JOUR405:NonfictionTelevision4UnitsFall2016—Tuesdays—9:00a.m.-12:20p.m.Section:21237DLocation:ANN210
Instructor:ProfessorDanielBirmanOffice:ANN205AOfficeHours:Tuesdays8:00-9:00a.m.andbyappointmentContactInfo:[email protected],213.821.1131(office),818.434.4300(cell)ProductionCoach:MeganChaoOffice:ANN204FOfficeHours:ByappointmentContactInfo:[email protected],213.740.3927(office),661.992.0925(cell),Skype/GoogleTalk:megan.chao
I.CourseDescriptionJOUR405isahands-onproductioncoursethatteachesamethodologyincraftingalongformnonfictiontelevisionstory.Fromstoryconceptionandpre-production,throughproductionandpost-production,studentswill,bysemester’send,beproficientinbestpracticesandhowtheseapplytotheevolvingtrendsinthetelevisionanddocumentaryindustries.Producingalongformstorygoesbeyondthescopeoftraditionaltelevisionnews.Itprovidesanopportunityforin-depthreportingandstorytellingthatoffersviewersgreaterperspective.Thegoalofthisclassistofurtherdevelopwhatyoualreadyknowaboutnewsreportingandapplytheseskillstoalongerstory.Thekeytosuccessintheclassiscomingupwithideasthatarevisualandforwhichyouhaveaccess.Storysubjectsneedtoberelevantandpractical,buttheyalsoneedtobeevergreen.Astoryaboutanewseventcanworkaslongastheapproachtakesanin-depthlookatalargerproblem.Example:Ifacarcompanyintroducesalineofcarsthatnolongerneedgasolinetooperate–thisisanewsstory.However,ifyouproduceastoryaboutthelargerproblemsassociatedwithourdependenceonoil,thenewsofanewbreedofautomobilejustbecomesoneminorpartofthestory.Thebulkoftheworkiscreatingaworkableideafromconceptthroughcompletion.Studentspitchmarketableprojects,doextensiveresearch,identifyexpertsandvisualsequencesthatcanhelptellthestory,writeascript,edit,andrevisetheirstoriesforpublication.Theclassteachesyouhowtothinkaboutastoryvisuallyandhowtobuilditusingvisualsequenceswithinamanageablestoryarc.Studentslearnhowtoshootwithprofessionalcameras,write,andeditforlongformstorytellinginwaysthatwilltranslatetoanymedium.Attheheartofallthisisjournalisticintegrityandvalues.Yourfinishedproductsshouldbecreativeandbeabletostanduptotherigorsoffairnessandcredibility.Andyoushouldbeproudofyourwork.
II.OverallLearningObjectivesandAssessmentStudentstakingJOUR405:
• Researchideasthatcanbeproducedwithinasemester• Pitchastoryideawithaspecificplacementinmind• Reviewandanalyzecurrentandhistoricaldocumentaries• Collectrelevantresearchmaterials• Organizecontentforpre-productionplanning• Learnadvancedshootingandeditingpractices• Shootvisualsequencesforthedocumentary• Logandtranscribethematerial• Writeaproduciblescript• Editthenonfictionshortprogram• Makerevisionsbasedonfirsteditevaluations.
Theseobjectivesdefinetheday-to-dayworkoflongformnonfictiontelevision.Everyaspectofthistelevisionformiscomplex,butequallyinteresting.Research,experts,actualities,interviews,visuals,sound,music,andgraphics–thesearethebasicelementsofalongformstory.Thepayoffisrewardingfortheproducerandfortheviewer.Aswegothroughthesemester,we’lldiscussterminologyandapplicationsothatwhenyouwalkawayfromthiscourse,you’llhaveastronganddefendableapproachtomakingimportant,honestandfairtelevision.Keepinmindthatyou’reincontrolofcontentthatdemandssomelevelsofcreativitytogetpeopletowatch.Asyoudefinethestorythroughresearchandinterviews,you’lldevelopthevisualcontextaswell.Yourjobistocreatethecontentflow(thestory)anddecidehowbesttovisualizeit.It’snotenoughtojustcreateinformationalcontentthough.We’reinahighlycompetitivemarketplacethatincludesdigitalplatformsandbroadcastnetworksandthey’reallvyingforgreatwork.Butwhenyou’reamongthousandsofothercontentcreators,whatareyougoingtodotostandabovealltherest?JOUR405willteachyouhowtothinkaboutyourownstorytomakeitmarketable.Digitalsitesmeasurehitsandretentionwhilenetworksmonitorwhataudiencesdosecond-by-second…losinganaudienceinthefirstmomentsisadisasterandbecomesaproblemfortheproducer.Throughobservation(critiquingexistingcontent),organization,andhands-onproducing,you’lllearnsomesecretsbehindlongformstorytellingthatwill,byextension,helpyouinyourprofessionalcareer.
