TFM 560 “Advanced Film Production”
Fall 2014 - Course Syllabus
Instructor: Greg Durbin. San Diego State University.
Office Location: Comm. 101
Office Hours: Tues. 1 – 2 pm, or by appt.
Telephone: (619) 594-6856
E-mail: gdurbin@mail.sdsu.edu
Classroom: Comm. 108
Class Meetings: Tues 3:30 p.m. – 6:50 p.m.
Overview: Course Description:
TFM 560 will be focused on the creative management of competitive, independently
produced short narrative films to be created by core groups of committed collaborators
from the class. Additional crew support will come from TFM students outside the class.
Students will shoot in either high-definition formats, on super-16 mm film, or 35 mm
film, as deemed appropriate for the project. The instructor will function as “Executive
Producer,” technical advisor, and critical mentor.
Prerequisites:
TFM 360, 361, and 510 with grade of B (3.0) or better in each, and consent of instructor.
Proof of completion of prerequisites will be required in the form of a copy of your
transcripts.
Important Dates:
Sept 3rd – Wally Schlotter gives Wally Award Brief followed by Class Pitch
Sept 5th – 11 am-1 pm Fig Tree Brunch w/ Wally (Contact Wally for reservation!)
Sept 17th – Wally Award Pitch Day – Prepare!
Sept 24th – Hero Project Due 7-9 Wally Winner
Mar 10th – Mid Term (Prep Docs Due)
Dec 3rd – Final Film Due – What’s done at this point is what gets graded.
May 12th Production Books Due
Apart from the primary goal of producing a festival quality short film, a key aim of this
course is to insure that each student graduate with a solid foundation of productionrelated knowledge. To this end, there are two required texts that you must read by the end
of the semester. A Midterm and Final exam will be given, the results of which will be
factored into your grade along with your contribution to the short films in which you
participate.
This semester, we will be using Blackboard to monitor, evaluate and test your work in the
class.
Prerequisites:
TFM 314, 360, 361, and 510 with grade of B (3.0) or better in each, and consent of
instructor. Proof of completion of prerequisites will be required in the form of a copy of
your transcripts.
Textbooks and Other Required Student-Furnished Materials:
1) REQUIRED: David Mamet – On Directing Film
2) REQUIRED: Jason Tomaric – Filmmaking: Direct Your Movie from Script to
Screen Using Proven Hollywood Techniques
3) Production Forms (electronic packet available in course materials on blackboard)
4) Recommended: Katz – Film Directing Shot by Shot (Focal Press)
5) Recommended: Automated Contracts for the Film and Television Industry (CDRom) go to: http://www.filmwareproducts.com/EPublishers/sb-filmtv.html
6) Recommended: Burum – American Cinematographer Manual, 9th Ed, VI.
Other Recommended Texts:
General
Sharon Badal: Swimming Upstream Focal Press, ISBN 978-0-240-80955-7
Christopher Kenworthy – Master Shots: 100 Advanced Camera Techniques to get an
Expensive Look on Your Low-Budget Movie
Genevieve Jolliffe/Chris Jones: The Guerilla Filmmakers Handbook
Gore, Chris – The Ultimate Film Festival Survival Guide
San Diego Film Commission – Film & Video Resource Guide
Sidney Lumet - Making Movies
For Editors and Post Specialists
Adobe Creative team – Adobe Premiere Pro CC Classroom in a Book
Brendan Boykin – Apple Pro Training Series: Final Cut Pro X 10.1: Professional PostProduction (Feb 26, 2014)
Tom Wolsky – Final Cut Pro X Beyond the Basics: Advanced Techniques for Editors
(Aug 11, 2014)
Wohl, Michael - Apple Pro Training Series: Final Cut Pro X Advanced Editing
Wohl, Michael - Apple Pro Training Series: Final Cut Pro 7 Advanced Editing
Weynand, Diana - Apple Pro Training Series: Final Cut Pro X
Weynand, Diana - Apple Pro Training Series: Final Cut Pro 7
Lynda.com (for Premier Pro)
For Avid Media Composer Editors:
Kaufman, Sam/ Kennedy, Ashley – Avid Editing, Fifth Edition: A Guide for Beginning
and Intermediate Users
Cohen, Steven – Avid Agility: Working Faster and More Intuitively; 2nd Edition
Editing Theory and Aesthetics:
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 Cinematographers
*ASC: American Cinematographer Manual, 7th edition
*Blain Brown: Cinematography: Theory and Practice, Second Edition: Image Making
for Cinematographers and Directors
*Blain Brown: Motion Picture and Video Lighting, Second Edition
*Kris Malkiewicz: Lighting Film Lighting
Dennis Schaefer and Larry Salvato: Masters of Light
Alan J. Ritsko: Lighting for Location Motion Pictures
Gerald Hirschfeld: Image Control
Anton Wilson: Anton Wilson's Cinema Workshop
For Directors
*David Mamet: On Directing Film
*Steven D. Katz: Film Directing Shot by Shot
Steven D. Katz: Cinematic Motion: A Workshop for Staging Scenes,
Roberto Rodriguez: Rebel Without a Crew
Geoff Andrew: The Director’s Vision – A Concise Guide
John Sayles: Thinking in Pictures
For Screenwriters
Aristotle’s Poetics
*Robert McKee: Story
Christopher Vogler: The Writer's Journey: Mythic Structure for Writers
William Goldman: Adventures in the Screen Trade
Lou Hunter: Screenwriting 434
Linda Seger: Making a Good Script Great
Lajos Egri: The Art of Dramatic Writing
For Sound Designers
*David Yewdall: The Practical Art of Motion Picture Sound
Stanley Alten: Audio in Media
Course Design:
TFM 560 is a “Senior Thesis Film” course. The work produced in the course reflects the
culmination of your artistic and technical development in the TFM Program. The entire
process begins with a pitch. Students who want to see their ideas go into production will
pitch them to the class, and the class will determine the films to be produced, with final
approval resting on the Instructor/Executive Producer.
