“SCENE STUDY”
COURSE SYLLABUS – Spring 2016
Lec/Lab
3pm – 7:40pm
Phone:
Office Hrs:
E-mail
Professor: Rich Underwood
619-602-2719 (cell)
by appt.
rich@filmspot.tv
OVERVIEW
It is assumed that the prerequisite courses have provided all 362 students with a
basic understanding of the film production process. It is also assumed that each
student has acquired a basic knowledge of sound recording and sound design.
With this foundation, you will focus on film production from the standpoint of
narrative scene study and scene construction, with an emphasis on honing critical
craft skills. Students will collaborate to develop, shoot, edit and present three
different scene studies (three films). The consideration of directorial choices relating
to blocking, framing, lighting, production design, pacing, and acting will be central
to the work you will do in this class. The ultimate aim of the course is to prepare you
to produce a high quality short subject advanced film with confidence.
COURSE DESIGN AND STRATEGY
Since the five-part design of a fully developed story is mirrored in each scene,
narrative 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 story elements are organized to turn narrative scenes.
You will treat each scene as if it were for theatrical presentation.
The three scene studies will be distinct, each attacking a different set of creative,
strategic, aesthetic and technical problems that 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.
The purpose of each scene study is as follows:
SCENE STUDY #1 – “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
TFM 362 Syllabus Spring 2016 – R. Underwood
which contribute to a finished scene, especially the pacing and rhythm of
the acting.
SCENE STUDY #2 – “WORKING WITHIN LIMITATIONS – 48 Hrs”
Orson Welles is reputed to have said, “The absence of limitations is the
enemy of art.” This assignment is modeled after the “48 Hour Film Festival”. It
imposes budget, time, location, dialogue, and other limitations to make a
film no longer than 5 minutes in length. The aim of the assignment is to
understand the role of creativity in dealing with limitations. It emphasizes the
role of critical analysis of a scene, the determination of its dramatic focus
and its translation from script to screen. The focus of this scene study is on the
deep understanding of the scene and the creativity involved in putting it on
the screen. Scene study #2 will also further strengthen your command and
coordination of the craft areas involved in making a film.
SCENE STUDY #3 – “ORIGINAL CREATION”
The aim of this assignment is to master the creation of a dramatically
compelling short film from script to screen within a 5-week time frame. In
addition to the multifaceted technical and aesthetic elements that must be
synthesized to produce the first two scene studies, this scene study further
stresses invention, originality, and creativity beginning with the idea itself. It is
imperative that the film be short in order that it be completed in the allotted
time! The maximum time running time therefore is 11-minutes. At the
completion of the third scene study, you will have developed an instinct for
the rhythms and routines of coordinated crew production.
For detailed assignment instructions, see individual assignments at the end of
this syllabus document.
IN-CLASS ACTIVITY
Because your assignments 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. I will place special emphasis on scene
structure (writing), since it is at the center of all the other crafts. 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 scene studies. 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 TFM 362 curriculum is intensive in-class critique
of your group work. This will take the form of an uninterrupted screening of
each scene study beginning with a public group interview, and followed by
2
2
TFM 362 Syllabus Spring 2016 – R. Underwood
a second shot-by-shot critique of the scene study. The project will then be
critiqued online. I will also review each scene study with my Teaching
Assistants privately and write a summary critique for each group. (see
“Grades” below for details of critique).
COURSE GOALS
After completing TFM 362, students should be able to demonstrate an
understanding of:
1.
2.
3.
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: navigating digital camera
menus with confidence, operating the lens, using a camera dolly, etc.)
Postproduction, including logging and capturing footage, editing the
footage using a professional NLE system, file conversions and manipulation
of codecs, professional color correction, designing and mixing the
soundtrack, creating titles and graphics, burning a DVD/BluRay for
exhibition, and preparing the work and a press kit for film festival submission.
BOOKS
(those indicated in red are either required or highly recommended)
Required
On Directing Film by David Mamet
Master Shots by Christopher Kenworthy (vol. 1, 2nd ed.)
