jour 405: non-fiction television 4 unitsweb-app.usc.edu/soc/syllabus/20181/21237.pdf · office...

JOUR405:Non-FictionTelevision4Units

Spring2018–Tuesdays–9a.m.-12:20p.m.Section:21237DLocation:ANN210

Instructor:ProfessorDanielBirmanOffice:ANN205AOfficeHours:Tuesdays,8-9a.m.andbyappointmentContactInfo:birman@asc.usc.edu,213.821.1131(office),818.434.4300(cell)

ProductionCoach:MeganChaoOffice:ANN204FOfficeHours:ByappointmentContactInfo:megan.chao@usc.edu,213.740.3927(office),661.992.0925(cell),Skype/Google:megan.chao

I.CourseDescriptionJOUR405isahands-onproductioncoursethatteachesamethodologyincraftingalong-formnonfictiontelevisionstory.Fromstoryconceptionandpre-production,throughproductionandpost-production,studentswill,bysemester’send,beproficientinbestpracticesandhowtheseapplytotheevolvingtrendsinthetelevisionanddocumentaryindustries.Producingalong-formstorygoesbeyondthescopeoftraditionaltelevisionnews.Itprovidesanopportunityforin-depthreportingandstorytellingthatoffersviewersgreaterperspective.Thegoalofthisclassistofurtherdevelopwhatyoualreadyknowaboutnewsreportingandapplytheseskillstoalongerstory.Thekeytosuccessintheclassiscomingupwithideasthatarevisualandforwhichyouhaveaccess.Storysubjectsneedtoberelevantandpractical,buttheyalsoneedtobeevergreen.Astoryaboutanewseventcanworkaslongastheapproachtakesanin-depthlookatalargerproblem.Example:Ifacarcompanyintroducesalineofcarsthatnolongerneedgasolinetooperate–thisisanewsstory.However,ifyouproduceastoryaboutthelargerproblemsassociatedwithourdependenceonoil,thenewsofanewbreedofautomobilejustbecomesoneminorpartofthestory.Thebulkoftheworkiscreatingafeasibleideafromconceptthroughcompletion.Studentspitchmarketableprojects,doextensiveresearch,identifyexpertsandvisualsequencesthatcanhelptellthestory,writeascript,edit,andrevisetheirstoriesforpublication.Theclassteachesyouhowtothinkaboutastoryvisuallyandhowtobuilditusingvisualsequenceswithinamanageablestoryarc.Studentslearnhowtoshootwithprofessionalcameras,write,andeditforlong-formstorytellinginwaysthatwilltranslatetoanymediumorplatform.Journalisticintegrityandvaluesareattheheartofitall.Yourfinishedproductsshouldbecreativeandbeabletostanduptotherigorsoffairnessandcredibility.Andyoushouldbeproudofyourwork.

II.OverallLearningObjectivesandAssessmentStudentstakingJOUR405:

• Researchideasthatcanbeproducedwithinasemester• Pitchastoryideawithaspecificplacementinmind• Reviewandanalyzecurrentandhistoricaldocumentaries• Collectrelevantresearchmaterials• Organizecontentforpre-productionplanning• Learnadvancedshootingandeditingpractices• Shootvisualsequencesforthedocumentary• Logandtranscribethematerial• Writeaproduciblescript• Editthenonfictionshortprogram• Makerevisionsbasedonfirsteditevaluations.

Theseobjectivesdefinetheday-to-dayworkoflong-formnonfictionstories.Everyaspectofthisformiscomplex,butequallyinteresting.Research,experts,actualities,interviews,visuals,sound,music,andgraphics–thesearethebasicelementsofalong-formstory.Thepayoffisrewardingfortheproducerandfortheviewer.Aswegothroughthesemester,we’lldiscussterminologyandapplicationsothatwhenyouwalkawayfromthiscourse,you’llhaveastronganddefendableapproachtomakingimportant,honestandfairprograms.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’lllearnsomesecretsbehindlong-formstorytellingthatwill,byextension,helpyouinyourprofessionalcareer.

