Brooklyn College of The City University of New York The Department of Television and Radio Course: TVR 7783G – Seminar in Television Programming and Production I Code: 0965 Section: *** – Fall 2014 Schedule: Tuesdays 10:00am – 4:00pm, Whitehead Hall & Various Locations Brooklyn College Bulletin – Division of Graduate Studies Course Description: 15 hours lecture; 90 hours laboratory; 4 credits. Independent research, development, direction, and production of a television program suitable for broadcast. Rotation of advanced crew assignments for in-studio and remote location productions. Development of a suitable production report. Review and approval of work in progress by faculty member. Prerequisite: Television and Radio 7781G and 7782G. Overview and Course Objectives: TVR 7783G is a lecture and production (studio and remote) course designed to facilitate each student’s growth as a television producer and director. The course combines theoretical, practical, and intuitive approaches to aesthetic, organizational, and ethical problems in television and electronic media production. Course content includes producing/directing M.F.A. Productions, where each student is the principal creative force behind the program, and assignments designed to present production problems that prepare students for the situations they will encounter in their professional lives as media producers. Students will participate in all aspects of production, emphasizing aesthetic development and technical proficiency. All fields of human endeavor require the ability to communicate effectively. Communication begins when someone wishes to share or transmit an idea. This process is accomplished through both rhetorical and poetic components. Although technology augments, complicates, and even simplifies communication, the fundamental sounds, images, and dramatic imperative of the content determines the effectiveness of the message. While our most serious attention addresses the human need to speak, gesture, and engage others, as electronic media producers we have the distinct advantage of integrating technology to assist us in communicating our stories and messages. The study of electronic based media links the creative communication process to technology. An understanding of the production process can be gained only through the application of both creative expression and technology. Media production is a craft that blends the theory and technique that supports an artist’s free expression.

1 As a program producer, students assume responsibility for all aspects of production, from concept to distribution. Students must be thorough, conscious of all details and strive to work with others as a production team. As a program director, students are responsible for the specific elements of transforming a script into the final production. These elements include content development, research, creative use of the medium, remote and studio execution, and post production. Students will be exposed to a great range of working areas and tools of the medium, including, but not limited to, the creative process of scripting and staging action, studio facilities, scenic and lighting design, graphics, animation, audio, post production and engineering functions. Exploring and understanding the history of technique and technology from radio to digital sound and image production is an essential component of each student’s training. While the applications of electronic media may be changing, the discipline and process of creating media remains constant. The basic concepts of organizational skills, the power to persuade, the ability to assess an audience or client’s needs, and the necessity of teamwork are the foundation of every production. Student attitude and behavior regarding discipline, initiative, responsibility and respect for the work of others are in many ways the key lessons to be learned. Our current Departmental Objectives are: 1. Students will be able to research, analyze, and write scholarly papers in the areas of electronic media and society in the United States and the world with the tools used in professional and academic media research. 2. Students will be able to learn and compare ideas from different approaches in the areas of history, law, research, and analysis related to media and society in the United States and the world. 3. Students will be able to understand the basic aesthetic and technical principles of electronic media productions, and their broader social implications. 4. Students will be able to use proficiently and creatively the basic equipment and software necessary to translate ideas into electronic media programs in the areas of radio, multimedia, single camera, multi-camera studio and remote productions. 5. Students will be able to research and write proposals, treatments, scripts, and promotional materials meeting professional standards.

2 6. Students will learn the workings of the full range of the communication industry, from independent and community to corporate and network productions. 7. Students will learn to use basic industry managerial tools, techniques, and practices. 8. Students will be able to analyze issues and controversies from ethical, legal and social perspectives in their professional practices. 9. Students will be able to research, report and write news materials and produce newscasts meeting professional standards. Textbooks: Zettl, Herbert. 2011. Television Production Handbook, Eleventh Edition. Belmont, CA: Wadsworth Publishing Company. Hacker, Diana. 2007. A Writer’s Reference. New York: Bedford/St. Martins. Materials: SxS Media Recording Cards, Portable Hard Drive(s), Flash Drive, DVDs. Other materials may be required for specific assignments. Assignments, Grading and Assessment: Director’s Script Analysis 10% Drama and Comedy Directing Video Analysis 10% Multi-camera Producer or Multi-camera Crew 30% Unit Production Manager 8% Drama and Comedy Directing Production 30% Smoke and Mirrors Exercise 12%

Total

100% *Each assignment and exercise is designed to develop student skills in all course objectives. Director’s Script Analysis – All necessary preparation to direct a narrative scene: character objectives, given circumstances, active verbs.

