CTPR 294: Directing in TV/New Media, Fiction, and

Documentary Fall 2017

4 Units
Concurrent enrollment: CTPR 295 Cinematic Arts Laboratory
Wednesday 2-4:50 pm

Fictional Narrative SCE Stage 2

Professor: Steve Albezzi

Email: [email protected]
Phone number: (818) 667-6840 (c)
Office hours: TBD
SA: Ricardo Salinas
Email: [email protected]
Phone number: (213) 587-3916

Documentary SCA 214

Professor: Bill Yahraus

Email: [email protected]
Phone number: 661-944-3741
Office hours:TBD
SA: Shannon Hardy
Email: [email protected]
Phone number: (781) 350-0634

TV/New Media SCB 104

Professor: James Savoca

Email: [email protected]
Phone number: (347) 404-4120
Office hours: TBD
SA: Leah Borrie
Email: [email protected]
Phone number: (631) 278-0292

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Course Objectives:

CTPR 294 has three components that overall introduce Production students in the School
of Cinematic Arts to the major aspects of contemporary cinematic practice. Each
component is explored for 5 weeks. Three different instructors will guide students
through each aspect.

1) Fictional Narrative Practice.

2) Documentary Practice
3) TV/New Media Practice.

Students will participate in exercises, lectures, and discussions in each of the three
components.

Fictional Narrative Practice

This 5 week seminar will expose each student to the fundamentals of directing a narrative
film. Classes will include basic film theory and grammar, example clips from films and
practical directing techniques. Each directing student will stage a scene from a published
screenplay, shoot on location and show an edited cut

Documentary Practice
The student will learn the unique characteristics of documentary, how to find cinematic
material in the world around the student, how to cover a scene while it is happening, and
how to film an interview. The student will learn how to reveal character through action
and the unique elements of cinema.

TV/New Media Practice

Students will learn how to create a pilot episode for a web series. The focus will be on
the importance of developing a clear tone and establishing a strong voice. Students will
learn how to harness their creativity and to thrive in a workshop environment.

Projects:

For each of the three components, students will complete exercises, making a total of six:
one in narrative, three in documentaries, and two in TV/New Media. Students will screen
cuts of the exercises for feedback. NOTE: All cuts will be screened from the Avid
project. At the end of each rotation, the director will turn in a compressed file of the final
cut.

Directing the Fictional Narrative:

 One in-class scene (performed with actors in the classroom),
 One filmed exercise (a scene, on location, with two actors). The instructor
will provide scenes.

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Directing the Documentary:
 Street Corner and Interview exercises
 One ‘mini-documentary’

Directing TV/New Media:

 Video Pitch
 3 page pilot script
 3 minute pilot episode

NOTE:
During the course, each student will assume a major role in directing one project from
one of the three components. The directors for the various components are randomly
chosen before the semester begins.

Course Structure and Schedule:

Students in CTPR 294 and CTPR 295 are divided into three groups (Silver, Gold, and
Platinum) which rotate at five-week intervals through the three components of the CTPR
294. See the attached schedule for your group. It is important to be aware of the
schedule for both CTPR 294 and CTPR 295, as they are interrelated.

The rotations for groups in CTPR 294 are:

Silver Group (18461): TV/New Media to Documentary to Fictional Narrative

Gold Group (18462): Documentary to Fictional Narrative to TV/New Media
Platinum Group (18464): Fictional Narrative to TV/New Media to Documentary

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 Schedules for the five weeks of each of the components:

Fictional Narrative Component

This 5 week seminar will expose each student to the fundamentals of directing a
narrative film. Classes will include basic film theory and grammar, sample clips
from films and practical directing techniques. Each student will be introduced to
the fundamentals of preparing to direct a narrative film. Each trio will create a
narrative scene that will be shot, edited and screened in weeks 4 and 5.
***ASSIGNMENT 1 - BEFORE THE FIRST CLASS, please WATCH Witness
directed by Peter Weir

WEEK 1

Introduction to Narrative Filmmaking - Witness discussion on visual

storytelling

Storytelling exercise
Dramatic Structure

ASSIGNMENT:
Watch The Graduate.

Meet with your trio and develop a 2 character scene with conflict, character,
transformational moment and a physical activity. Set it in a visually interesting
location that you can access easily for your shoot. Focus on telling the story
visually and through behavior.

WEEK 2

A Director Prepares - Screenplay Analysis, Uta Hagen and Director-Actor

Grammar, Dramatic Structure. Research, Visual inspirations, Character

THIS WORK IS DONE BEFORE, AND REFINED DURING, CASTING &

REHEARSAL!

ASSIGNMENT - Read the following from your packet: Objectives - Golden key,
Write your screenplay. It can have no more than eight lines of dialogue.

