TFM 605 – SEMINAR PRODUCTION TELEVISION & FILM
COURSE SYLLABUS – FALL 2013
Lec/Lab
Monday 3 pm – 7:40 pm
Office:
Phone:
Office Hrs:
E-mail
Professor: Rich Underwood
619-602-2719
by appt.
rich@filmspot.tv
T.A.
E-mail
OVERVIEW
This is a weekly seminar meeting of new graduate students. The seminar is
organized around the production of two short films: a scene study and a
documentary or fiction narrative film. The class will familiarize you with each
other, with the second and third-year grads, and with undergrads whose skill
sets are often quite impressive. You will learn about the TFM equipment and
facilities, and will be introduced to the faculty and staff. You will gain a working
knowledge of the hardware and software you will be using to carry out your
projects. Apart from the focus on creative/collaborative work, this seminar also
focuses your thinking on questions of media literacy and on the critical appraisal
of your and others’ work.
COURSE DESIGN AND STRATEGY
Since the five-part design of a fully developed story is mirrored in each scene,
scene study affords a powerful way to understand screenwriting (the conceptual
basis of all narrative film craft). In executing scenes, we must consider the nature of
beats, of progressive conflict, of “deep” character and of dilemma. We must
analyze how these important story elements are organized to turn narrative scenes.
You will treat each scene as if it were to be printed for theatrical presentation. All
projects must be color corrected with DaVinci color corrector or sent to a color
correcting facility. Your groups must present proof of this step. You will design your
own sound tracks, titles, effects and credits, and if appropriate, you will work with a
composer to score your scenes. Finally, all work will be submitted digitally and a
link to each project must be up on Vimeo.com the Sunday before it’s due.
TFM605 Syllabus Fall Semester 2013 – Rich Underwood
The three scene studies will be distinct, each attacking a different set of creative,
strategic, aesthetic and technical problems which filmmakers must master in order
to produce competitive advanced level films. Each successive scene study will
build on the challenges inherent in the previous one(s), and will add new
challenges. At the end of the semester, you may opt to submit your work to the
end-of-year TFM Film Festival, to be held in the Don Powell Theatre. The films will be
competitively selected, and the best work will be presented publicly.
The purpose of each scene study is as follows:
PROJECT #1 SCENE STUDY– “REPLICATION”
To understand through the careful analysis of a well-turned scene how
conflict is shaped through beats, progressive conflict, crises, climax and
resolution. Also, to understand by means of replication how framing, lighting,
blocking and editing choices influence the dramatic shape of scenes and
stories; finally, to master through the process of replication the craft areas
which contribute to a finished scene, especially the pacing and rhythm of
the acting.
The class will assist in the same TFM360 project in the preceding weeks.
PROJECT #2 NARRATIVE / DOCUMENTARTY SHORT - “ORIGINAL
CREATION”
To master the creation of a Narrative or Documentary short film based on
the lessons learned in the first assignment.
For detailed assignment instructions, see individual assignments at the end of this
syllabus document.
IN-CLASS ACTIVITY
Because your scene study (and later, advanced short films) will require the mastery
and coordination of several craft areas, I will parallel your hands-on production
activity with lectures addressing each of the crafts: Directing, cinematography,
editing, sound design and art direction. These lectures will be supplemented by
screenings of short films and feature film clips that illustrate the lecture topics and
relate to the practical and aesthetic challenges you will face in your projects.
When appropriate, we will also engage in hands-on demonstrations, and invite
guest artists to present their work and ideas.
Finally, a central feature of the TFM605 curriculum is intensive in-class critique of
your individual and group work. This will take the form of an uninterrupted
screening of each scene study followed by a second beat-by-beat freeze frame
critique.
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COURSE GOALS
After completing
understanding of:
1.
2.
3.