3 Drama and Comedy Directing Video Analysis – Students will analyze video of a multi-camera drama or comedy scene to identify camera angles, staging choices, set and lighting design approaches and shot patterns. Multi-camera Producer or Multi-camera Crew – Students will be evaluated on their Multi-camera Production (Producer/Director) or Crew Work for other student producers. Unit Production Manager – On each production date, a student will be assigned to serve as the Unit Production Manager, and will work directly with the Chief Engineer. Responsibilities include Preproduction preparation and load-out organization, technical support during Production, and most importantly, supervision of the strike, load-out and return to the TV Center. The UPM will insure that all gear is properly packed, and that camera plates match their tripod and camera, etc. Within one week of wrapping Production, I will review your performance with the Chief Engineer and assign a Pass or Fail grade. Either the gear was properly handled or it wasn’t. A failed UPM assignment will affect your course grade by at least half a letter grade. Students may swap their assigned UPM date with a classmate. Drama and Comedy Directing Production – Students will work as (either) director, assistant director, or production designer to produce a live, multi- camera recording of a short comedic or dramatic scene. “Smoke and Mirrors” Exercise – Each student will develop a concept and stage a single shot tabletop or miniature scene. * The course-scoring rubric is attached to this document. Instructor: Assistant Professor Jason Moore Department of Television and Radio 406S Whitehead Hall Brooklyn College 2900 Bedford Avenue Brooklyn, NY 11210 (718) 951-5000 x2795 e-mail: [email protected] Office Hours: Tuesday 9:00am – 10:00am

4 Wednesday 1:00pm – 3:00 p.m. (and by appointment) Thursday 1:00pm – 2:00 p.m. Course Guidelines and Expectations: 1. Preproduction is essential to the success of every project. Students are expected to spend a great deal of time outside of class organizing their scripts and rehearsing their productions. 2. Deadlines are deadlines. Paperwork not handed in on time will result in a zero for that part of the assignment. Students are responsible for making up class work that is missed due to absence. 3. Attendance is mandatory. TVR 7783 strictly follows the Brooklyn College policy on attendance that states, “Class attendance is recorded each session. Students are expected to attend all scheduled sessions of every class for which they register. Students late for class may be excluded from the room. An instructor may consider attendance and participation in determining the term grade.” The only exception to this policy is “Nonattendance because of religious beliefs,” as described in Title I, Article 5, Section 224-a of the New York State Education Law. This law is available for review in the Brooklyn College Graduate Bulletin. In the event that you cannot attend class, you must call the Department office at 951-5555 and leave a message for me. 4. No eating or drinking in the studio or control room. Failure to comply with this rule results in an immediate suspension of facility access. 5. Cell phones must be switched off prior to entering the classroom or studio. No exceptions. No calls, no texting, no surfing, no IM’s. Students who interrupt the class with incoming phone calls will be dismissed and receive a zero for that class meeting’s “Multi-camera Production or Multi-camera Crew” evaluation. 6. Any act of academic dishonesty (plagiarism, cheating on quizzes or the final exam, etc.) will result in an F for the course and could lead to expulsion from the college. The faculty and administration of Brooklyn College support an environment free from cheating and plagiarism. Each student is responsible for being aware of what constitutes cheating and plagiarism and for avoiding both. The complete text of the CUNY Academic Integrity Policy and the Brooklyn College procedure for implementing that policy can be found at this site: http://www.brooklyn.cuny.edu/bc/policies. If a faculty member suspects a violation of academic integrity and, upon investigation, confirms that violation,