WEEK 3

Mise en scene and Montage - clips and discussion

Rehearsal techniques - setting the scene in context of the story and character
arcs, spontaneous combustion, physical life of the scene, playing the actions not

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the words, keeping it real

ASSIGNMENT:
Read “Rehearsing” chapters from Judith Weston’s Directing Actors handout.

Prep your scene: Find visual references for how you will render your scene. Write
character bios. Beat to beat, Given circumstances, etc.

PRODUCTION BOOK:

Your production book will contain your trio’s preparation:

(Please include each trio members name and production responsibility)

Theme
Superobjective/spines
Given circumstances for both characters/antecedent action
Beat to beat breakdown
Research - visual inspirations
Shotlist and floorplan

WEEK 4 – Rehearsing

Trios present their preparation. Screenplays are read and discussed.

ASSIGNMENT: Shoot and edit your scene.

WEEK 5 -
Scenes are screened in class

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 Documentary Component

Week 1) Lecture/Discussion: Documentary defined. How does it differ from fiction?

Bring Three Documentary Ideas to First Class (person, place, or process)

Styles of documentary.
What is a documentary?
Screening of short sample films.

In Class: Students come up with

three documentary ideas for a 3-4 minute film
about either a person, a place, or a process.

Outside Class: Students shoot Street-corner exercise.

Week 2) Lecture/Discussion: How to conduct a good interview.

Bring cameras to class.
SA get 3 boom kits

In Class: Screen street corner exercise

Students critique ideas, settle on one,
Plan their approach for shooting.
Demonstration: Documentary Style Coverage, working as a
documentary team.
The interview.

Outside Class: Students begin shooting. Shoot a key element of

project (interview or scene)

Week 3) Lecture/discussion/demo: How to structure reality.

Shooting a documentary scene
Filmmaker/subject relationships. Documentary
Ethics.
In Class: Students screen and critique dailies

Outside Class: Students edit film

Week 4) Lecture/discussion: How to ‘SHOW,’ not ‘TELL.”

The weave.
In Class: Students screen and critique first cuts

Outside Class: Students finish edit.

Week 5) Lecture/discussion: Wrap up

In class: Students screen revised cut

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 TV/New Media Component

Week 1
Introductions.
Schedule & course overview, grading, office hours.
Series - story or character driven?
Purpose of Scene & Developing Character. Screen examples.
Screen series examples.

Assignment: Meet with TRIO to develop idea for a series of 3-5 minute episodes.

Week 2
Moments - define, learn how to create and direct. Screen examples of moments.
Auditions/Casting discussion/seminar.
Discuss pre-production: casting, location, permits, HSF.
Each TRIO pitch/discuss series idea.

Assignment: Write 3-5 minutes pilot script.

Week 3
Workshop scripts.
Production update - casting, location, permits & HSF.

Assignment: Shoot pilot episode. Create rough cut.

Week 4
Screen rough cuts; critique/discuss.
Discuss the weekend assignments.

Assignment: Re-writes, re-shoot, pickups, edit final cut.

Week 5
Screen pilot; critique/discuss.

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SAFETY

All students MUST attend the SCA Safety Seminar and present proof of attendance
to their instructor before any equipment may be issued.

Students must adhere to the USC School of Cinematic Arts Safety Guidelines as well as
professional, ethical and safety standards that will protect everyone on the set. They can
be found at https://scacommunity.usc.edu/resources/physical
production/pdf/SafetyRulesHandout.pdf

The following policies are applicable to CTPR 294/295.

1. Motor Vehicles

In addition to POV shots from inside a closed automobile, moving motor vehicles
may be used in CTPR 294/295 productions only on University of Southern
California Property. Such motor vehicle use, either moving or non-moving will
require the necessary permits and oversight of the University, as well as an
approved Hazardous shooting Form, all of which must be presented to the section
instructor and SCA Head of Production prior to shooting.

The Rule of six does not apply in these situations.

Moving motor vehicles may not be used as a dolly to record staged action.

No grip or electrical equipment may be used in a shoot involving a moving motor

vehicle.

The driver may not be interviewed or deliver dialogue while the vehicle is in
motion.
2. Minors (actors under 18 years of age) require the presence of a studio teacher and
legal guardian, along with valid work permits.
3. Stunt coordinators are mandatory for any action that could in any way injure your
actor.
4. USC Insurance never covers any vehicle of any kind.
5. Jib arms, cranes, scissor lifts, camera cars are not allowed on student projects.
6. No creature may be harmed during the filming of any USC Student Project. The
American Humane Society must approve use of all animals.
7. The use of motor boats/speed boats is prohibited, as are helicopters, drones, and
fixed-wing aircraft.
9. Students are authorized to use 290 light kits and practical lights (300 watts and
under) only.
10. Fire is limited to the use of LED candles and cigarette lighters. Candy Glass (a
special stunt glass) must be used when glass, plates, mirrors, etc. are broken as
part of a stunt or when these objects present a possible danger to an actor.
11. The maximum shooting day for USC projects is 12 hours. The minimum turn

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 around time before the next shooting day is 12 hours.
12. No open-toed shoes on sets, stages, or around any heavy equipment.
13. Students may not go beyond the 50 Mile Studio Zone.