TFM605,
students
should
be
able
to
demonstrate
an
preproduction planning to include scripting, creating a “beat-sheet,” lining
the script, shot-listing, auditioning and casting, storyboarding, scheduling,
location scouting, “crewing-up,” rehearsing actors, equipment selection,
location scouting, securing permits and insurance, and preparing the set
(art direction).
the rhythms, pace and protocol of crew production, including the division
of labor on a set, shot set-up, marking and blocking action, lighting the set,
control of camera and camera movement (ex: loading a 16 mm camera,
operating the lens, using a camera dolly.)
postproduction, including professional color correction, logging and
capturing footage, editing the footage using Final Cut Pro, designing and
mixing the soundtrack, designing and creating titles and graphics, authoring
and burning a DVD for exhibition, file conversions and manipulation of
codecs, and preparing the work for film festival submission.
WORK GROUPS & EXPENSES
For the first scene study you will work in groups, which will be randomly selected by
the instructor. The final project will be an individual effort with support from other
TFM605 and department students. While you will need to recruit crew support from
outside 605, it is paramount that your group members take on the key creative
roles in the these productions. Through this process, the strong directors,
cinematographers, producers, production designers, sound designers, and editors
should plainly emerge. These are the people you will want to surround yourself with
in future advanced short film projects.
Expenses for each project should be shared equally among the group members.
This agreement must be acknowledged in writing (see “Group Contracts”) and
signed by each group member. Additionally, each member of the class may be
required to contribute to the financing of a set to be built for the “replication”
scene study and used by all groups. The replication assignment typically costs
between $350 and $500; and the “original creation” assignment varies according
to length and whether it is shot on film or DV.
CLASS FEES
TFM605 now has a $20 fee to cover maintenance costs of equipment. The fee is
basically for equipment and software maintenance. The items that the fee will be
used for include: battery replacement, headset maintenance, computer/pro-tools
software maintenance, camera maintenance, lighting (lights, bulbs, meters) and
audio (recorder and cables) equipment maintenance, TV camera maintenance,
cable repairs, and Foley room maintenance.
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TFM605 Syllabus Fall Semester 2013 – Rich Underwood
REQUIREMENTS
PARTICIPATION: Participation in class is crucial and will be factored into your grade;
I will, Therefore, take attendance each week at the beginning of class, and again,
immediately after the break.
DELIVERABLES: Your finished projects should be delivered on Data DVD in jewel
cases. This data should also appear clearly labeled on the DVD jewel case.
Projects must be uploaded and playable on Vimeo 24 hours prior to screening in
class and a link sent to both TA and Professor. Failure to meet this requirement will
result in a grade of no more than a (B) for all group participants.
DEADLINES
Due dates are FINAL. Late projects will be devalued. PLAN AHEAD! No special
allowances will be made for final projects (assignment #3) that exceed the
recommended length! Failure to have a screenable project by the class deadline
will result in a grade of no more than a (C ) for all group participants.
Lectures, screenings, and workshops are one-time deals. If you fail to attend,
please don’t expect a private tutorial.
GRADES
I will systematize the process of evaluating your work, and make that process as
transparent as possible. I will make clear through this process what is being
evaluated and what my standard for quality is. The evaluation process starts with
screening and critique of each scene study in class.
Here is the evaluation breakdown:
1. Project #1
2. Project #2
TOTAL
=
=
50%
50%
100%
For each project, we will consider the following areas of evaluation:
1.
2.
3.
4.
4
Overall impact: Conceptual quality and sophistication of film
Technical execution (lighting, exposure, audio mix, shot choices, acting)
Directing (human presence on the screen, aesthetic choices).
Production design
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TFM605 Syllabus Fall Semester 2013 – Rich Underwood
5. Your individual contribution to the project based on group evaluations.
6. Production Book – organization, pragmatic usefulness, completeness.
PRODUCTION BOOKS
As indicated above, apart from the finished scene study, you will submit an
organized production book, to include the below-listed items. Please present
these materials together in a binder or similar packaging with clear labeling on
the outside. The production book will be the responsibility of the Producer, but
each group member will share whatever grade is earned on the Production Book.
