JOUR405:Non-FictionTelevision4Units
Spring2018–Tuesdays–9a.m.-12:20p.m.Section:21237DLocation:ANN210
Instructor:ProfessorDanielBirmanOffice:ANN205AOfficeHours:Tuesdays,8-9a.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/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,[email protected].
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’[email protected].
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.