Failure to follow these policies may results in:

1. Confiscation of the student’s film.

2. Lowering of the student’s grade. Serious violations will result in a grade of F for
the project.
3. Suspension of the student’s production number.
4. Class failure.
5. Appearance before the SCA Academic Violation Committee of both peers and
faculty members.
6. Appearance before the University Judicial Affairs Committee.

All students must consult with the instructor on any shot that might raise a safety
issue. The hazardous shooting form can be found online at:

https://scacommunity.usc.edu/resources/physical_production/hazardous_form.cfm

You must have Hazardous Shooting Conditions Forms, signed by your instructor and the
Head of Physical Production, prior to shooting in any situation or location that might be
considered dangerous or when using weapons, projectiles, or stunts. This process must be
completed by the Thursday before shooting. If you cannot complete the process before
shooting, you must cancel whatever would require the form. Students are expected to
work with others in the class whenever on location. Everyone (crew and cast) is
responsible for safety on the set.

Do not store equipment in your car, even in a locked trunk. It is not insured for loss if
stolen from a vehicle.

Equipment and Facilities:

Students in CTPR 294 and CTPR 295 will be divided into pods of three and share a
camera package. Each student must pay a lab fee of $75 for CTPR 294 and $225 for
CTPR 295, and an insurance premium of $300 for CTPR 294.

The School will provide:

1. Canon XC15 HD Cameras and tripods.

N.B. WITH THE XC15 CAMERA, THIS SETTING IS THE ONLY

SETTING THAT WILL ENABLE YOU TO EDIT YOUR FOOTAGE ON
AVID: HD 23.98P 35Mbps MXF

2. Avid editing stations in the Avid Editing Lab

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 Students will provide their own:

1. Headphones (required) for Avid lab. We recommend Sony MDR 7506, which are
available at the USC Bookstore.
2. 2 SD Memory Cards (4GB & 64GB) for the camera Any of the
following ones will work
 https://www.amazon.com/SanDisk-Extreme-SDSDXVE-064G-GNCIN-Newest-Version/
dp/B01LORO7BA/ref=sr_1_9?s=electronics&ie=UTF8&qid=1497534425&sr=1-
9&keywords=64gb+class+10+sd+card+sandisk
 http://www.bestbuy.com/site/sandisk-ultra-plus-64gb-sdxc-uhs-i-memory-card-black-
gray-red/3142571.p?skuId=3142571
 http://frys.com/product/8879282?site=sr:SEARCH:MAIN_RSLT_PG
 Cards will also be stocked at the Bookstore.
3. One of the following approved External Hard Drives:
The following is the list of SCA approved and supported hard drives.
Any student purchased drive must meet the requirements below.

 Samsung T3 SSD Portable (bus-powered, USB-C**, laptop

friendly), approximate retail price $170 - $370

 Glyph Black Box Plus (bus-powered, USB-C**, laptop friendly),

approximate retail price $99-$120

 Glyph Studio (requires AC power), approximate retail price

$149 G-Tech G-Drive Mobile USB-C (bus-powered, USB-C**,
laptop friendly), approximate retail price $130

 G-Tech G-Drive (requires AC power), approximate retail price

$230 and up

 G-Tech G-Drive Mobile USB-C Bus-powered, USB-C**, laptop friendly

(Approximate retail price $130)

Notes:The hard drives listed are recommended to have a drive speed

of 7200rpm.Capacity: 500GB to 2TB. We do not recommend hard
drives over 2TB.

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**All of the "mobile" drives are USB-C, also known as USB3.1
Check SCA Approved Drives on Supported Hard Drive document
at https://cinema.usc.edu/Laptops/ before purchasing a drive.

A second drive or 16GB flash drives are highly recommended to back up material in
the case of drive failure.

Grading:

Each of the three components contributes 1/3 of the final grade. The grades for the
individual components are determined as follows:

Fictional Narrative Component:

Class Participation 25%
Organization and Communication 35%
Fictional Narrative Filmed Scene 40%

Documentary Component
Class Participation 10%
Collaboration 30%
Documentary Projects:
Street corner 10%
Interview 10%
Final Project 40%

TV/New Media Component

TV/New Media Component
Class Participation 10%
Pilot Script 20%
Collaboration 20%
Pilot 50%

This is a production class. Students should plan to not miss class; students must discuss all
absences with the instructor in advance. If a student is sick, the student must call or email this
information to the instructor or SA before the class. Each unexcused absence in a section will
reduce the student’s grade one increment; e.g. B to B-, for that section. Two unexcused latenesses
will be counted as an absence.