5 or if the student admits the violation, the faculty member must report the violation. 7. Students who are not on the faculty member’s course roster should be referred to the Enrollment Services Center. 8. Only under extraordinary circumstances will an incomplete be granted at the end of the term. Failure to complete course requirements due to poor time management, workload from other classes, personal obligations, etc., do not qualify. Course assignments that are not produced or submitted by the final class meeting will receive a grade of zero. Production or written work that is partially complete will be evaluated and assigned a grade based on the assignment criteria. In the rare and unusual case that an incomplete is granted, I will issue a department memo to the student indicating the date that the work must be submitted for evaluation. Students will have a maximum extension of 28 days to complete course requirements. Work not submitted by the deadline will receive a zero or partial credit as described above. 9. Students are responsible for knowing all college policies, and should carefully and thoroughly review the Brooklyn College Graduate Bulletin, the TV Center Handbook and the Department M.F.A. Handbook. 10. Please follow these rules for class e-mail: ~ E-mail is a formal means of communication. Avoid abbreviations, slang and cuteness. ~ Always put your name and 783 in the SUBJECT. ~ Even though your name appears in the SUBJECT, sign your message at the end. 11. All TVR Majors should join the department listserv by sending a blank message to: [email protected]. This listserv will send around information about scholarships, internships, guest speakers, events, and other items of interest to Television and Radio majors.

6 TVR 7783G Course Calendar – Fall 2014 1. September 2 Lecture 1: Course overview. Class projects: Thesis productions, Drama and comedy directing projects, Spring project development, other misc exercises. Grading. Class policies. Blackboard. Questionnaire & contact sheet. Multi-Cam productions guidelines. Lab: Automatic Dialog Replacement (ADR) and Looping. (SM, 11am-3:30pm). Assignments: 1. Edit ADR projects, due September 9. 2. Drama/Comedy directors choose scenes and notify JM, due Friday, Sept 5. 2. September 9 Due: ADR edits. Screening and critique. Lecture: Multi-Cam pre-pro continued (pre-pro book in detail). Drama and comedy directing for multi-camera. Script analysis, directors prep, rehearsing and adjusting actors. Distribute Drama and comedy directing project rundown. Lab: Tech training (2 hours) Assignments: Directors Script Analysis, due September 16, reading assignment. 3. September 16 Due: Directors Script Analysis. ! MultiCam Pre-Pro: Melissa Rodriguez! Lecture: Directing multi-camera drama and comedy. Screening: 30 Rock, Turning Point, True West, Big Bang Theory. Marking scripts & working with the AD. Set design, lighting design Lab: Staging demo. Casting session. Long day (add 2 hours, cast from 2-6pm) Assignments: 1. Prep drama scenes 2. Drama and Comedy Directing Video Analysis, due September 30. September 23 - Conversion Day: classes follow a FRIDAY schedule. 4. September 30 Due: Drama and Comedy Directing Video Analysis. Production: Newborn rock concert. Producer: Melissa Rodriguez UPM: Haeni Kim 5. October 7 Lecture/Lab: “Smoke and Mirrors” (SM, 10am-12pm). Lecture/Lab: Directing motion for television. Psychological implications of the moving camera. Simple and complex camera movement. Moving masters. Jib shots. Live Streaming. Assignments: Prep “Smoke and Mirrors” shot, due October 28.! 6. October 14 MultiCam Pre-Pro: Danielle Petito Lecture/Lab: Drama and comedy directing production: Directors (1) Sebastien & (2) Nelson UPM: Michelle Cepeda

