RT 365
PRODUCING FOR TELEVISION
SPRING 2010

Main Course Page

fast links to: FEB 8   FEB 15   FEB 22   MAR 1   MAR 15   MAR 22   MAR 29   APR 5   APR 12   APR 19   APR 26   MAY3

  JANUARY 19

  • WELCOME TO STUDIO B!

  • VOCABULARY WORD OF THE WEEK XLR CABLE

      JANUARY 25

    Questions for investigation: How is television talk like and unlike conversation? What are the limits of talk on television? What does this have to do with being a producer? Discussion of Thomas article as to applied to talk and reality shows. What other myths are there?

  • Read Myths in and About Television Please answer questions at the end in your notebooks. Think about how this confirms or contradicts your experiences. What isn't spoken about.

  • Read "Talk Shows" especially the section at the bottom right entitled "Formats"

  • HOMEWORK: Watch 3 clips from 3 different talk format shows. Write a summary- a ½ page for each show in your book- describe the technical aspects of the production, then the content. When you write about content, address the host’s identity (gender, presumed class etc.), and assess the show’s content - what subjects do they usually talk about? Who is invited or present on the show? Are there things they never talk about? Be prepared to discuss in class in relationship to the reading.

  • HOMEWORK: DUE IN SECTION: Write an abstract for a host/guest interview of 2-2.5 minutes. Create an identity/personality for the host, the identity of the guest (eg famous dead person, personality type, etc.), and a subject, book, recipe, issue for them to discuss. Will they agree or not? Will there be controversy? If you are stuck, try looking at old “What’s My Line” episodes on Youtube.
    SEE PAGE 33 Osgood for example of an abstract.

      FEBRUARY 1 DUE

  • Read Osgood and Hinshaw, Chapter 1 “Visual Storytelling”

  • Read Osgood and Hinshaw, Chapter 2 “Preproduction”

  • HOMEWORK: In your notebook, answer these questions based on these two chapters in full sentences. What is the role of structure in a story?
    Osgood and Hinshaw list “fiction narrative” and “nonfiction” as story genres. Cite three other examples of genre or subgenre (subcategory) you are familiar with. If you are not sure what this means, look “genre” and “television genre” up online and write what you learned.
    What is a “pitch?” What are the elements of a good pitch? When budgeting, what are ‘above the line’ and ‘below the line’ costs? Storyboarding: What other information can a storyboard contain? What is a shot? What is a site survey? Cite three things to check on during the site survey.

    • DUE FEB 1: Draft scripts for talk shows (group hand –in)

    • DUE IN SECTIONS: Final scripts for talk shows.
    To copy scripts, email in advance to Sarah, or hand to Elisa a beginning of class.

    VOCABULARY WORDS OF THE WEEK: CAMERA CONTROL UNIT
    KELVIN - COLOR TEMPERATURE

      FEBRUARY 8 DUE

    Studio Proficiency Exam this week. Download a Studio Proficiency REVIEW here or below

  • Read Osgood and Hinshaw, pps 113-121 (beginning of Chapter 5, “Composition”)
    Be prepared for these challenges and do the DVD module on page 121.

    Make notes in your notebook: What is depth of field? Cite 3 ways to change the depth of field. What is the focal length of a lens? What does it mean to block action? What is the “point of critical focus” in a scene?

  • HOMEWORK: Read the newspaper (online is ok) for 3 days in a row.
    Select 3 articles you think are interesting stories that trigger your imaginations. Vary what papers you read -(try guardian.co.uk). Note the ideas these articles/stories generate for you in your notebook. What are the issues involved; do you identify in some way?

  • Read “Soap Opera Packet” Write in your production book about how these different soap operas relate to their social context. (Pick 2 of these soap operas and write 1-2 pages)

  • Scan--briefly for an overview of the basic pattern found in many narratives as a way of getting ideas for your group production Hero’s Journey

    VOCABULARY WORD: TALLY LIGHT

    SECTIONS: Technical Studio Exam.
    You will be tested individually and you must know parts of camera, terms for studio production, set up and wrap up of studio components, how to focus and refocus camera, shot types, floor director signals, setting up and testing audio, clear com, teleprompter and basic switcher operation.