11 Lectures for Advanced Filmmakers – Greg Durbin (available on blackboard)
Highly Recommended:
Film Directing Shot by Shot by Steven D. Katz
The Guerilla Filmmakers Handbook by Genevieve Jolliffe/Chris Jones
General (Recommended)
ASC ........................American Cinematographer Manual, 7th edition
Gore, Chris ............The Ultimate Film Festival Survival Guide
Sidney Lumet - Making Movies
For Producers
The Guerilla Filmmakers Handbook by Genevieve Jolliffe/Chris Jones
3
3
TFM 362 Syllabus Spring 2016 – R. Underwood
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 Directors
Friendly Enemies: The Director-Actor Relationship – Delia Salvey
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
For Cinematographers
Motion Picture and Video Lighting by Blain Brown
Reflections: 21 Cinematographers at Work by 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 Editors
Bobbie O’Steen – The Invisible Cut
Dancyger, Ken – The Technique of Film and Video Editing
Reisz, Karel and Millar, Gavin – The Technique of Film Editing
Miller, Pat - The Technique of Film Editing Script Supervising and Film Continuity
For Sound Designers
The Practical Art of Motion Picture Sound by David Yewdall
Audio in Media by Stanley Alten
WORK GROUPS & EXPENSES
For the first two scene studies you will work in groups, which will be randomly
selected by the instructor. You will select your own collaborators for the last
project. While you will need to recruit crew support from outside 362, it is
paramount that your group members take on the key creative roles in the these
scene productions. Through this process, the strong directors, cinematographers,
producers, production designers, sound designers, and editors should plainly
4
4
TFM 362 Syllabus Spring 2016 – R. Underwood
emerge. These are the people you will want to surround yourself with in future
advanced short film projects.
Expenses for the three scene studies should be shared equally among the group.
This agreement must be acknowledged in writing (see “Group Contracts”) and
signed by each group member. The replication assignment typically costs
between $250 and $400; the “interpretation” assignment costs approximately $200
- $300; and the “original creation” assignment varies according to length and
complexity.
CLASS FEES
TFM 360 has a $20 fee to cover maintenance costs of equipment. The fee pays for
equipment and software maintenance. To be specific, the items that the fee will
cover include: battery replacement, headset maintenance, computer/software
maintenance, camera maintenance, lighting (lights, bulbs, meters) and audio
(recorder and cables) equipment maintenance, TV camera maintenance, cable
repairs, and Foley room maintenance.
REQUIREMENTS
PREREQUISITES: Open to TFM majors only. TFM 314 with grade of B (3.0) or better.
Proof of completion of prerequisites required: Copy of transcript.
PARTICIPATION: Participation in class is crucial and will be factored into your grade.
The best and most quantifiable evidence of your participation is performance on
pop quizzes. All students must bring a laptop to class and be able to log onto the
internet.
INDIVIDUAL ASSIGNMENTS: There are suggested readings for each craft category.
Each student will be assigned reading based on their positions for each project.
A paper will be due prior to the start of principal photography.
Double space Times New Roman 12 pt.
Titled: Position / Name / Scene Study#
Example: Director / John Smith / Scene Study #1
Each student will submit a list of 10 valued bullet points from the reading. Each
bullet point will be followed by:
1.) Book / Text Title
2.) Chapter
3.) Reference Page
4.) Paragraph
5
5
TFM 362 Syllabus Spring 2016 – R. Underwood
PROJECT DELIVERABLES: These are to be managed and assembled by the producer
for each assignment. All Projects: Group members’ names and roles should be
included at the beginning of each scene study, followed by a title.
1.) Group Contract prior to shooting. *1 (See Group Contracts)
2.) Frame.IO Project Rough and Final Cuts. Connection due 1
week after assignment is made. All group members, professor
and TAs must be added as collaborators. Must include credits
for TFM362 Students whenever posted.
Name must be: TFM362_ProducerLastName
3.) The Film *2 (See The Film)
3.) Vimeo Link. Projects must be uploaded and playable on
Vimeo 24 hours prior to screening in class and a vimeo link (with
password) included in the Production Book.
4.) Data DVD in Amery cases. Group members’ names and roles
should also appear clearly labeled on the DVD Amery case. 3rd
project to include a Blu-ray disc.
5.) Each Group will place an HD copy (1080 p, 23.976 fps) of
their film on the class computer before the day of presentation.
NOTE: 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.