III.DescriptionofAssignmentsCLASSDELIVERABLES:
• Pitchesneedtobetypedout,proofreadandcheckedforgrammar.You’llcreatetwotothreeideas.Eachideamustbenolongerthanonetypedparagraph.Turninhardcopyprintoutsasinstructedinthecourseschedule.You’llalsoneedtoprepareforaverbalpitchinclass.Youshouldbeabletogettothe“Sowhat?”and“Whocares?”elementswithinthefirstsentence–thebigpicture.You’llbegradedonyourabilitytoarticulateideas–basedoncrediblefacts–andhowwellpreparedyouaretoanswerquestionspertainingtothetopic.• ThebibliographiesneedtobeinMLAformat,clearandconciselylaidout.Turninhardcopyprintoutsasinstructedinthecourseschedule.Youshouldbeabletodemonstrateanabilitytoconductin-depthresearchwithlegitimateandreliablesources,likejournalarticles,featurestories,etc.Wikipediaisnotasource.Thinkofbigpictureconceptsinconnectionwithyourstory–e.g.Ifyou’reproducingastoryaboutearthquakesinsouthernCalifornia,youneedtocitestatisticsfromtheUSGSabouthowmanyearthquakeshappenintheregion,howoften,etc.Onebibliographyperteam.• Thestoryarcistobesubmittedviae-mailasMicrosoftWorddocuments.Youwillbegradedonpresentationofaclear,thought-outnarrativeandapproachtothestorytellingbasedongathered,oryet-to-be-gatheredelements.Onestoryarcperteam.• EditedsequencesaretobesubmittedasexportedQuickTimefilesviaXchange.VictorFigueroa,yourmediaproductionsupervisor,willguideyouthroughthetechnicalprocessintheeditingworkshopandinhistutorials.• ScriptsaretobesubmittedasMicrosoftWorddocumentsviae-mailtotheinstructor.(PleaserefertotheOptionalReadingsandSupplementaryMaterialssectiononpages5-7forformat.)Youwillbegradedongoodvisualdescriptionsintheleftcolumn,andhowthestoryflowsintherightcolumn.Iwillnotgradeanassignmentthatdeviatesfromtheexampleprovided.Onescriptperteam.• TheroughcuteditistobesubmittedasanexportedQuickTimefileviaXchange.Thisiswhereitallstartstocometogether.You’lleditbasedonyourscriptandanyassociatednotesfromme.You’llbegradedonyourhowwellyouachievedwhatyousaidyouweregoingtodoinyourscript,aswellaspacing,storytellingandvisualsequences.• ThefinecuteditistobesubmittedasanexportedQuickTimefileviaXchange.Thisisyourfinalproduct.• Finaldeliverables:ReleaseformsforallfeaturedpersonsinyourstoriesareREQUIRED.Iwillnotgiveafinalstorygradeforsegmentsmissingreleaseforms.Hardcopiesaretobeturnedinuponfinecutdelivery.OurrequiredreleaseformispostedtoBlackboardandavailableontheImpactwebsite.Pleasebesuretomakeextracopiesandputtheminyourcamerabagbeforegoingonashoot.Anymissingdeliverableswillresultinnogradefortheassignment.Aconformedscriptthatreflectsyourfinecutfrombeginningtoendisrequired,aswell.Pleasee-mailtheWorddocumenttotheImpactteamatimpact@usc.edu.
IV.Gradinga.BreakdownofGrade
Assignment %ofGradeStoryPitch 5ResearchBibliography 15StoryArc 10EditedSequences(2x5%) 10Script 15RoughCut 20FinalEdit&FinalDelivery:ReleaseForms+ConformedScript 25TOTAL 100%
b.GradingScaleThefollowingisthegradescalethatIusetoassignlettergrades.Itisuptoyoutokeeptrackofyourgradesandtomakeanappointmentwithmetodiscussanyconcernsyoumighthave.Wewillhaveamid-courseevaluationtoletyouknowwhereyoustand.
94–100 A90–93 A-87–89 B+84–86 B80–83 B-77–79 C+74–76 C70–73 C-
c.GradingStandardsAllassignmentswillbeeditedonaprofessionalbasisandyouwillbejudgedfirstontheaccuracy,fairnessandobjectivityofyourstories.Youwillthenbeevaluatedforbroadcaststyle,editing,productionvalue,originalityandtheabilitytomeetdeadlines.An“A”grademeansthatthestudenthasafullgraspoftheconceptandisdoingexceptionalwork.Workiscompletedontimewithminimalamountofeditingrequiredtocompletethetask.Thegradedemandsthatstudentsexhibitprofessionalism.A“B”grademeansthatthestudentunderstandsandexecutestheworkontime.Theremaybemoreextensiveeditingneededtocompletethework,itisclearthatthestudentgraspstheconceptsandexhibitsprofessionalism.A“C”grademeansthatthestudentcompletestheworkwithaminimalamountofeffort.Theworkisdone,butrequiresafairamountofediting.Itisclearthatthestudentmightnothavedonein-depthresearch,andtheassignmentdoesnotmeetprofessionalstandards.A“D”graderequiresexcessiverewriting,hasnumerouserrorsandshouldnothavebeensubmitted.Workisunsatisfactoryorfailstoshowimportantelements.