III.DescriptionofAssignmentsCLASSDELIVERABLES:

• Pitchesneedtobetypedout,proofreadandcheckedforgrammar.You’llcreatetwotothreeideas.Each

ideamustbenolongerthanonetypedparagraph.Turninhardcopyprintoutsasinstructedinthecourseschedule.You’llalsoneedtoprepareforaverbalpitchinclass.Youshouldbeabletogettothe“Sowhat?”and“Whocares?”elementswithinthefirstsentence–thebigpicture.You’llbegradedonyourabilitytoarticulateideas–basedoncrediblefacts–andhowwellpreparedyouaretoanswerquestionspertainingtothetopic.

• ThebibliographiesneedtobeinMLAformat,clearandconciselylaidoutwithacoupleofsentences

describingthesignificanceoftheresearch.Turninhardcopyprintoutsasinstructedinthecourseschedule.Youshouldbeabletodemonstrateanabilitytoconductin-depthresearchwithlegitimateandreliablesources,likejournalarticles,featurestories,etc.Wikipediaisnotasource.Thinkofbigpictureconceptsinconnectionwithyourstory–e.g.Ifyou’reproducingastoryaboutearthquakesinsouthernCalifornia,youneedtocitestatisticsfromtheUSGSabouthowmanyearthquakeshappenintheregion,howoften,etc.Onebibliographyperteam.

• ThestoryarcistobesubmittedviaemailasMicrosoftWorddocuments.Youwillbegradedon

presentationofaclear,thought-outnarrativeandapproachtothestorytellingbasedongathered,oryet-to-be-gatheredelements.Onestoryarcperteam.

• EditedsequencesaretobesubmittedasexportedQuickTimefilesviaXchange.VictorFigueroa,your

mediaproductionsupervisor,willguideyouthroughthetechnicalprocessintheeditingworkshopandinhistutorials.

• ScriptsaretobesubmittedasMicrosoftWorddocumentsviaemailtotheinstructor.(Pleaserefertothe

OptionalReadingsandSupplementaryMaterialssectiononpages5-7forformat.)Youwillbegradedongoodvisualdescriptionsintheleftcolumn,andhowthestoryflowsintherightcolumn.Iwillnotgradeanassignmentthatdeviatesfromtheexampleprovided.Onescriptperteam.

• TheroughcuteditistobesubmittedasanexportedQuickTimefileviaXchange.Thisiswhereitallstarts

tocometogether.You’lleditbasedonyourscriptandanyassociatednotesfromme.You’llbegradedonyourhowwellyouachievedwhatyousaidyouweregoingtodoinyourscript,aswellaspacing,storytellingandvisualsequences.

• ThefinecuteditistobesubmittedasanexportedQuickTimefileviaXchange.Thisisyourfinalproduct.

• Finaldeliverables:ReleaseformsforallfeaturedpersonsinyourstoriesareREQUIRED.Iwillnotgivea

finalstorygradeforsegmentsmissingreleaseforms.Hardcopiesaretobeturnedinuponfinecutdelivery.OurrequiredreleaseformispostedtoBlackboardandavailableontheImpactwebsite.Pleasebesuretomakeextracopiesandputtheminyourcamerabagbeforegoingonashoot.Anymissingdeliverableswillresultinnogradefortheassignment.Aconformedscriptthatreflectsyourfinecutfrombeginningtoendisrequired,aswell.PleaseemailtheWorddocumenttotheImpactteamatimpact@usc.edu.