7 7. October 21 Production: American Music Day. Producer: Danielle Petito UPM: John Sowulski October 25 (Saturday) - Possible remote shoot. TBD. 8. October 28 Due: “Smoke and Mirrors shot” Due. Students 1-13. (SM 10am-12pm for prep. 12pm-1:30pm shoot) Multi-Cam Pre-Pro: Michelle Cepeda Lecture/Lab: Spring project pre-production. 9. November 4 Production: MEDIA NIGHT PART 1. Producer: Michelle Cepeda 2pm-9pm (no strike) UPM: Jie(Eric) Song 9A. November 5 (Wednesday) (most class is off, need a few ringers)! Production: MEDIA NIGHT PART 2. Producer: Michelle Cepeda 4pm-9pm (full strike) UPM: John Schiavone (tbd)! 10. November 11 Lecture/Lab: Drama and comedy directing production: Directors (3) Wendy Santana & (4) John Schiavone UPM: Nelson Rolan 11. November 18 Multi-Cam Pre-Pro: Camille Brown Production: Drama and comedy directing production: Directors (5) Haeni Kim & (6) Stephen Lorusso UPM: Wendy Santana November 25 - NO CLASS! 12. December 2 Production: Ray Mercer. Producer: Camille Brown UPM: Melissa Rodriguez ! 13. December 9 Multi-Cam Pre-Pro: John Sowulski Lecture/Lab: Basketball Prep (SM) 14. December 12 (Friday) Production: Basketball. Producer: John Sowulski! UPM: Sebastien Prudent & Danielle Petito

8 15. December 16 Due: Multi-Cam Production Screenings (excerpts). Drama and comedy directing projects. Lecture/Lab: Screening, discussion and critique. Spring project prep.

9 TVR 7783G – Seminar in Television Programming and Production I Fall 2014 Director’s Script Analysis ======Each student will select a dramatic or comedic scene from the “Scene Bank” (available in BlackBoard) and analyze it to determine the following: 1. The Scene Objective for each character, defined in terms of “wants”. 2. The Active Verbs best used for each character at particular “beats” during the scene. 3. The Compelling Given Circumstances for each character. 4. Each character’s Moment Before (the scene begins). 5. Each character’s Contrary Expectation (in relation to their Objective). On a piece of paper, type out these five elements for each character. On a copy of the scene itself, write the Active Verbs you would use for each character in the margins of the script, at the important beats you identify. Staple and hand in both the typed information and the copy of the scene with active verbs. *Note* For this exercise, it is advisable that you choose a scene from a film or play that you are already familiar with. Grading & Evaluation: Correctly identify the Scene Objectives (20) Correctly identify the Active Verbs (20) Correctly identify the Compelling Given Circumstances (20) Correctly identify the Moment Before (20) Correctly identify the Contrary Expectation (20) Total: 100

This project is worth 10% of your overall grade.

10 TVR 7783G – Seminar in Television Programming and Production I Fall 2014 Drama and Comedy Directing Video Analysis ======Each student will choose a scene (video clip) from a multi-cam drama or comedy program to analyze. You may use any of the scenes in my dropbox folder, or find a scene of your own. The scene should be one to three minutes in length. The dropbox folder is titled “Multi-cam drama and comedy scenes”, and the link is available on BlackBoard. 1. Neatly sketch a floor plan on plain white paper. Include walls and key furniture items. 2. On the floor plan, neatly diagram character blocking with arrows & symbols. 3. On the floor plan, neatly map camera placement and movement. 4. On a separate piece of paper, type out the shot list for every camera. 5. Also note any lighting cues, sound cues, or relevant directing notes (background action, effects, special prop notes, etc). Staple the papers and hand them in together. Grading & Evaluation: Floor plan accuracy and neatness (20) Character blocking accuracy and neatness (20) Camera placement/ movement accuracy and neatness (20) Shot list accuracy (20) Lighting cues, sound cues & relevant directing notes (20) Total: 100 This project is worth 10% of your overall grade.