An“F”grademeansyou’vefailedtomeetthemajorcriteriaoftheassignment,arelate,havenumerouserrorsorboth.Yourwritingshouldnotcontainanyerrorsinspelling,style,grammarandfacts.Accuracyisthefirstlawofjournalism.Thefollowingaresomeothercircumstancesthatwouldwarrantagradeof“F”andpotentialUSC/Annenbergdisciplinaryaction:
•Fabricatingastoryormakingupquotesorinformation.•Plagiarizingascript/article,partofascript/articleorinformationfromanysource.•Stagingvideoortellinginterviewsubjectswhattosay.•Usingvideoshotbysomeoneelseandpresentingitasoriginalwork.•Shootingvideoinonelocationandpresentingitasanotherlocation.•Usingthecamcordertointentionallyintimidate,provokeorinciteapersonoragroupofpeopletoelicitmore“dramatic”video.•Promising,payingorgivingsomeonesomethinginexchangefordoinganintervieweitheronoroffcamera.•Missingadeadline.
V.AssignmentSubmissionPolicyA. Allassignmentsaredueonthedatesspecified.Lackingpriordiscussionandagreementwiththeinstructor,
unexcusedlateassignmentswillautomaticallybegivenagradeofF.
B. Writtenassignmentsmustbesubmittedviae-mailtotheinstructorperguidelinesoutlinedinthesyllabus.C. VideoeditsmustbeexportedasQuickTimemoviesandsubmittedthroughXchange.Wewillprovidetraining
onthesystemduringtheeditingworkshops.Fortechnicalissues,pleasecontactVictorFigueroa,theMediaCenter’[email protected].
D. CompletedprojectswillbeeligibleforbroadcastonImpact,USCAnnenberg’saward-winningstudent-
producednewsmagazineseries.Formoreinformation,pleasevisit:http://impact.uscannenberg.orgAboutthevideoshotforthisclass…thefootageyoushootforthiscourseisthepropertyoftheUniversityandtheAnnenbergSchool,onlytobeusedbyyouforyourstoryasanassignment,aspartofyourthesisproject,andinallcases,asastoryforpossibleinclusiononImpact.Thefootagecannotbeusedforanyotherpurpose–whatsoever–withoutwrittenpermissionfromAnnenberg.Youwillbeentitledtousecompletedcopiesofyourstoriesfordemonstrationpurposesandyourresume.YoumaylinktotheImpactsiteonanyWebsitethatisspecifictoyouandyourjobsearch.Thestorymaynotbeusedforanycommercialpurpose.PleaserefertotheProceduresandGuidelinesforgreaterclarificationonthispolicy.
VI.OptionalReadingsandSupplementaryMaterialsTEXTBOOKSASREFERENCES:Throughobservation(critiquingexistingshows),organization,andhands-onproducing,you’lllearnthesecretsbehindlong-formstorytelling.Inadditiontothesemester’swork,thefollowingreadinglist–availableatthebookstore–willgiveyouanevengreaterunderstandingofthehistorybehinddocumentarytelevisionandtheworkthatgoesintocreatingit.
• Barnouw,Erik.Documentary:AHistoryoftheNonfictionFilm• Rabiger,Michael.DirectingtheDocumentary• Bernard,SheilaCurran,DocumentaryStorytelling:MakingStrongerMoreDramaticNonfictionFilms.
SCRIPTFORMAT:Thefollowingpagesshowyouacoupleofexamplesofthescriptformatthatwewilluse.It’saformatusedinthenonfictionworld.Noticetheelements…Thereisaheaderrowthatgivesthesegmenttitle,showname,episodenumber,producername,date,draftnumber,andontheright…thepagenumber.Intheleftcolumn,thevisualelementsaredescribed,whethertheyareinterviewreferencesorsequences.Noticethereferencetoclipnumbers,timecodeanditsappropriatedescriptions.Allofthisinformationmakesitpossibleforaneditortofindtheclipsandeditaslaidoutonthescriptwithrelativeease.What’sheardisshownverbatimintherightcolumn,transcribedsoundbitesandnarration.Thenarrationisinallcapswith1.5spacing.TheSOTsaresingle-spacedinupper/lowercase.ThisfirstexampleisfrommydocumentaryforDiscoveryChannelandTLCaboutCaptainChesleySullenberger’s2009landingofUSAirwaysFlight1549ontheHudsonRiver.Narrationisused.Soundbitespushthestoryalong,andnarrationwritesintoandoutofthesoundbites.Youwon’tneedtoworryaboutnumberingyourrowslikeIhave.
BraceforImpact#-#-#-#Producer/Writer:DanielH.BirmanV:Fine1–November9,2009–ConformedtoFineCutNATSSullyarrivesSUPOR&SON–walkstohisplane–seesitforthefirsttime
11 INJUNE,2009,U.S.AIRWAYSPILOTCHESLEY
SULLENBERGERATTENDSAREUNION.