IV.Gradinga.BreakdownofGrade

Assignment %ofGradeStoryPitch 5ResearchBibliography 15StoryArc 10EditedSequences(2x5%) 10Script 15RoughCut 20FinalEdit&FinalDelivery:ReleaseForms+ConformedScript 25TOTAL 100%

b.GradingScaleThefollowingisthegradescalethatIusetoassignlettergrades.Itisuptoyoutokeeptrackofyourgradesandtomakeanappointmentwithmetodiscussanyconcernsyoumighthave.Wewillhaveamid-courseevaluationtoletyouknowwhereyoustand.Samplegradingscaleprovidedbelow:

95to100:A 70tolessthan75:C+ 45tolessthan50:D-

90tolessthan95:A- 65tolessthan70:C 0tolessthan45:F

85tolessthan90:B+ 60tolessthan65:C-

80tolessthan85:B 55tolessthan60:D+

75tolessthan80:B- 50tolessthan55:D

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. Writtenassignmentsmustbesubmittedviaemailtotheinstructorperguidelinesoutlinedinthesyllabus.C. VideoeditsmustbeexportedasQuickTimemoviesandsubmittedthroughXchange.Wewillprovidetraining

onthesystemduringtheeditingworkshops.Fortechnicalissues,pleasecontactVictorFigueroa,theMediaCenter’sProductionSupervisoratvfiguero@asc.usc.edu.

D. CompletedprojectswillbeeligibleforbroadcastonImpact,USCAnnenberg’saward-winningstudent-

producednewsmagazineseries.Formoreinformation,pleasevisit:http://www.uscannenbergmedia.com/category/watch/impact

Aboutthevideoshotforthisclass…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.ThisfirstexampleisfrommydocumentaryforCuriosityStreamaboutthehuntfordarkmatter.Narrationisused.Soundbitespushthestoryalong,andnarrationwritesintoandoutofthesoundbites.Youwon’tneedtoworryaboutnumberingyourrowslikeIhave.Sequence: W.M. Keck Observatory 50 Music cue: Amsterdam_LilyMcBeth.mp3 VO NARRATOR EXT Lahaina, HI Tilt up to reveal Mauna Kea Volcano Mauna Kea Card 1 Clip0005 3:06:59;00

51 ASTRONOMERS, LIKE RICHARD

ELLIS, SEARCH FOR VISIBLE PROOF

THAT DARK MATTER EXISTS. IN

THIS CASE, ON A MOUNTAINTOP ON

THE ISLAND OF HAWAII.

(10 seconds)

VO / SOT Richard Ellis Richard Ellis, PhD. Professor of Astrophysics, University College, London Keck Ellis_Card 1 Clip0002 5:41:47;11 Drive up to Keck, GOPR0012.mp4 0:00:34;04

52 The romance of going to all these remote mountaintops, building these wonderful machines // is an example of something our civilization does supremely well.

VO NARRATOR EST Clouds + Mauna Kea telescopes Mauna Kea_Card 1 Clip0008 3:38:37;19 Mauna Kea_Card 1 Clip0010 3:40:50;18

53 AT NEARLY 14,000 FEET ABOVE SEA

LEVEL, THE DORMANT MAUNA KEA

VOLCANO ON THE BIG ISLAND OF

HAWAII IS HOME TO SOME OF THE

LARGEST TELESCOPES ON EARTH.

(10 seconds)

SOT Richard Ellis INT Keck viewing room, Lahaina Keck Ellis_1080 Card 1 10.08.2016 Clip0002.mp4 5:41:26;11 Mauna Kea telescopes (continue from above) Clip0013.mp4, 0:00:28;13 Keck telescope operator Keck Ellis_2 Clip0033 13:57:47;07 Keck Ellis_2 Clip0039 14:26:45;26

54 Just think every night // when you go to sleep, there are dozens of astronomers all over the world beginning to work // making their observations.

SOT Richard Ellis Keck Ellis_1 Clip0002 5:26:19;21

55 Astronomers have a variety of telescopes for looking at dark matter.

SOT Richard Ellis Ellis at computer console, shows Hubble images and points to evidence of gravitational lensing Keck Ellis_1080 Card 1 10.08.2016 Clip 0002.mp4 5:26:29;13 EST W.M. Keck Observatory Clip0005.mp4, 7:14:03;19 Mauna Kea_1 Clip0015 7:04:46;23

56 We’re here at the Keck Observatory. This is an optical ground-based telescope. // We have a partnership basically with the Hubble Space Telescope, particularly in the area of gravitational lensing.