11 TVR 7783G – Seminar in Television Programming and Production I Fall 201 4 Multi-Cam Productions ======1. Pre-Production Book & Presentation:! Producer/Directors of the Multi-Camera Production element of the MFA Thesis are required to create a thorough, detailed and professional pre-production plan for their shoot. They will be expected to spend a great deal of time and energy outside of class. One week before their shoot, Producer/Directors (P/D) will be allocated a twenty minute production meeting with the class. During this meeting, the P/D will present the following Pre- Production materials in both a Power Point presentation and a hard-copy handout for all class members. Treatment A brief synopsis of your project. One paragraph will suffice. Conceptual Approach Ideas, theme or central concept that will inform all areas of your production from script to lighting, from shot pattern and camera placement to colors, graphics, sound and editing. Distribution & Marketing Plan! Where do you hope to show this? Who is your audience? How do you plan on creating interest and attention around this show? Script All scripted elements of the show including opening/closing copy, talent wraparounds, etc. Scripts should also include rough timing of all segments (CUNY TV requires 29:20 total RT). Call Sheet / Crew & Talent List Include full names, positions and phone numbers. This can be created as a call sheet or a simple list. Note: Lighting and Set crews must be more than one person. Using additional crew members outside of this class is permissible with my permission, as long as they are Television Production majors and they are used as PA’s or non-key positions. Shooting Schedule Load-in, Build and Pre-light days can be rough windows of time (ex: 8am-3pm). Shoot days must be detailed and account for nearly minute to minute. (ex: 8:00am-8:45am - load in props and furniture. 8:45-9:45 - finalize set dressing. 9:45-11:00 final lighting tweaks. etc.) Set Diagram with camera positions and cable run! Use the TV Center floor plan diagram available in Distribution, or use the ‘scaled’ version (available on BlackBoard).

12 Lighting Diagram! Also use either the TV Center floor plan or the ‘scaled’ version on BB. (Note: this is an area where you might begin with something quite simple but improve upon it after your Tech Meeting with the TV Center staff.) Shot List for each camera (with screen grabs if relevant) It is advisable that in addition to a basic list of shots for each camera, you include screen grabs from your reference video for specific framing/angles. And, on the day of the shoot, it is advisable that you give your camera operators index cards that they can tape to their cameras. Visual Reference Pictures A variety of pictures collected during your research. Specifically, references of Set Design elements you like, Lighting Design elements you want to replicate, and/or Camera Angles/ Moves you wish to replicate. Reference Video (extra credit: with ‘your call’ audio). ! All producers must present their Reference Video during the pre-pro meeting. The reference video gives your crew a visual representation of some of your production goals. I will provide you with videos or you can use one of your own. Extra Credit: ’Your Call’ audio: take 1-3 minutes of your video and import it into FCP or Premiere. Determine the camera positions/numbers and observe the shooting pattern. Using any voice over recording technique you prefer, record and edit yourself “calling” the show for that minute. Present this video with ‘your call’ to the class. 2. TV Center Tech Meeting:! Each producer must schedule a mandatory tech meeting with the TV Center staff to discuss set design, audio, lighting, camera, and other technical specifications. This meeting must be held at a minimum of two weeks before the shoot. Failure to schedule this meeting will result in the cancellation of the shoot. Prior to this meeting, producer will: Draft a basic set plan using the TV Center template. Draft a basic lighting plot using the TV Center template. Prepare to discuss all technical needs including audio, cameras, live audience, load-in and pre- light days, schedule of shooting, etc. The goal of this meeting is to: Prepare the TV center for your shoot. Gain advice and guidance on how best to prepare for your shoot. Remember: While the professionals at the TV Center will be happy to consult and guide you, they are not part of your crew. Your crew will build the set, the TV Center staff will supervise and advise. Your crew will light the set, the TV Center will be there to assist if needed.

13 If and when you learn that there are some elements of your shoot that are not possible to do for safety, logistics, manpower or other reasons, take a deep breath and accept it. Limitations, compromise and the word “no” is a part of production. Stay flexible and stay positive. To schedule your meeting, send an email to Jeanine Corbet ([email protected]) and cc me ([email protected]). 3. Post Production & Delivery! A screening of a ten-minute portion of your project is required on the last day of class. Your final cut must conform to the technical standards for B.C. Presents (see attached). 4. Grading & Evaluation! Multi-cam Producer/Directors: Pre-Production presentation 20% Directing20% Producing 20% Production Aesthetics 20% Post Production/Delivery for air20% Total: 100 Multi-cam Crew: Technical proficiency 50% Professionalism 50% Total: 100 This project is worth 30% of your overall grade.