THELASTTIMESULLYSAWTHISAIRCRAFT,ITWAS
STILLFLOATINGINTHEMIDDLEOFNEWYORK’S
HUDSONRIVERAFTERAFLOCKOFCANADAGEESE
FORCEDITOUTOFTHESKY.
VOSULLY[6_21_A1_Supor1_4][08:01:33:00]Continuesequencefromabove–Sullywalks-upandtouchestheplane,showitinWS
12 Mysenseisthatthebirdsstrucktheairplanealotofareas.Thefuselage,thewings,theengines,but,um,Idon’tknow.
NATSWSSullycontinuingtowalkaroundtheplane
13 THEREWASN’TTIMETOWONDER,FORTHECREW
ANDPASSENGERSABOARDFLIGHT1549,THERE
WASONLYTIMETOACT.
TRANSITIONNYAerials
14
BraceforImpact#-#-#-#Producer/Writer:DanielH.BirmanV:Fine1–November9,2009–ConformedtoFineCutVONARRATORGYRON–NYAerials/LaGuardiaTower
15 ONJANUARY15TH,2009150PEOPLEMAKETHEIR
WAYTHROUGHACOLDWINTERDAYTONEW
YORK’SLAGUARDIAAIRPORTFORAFLIGHTTO
NORTHCAROLINA.
VONARRATORSullyandjeffwalktopressconf.Aerials-LaGuardia
16 CAPT.“SULLY”SULLENBERGERANDFIRSTOFFICER
JEFFREYSKILESARETHEPILOTSONBOARDU.S.
AIRWAYSFLIGHT1549.
FLIGHT1549LEFTNEWYORK’SLAGUARDIA
AIRPORTAT3:25P.M.THATDAY,HEADEDFOR
CHARLOTTE,NORTHCAROLINA.TWOPILOTS,
THREEFLIGHTATTENDANTS,AND150
PASSENGERSBUCKLE-UPFORTHEFLIGHT.
NATSChicopeeSixbarbecue
17
SOTJORGEMORGADO[7-18-A2-CHICINT1-8]02:37:19
18 We'vebeendoingthistripfor,God,Idon'tknow,guyseightyears?Um,thisis,uh,kindoflike,uh,atraditionforus.
VONARRATOR6atBBQ
19 JORGEMORGADO,JEFFKOLODJAY,HISFATHER,
ROB,JIMSTEFANIK,DAVECARLOSANDRICK
DELISLEAREFRIENDSANDRELATIVESFROM
CHICOPEE,MASSACHUSETTES.
THEYAREHEADEDTONORTHCAROLINAFOR
THEIRANNUALGOLFVACATIONWHENTHEYBUY
THELASTSIXTICKETSON1549.
SOTDENISELOCKIE[10_30_A1_Lockie1_4]00:03:40
20 Iwasthefirstpersontoboardtheaircraft//Isawtheentirecrew//Ilookedatallthepassengers,Ialwaysliketoanalyzepeoplewhentheycomeontheplane.//Itwasverymuchabusinesscrowdthatday.Andeveryonehadwintercoatsandglovesandscarves.
BraceforImpact#-#-#-#Producer/Writer:DanielH.BirmanV:Fine1–November9,2009–ConformedtoFineCutVONARRATORTaxishots
21 OVERTHEDRONEOFJETENGINES,THE
PASSENGERSRECEIVEASTANDARDSAFETY
BRIEFINGABOUTWHATTODOINTHEEVENTOF
ANEMERGENCY.
LORILIGHTNER[7_8_A2LIGHTNER15]2:02:47
22 Iflyalotforbusiness,ingeneralbutI’veneverbeenagoodflyer.I’vealwaysbeenalittlebitscaredeverytime.Itjustdoesn’tfeelnatural,beinginsomethingthatbig.
Whenyouhavecompletededitingyourpiece,watchthesegmentandfollowalongwiththescript.Whatchanged?Whatworked?Whatmightyoudodifferentlynexttime?Takenotes.Thiswillallbeforeignforawhile.Withpractice,you’llgainconfidenceinthinkingthroughcontentandvisualsequences.Whenyoudothat,you’llknowthatyoucantake-onanytypeofstory,andthat’swhenitallturnsfromstresstoqualityin-depthreporting–thethrustofthiscourse.