Actuality: Richard Ellis at computer Continue sequence from above SOT Richard Ellis Keck Ellis_1080 Card 1 10.08.2016 Clip0005.mp4, 5:51:28;24

57 So what you’re seeing in this image at a stroke is the tremendous power of gravitational lensing. A huge foreground cluster with lots of dark matter is distorting and magnifying large numbers of background galaxies at various distances.

SOT Richard Ellis Continue sequence – looking at Hubble images Keck Ellis_1080 Card 1 10.08.2016 Clip0005.mp4, 5:50:02;05

58 But then you can see this red arc here that is very, very nicely illustrated. It’s about 3 times further away than the cluster, and you see multiple images, you see the same light, of the distant galaxy seen in different places. So it’s like a mirage.

SOT Richard Ellis Keck Ellis_1080 Card 1 10.08.2016 Clip0002.mp4, 5:51:45;19

59 So this opened up the way of studying dark matter thanks to Hubble.

VO NARRATOR Shot of Hubble floating in space Getty_Hubble_169577419.mov

60 WHILE THE HUBBLE SPACE

TELESCOPE CAN GATHER

EXTRAORDINARY DETAIL FROM

SPACE, GROUND-BASED

TELESCOPES PROVIDE A BIGGER

PICTURE.

(7 seconds)

61 Music cue: Unanswerable 4 ANW2430 VO NARRATOR INT Keck Telescope – it is positioning slowly Keck Telescope dome Clip0014.mp4, 3:48:02;13 INT Keck Telescope Clip0039.mp4, 8:12:24;27

62 DR. ELLIS USES THE KECK

TELESCOPES TO MEASURE

DISTANCES BETWEEN EARTH, AND

THE GALAXIES THEMSELVES, TO

INTERPRET THE INFLUENCE OF

DARK MATTER ON THE STRUCTURE

OF THE UNIVERSE.

(11 seconds)

Whenyouhavecompletededitingyourpiece,watchthesegmentandfollowalongwiththescript.Whatchanged?Whatworked?Whatmightyoudodifferentlynexttime?Takenotes.Thiswillallbeforeignforawhile.Withpractice,you’llgainconfidenceinthinkingthroughcontentandvisualsequences.Whenyoudothat,you’llknowthatyoucantake-onanytypeofstory,andthat’swhenitallturnsfromstresstoqualityin-depthreporting–thethrustofthiscourse.

VII.LaptopPolicyAllundergraduateandgraduateAnnenbergmajorsandminorsarerequiredtohaveaPCorApplelaptopthatcanbeusedinAnnenbergclasses.PleaserefertotheAnnenbergDigitalLoungeformoreinformation.ToconnecttoUSC’sSecureWirelessnetwork,pleasevisitUSC’sInformationTechnologyServiceswebsite.Add/DropDatesforSession001(15weeks:1/8/18–4/27/18)Friday,January26:LastdaytoregisterandaddclassesforSession001Friday,January26:Lastdaytodropaclasswithoutamarkof“W,”exceptforMonday-onlyclasses,andreceivearefundforSession001Tuesday,January30:lastdaytodropaMonday-onlyclasswithoutamarkof“W”andreceivearefundforSession001Friday,February23:Lastdaytodropacoursewithoutamarkof“W”onthetranscript.[Pleasedropanycoursebytheendofweekthree(ortheweekthreeequivalentforshortsessions)toavoidtuitioncharges.]Friday,April6:Lastdaytodropaclasswithamarkof“W”forSession001

VIII.CourseSchedule:AWeeklyBreakdownImportantnotetostudents:Beadvisedthatthissyllabusissubjecttochange-andprobablywillchange-basedontheprogressoftheclass,newsevents,and/orguestspeakeravailability.