14 TVR 7783G – Seminar in Television Programming and Production I Fall 201 4 Multi Cam Production Evaluation ====== Pre-Production presentation (20) Directing(20) Producing (20) Production Aesthetics (20) Post Production/Delivery for air(20)

15 TVR 7783G – Seminar in Television Programming and Production I Fall 201 4 Drama and Comedy Directing Production ======You will work in teams of Director, Assistant Director and Production Designer. These teams have been pre-determined. See the chart below. Directors will be responsible for directing and blocking actors, blocking cameras, and calling the show. They will choose scenes, oversee casting, run rehearsals, and oversee post production. Assistant Directors will assist the director when blocking actors and calling the show. They will keep camera and blocking notes during rehearsals, oversee the script mark-up for the shoot, and ‘ready’ cameras during the shoot. Production Designers will design the set and lighting (using a floor plan and lighting plot) and oversee the set and lighting crew. The director will have input in regards to staging needs but the final aesthetic choices of set wall placement, set furniture placement, props, lighting design and lighting cues will flow out of the Production Designer. PDs may elect to run the lighting board during the shoot or not. All three members are expected to contribute equal amounts of time, energy and creativity to the project. The team will share a grade. This is a TEAM EFFORT. Scene Choice!

Drama and Comedy Directing Teams

Shoot Date Director Assistant Production Designer Director

October 14 Sebastien Prudent Camille Brown Stephen Lorusso First shoot

October 14 Nelson Rolon Danielle Petito John Schiavone Second shoot

November 11 Wendy Santana Melissa Rodriguez Sebastien Prudent First shoot

November 11 John Schiavone John Sowulski Wendy Santana Second shoot

November 18 Haeni Kim Jie (Eric) Song Nelson Rolon First shoot

November 18 Stephen Lorusso Michelle Cepeda Haeni Kim Second shoot 16 Directors may choose either comedy or drama scenes from produced plays, films, or television shows. Original work may not be used for this project. Scenes should be limited to two actors (a third actor is allowed in some circumstances, if the part is small). Page count should be three to six pages. Be very clear that the difference between three and six pages is monumental in terms of time and effort needed to prepare. A six page scene may be more rewarding to shoot, but it will be significantly more difficult to memorize, rehearse, block and shoot. Editing of scenes (shortening, minor line changes) is allowed. I have dozens of scenes from classic and contemporary films (and some plays) in my “Scene Bank” in my dropbox account. The link to the “Scene Bank” is on BlackBoard. Casting! Actors will be chosen during an in-class casting session. Or, directors may choose to cast on their own, provided they are using the highest caliber actor they can find. Meetings & Rehearsals! Productions will require three rehearsals and at least one crew meeting. • At the crew meeting, the director should familiarize the AD and PD with the material and how they wish to present it. The PD and Director should discuss set and lighting ideas. • The first rehearsal should run sixty to ninety minutes and involve the director and actors working to preliminarily discover objectives, given circumstances and usable active verbs. • The second rehearsal should run sixty to ninety minutes and involve the director and actors blocking the scene, with actors off-book. If possible, the AD and PD should arrive for the final portion of the rehearsal to observe the scene. • The third rehearsal is a camera rehearsal and will require booking the TV studio for time. The rehearsal should run ninety minutes to two hours and involve the director, AD, PD and actors. Using rough approximations of set layout and furniture, the director should camera block the scene. The AD and PD should assist as camera operators. The AD should take detailed blocking notes. Set builds, pre-lighting and coordination between First and Second shoots.! Because there are two shoots on every shoot day, there needs to be some coordination between the two groups. The First shoot runs from 10:30am-1:00pm. The Second shoot runs from 1:30pm-4:00pm. If both the First and the Second shoot can share roughly similar set designs, both shoots will benefit.

17 The PD, Director and AD from the First shoot should plan on building their set and pre-lighting on Monday. The TV studio should be free from 3:30pm on. In some cases it may be available earlier. The PD, Director and AD from the Second shoot should help build the set on Monday. When it’s time for the Second shoot, they will already have the set walls roughly in place, and can easily rearrange them. With both teams working together on Monday, the set can be built efficiently, benefiting all. Pre-lighting for both scenes can also occur on Monday and/or early Tuesday morning before the First shoot. Scenes can share some set and lighting elements, but each scene must have a distinct look due to adjustments of set walls, different elements of set furniture and props, and different lighting designs. Bringing in additional set pieces, art, props, etc is encouraged. Bare walls are not very pretty. Nothing beats a well dressed set. (However, don’t break the bank on this.) The better both teams cooperate, the more successful both shoots will be. Think TEAM. Additional information & requirements All support crew positions have been pre-determined and the crew rotation list is available on Black Board. If a crew member is absent on a shoot day, we will figure it out. Scenes must include opening and closing credits, to be rolled in live. Scenes must incorporate at least one Jib shot. Scenes must incorporate at least two lighting cues. Grading and Evaluation! Teamwork/Cooperation: 25%