    Be prepared: DOWNLOAD Studio WHAT-YOU-NEED-TO-KNOW

    When you are done testing, groups can meet and work on their stories for a short dramatic or comedic or soap scene for production 6th and 7th weeks.

    Useful Readings for scriptwriting: Short Screenplays that connect

     FEBRUARY 15 DUE

  • READ Osgood & Hinshaw, Chapter 5 “Composition” rest of chapter.
    Answer the following in your notebook: What is a neutral density filter?
    Why is TV a close up medium? What is an aspect ratio? What is the “essential” or “safe action area?”
    How is the frame an element of composition? What are vectors? Name the three main types of vectors. What is the rule of thirds? What is the Z-axis? What happens to the Z-plane when a long focal length lens is used?

  • REVISION: Studio drama scene pitch due Feb 15. download the homework handout
  • Read Millerson Ch. 4: Lighting Theory and Application (part 1)

  • Writing Exercise: Rough Story Ideas syllabus revision For FEB 15 do these story exercises and bring in a story proposal, of minimum four lines. Proposal must be handed in: make a copy!

    • WORD OF THE WEEK: CCU-

      FEBRUARY 22 DUE
  • HOMEWORK: due Feb 22. LIGHTING ANALYSIS Download the lighting analysis homework


    Select a still from 2 different day or nighttime serial tv/cable shows. They MUST be interiors (from a set).
    Analyze the lighting descriptively using vocabulary words to describe lighting characteristics from the Millerson page 75 “Key Factors.” These are intensity, quality, contrast, direction and temperature.
    Use descriptive languageto convey what you can about the scene through light: what time of day you think it is; what are the light sources; what kind of mood is being conveyed and what do you see that tells you this.

    Example. “The light is soft, yellowish and thin, and coming through the window. It is very early morning and there are heavy shadows in the corners of the room.”

    Post your 2 stills on the class blog at http://rtv365.blogspot.com/
    With each image post your written lighting analysis.

  • Read these pages about audio for the studio environment

  • "Audio gives your pictures a convincing realism. It makes your audience feel involved in what they are seeing. Without it, they are watching moving shadows" (from Millerson)
  • Additional Audio Readings for more detail (optional for now but edifying!) Millerson Chapter 5 Audio Techniques part 1 and
  • Millerson Chapter 5 continues with Hanging and Slung mics (good for studio) hidden mics (also great for studio production, and tips about controlling dynamics.
  • bring DRAFT SCRIPTS AND DRAFT STAGING PLANS (lights/sets) to SECTION

  • Additional Optional Readings In Production: Blocking, Staging, Cheats and Formats

    TOP

      MARCH 1 DUE

    LIve Studio Sketch Productions

  • Read Osgood Chapter 3 “Legal and Ethical Issues”

  • Read around at this site: http://creativecommons.org/

  • ASSIGNMENTS FOR MARCH 1: AUDIO SET UP AND STAGING ASSIGNMENT Using the group production you are working on as an example, write about the audio elements. Draw a floor diagram of your set, indicate where the placement of microphones for the audio for your production.

  • ASSIGNMENTS FOR MARCH 1: Write in your notebook; What is defamation?
    about copyright: How many different copyrights does a piece of music have? What are they?
    Under what circumstances would you obtain a mechanical license?
    What does it mean if material is in the public domain? Name the three organizations that handle performing rights for the artists? How does the Creative Commons project propose change the way copyright is thought about and used? Be specific by writing about the new copyright categories they will register.

  • PRODUCTION BOOKS AND SET PLANS DUE FOR ALL GROUPS

    To be handed back the following Monday or picked up from my office during office hours.

  • Optional reading about production style Style

    Mar 9 VACATION!!

      MARCH 15 DUE

  • Watch one documentary over the week-long holiday. It does not have to be a feature, but you are expected to watch it closely and think about how it is made and the intentions of the maker. Please write a page about it in your notebook, using these questions as your guide at Documentary Questions

  • REVIEW Osgood Chapter 7 “Lighting in the Field”

    PLEASE note in your notebook the following: The difference between incident and reflected light is what? Which is more red or orangey looking- light that is 2800 K or 5600 K? What is “falloff?” What is a bounce card and when and how do you use it? What are the three main reasons to light? Name the three main instrument positions used to create 3 point lighting. Which lamp will be the most intense of these three? What does it mean to say it is “intense”?