Week 1

01.09.2018

INTRODUCTIONS

Lecture:UnderstandingDocumentaryandLong-form§ Realmsofnonfictiontelevision§ Journalismandintegrityasalong-formpractice§ Passionandcreativitybehindthecraft§ Takingthetimelinessoutofnewsworthyevents§ Thepowerofmultimediaforlong-form

FindingtheStoryandPresentingthePitch

§ Craftingviablestoryideasfordecision-makers§ Accessandfeasibilityforexecution§ Thinkingabouttheaudience§ Lookingatthebigpicture:Youhaveanidea.Whatdoesitmean?

Assignments:- Researchideasfora15-20minutedocumentaryproject.- Writesingle-paragraphpitchesfortwo-to-threestoryideas–onemain,anduptotwoas

backup.EmailWorddocumenttoinstructorbynextclass.- Preparetopresentverbalone-minutepitchfornextclass.

201.16.2018

**DUE:PITCHES(WRITTENANDVERBAL).HARDCOPIESDUEINCLASS.

PITCHSESSION&In-ClassFeedbackLecture:VisualLiteracy

§ Thinkingvisually:marryingpicturesandsoundswithjournalism§ Deconstructingtheelements:people,locations,actualities,topics&questions§ Pre-production:beingprepared,informedandincontrol§ Utilizingavailabletoolsandresourcestobringacreativevisiontolife

ThePowerofResearchinLong-formStorytelling

§ Researchmethodologies–howtofindsolidsources§ Statistics,accuracyofinformationandthinkingcritically

Assignments:

- Formteams&emaildecisionsonteammembersandtopicbyFriday1/19.- Beginin-depthresearchandcompilingsourcesforbibliography.- FORNEXTWEEK’SMANDATORYWORKSHOP:ReadtheshootingguidelinesfortheSony

NX-3/NX-5(willbeemailed).

Week 3

01.23.2018AdvancedCameraWorkshop-Part1:IntroductiontotheSonyNX-3/NX-5

§ Cinematographytermsandtechniques§ Audiobasics§ Theinterview:Techniquesforlong-formtelevision§ Releaseformsandprotectingyourselflegally

Assignments:

- Checkoutthecameraforpractice.- Begingainingaccesstolocations,charactersandexperts.Conductpre-interviews.- Compilein-depthresearchbytopicintoMLAformat.Bibliographyduenextweek.

401.30.2018

**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.

502.06.2018

**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

02.13.2018**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.

702.20.2018

**DUE:STORYARC.HARDCOPIESDUEATTHEBEGINNINGOFCLASS.EditWorkshop–Part3:EditingforLong-formStorytelling

§ Cuttingsequences§ Transitions§ Splitedits§ Pacing§ ExportingsequencesanduploadingtoXchange

TeamMeetings:Midtermcheck-inAssignments:

- Continueshooting.Logandtranscribefootage.- EditSequence1.Duenextweekinclass.ExportanduploadtoXchangeby8a.m.on2/27.

Week 8

02.27.2018**DUE:SEQUENCE1.

ReviewSequence1In-classreviewandfeedback.Lecture:StoryDevelopment

§ Troubleshootingstorylines:weakstorybeats,missingfootage§ Journalists’choices§ Additionalsourcesforinformationorfootage

Lecture:WritingtheScript

- Translatingrawfootagetoascript- Screeningfootageforgoodstorybeats- Scriptformatandannotations- Responsibilityofajournalistinlong-form:sourcingandattribution- Writingtoalong-formaudience

Managinglargequantitiesoffootageinpreparationtowriteascript

Assignments:- Continueshooting.Logandtranscribefootage.- Beginwritingscript.RefertotheSupplementaryMaterialssectionofyoursyllabusonpages

5-7forformat.- EditSequence2.Duenextweekinclass.ExportanduploadtoXchangeby8a.m.on3/6.