The production book should include:
• Scripts and script revisions
• Storyboards, shot lists, and overhead blocking diagrams
• director’s notes – are there any written notes from the director ?
• equipment lists
• shooting schedules
• lighting diagrams
• budgets and revised budgets
• receipts
• camera reports and editing logs
• Alphabetized list of phone and e-mail contacts
• production stills (both with crew and from film)
• any other information about shooting and post-production activities specific to
your production.
• A vimeo link with password to downloadable version of the project.
More than a class assignment, the production book is a necessary organizational
tool of professional production, and will thus reflect and reinforce your planning.
GROUP CONTRACTS
For each scene study you will draw up a group contract. The group contract is a
financial agreement made between the group members. It also specifies the
members who comprise the group and their roles on the production. Its primary
purpose is to prevent conflict down the road. An important consideration is exactly
how much financial responsibility each group member is to bear. Each member
must agree to contribute financially, and it is highly recommended that the cost of
production be evenly split among the group members. Moreover, it must be
specified how much financial obligation each member is to bear in the event of a
budget over run, and when the money is to be paid. Set specific limits. The exact
financial breakdown is up to the group. One contingency that has come up with
groups renting equipment is who pays for insurance deductibles in the event of an
insurance claim. I will provide the contract forms. The contract must be filled out,
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signed by each member and returned to me before each scene study will be
allowed to go into production.
SCRIPT APPROVAL
The 2nd Project involves writing and shooting an original, self-contained short film.
All TFM films, including original scene studies, must obtain final script approval from
me before going into production.
THE STUDIO A WEBSITE
An invaluable resource for TFM students, Greg Penetrante’s Studio A Website
features online scheduling of editing time, updates on equipment status,
department news, links to related sites, and much more. Students are expected to
check the site frequently for updated information on the TFM department, and to
participate in TFM related online surveys and user feedback features. In addition,
students are encouraged to submit news and other information to be shared with
other students. Please bookmark the site at:
http://studioa.sdsu.edu
BOOKS
(those indicated in red are highly recommended)
Required
On Directing Film by David Mamet
Master Shots by Christopher Kenworthy
The Invisible Cut by Bobbie Osteen
Highly Recommended:
Film Directing Shot by Shot by Steven D. Katz
The Guerilla Filmmakers Handbook by Genevieve Jolliffe/Chris Jones
General (Recommended)
Durbin, Greg .......... 11 Lectures for Advanced Filmmakers
ASC ........................American Cinematographer Manual, 7th edition
Gore, Chris ............The Ultimate Film Festival Survival Guide
San Diego Film Commission - Film & Video Resource Guide 2010
Sidney Lumet - Making Movies
For Editors
Weynand, Diana - Apple Pro Training Series: Final Cut Pro 6
Wohl, Michael - Apple Pro Training Series: Final Cut Pro 6 Beyond the Basics
Bobbie O’Steen – The Invisible Cut
Dancyger, Ken – The Technique of Film and Video Editing
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TFM605 Syllabus Fall Semester 2013 – Rich Underwood
Reisz, Karel and Millar, Gavin – The Technique of Film Editing
Miller, Pat - The Technique of Film Editing Script Supervising and Film Continuity
Wohl, Michael - Apple Pro Training Series: Color Correction in Final Cut Studio
For Cinematographers
Motion Picture and Video Lighting by Blain Brown
Reflections: 21 Cinematographers at Work Ben Bergery
Film Lighting by Kris Malkiewicz
Masters of Light by Dennis Schaefer and Larry Salvato
Lighting for Location Motion Pictures by Alan J. Ritsko
Image Control by Gerald Hirschfeld
Anton Wilson's Cinema Workshop Anton Wilson
For Directors
Thinking in Pictures by John Sayles
Cinematic Motion: a Workshop for Staging Scenes, by Steven D. Katz
Rebel Without a Crew by Roberto Rodriguez
The Director’s Vision – A Concise Guide by Geoff Andrew
The Movie Book - Phaidon Press Limited
For Screenwriters
Aristotle’s Poetics
Story by Robert McKee
The Writer's Journey: Mythic Structure for Writers by Christopher Vogler
Adventures in the Screen Trade by William Goldman
Screenwriting 434 by Lou Hunter
Making a Good Script Great by Linda Seger
The Art of Dramatic Writing by Lajos Egri
For Sound Designers
The Practical Art of Motion Picture Sound by David Yewdall
Audio in Media by Stanley Alten
STUNTS, SAFETY & LIABILITY
Anyone planning any effects or stunts, no matter how “safe,” must have them
approved in writing by me before attempting them. Release and waiver forms
and liability forms will be distributed electronically. Each non-SDSU cast member
must sign releases, and liability forms must be filled out for all off-campus location
shooting.