6.) Student Evaluation Letters – Must be emailed to Professor and
Teaching Assistants. Failure to submit the evaluation letter by the
deadline will result in a demotion of 1 grade point for the
individual. (example: an A- becomes a B+). After 2 days late – 2
grade points. *3a & 3b (See Evaluation Letters)
7.) Production Book - Failure to submit the Production book by
the deadline will result in a demotion of 1 grade point for the
entire group. (example: an A- becomes a B+). After 2 days late –
2 grade points. *4a & 4b (See Production Book)
8.) Press Kit for Project #3
DEADLINES
6
6
TFM 362 Syllabus Spring 2016 – R. Underwood
Due dates are FINAL. Late projects will be devalued. PLAN AHEAD! No special
allowances will be made for final projects 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
Success in TFM 362 requires enormous commitment and perhaps some luck. Rest
assured that in the greater context of life, your letter grade in 362 will not set off
fireworks, no matter how good or bad it is; your scene studies, on the other hand,
will, in many cases, establish your talents and visibility among your peers, and even
initiate enduring career relationships. Therefore, 75% of your grade will be linked to
the success of the three scene studies you are involved in. We will focus particularly
on your individual contribution to the group project.
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. Scene Study One
2. Scene Study Two
3. Scene Study Three
4. Quizzes and Individual Assignments
TOTAL
=
=
=
=
25%
25%
25%
25%
100%
For each Scene Study, we will consider the following areas of evaluation:
THE FILM *2:
1. Overall impact: Conceptual quality and narrative sophistication
2. Technical execution (shot choices, acting, lighting, exposure, audio
recording quality, Sound design and mix)
3. Directing (human presence on the screen, aesthetic choices).
4. Production Design
Students in each group will reflect these values quantitatively on a rubric that
will be part of the group evaluation letters.
YOUR INDIVIDUAL CONTRIBUTION TO THE FILM *3a:
Based on the aggregate of group evaluations and on my observation. This is
perhaps the most important area of evaluation, and thus, will be weighted
more heavily than the others.
7
7
TFM 362 Syllabus Spring 2016 – R. Underwood
THE GROUP DYNAMIC (MANAGEMENT, COMMUNICATION & COORDINATION *3b:
This is based on the aggregate of data gathered from the individual group
evaluations.
THE PRODUCTION BOOK *4a:
The quality of your organization, the pragmatic usefulness of the book, and its
completeness (see “Production Book Guidelines” below). All group members
share the production book grade!
8
8
TFM 362 Syllabus Spring 2016 – R. Underwood
*4b: PRODUCTION BOOK
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, and index, and tabbed section labels on the inside. 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 following guidelines show what you should include in the production book:
PRODUCTION BOOK GUIDELINES
SCORE (each
ITEM
item worth 10
pts.)
• Scripts and script revisions
• lined script (vertical lines showing coverage)
• Storyboards and/or overhead blocking diagrams
• Production design plan (drawings, floor plan, etc.)
• Detailed shot list
• Director’s notes
• Complete equipment list
• Shooting schedule (showing each day’s setup plan)
• Lighting diagrams
• Budgets and revised budgets
• Receipts (clearly labeled , cross-referenced to itemized list)
• Group contract (a copy for each member)
• Camera reports
• Sound reports
• Editing Log (screen shot showing full utilization of
Premiere logging feature)
• Alphabetized list of phone and e-mail contacts
• Production stills (both with crew and from film, may be
electronic)
• A vimeo link with password to downloadable version of
the project.
• Any other information about shooting and post-production
activities specific to your production
TOTAL (out of 190 possible)
9
9
TFM 362 Syllabus Spring 2016 – R. Underwood
More than a class assignment, the production book is a necessary organizational
tool of professional production, and will thus reflect and reinforce your planning.
*4b: Student Evaluation Letters
Each crewmember will electronically submit to me a confidential crew
evaluation/analysis detailing the work of each member including a selfevaluation, as well as a general analysis of the production from your personal
perspective. This summary should be thoughtful, insightful, and detailed. You
should strive to be as honest, objective and level headed. I will provide a
template that you will follow in writing the evaluation/analysis (available from me
directly and on blackboard).
Note: All group evaluation/analysis letters must be received by me
(electronically) by the assignment deadline or your project will be considered late
and devalued. It is the producer’s job to insure that this is done!
*1 GROUP
CONTRACTS
For each scene study you will draw up a group contract to conform to the
template I will provide. 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 future
conflict. 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. The contract must be
filled out, signed by each member and returned to me as a contract package
before each scene study will be allowed to go into production.
SCRIPT APPROVAL
The third film must obtain final script approval from me before going into
production.