903.06.2018

**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 03.13.2018

SPRINGBREAK

1003.20.2018

**DUE:SCRIPT.EmailappropriatelyformattedWorddocumenttoinstructorpriortoclass.Lecture:Translatingthescripttotheedit

§ Howtoturnyourwritingintovideo§ Changingthesee-and-saymindsetintothinkinginsequences§ Lettingshotsgoandpacing§ Rethinkingthescript§ Advancingthestory

Assignments:- Conductpickupshoots,ifnecessary.- Continueeditingroughcut.Dueintwoweeks.

1103.27.2018

Lecture:Currentstateofnonfictiontelevision&careerchoices

§ Theblurringlinesbetweennonfictionandentertainment§ Understandingthemarketplace:yourideasv.networkinterestsandcompetition§ Realitiesoftheindustry§ Pitchingyourideas:wheretogoandwhototalkwith§ Whatitmeanstoworkinlong-form§ Howclassprojectscanhelpyoufindwork§ Industryfeedback

Assignments:- FinisheditingROUGHCUT.Duenextweekinclass.ExportanduploadtoXchangeby8

a.m.onTuesday4/3.- Conductpick-upshoots,ifnecessary.

1204.03.2018

**DUE:ROUGHCUT.ROUGHCUTSCREENINGIn-classfeedback.Instructorwillemailnotesandgrades.Assignment:

- Conductpick-upshoots,ifnecessary.- Continueediting.

Week 13

04.10.2018

Lecture:Comparingyourvisionwiththeexecutionofastory

§ Whatyoupitchedv.whatwewatched§ Survivingexecutivenotes

MakingEditorialDecisions

§ Decidingwhenmaterialhurtsthestorytelling§ Learningtofalloutoflovewithtoomuchfootage§ Knowingwhentotrimandcut§ Journalists’choices§ Strongv.weakstorybeats

Assignments:- EditPROGRESSCUT.Duenextweekinclass.ExportanduploadtoXchangeby8a.m.on

Tuesday4/17.

1404.17.2018

**DUE:PROGRESSCUT.PROGRESSCUTSCREENINGIn-classreviewandfeedback.

Assignments:- Continueeditingyourproject.FINECUTduenextweek.ExportanduploadtoXchangeby

8a.m.onTuesday4/24.

1504.24.2018

**DUE:FINECUT.FINECUTSCREENINGIn-classfeedback.Instructorwillemailnotesandgrades.Assignments:

- Continueeditingyourproject.FINALCUTduenextweek.ExportanduploadtoXchangeby8a.m.onTUES5/8.

- Assemblefinaldeliverables–ALLreleaseformsandaconformedscript.

FINAL

05.08.2018

8–10a.m.

**DUE:FINALEDIT+DELIVERABLES(conformedscript+releaseforms)FINALSCREENINGIn-classfeedback.Instructorwillemailnotesandgrades.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.SupportSystemsStudentCounselingServices(SCS)–(213)740-7711–24/7oncallFreeandconfidentialmentalhealthtreatmentforstudents,includingshort-termpsychotherapy,groupcounseling,stressfitnessworkshops,andcrisisintervention.engemannshc.usc.edu/counselingNationalSuicidePreventionLifeline–1(800)273-8255Providesfreeandconfidentialemotionalsupporttopeopleinsuicidalcrisisoremotionaldistress24hoursaday,7daysaweek.www.suicidepreventionlifeline.orgRelationshipandSexualViolencePreventionServices(RSVP)–(213)740-4900–24/7oncallFreeandconfidentialtherapyservices,workshops,andtrainingforsituationsrelatedtogender-basedharm.engemannshc.usc.edu/rsvpSexualAssaultResourceCenterFormoreinformationabouthowtogethelporhelpasurvivor,rights,reportingoptions,andadditionalresources,visitthewebsite:sarc.usc.eduOfficeofEquityandDiversity(OED)/TitleIXCompliance–(213)740-5086Workswithfaculty,staff,visitors,applicants,andstudentsaroundissuesofprotectedclass.equity.usc.eduBiasAssessmentResponseandSupportIncidentsofbias,hatecrimesandmicroaggressionsneedtobereportedallowingforappropriateinvestigationandresponse.studentaffairs.usc.edu/bias-assessment-response-supportTheOfficeofDisabilityServicesandProgramsProvidescertificationforstudentswithdisabilitiesandhelpsarrangerelevantaccommodations.dsp.usc.eduStudentSupportandAdvocacy–(213)821-4710AssistsstudentsandfamiliesinresolvingcomplexissuesadverselyaffectingtheirsuccessasastudentEX:personal,financial,andacademic.studentaffairs.usc.edu/ssaDiversityatUSCInformationonevents,programsandtraining,theDiversityTaskForce(includingrepresentativesforeachschool),chronology,participation,andvariousresourcesforstudents.diversity.usc.eduUSCEmergencyInformationProvidessafetyandotherupdates,includingwaysinwhichinstructionwillbecontinuedifanofficiallydeclaredemergencymakestraveltocampusinfeasible.emergency.usc.eduUSCDepartmentofPublicSafety–UPC:(213)740-4321–HSC:(323)442-1000–24-houremergencyortoreportacrime.ProvidesoverallsafetytoUSCcommunity.dps.usc.edu