VII.LaptopPolicyAllundergraduateandgraduateAnnenbergmajorsandminorsarerequiredtohaveaPCorApplelaptopthatcanbeusedinAnnenbergclasses.PleaserefertotheAnnenbergVirtualCommonsformoreinformation.ToconnecttoUSC’sSecureWirelessnetwork,pleasevisitUSC’sInformationTechnologyServiceswebsite.Add/DropDatesforSession001(15weeks:08/22/16–12/2/16)(optional)Friday,September9:LastdaytoregisterandaddclassesforSession001Friday,September9:Lastdaytodropaclasswithoutamarkof“W,”exceptforMonday-onlyclasses,andreceivearefundforSession001Tuesday,September13:lastdaytodropaMonday-onlyclasswithoutamarkof“W”andreceivearefundforSession001Friday,October7:Lastdaytodropacoursewithoutamarkof“W”onthetranscript.[Pleasedropanycoursebytheendofweekthree(ortheweekthreeequivalentforshortsessions)toavoidtuitioncharges.]Friday,November11:Lastdaytodropaclasswithamarkof“W”forSession001Formoreinformation,pleasereferto:http://academics.usc.edu/calendar/2014-2015/
VIII.CourseSchedule:AWeeklyBreakdownImportantnotetostudents:Beadvisedthatthissyllabusissubjecttochange–andprobablywillchange–basedontheprogressoftheclass,newsevents,and/orguestspeakeravailability.
Week 1
08.23.2016
INTRODUCTIONS
Lecture:UnderstandingDocumentaryandLongform§ Realmsofnonfictiontelevision§ Journalismandintegrityasalongformpractice§ Passionandcreativitybehindthecraft§ Takingthetimelinessoutofnewsworthyevents§ Thepowerofmultimediaforlongform
FindingtheStoryandPresentingthePitch
§ Craftingviablestoryideasfordecision-makers§ Accessandfeasibilityforexecution§ Thinkingabouttheaudience§ Lookingatthebigpicture:Youhaveanidea.Whatdoesitmean?
Assignments:- Researchideasfora15-20minutedocumentaryproject.- Writesingle-paragraphpitchesforthreestoryideas–onemain,twoasbackup.E-mail
Worddocumenttoinstructorbynextclass.- Preparetopresentverbalone-minutepitchfornextclass.
208.30.2016
**DUE:PITCHES(WRITTENANDVERBAL).HARDCOPIESDUEINCLASS.
PITCHSESSION&In-ClassFeedbackLecture:VisualLiteracy
§ Thinkingvisually:marryingpicturesandsoundswithjournalism§ Deconstructingtheelements:people,locations,actualities,topics&questions§ Pre-production:beingprepared,informedandincontrol§ Utilizingavailabletoolsandresourcestobringacreativevisiontolife
ThePowerofResearchinLongformStorytelling
§ Researchmethodologies–howtofindsolidsources§ Statistics,accuracyofinformationandthinkingcritically
Assignments:
- Formteams&e-maildecisionsonteammembersandtopicbyFriday9/2.- Beginin-depthresearchandcompilingsourcesforbibliography.- FORNEXTWEEK’SMANDATORYWORKSHOP:ReadtheshootingguidelinesfortheSony
EX-1(willbee-mailed).
Week 3
09.06.2016AdvancedCameraWorkshop-Part1:IntroductiontotheSonyEX-1
§ Cinematographytermsandtechniques§ Audiobasics§ Theinterview:Techniquesforlongformtelevision§ Releaseformsandprotectingyourselflegally
Assignments:
- Checkoutthecameraforpractice.- Begingainingaccesstolocations,charactersandexperts.Conductpre-interviews.- Compilein-depthresearchbytopicintoMLAformat.Bibliographyduenextweek.
409.13.2016
**DUE:RESEARCHBIBLIOGRAPHY.HARDCOPIESDUEATTHEBEGINNINGOFCLASS.AdvancedCameraWorkshop-Part2:ShootinginSequences
§ Shootingsequences:Capturingvisualinformationthatconveysabasicnarrative§ Gettingavarietyofshotsandangles:wideshots,mediumshots,close-ups,cutaways,etc.§ Whattodoonlocationanddealingwithsubjects§ Takingapausetoobserveyoursurroundings§ Lookingfortellingdetailsthatrevealcharacter,behavior,skill,humor,etc.§ Quantityv.quality
Assignments:
- Beginshooting.- Bringmediacardsintoclassnextweekfortheeditworkshop.
509.20.2016
**DUE:RAWFOOTAGE.Lecture:CraftingtheStoryArc
- Pre-production:beingprepared,informedandincontrol- Identifyingthemainelementsinyourstory- Understandingyoursubjects,theirenvironmentsandtherightquestionstoaskbefore
headingoutonyourfirstshootEditWorkshop–Part1:MediaManagementandOrganization
§ Mediamanagement§ Projectsetup§ Importingfootage§ Settingaudiochannels§ Yournewbestfriend:TheImpactServer
Assignments:- Continueshooting.Logandtranscribefootage.Bringfootagetoclassnextweek.- BeginpreparingastoryarcinoutlineformatviaMicrosoftWord.Outlinethreesequences.