Directing (actors performance, creative blocking, effective live directing): 25%

Assistant Directing (effective support of director, management of cameras): 25%

Production Design (creative use of set, lighting): 25%

Total: 100% A shared grade will be given for the Director, Assistant Director and Production Designer of the scene, based on individual contributions and overall team collaboration. This project is worth 30% of your overall grade.

18 TVR 7783G – Seminar in Television Programming and Production I Fall 201 4 Drama and Comedy Directing Evaluation ======Teamwork / Cooperation (25) Directing: actors performance, creative blocking, effective live directing. (25) Assistant Directing: effective support of director, management of cameras. (25) Production Design: creative use of set, lighting. (25) Total: 100

19 TVR 7783G – Seminar in Television Programming and Production I Fall 2014 Smoke and Mirrors ====== Each student will develop a concept and stage a single shot tabletop or miniature scene. Create a shot that addresses all aesthetic fields – sound lighting, image composition, design, and storytelling. The shot may display a product or service, or may be conceptual by nature. Producers may use a studio camera, or any EFP camera to create the shot. A floor plan is due on the day of your production. Students are encouraged to stage and light their shots in advance of class. A work order request must be filed for students to access the facilities on Monday or before class on Tuesday. On production day, the class will complete any additional staging lighting and/or rehearsal from 10:00 a.m. – 12:00 p.m. Each student will have 7 minutes to present and explain his/her shot, and then I will respond with a three-minute critique. Scenes will be evaluated according to the following criteria: Concept & Development (40) Production Aesthetics (40) Presentation (20) Total: 100 This exercise is worth 12% of your final grade.

20 TVR 7783G – Seminar in Television Programming and Production I Fall 201 4 Smoke and Mirrors Evaluation ====== Concept & Development (40) Production Aesthetics (40) Presentation (20)

21 TVR 7783G – Seminar in Television Programming and Production I Fall 2014 Semester Evaluation ======1. Director’s Script Analysis (10%): 2. Drama and Comedy Directing Video Analysis (10%): 3. Multi-camera Producer or Crew (30%): See notes on evaluation sheet. 4. Unit Production Manager (8%) 5. Drama and Comedy Directing Production (30%): See notes on evaluation sheet. 6. Smoke and Mirrors Exercise (12%): See notes on evaluation sheet.

22 Brooklyn College of The City University of New York The Department of Television and Radio MFA Production Format and Credit Guidelines 1. Programs may be mastered as one of the following formats: Apple ProRes 422 Apple ProRes 422 (HQ) XDCAM EX XDCAM HD 422 Additionally, the program must be in one of the following formats, although 1080i 60 is preferred because it is a broadcast format. The resolution must be 1920 x 1080. 1080i 60 1080p 30 1080p 24 The following Broadcast Standards must be checked in Final Cut Pro: 1. Audio level may not exceed 0 dB 2. White levels may not exceed 100% IRE on the Waveform Monitor 3. Chroma levels may not over-saturate on the Vectorscope Monitor Students are responsible for checking all levels prior to presenting programs for Technical Checks. **Please note that Final Cut Pro has a “Broadcast Safe Filter” that will clip black levels at 7.5 IRE and white levels at 100 IRE. We have found, however, that programs using this filter have white levels that fall far below 100 IRE once encoded, and are not satisfactory for broadcast. If you use the “Broadcast Safe Filter” you must check the levels on the scopes after encoding. Consulting with Young Cheong regarding use of the “Broadcast Safe Filter” is advised. Here are some general guidelines for audio levels: 1. Levels may not exceed 0 dB 2. The final audio mix should fall between –6 to –3 dB 3. Principal speaker levels (SOT) levels should fall between –12 to –6 dB 4. Sound effect levels should fall between –18 to –12 dB 5. Music beds should ride around –18 dB

