clock carefully to avoid using too much production time on set-up. Delegate responsibilities; work with your talent, LD, and lighting crew, TD, audio and CG ops (media control too if using a roll-in). 9:15-10:00 45 MINUTES FOR REHEARSAL AND AT LEAST ONE TAKE 10:00-1015 15 minute break. AD start clock & time break. Call everyone back. 10:15-10:45 30 MINUTES OF PRODUCTION TIME (LESS IF SET IS COMPLEX) 10:45-11:15 strike & playback best take. SM please check that studio, airlock, & cage are tidy. Producers say a brief thank you to your talent, crew and instructors after playback. 11:15-11:30 16A 15 minute break 11:30-12:25 lecture in C 116 DUBS: Your projects are recorded on DVD-R and are the property of PCC. If you or your talent would like a personal copy of the project you MUST bring with you several DVD-R’s on the day of production. Instructors will not provide these for you. The DVD-R’s must be handed to the assigned media control operator for your project. If you do not bring your own DVD-R’s the day of your production, do not expect a copy of your project. You may not be able to immediately record a copy of your project if you are also using roll-ins on DVD-R, in which case you must make alternate arrangements for dubbing with Mr. Porreca. SIB & SMPTE: Once the semester is in full swing Students in Broadcasting-a club for and run by TVR students- will have open meetings regularly during the semester, usually on Thursdays. SMPTE (Society of Motion Picture and Television Engineers) will hold meetings at noon every other Tuesday. You are strongly encouraged to attend these meetings to broaden your industry knowledge, learn about careers and technology in broadcasting, deepen understanding of course content, participate in extra-curricular activities and begin networking. No extra credit is given for attendance at these meetings. You are expected to take responsibility for your own professional knowledge and success and this should be sufficient to motivate your attendance.