Week 6
09.27.2016**DUE:RAWFOOTAGE.ManagingYourProductionSchedule
- Importanceofstayingorganizedandplanningahead- Anticipatingobstaclesandlearninghowtotroubleshootthem- Deliveringyourproductontime
EditWorkshop–Part2:AdvancedEditingTechniques
§ Translatingyourvision:fromcameratoedit§ Findinggoodsoundbites,buildingasolidnarrative§ “Radiocut”–creatinga“selects”timeline§ Creatingsubclips:loggingandunderstandingyourfootage
Assignments:
- Continueshooting.Logandtranscribefootage.Bringfootagetoclassnextweek.- Finishyourstoryarcforyourapprovedproject.Duenextclass.
710.04.2016
**DUE:STORYARC.HARDCOPIESDUEATTHEBEGINNINGOFCLASS.EditWorkshop–Part3:EditingforLongformStorytelling
§ Cuttingsequences§ Transitions§ Splitedits§ Pacing§ ExportingsequencesanduploadingtoXchange
TeamMeetings:Midtermcheck-inAssignments:
- Continueshooting.Logandtranscribefootage.- EditSequence1.Duenextweekinclass.ExportanduploadtoXchangeby8a.m.on
10/11.
Week 8
10.11.2016**DUE:SEQUENCE1.
ReviewSequence1In-classreviewandfeedback.Lecture:StoryDevelopment
§ Troubleshootingstorylines:weakstorybeats,missingfootage§ Journalists’choices§ Additionalsourcesforinformationorfootage
Lecture:WritingtheScript
- Translatingrawfootagetoascript- Screeningfootageforgoodstorybeats- Scriptformatandannotations- Responsibilityofajournalistinlongform:sourcingandattribution- Writingtoalongformaudience
Managinglargequantitiesoffootageinpreparationtowriteascript
Assignments:- Continueshooting.Logandtranscribefootage.- Beginwritingscript.RefertotheSupplementaryMaterialssectionofyoursyllabusonpages
5-7forformat.- EditSequence2.Duenextweekinclass.ExportanduploadtoXchangeby8a.m.on
10/18.
910.18.2016
**DUE:SEQUENCE2.ReviewSequence2In-classreviewandfeedback.
Lecture:AdditionalStorytellingElements§ Gettingcreativewithvisualsfornonvisualsubjects§ Buildingonaskillset§ Discussionsaboutprogressandprocess
ProductionTroubleshooting
§ Theproblemswepredict§ Cameratechniques:what’sworking,what’snotworking§ Theoneswecan’tanticipate§ Projectcompletionproblems§ Ethicaldilemmas
Assignments:- Continueshooting.Logandtranscribefootage.- Continuewritingscript.RefertotheSupplementaryMaterialssectionofyoursyllabuson
pages5-7forformat.- Begineditingroughcut.
Week 10
10.25.2016
**DUE:SCRIPT.E-mailappropriatelyformattedWorddocumenttoinstructorpriortoclass.Lecture:Translatingthescripttotheedit
§ Howtoturnyourwritingintovideo§ Changingthesee-and-saymindsetintothinkinginsequences§ Lettingshotsgoandpacing§ Rethinkingthescript§ Advancingthestory
Assignments:- Conductpickupshoots,ifnecessary.- Continueeditingroughcut.Dueintwoweeks.
1111.01.2016
Lecture:Currentstateofnonfictiontelevision&careerchoices
§ Theblurringlinesbetweennonfictionandentertainment§ Understandingthemarketplace:yourideasv.networkinterestsandcompetition§ Realitiesoftheindustry§ Pitchingyourideas:wheretogoandwhototalkwith§ Whatitmeanstoworkinlongform§ Howclassprojectscanhelpyoufindwork§ Industryfeedback
Assignments:- FinisheditingROUGHCUT.Duenextweekinclass.ExportanduploadtoXchangeby8
a.m.onTuesday11/8.- Conductpick-upshoots,ifnecessary.
1211.08.2016
**DUE:ROUGHCUT.ROUGHCUTSCREENINGIn-classfeedback.Instructorwille-mailnotesandgrades.
Assignment:- Conductpick-upshoots,ifnecessary.- Continueediting.
Week 13
11.15.2016
Lecture:Comparingyourvisionwiththeexecutionofastory
§ Whatyoupitchedv.whatwewatched§ Survivingexecutivenotes
MakingEditorialDecisions
§ Decidingwhenmaterialhurtsthestorytelling§ Learningtofalloutoflovewithtoomuchfootage§ Knowingwhentotrimandcut§ Journalists’choices§ Strongv.weakstorybeats
Assignments:- EditPROGRESSCUT.Duenextweekinclass.ExportanduploadtoXchangeby8a.m.on
Tuesday11/22.
1411.22.2016
**DUE:PROGRESSCUT.PROGRESSCUTSCREENINGIn-classreviewandfeedback.
Assignments:- Continueeditingyourproject.FINECUTduenextweek.ExportanduploadtoXchangeby
8a.m.onTuesday11/29.- Assemblefinaldeliverables–ALLreleaseformsandaconformedscript.
1511.29.2016
**DUE:FINALEDIT+DELIVERABLES(conformedscript+releaseforms)
FINECUTSCREENINGIn-classfeedback.Instructorwille-mailnotesandgrades.YOUWILLNOTRECEIVEAGRADEIFANYDELIVERABLESAREMISSING.