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Academic Conduct
Plagiarism – presenting someone else’s ideas as your own, either verbatim or
recast in your own words – is a serious academic offense with serious
consequences. Please familiarize yourself with the discussion of plagiarism in
SCampus in Section 11, Behavior Violating University
Standardshttps://scampus.usc.edu/1100-behavior-violating-university-
standards-and-appropriate-sanctions/. Other forms of academic dishonesty are
equally unacceptable. See additional information in SCampus and university
policies on scientific misconduct, http://policy.usc.edu/scientific-misconduct/.

Discrimination, sexual assault, and harassment are not tolerated by the

university. You are encouraged to report any incidents to the Office of Equity
and Diversity http://equity.usc.edu/ or to the Department of Public Safety
http://capsnet.usc.edu/department/department-public-safety/online-forms/
contact-us. This is important for the safety whole USC community. Another
member of the university community – such as a friend, classmate, advisor, or
faculty member – can help initiate the report, or can initiate the report on behalf
of another person. The Center for Women and Men
http://www.usc.edu/student-affairs/cwm/ provides 24/7 confidential support,
and the sexual assault resource center webpage [email protected] describes
reporting options and other resources.

Support Systems
A number of USC’s schools provide support for students who need help with
scholarly writing. Check with your advisor or program staff to find out more.
Students whose primary language is not English should check with the
American Language Institute http://dornsife.usc.edu/ali, which sponsors
courses and workshops specifically for international graduate students. The
Office of Disability Services and Programs
http://sait.usc.edu/academicsupport/centerprograms/dsp/home_index.htmlprovi
des certification for students with disabilities and helps arrange the relevant
accommodations. If an officially declared emergency makes travel to campus
infeasible, USC Emergency Information http://emergency.usc.edu/will provide
safety and other updates, including ways in which instruction will be continued
by means of blackboard, teleconferencing, and other technology.

Disruptive Student Behavior:

Behavior that persistently or grossly interferes with classroom activities is considered
disruptive behavior and may be subject to disciplinary action. Such behavior inhibits
other students' ability to learn and an instructor's ability to teach. A student responsible
for disruptive behavior may be required to leave class pending discussion and resolution
of the problem and may be reported to the Office of Student Judicial Affairs for
disciplinary action.

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SAFETY SEMINAR – MANDATORY ATTENDANCE

All students are required to attend the safety seminar in order to obtain a Production
Number. The production number covers, actors, equipment, stages, insurance, additional
equipment, locations, on and off campus permits, audition rooms and access to SCA
facilities for filming (Courtyard, class rooms, bathrooms, stairwells).

Three seminars are offered at the start of every semester. This semester’s seminars:

Friday, August 18, 2017 – Norris Theater - 3:00 P.M.

Monday, August 21, 2017– The Gallery SCA 120 - 6:00P.M.
Tuesday, August 22, 2017 – The Gallery SCA 120 - 6:00 P.M.

There are NO MAKE UP seminars available beyond these dates.

Suggested Reading
Directing Actors by Judith Weston, (1996) Michael Wiese Productions
Action! Acting for Film and TV/New Media by Robert Benedetti, (2001) Pearson
Education Company
The Sitcom Career Book by Mary Lou Belli and Phil Ramuno, (2004) Backstage Books
TV/New Media Production Handbook 7th edition by Herbert Zettl
Basic TV Technology 3rd edition by Robert L. Hartwig, Focal Press
Lighting for Video 3rd edition by Gerald Millerson, Focal Press
The Artist's Way by Julia Cameron,ISBN 0-87477-694-5; Jeremy P. Tarcher/Perigee
Books; paperback
Writing Down the Bones by Natalie Goldberg; ISBN 0-87773-375-9;
Shambala Publilcations, Inc., paperback
Fearless Creating by Eric Maisel; ISBN 0-87477-805-0; Jeremy P. Tarcher/Putnam Book,
paperback
Writing Your Life by Deena Metzger; ISBN 0-06-250612-9; Harper San Francisco,
paperback
Developing Story Ideas by Michael Rabiger, ISBN 0-240-80398-1;
Focal Press, paperback
Kazan by Jeff Young
Film Directing Fundamentals by Nicholas Proferes
Shot By Shot by Stephen Katz
A Director Prepares by Anne Bogart
The Visual Story by Bruce Block

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 Statement of Understanding

I have read and understand the policies and procedures

outlined in the CTPR 294 and CTPR 295 Syllabi, and the
Student Production Office Handbook, and have attended
the SCA Safety Seminar.

I agree to conference with my instructors before creating

any situation that might put my actors, crew, bystanders, or
myself in jeopardy.

I am equally committed to protecting and enhancing the

reputation of the USC School of Cinematic Arts through
my actions.

Signature:

Print Name:

Date:

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