    TOP

      MARCH 22 DUE

  • READ around these links to explore some definitions of documentary. Write up to 1 page in your notebook-what you have learned about? How does this challenge what you already believed about documentary- or not?

  • READ Osgood and Hinshaw, Chapter “Audio in the Field”
    Please make notes regarding the following concepts in your book: Define “Sampling”. Define “Impedance” Please describe appropriate situations to use the following mics- a) a dynamic mic b) a condenser mic

  • CANCELLED: READING Handout: “Conducting Interviews”

  • PITCH: PREPARE 3 Initial Ideas for final project: A Portrait of a Person, Place or Thing.
    What will be the story, or focus? To be presented in class.

  • VIDEO Assignment: story in close-up DUE IN ONE WEEK (1 min)

  • INDIVIDUAL MEETINGS-BE SURE TO MEET WITH Prof or TA BEFORE PITCHING

    VOCABULARY TERM: COVERAGE, 5 SHOT RULE

      MARCH 29 DUE

  • STUDENTS Present oral DOCUMENTARY PITCH AND Hand in written TREATMENT-

  • INTERVIEW FOOTAGE DUE NEXT WEEK to capture and edit in section: Get at least 5 different shots. You can shoot up to 10 minutes, but will select the best shots and cut it down. Ask someone you don’t know to do this with you. You will have to spend a little time to learn more about this person. If you are stuck, ask an older person about how things were different when they were a kid. Make sure you get adequate light on your subject and good audio.

  • READ Osgood and Hinshaw, Chapter 8 “The Aesthetics of Editing”

  • READ Osgood and Hinshaw, Chapter 9 “Post production”
  • READ Documentary Story , from Documentary Storytelling by Sheila Curran Bernard

    SKILL OF WEEK: AUDIO LEVELS FOR ANALOG AND DIGITAL EQUIPMENT: RULES OF THUMB

    TOP

      APRIL 5 DUE

  • PRE-PRODUCTION REPORT, TREATMENT REVISIONS- Hand IN
    I will return your treatments to you in section. Please make corrections and revisions and return them again Apr. 12

  • READ Osgood and Hinshaw, Chapter 11 “Graphics and Effects” Assigned writing response to be announced.

    TOP

      APRIL 12 DUE

  • READ Osgood and Hinshaw, Chapter 10 “The Sound Track”b
    Assigned writing response to be announced.

  • FOOTAGE IS DUE FROM FIRST SHOOt

  • MAKE INDIVIDUAL APPOINTMENTS FOR MEETINGS

  • DUE: Fine draft of Treatment. You should know by now what the story is about and what kind of style you use to tell it. This treatment would be used as the basis for entering festivals and applying for funding.

    TOP

      APRIL 19 DUE

  • ROUGH CUTS DUE

  • READ Osgood and Hinshaw, Chapter 12 “Output”
    Assigned writing response to be announced.

  • Keep editing your film!! Go do any additional shoots!
  • Prepare a one or two line description for a poster or online posting.
  • Choose two stills from your film for promotion.

    • TOP

      APRIL 26 DUE

  • KEEP ON GOING YOU CAN MAKE IT!!

  • FINE CUTS DUE

  • PRODUCTION STILLS AND POSTERS DUE

  • READ Osgood and Hinshaw, Chapter 4 “From Light to Electrical Energy: Creating and Storing Media”
    Be prepared to answer these questions and note them in your notebook: What is additive color? What are the three primary colors of the video image? What happens when they are l added together? What is the difference between interlaced and progressive scanning? How many lines of information are there in a single frame of NTSC video? What are the three attributes of color? What is persistence of vision? What is aspect ratio? Which gives a stronger analog signal- composite encoding or component? Why? What is the distinction between luminance and chrominance in the video signal? What is compression?

  • POSTERS DUE

    TOP

      MAY 3

  • FINAL CUTS DUE

  • TREATMENT REVISIONS DUE

  • PRODUCTION BOOKS DUE