IX.PoliciesandProceduresAdditionalPoliciesAttendanceClassattendanceismandatory.Studentsareadvisedtoattendthefirstclassmeetingsoftheirjournalismclassesortheinstructorsmaydropthem.TheSchoolofJournalismadherestotheuniversitypolicy,whichstates“aninstructormayreplaceanystudentwhowithoutpriorconsentdoesnotattend...thefirstclasssessionofthesemesterforonce-a-weekclasses.Itisthenthestudent’sresponsibilitytowithdrawofficiallyfromthecoursethroughtheRegistrationDepartment.”InternshipsThevalueofprofessionalinternshipsaspartoftheoveralleducationalexperienceofourstudentshaslongbeenrecognizedbytheSchoolofJournalism.Accordingly,whileinternshipsarenotrequiredforsuccessfulcompletionofthiscourse,anystudentenrolledinthiscoursethatundertakesandcompletesanapproved,non-paidinternshipduringthissemestershallearnacademicextracredithereinofanamountequalto1percentofthetotalavailablesemesterpointsforthiscourse.Toreceiveinstructorapproval,astudentmustrequestaninternshipletterfromtheAnnenbergCareerDevelopmentOfficeandbringittotheinstructortosignbytheendofthethirdweekofclasses.Thestudentmustsubmitthesignedlettertothemediaorganization,alongwiththeevaluationformprovidedbytheCareerDevelopmentOffice.Theformshouldbefilledoutbytheinternsupervisorandreturnedtotheinstructorattheendofthesemester.Nocreditwillbegivenifanevaluationformisnotturnedintotheinstructorbythelastdayofclass.Note:Theinternshipmustbyunpaidandcanonlybeappliedtoonejournalismclass.StatementonAcademicConductandSupportSystemsa.AcademicConductPlagiarismPresentingsomeoneelse’sideasasyourown,eitherverbatimorrecastinyourownwords-isaseriousacademicoffensewithseriousconsequences.PleasefamiliarizeyourselfwiththediscussionofplagiarisminSCampusinSection11,BehaviorViolatingUniversityStandardshttps://scampus.usc.edu/b/11-00-behavior-violating-university-standards-and-appropriate-sanctions/.Otherformsofacademicdishonestyareequallyunacceptable.SeeadditionalinformationinSCampusanduniversitypoliciesonscientificmisconduct,http://policy.usc.edu/scientific-misconduct/.USCSchoolofJournalismPolicyonAcademicIntegrityThefollowingistheUSCAnnenbergSchoolofJournalism’spolicyonacademicintegrityandrepeatedinthesyllabusforeverycourseintheschool:“Sinceitsfounding,theUSCSchoolofJournalismhasmaintainedacommitmenttothehigheststandardsofethicalconductandacademicexcellence.Anystudentfoundplagiarizing,fabricating,cheatingonexaminations,and/orpurchasingpapersorotherassignmentsfacessanctionsrangingfroman‘F’ontheassignmenttodismissalfromtheSchoolofJournalism.AllacademicintegrityviolationswillbereportedtotheofficeofStudentJudicialAffairs&CommunityStandards(SJACS),asperuniversitypolicy,aswellasjournalismschooladministrators.”Inaddition,itisassumedthattheworkyousubmitforthiscourseisworkyouhaveproducedentirelybyyourself,andhasnotbeenpreviouslyproducedbyyouforsubmissioninanothercourseorLearningLab,withoutapprovaloftheinstructor.
b.SupportSystemsEquityandDiversityDiscrimination,sexualassault,andharassmentarenottoleratedbytheuniversity.YouareencouragedtoreportanyincidentstotheOfficeofEquityandDiversityhttp://equity.usc.edu/ortotheDepartmentofPublicSafetyhttp://dps.usc.edu/contact/report/.ThisisimportantforthesafetyofthewholeUSCcommunity.Anothermemberoftheuniversitycommunity-suchasafriend,classmate,advisor,orfacultymember-canhelpinitiatethereport,orcaninitiatethereportonbehalfofanotherperson.TheCenterforWomenandMenhttp://www.usc.edu/student-affairs/cwm/provides24/7confidentialsupport,andthesexualassaultresourcecenterwebpagehttps://sarc.usc.edu/describesreportingoptionsandotherresources.SupportwithScholarlyWritingAnumberofUSC’sschoolsprovidesupportforstudentswhoneedhelpwithscholarlywriting.Checkwithyouradvisororprogramstafftofindoutmore.StudentswhoseprimarylanguageisnotEnglishshouldcheckwiththeAmericanLanguageInstitutehttp://ali.usc.edu/whichsponsorscoursesandworkshopsspecificallyforinternationalgraduatestudents.TheOfficeofDisabilityServicesandProgramshttp://sait.usc.edu/academicsupport/centerprograms/dsp/home_index.htmlprovidescertificationforstudentswithdisabilitiesandhelpsarrangetherelevantaccommodations.Studentsrequestingtest-relatedaccommodationswillneedtoshareanddiscusstheirDSPrecommendedaccommodationletter/swiththeirfacultyand/orappropriatedepartmentalcontactpersonatleastthreeweeksbeforethedatetheaccommodationswillbeneeded.Additionaltimemaybeneededforfinalexams.Reasonableexceptionswillbeconsideredduringthefirstthreeweeksofthesemesteraswellasfortemporaryinjuriesandforstudentsrecentlydiagnosed.PleasenotethatareasonableperiodoftimeisstillrequiredforDSPtoreviewdocumentationandtomakeadeterminationwhetherarequestedaccommodationwillbeappropriate.StressManagementStudentsareunderalotofpressure.Ifyoustarttofeeloverwhelmed,itisimportantthatyoureachoutforhelp.AgoodplacetostartistheUSCStudentCounselingServicesofficeat213-740-7711.Theserviceisconfidential,andthereisnocharge.EmergencyInformationIfanofficiallydeclaredemergencymakestraveltocampusinfeasible,USCEmergencyInformationhttp://emergency.usc.edu/willprovidesafetyandotherupdates,includingwaysinwhichinstructionwillbecontinuedbymeansofBlackboard,teleconferencing,andothertechnology.