X.AboutYourInstructor:DanielH.BirmanDanielH.BirmanisanonfictionanddocumentaryproducerbasedinLosAngeles.BirmaniscurrentlyinproductiononTheEarliestAmericans,aprojectaboutthefirsthumanswhomigratedintoNorthAmerica,andSentencingChildren,afeaturedocumentaryaboutjuvenilesentencinglawsinAmericaandapotentialreformeffort.Thisprojectcontinuestheworkofaninvestigativedigitalseriesbythesamename,recentlycompletedinpartnershipwithIndependentLensandTheTennessean.BirmanalsorecentlyproducedTheHuntforDarkMatter,adocumentaryaboutrecentadvancementsinspaceexploration,fordigitalstreamingserviceCuriosityStream.Somenotableworkincludes:PerfectingFlight,afeaturedocumentaryaboutlegendaryaviatorBobHoover,whosesignificantcontributionstoaviationbeganinWWII.Atage91,hefliesforthelasttimeandtellshisstory.BirmanwasacontributingproducerforTheBigBangMachine,aspecialforPBS-NOVAaboutoneofthegreatscientificdiscoveriesinmoderntimes,theHiggsboson,atinyparticlethatexplainshowtheuniversewasformed.ChasingSpeed:LesliePorterfieldforVelocityisthestoryabouttheworld’sfastestwomanonamotorcycle.Birmanproducedaninternationallyacclaimedsocialdocumentary,MeFacingLife:Cyntoia’sStoryforPBS-IndependentLens,whichwasalsofeaturedaspartoftheITVSCommunityCinemaprogram.Birmanwrote,produced,anddirectedthedocumentary,BraceforImpact:theChesleyB.SullenbergerStoryforTLCandDiscovery.Birmanalsohasanextensivebodyofworkproducingscienceandmedicalprogrammingforcablenetworks.Hisproductioncompany,BirmanProductions,isindevelopmentandproductiononanumberofdocu-seriesandspecials,includingaseriesbasedonTheNewYorkTimesBestsellerslistbookseries,TheHingesofHistory,writtenbythepopularhistoryauthor,ThomasCahill.BirmanisalsoaProfessorofProfessionalPracticeattheUSCAnnenbergSchoolofJournalism,whereheteachesdocumentaryproductionandistheExecutiveProducerofImpact,astudent-producedlongformseriesatAnnenberg.Additionally,fortwodecades,BirmanservedontheBoardofGovernorsfortheTelevisionAcademy,representingtheDocumentarypeergroup.HecurrentlyservesaschairoftheBylawsandAcademyExperiencecommittees. AboutYourProductionCoach:MeganChaoMeganChaoisvicepresidentofdevelopmentandproductionforDanielH.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,aswellastheInternationalDocumentaryAssociation.