23 The program should also adhere to the following specifications:

The file should be formatted in this order a. :20 Slate that includes the following: i. Program Title ii. Producer/Director iii. Date of Completion iv. Program Running Time* c. :10 Countdown (last two seconds in black) d. Program e. Credits *Programs must run between 27:30 and 29:50, with a targeted running time of 29:20. Programs running longer than 29:50 will not be accepted for broadcast do not meet MFA Production criteria and do not fulfill TVR 7784G course requirements. Format variations, i.e., a single program delivered as two 29:20 episodes require the advanced written approval of the Executive Producer. Each episode must open with a graphic reading, Brooklyn College Presents. The graphic may be over black or over the first scene of the program. Closing credits will roll or be inserted as follows: b. Program Title (optional based on Producer’s decision and whether or not the title appeared in the opening sequence) c. Cast or Talent d. Produced and Directed by (sole credit on screen) e. Written by f. Associate Producer(s) g. Assistant Director h. Crew (Producer determines order. If you have a studio component in your program, TV Center personnel must be included) i. Acknowledgments j. Faculty Advisor (sole credit on screen) k. Multi-camera production must include a credit that reads: Produced at (or) with the assistance of the Brooklyn College Television Center. l. This has been a presentation of the Brooklyn College Department of Television and Radio. Copyright 20**. A general guideline for inserted credits is two to three seconds per page. Rolling credits should move faster rather than slower. There is nothing more tedious and amateur than multiple credits beyond written, produced and directed by, so do not credit yourself as editor, camera operator, etc.

24 Any variation of this prescribed credit order requires advanced written approval from the Faculty Advisor.

Once your program and trailer have been approved for broadcast by the faculty advisor, you will schedule an appointment with Young Cheong to transfer the files to the Department/CUNY-TV hard drive. Along with each program, each director will submit a short 1-2 sentence Individual Program Description (IPD) to Young. Each student will submit their description electronically to the faculty advisor and Young, and place a hard copy of the IPD with the hard drive and a copy in the DVD sleeve.

You must also include a file with your trailer. Trailers should run between 1 – 2 minutes, and must have this graphic as the final five seconds:

“This program can be seen as part of the series “Brooklyn College Presents” on CUNY- TV Saturdays at 6:30 p.m. Check http://www.cuny.tv/show/brooklyncollegepresents for program schedules.” Once you have coordinated the ingest of your program and trailer with Young and successfully transferred them to the hard drive, you must have the files Tech Checked by Young to assure that they are suitable for broadcast. At the present, this is a real time process where the program must be screened in its entirety. Once Young approves the files, a “Master Check” must be performed by the TV Center. Master Checks must be scheduled by submitting a Work Order Request and noting “Master Check Request” in the Ancillary Equipment Requests box. You will meet with a TV Center staff member and follow their procedure. When I receive a signed and approved Tech Check Notice from the TV Center, the program is complete and you will receive the final written evaluation and grade. Programs intended for broadcast are not complete until I receive the form, and students will receive and Incomplete in the course that was associated with the production. *The Executive Producer credit will appear either prior to the Produced and Directed by credit or immediately following the Faculty Advisor credit. It will appear as the sole credit on screen. A general guideline for inserted credits is two to three seconds per page. Rolling credits should move faster rather than slower. There is nothing more tedious and amateur than multiple credits beyond written, produced and directed by, so do not credit yourself as editor, camera operator, etc. Broadcast television protocol dictates that opening credits are limited to the

25 program title and principal cast members, so avoid credits such as, “A Joe Doakes Production. Produced by Joe Doakes. Directed by Joe Doakes. Written by Joe Doakes. And Now, No Joke, The Joe Doakes Show.” Principal cast members are generally people with a name in the industry, so inclusion of your cast in the opening credits is not necessary. Any variation of this prescribed credit order requires advanced written approval of the Executive Producer.

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