X.AboutYourInstructor:DanielH.BirmanDanielH.BirmanisanonfictionanddocumentaryproducerbasedinLosAngeles.HeiscurrentlyproducingCuriousMinds:ConsciousCapitalismforthedigitalstreamingservice,CuriosityStream.HeisalsoproducingSentencingChildren,aseven-partinvestigativeseriesincollaborationwithPBS-IndependentLensandTheTennesseanaboutalegalpushtochangejuvenilesentencinglawsinTennessee.Somerecentworkincludes:PerfectingFlight,adocumentaryspecialaboutlegendaryaviator,BobHoover,whosecontributionstoaviationbeganinWWIIandatage91,fliesonemoretimeandtellshisstory.BirmanwasacontributingproducerforTheBigBangMachine,aspecialforPBS-NOVAaboutoneofthegreatscientificdiscoveriesinmoderntimes,theHiggsboson,atinyparticlethatexplainshowtheuniversewasformed.ChasingSpeed:LesliePorterfieldforVelocityisthestoryabouttheworld’sfastestwomanonamotorcycle.Birmanproducedaninternationallyacclaimedsocialdocumentary,MeFacingLife:Cyntoia’sStoryforPBS-IndependentLens,whichwasalsofeaturedaspartoftheITVSCommunityCinemaprogram.Birmanwrote,produced,anddirectedthedocumentary,BraceforImpact:theChesleyB.SullenbergerStoryforTLCandDiscovery.Birmanalsohasanextensivebodyofworkproducingscienceandmedicalprogrammingforthenetworks.Hisproductioncompany,BirmanProductions,isindevelopmentandproductiononanumberofdocu-seriesandspecials,includingaseriesbasedonTheNewYorkTimesBestsellerslistbookseries,“TheHingesofHistory”writtenbythepopularhistoryauthor,ThomasCahill.BirmanisalsoaProfessorofProfessionalPracticeattheUSCAnnenbergSchoolofJournalism,whereheteachesdocumentaryproductionandistheExecutiveProducerofImpact,astudent-producedlongformseriesatAnnenberg.Additionally,BirmanservesontheBoardofGovernorsfortheTelevisionAcademy,representingtheDocumentarypeergroup. AboutYourProductionCoach:MeganChaoMeganE.ChaoisvicepresidentofdevelopmentandproductionforDanielH.BirmanProductions,Inc.,amediaproductioncompanybasedinLosAngeles.Inherrole,sheoverseesthelogisticaloperationsofthecompany,frompre-productionthroughproductionandpost-production.Shealsomanagestheoverallcorporatestrategyforthecompany.Chaojoinedthecompanyinearly2009asaresearcheronBraceforImpact:TheChesleyB.SullenbergerStory,adocumentaryforTLCandDiscoveryChannel.Shequicklyrosethroughtheranks,becominganaward-winningproducerandeditor(Avid,FCPandAdobePremiereproficient).Sheisalsoacinematographer(SonyandCanon)andwriter.Shehasatrackrecordofsuccessfullytakingshowsfromdevelopmentthroughnetworkdelivery.ChaoisanadjunctfacultymemberatUSC’sAnnenbergSchoolforCommunicationandJournalism,andislineproducerandonlineeditorforthestudent-producedtelevisionnewsmagazineshow,Impact.Shehasamaster’sdegreeinbroadcastjournalismfromUSCAnnenberganddualbachelor’sdegreesinbiologyandnonfictioncreativewritingfromtheUniversityofCaliforniaatRiverside.SheisanactivememberoftheTelevisionAcademyinthedocumentarypeergroup,andisamemberoftheInternationalDocumentaryAssociation.
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