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TFM605 Syllabus Fall Semester 2013 – Rich Underwood
TELECINE TRANSFER INFO
You can choose to either learn DaVinci Color Corrector on campus or color
correct your project at a reputable facility such as FotoKem. The Student rep at
FotoKem, Walt Rose, is very helpful and friendly. There are several good houses in
Los Angeles that offer special rates to students. I recommend CCI Digital, The New
Post Group, Match Frame and FotoKem. You may discover others and are
encouraged to report them for the benefit of others.
TFM605 SCENE STUDY #1 – “REPLICATION”
OBJECTIVE
The accurate replication of an existing scene involving multiple actors.
PURPOSE
• To gain control over the multifaceted process of creating a dramatically
compelling scene. Specifically to call attention to the details of lighting,
blocking, framing, coverage, movement, composition, pacing and rhythm.
• To emphasis the critical contribution each and every craft element makes
in the construction of a dramatically successful scene.
FRAMEWORK
 Group members will be selected randomly in class.
 Before production work can begin, groups must turn in a Group Contract.
 The groups will work on a scene chosen by the professor. SDSU Art
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Directors will reproduce a set in Studio C that will be used by each group
to shoot the scene (Each group will be required to schedule time in the
studio to avoid schedule conflicts with other students).
The scene should be analyzed with extreme care by the entire group.
Production roles will be determined by the group.
The scene will be shot on a high end digital camera.
Detailed camera reports must be taken and included in production
notebook. Camera reports must include:
- f-stop
- lens focal length
- lens height from ground
 Original format (aspect ratio) must be matched.
 Edit the scene on the Final Cut Pro non-linear editing systems. You will
schedule editing time through Greg Penetrante using the Studio A
website (http://studioa.sdsu.edu). If you require a tutorial, it is your
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
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responsibility to schedule it in a timely fashion. You will be limited to four
days on the editing system - if you have thought through your scene with
care, this should be sufficient.
The aim is to match the original scene, element for element. This requires
careful analysis of the lighting, framing, movement, editing and acting.
The only exception will be music, which must be an original score.
The scene should be roughly the same length as the original.
The scene study should be presented with opening title and end credits.
If music is used, it must be an original score.
Each presentation should open with the original scene, followed by your
scene.
The group Participants in TFM 605 should be clearly indicated in the end
credits.
Pick up shots after due date will be permitted for an improved scene
(and grade).
A vimeo link is due the day before the due date in class with password to
a downloadable version of the project. The active link needs to be
included in the production book.
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TFM605 Syllabus Fall Semester 2013 – Rich Underwood
TFM 605 2nd Project – “ORIGINAL CREATION”
DUE WEEK 14
The final project is a narrative or documentary short film. The process to create this
project will start on day 1 and continue though out the first part of the course.
The Script
The treatment must address the following concerns:
• WHAT --- this pertains to the story and plot
• WHO --- this pertains to the characters
• WHERE --- this pertains to the setting, costume, period
• WHY --- do we care
• STYLE --- dramatic or comedic; genre; formalized or realistic
Each student will pitch their project to the clas (no more than 5 minutes) and
should include:
Your Name
Title of the Production
Log Line
Concept and highlights of major sequences
Your personal motivation and
ENTHUSIASM/PASSION for the film.