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.
10
10
TFM 362 Syllabus Spring 2016 – R. Underwood
STUDENTS WITH DISABILITIES
If you are a student with a disability and believe you will need accommodations
for this class, it is your responsibility to contact Student Disability Services at (619)
594-6473. To avoid any delay in the receipt of your accommodations, you should
make that contact as soon as possible. Please note that accommodations are not
retroactive, and that the instructor cannot provide accommodations based upon
disability until he has received an accommodation letter from Student Disability
Services. Your cooperation is appreciated.
11
11
TFM 362 Syllabus Spring 2016 – R. Underwood
SCENE STUDIES #1, #2, #3
All Scene Studies will be shot using a professional high-def digital camera (the Sony
F3, Black Magic Production camera, etc).
Detailed camera reports must be taken and included in the production
book. Camera reports must include:
- f-stop
- lens focal length
- lens height from ground
Use a spreadsheet for this with fields for:
Scene#
Take#
f/stop
Lens Focal Length
Lens Height from the ground
Frames Per Second
ISO
Relevant Comments about shot
Projects must be edited on Premier or Final Cut Pro.
All projects must be color corrected with DaVinci Resolve, Apple’s “Color,” or other
reputable applications. 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.
Scenes should include a composite soundtrack designed using Adobe Audition or
ProTools.
If music is used it must be an original score or from a free source such as
freemusic.com.
SLATE: 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
The third project will be the result of a competitive pitching session – anyone who
wants may pitch before the class, and the class will vote on which films will go into
production based on a prescribed criteria of merits. At this stage in the course,
production groups will meet individually with me to insure quality and timeliness of
delivery.
12
12
TFM 362 Syllabus Spring 2016 – R. Underwood
At the end of the semester, you are expected to submit your work to the end-ofyear TFM “Emerging Filmmakers Student Film Showcase,” to be held in the Don
Powell Theatre. The films will be competitively selected, and the best work will be
presented publicly.
13
13
TFM 362 Syllabus Spring 2016 – R. Underwood
SCENE STUDY #1 “REPLICATION” TO BE PRESENTED WEEK 6
ASSIGN WEEK 1, DUE WEEK 6
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 discover through a process of reverse
engineering how the details of lighting, blocking, framing, coverage,
movement, composition, pacing and rhythm create feeling and meaning.
• 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. TFM 362 students
working with Art Directors from TFM 350 will construct a set in Studio C that
will be used by each group to shoot the scene. Each group will be
required to provide one art director, and collectively the art directors will
coordinate with the TFM 350 students to insure the set is completed on
time. In addition, the TFM 362 art directors will collectively decide on set
decoration and props.
 You should analyze the scene on video with extreme care. The group
should reverse engineer the work to determine what the master shots
were that the original director used. You will also determine what should
be insert and cut-away shots.

Production roles will be determined by the group and submitted to
the instructor.
 Original format (aspect ratio) must be matched to the original scene.

The aim is to match the original scene, element for element. This
requires careful analysis of the lighting, framing, movement, editing and
acting.

The scene should be the same length as the original (if you judged
your pacing and timing accurately, this should not be a problem).

Each presentation should open with the original scene, followed by
your scene (best cut), followed by a split screen of your production and
the original.



14
14
TFM 362 Syllabus Spring 2016 – R. Underwood
SCENE STUDY #2:
“THE ABSENCE OF LIMITATIONS IS THE ENEMY OF ART”
ASSIGN WEEK 5, REVEAL WEEK 6, DUE WEEK 7
Modeled after the “48 Hours” concept, this assignment stresses alacrity, the virtues
of tight collaboration, and creativity, all without sacrificing the conventional scene
values emphasized in this class – the turning of the scene though beats, subtext,
and character depth.
1.
2.
3.
4.
5.
You will be given a production time limit 48HRS
A running time limit (5-minutes)
A line of dialogue (submitted by students each week until Week 5)
A specific prop to be incorporated into your film.
A genre
Items 4 & 5 will be drawn from a hat.
Your first job will be to brainstorm with your group to create a script written in
correct standard screenplay format. Your second job is to put the scene on film - to
bring the printed words to life. You will apply what you have learned thus far about
scene analysis, blocking and acting to express what you see in the screenplay,
and especially, what you believe to be the SUBTEXT of the scene.
It is important that you interpret, not simply record, the scene. In order to do this, of
course, you must arrive at a clear understanding of what you think the scene is
about and how it should play in order to convey the values you think it must
convey. These values will be conveyed through your directorial choices – lighting,
acting, sound design, production design, camera angles, editing.
The purpose of the assignment, in large measure, is to focus your attention on the
ways in which your formal choices shape the scene, allowing you to control the
emphasis from moment to moment, beat-to-beat. The idea is to put you in
conscious control of the disclosure of information to your audience. When, for
example should a two shot, a single, a three-shot be employed? When should
something or someone not be shown? How should the camera move? What
should the color palette be? How will meaning and emotion be influenced by
these choices? How is pace and rhythm controlled within a shot? How can editing
control the pace and rhythm?
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
15
15
TFM 362 Syllabus Spring 2016 – R. Underwood
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.
This scene study will be screened and critiqued in class.
Consider the following steps:
 Production roles will be determined by the group – keep them discrete,
but make sure everyone has a key role in the production that will be
credited.
 Audition and cast actors early - do not underestimate the importance of
this step!
16
16
TFM 362 Syllabus Spring 2016 – R. Underwood
SCENE STUDY #3 – “ORIGINAL CREATION”
ASSIGN WEEK 7, PROD BOOKS DUE WEEK 13, FILM DUE WEEK 14
The final 360 assignment is a stand-alone short film. The class will vote on the
projects to go into production based on in-class pitches. The class will vote as
if they were Studio Executives tasked with the job of creating a slate of
successful films that will represent them and the TFM program.
• Pitching is not required of all students, only those hoping to put a film into
production. While he student pitching is likely to direct, s/he may select any
role in the production.
• The group will decide who is to fill the key creative roles; the remaining roles
will be filled by TFM students outside the class.
• The Producer is responsible for submitting roles, group contracts, and scripts to
the instructor
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(s), costumes, and period
• WHY? – Why do we care?
• STYLE – dramatic or comedic; genre; formalized or realistic
Be sure to distribute your treatment and/or script to every student in the group
and to the instructor. Also use the script evaluation form (see chapter 2 in 11
Lectures) to determine its strengths and weaknesses.
Follow guidelines for pitching (see blackboard document, “Pitching”). Each
pitch should be brief (no more than 6 minutes) and should include:
• Your Name
• Title of the Production
• Genre and tagline
• Log Line
• Concept and story highlights
• Your personal motivation for the project.
You should also be ready to answer questions about cost, locations, equipment
(including camera), etc.
Depending on the outcome of this process, we may allow a wild card project.
Do not count on this, but it may happen. If it does, we will vote and hear pitches
17
17
TFM 362 Syllabus Spring 2016 – R. Underwood
week nine.
The main distinction between this assignment and the first two scene studies is
that they were designed to build a foundation of technique and organization,
and crew coordination, whereas the final project requires that you synthesize
these elements into a more complex, and completely original, production.
Sound must be mixed from at least four tracks --- dialog, FX and music. Uncleared copyrighted music will not be permitted
OBJECTIVE
To address the creation of a scene 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 to stay within the parameters of a scene, as
opposed to expanding into a multi- location story. It is possible for a scene to
stand alone as a short film, and that is the goal I want you to set for yourselves.
FRAMEWORK
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.
 Any student who wishes may pitch an idea to the class. These ideas will be
put to a vote, and the top four to six (depending on class size) will go into
production.
• Films should include dialogue and involve three or more actors.
• All scripts must be approved by instructor before going into production. In
order to secure equipment from check-out, the Checkout supervisor must see
that the scene has been signed off by the instructor.
 Groups will be formed by pitches and group voting
 Before production work can begin work groups must turn in Group
Contracts.
 The group will determine production roles.
18
18
TFM 362 Syllabus Spring 2016 – R. Underwood
DUE AFTER FIRST CLASS – copy, paste, sign, and submit the following:
The below signature verifies that I have read this entire TFM 362 syllabus carefully,
have asked every question I can think of to clarify its terms, and that I understand
and accept those terms. Accordingly, I promise not to deny having seen these
terms, and I understand that complaining at the end of the semester because I did
not meet the terms of the syllabus will be futile.
Signed______________________________________ Date ____________________
Print Name _________________________________
19
19
TFM 362 Syllabus Spring 2016 – R. 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 _________________________________________
20
20