How your roll will advance the chances for success with the film’s goals.
Bring in illustrations and be prepared to present them without flaw to the class.
Sound must be mixed from at least three tracks --- dialog, FX and music.
cleared copyrighted music will not be permitted
Un-
OBJECTIVE
To address the creation of a short film from script to screen. In addition to the
multifaceted technical and aesthetic elements that must be synthesized to
produce the first two scene studies, this scene study stresses the imagination
required for screenwriting and originality both in the writing and execution of
the scene. I strongly urge you keep your films short, as opposed to expanding
into a multi- location story.
FRAMEWORK
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TFM605 Syllabus Fall Semester 2013 – Rich Underwood
This final project requires that you synthesize all the craft elements you have
studied into a sophisticated idea. This implies an imaginative articulation of
material that is exciting to watch. I am especially interested in the scope of the
problems you take on and how imaginative you are in solving them.
You will do more than simply record the events that you are depicting, which is
to say you must use the camera as a tool for cinematic interpretation. You will
give meaning to the event through your creative decisions about lighting,
camera placement, lens choice, coverage, movement, and continuity planning.
This implies that you must carefully analyze the event to determine the significant
developments within that event in order to make the best aesthetic choices. Be
especially careful to motivate camera moves.
 Scenes should include dialogue and involve three or more actors.
 All scripts must be approved by me before going into production. In order
to secure equipment from check-out, Dennis must see that the scene has been
signed off.
 Before production work can begin work groups must turn in Group
Contracts.
 Detailed camera reports must be taken and included in production
notebook. Camera reports must include the following:
- f-stop
- lens focal length
- lens height from ground
- footage count
- relevant comments about shot
 Final project must be color corrected on DaVinci or corrected at a
professional color correction house.
 Films should include a composite soundtrack mixed on Final Cut Pro and/or
Pro Tools.
 Edit the scene using Final Cut Pro. You must schedule editing time through
Greg Penetrante.
 As stated above, If music is used it must be an original score.
 The scene should be between 3 and 5 minutes long.
 The scene study should be presented on DVD. Title, group number and
group participants should be clearly indicated on the jewel case as well as
on the DVD disk.
 A vimeo link is due the day before the due date in class with password to a
downloadable version of the project. The active link needs to be included
in the production book.
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TFM605 Syllabus Fall Semester 2013 – Rich Underwood
Use this template for your production: 10 seconds of slate with title, group names,
and running length followed by 10 seconds of black then the production followed
by 2 seconds of black.
Schedule:
Aug 26th First Class
Sept 2nd Labor Day
Assist TFM360 Sept 20, 21, 22
Assist TFM360 Sept 26th, 27th and 28th
TFM 605 Shoot Oct. 5 & 6
1st Project Due Oct. 14th
Nov 11th Veteran’s Day
Nov 28-29 Thanksgiving
DEC 9th Last Week – 2nd Project Due
DEC 16th Final
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TFM605 Syllabus Fall Semester 2013 – Rich Underwood
WAIVER AND RELEASE
SAN DIEGO STATE UNIVERSITY
I acknowledge that I intend to participate in San Diego State University’s (SDSU)
Television, Film and New Media Production on a volunteer basis in order to further my knowledge,
and practice my craft. In exchange for this opportunity, I agree to indemnify, defend and hold
harmless SDSU, the State of California, the Trustees of the California State University and Colleges
and its officers, employees and agents against all claims, demands, suits, judgments, expenses and
costs of any kind on account of any injury to me or on account of my death or loss of or damage to
property or other persons arising from the activities I engage in as part of the SDSU
Telecommunications and Film program.
I understand that I will receive no compensation or benefits and that I am not an
employee or agent of SDSU, and am not covered by SDSU's Workers' Compensation or any other
of their insurance programs.
Name of Student Producer _________________________________________
Name of Participant _________________________________________
Signature of Participant _________________________________________
Signature of Parent
(If participant is under 18 yrs.)
Address _________________________________________
Date _________________________________________
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