Once the films have been selected, the production teams will have the opportunity to
pitch their projects to a jury of industry professionals who will award partial or complete
funding on the basis of project merit. (Note: other funding strategies, such as the
Advanced Filmmaker Fund and the Kathleen Kennedy Scholarship will be addressed in
production meetings).
Each production group will meet with me on a weekly basis, and I will make weekly
assignments based on my assessment of your project needs. You will, for example, be
asked to deliver a task/timeline detailing every stage of the project leading up to delivery
of the film. I will also ask for approved scripts, lined shooting scripts, storyboards (where
appropriate), cast lists, crew lists, budgets, production schedules, prop lists, costume lists,
location scouting summaries, VFX lists, and any other materials relevant to your
particular production.
Although the majority of classes will take the form of individual production meetings,
there will be some regular class sessions in which we all meet together in the classroom.
Participation in these pre-designated class sessions is mandatory (see class schedule).
The individual production meetings will take place according to a staggered, predetermined schedule, with meetings lasting roughly 30 – 45 minutes (4 - 5 production
meetings per class day). You will have the option of meeting other times and days
besides the designated class time and day.
Each student is accountable for at least one key creative role PLUS a key supporting role
on a second film. Each student must keep a detailed time log of his/her participation in
these productions (See figures 1 and 2 below). All students are expected to contribute to
the class discussions, exercises, critiques and projects.
Figure 1
KEY CREATIVE
POSITIONS
Producer
Writer/Director
Director of Photography
Production Designer
Editor
Sound Designer
Visual Effects
KEY SUPPORTING
POSIITONS
Production Coordinator(s)
Assistant Director
Camera Operator
First Assistant Camera
Continuity/Script Supervisor
Gaffer
Grip
Boom Operator
Location Sound Recordist
Location Scout/ Manager
Property Manager (props)
Costumes/Wardrobe
ADDITIONAL
SUPPORT POSITIONS
Hair and Makeup
Production Assistant
Dolly Grip
DIT
Jib Operator
Video Assist
Craft Service
Loader
Animal Wrangler
Figure 2 (Time Log Form – please copy and post on black board)
POSITION:
____________________________________________________________________
DATE
TIME
TASK DESCRIPTION (cite film and task(s)
Due to the rigors of producing a polished film, this course assumes and assigns a
significant commitment of time and resources outside of class. Each student must assess
his or her own time commitments and plan accordingly. As in the film and television
industry, deadlines are non-negotiable. Projects or Notebooks turned in late will drop one
letter-grade for each day late (ex. from a B+ to a B).
Film or Digital cinema: Both film and HD digital cinema projects will be considered for
this course. You are strongly encouraged to shoot in the highest quality HD format
possible, or on film.
Course Objectives:
1) To provide an opportunity for students to produce competitive (i.e., festival-worthy)
short narrative films.
2) To provide students the knowledge to formulate a viable festival and distribution
strategy.
3) To provide a workshop and academic environment for students looking to build on
knowledge and craft skills gained in other advanced production classes.
4) To offer students a viable portfolio film for future employment opportunities.
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 contact Student
Disability Services as soon as possible. Please note that accommodations are not
retroactive, and that accommodations based upon disability cannot be provided until you
have presented your instructor with an accommodation letter from Student Disability
Services. Your cooperation is appreciated.
Assignments:
Working in a production group, each student will be required to complete a film, with all
rights and clearances intact, of significant complexity and quality, as determined by the
instructor. Each group will be expected to maintain a production notebook that includes
all materials including scripts, revised and lined scripts, storyboards, shot lists,
production schedules, all necessary releases and licenses, camera and sound reports,
production stills, contact lists, expenditure sheets, receipts, editing and sound logs, and
any other support items used in the film. This production notebook must also include a
complete group evaluation, which must follow the guidelines provided in the class. The
notebook must be complete, presentable, and submitted on time or a grade reduction will
result. Finally, you will be required to read two short texts (see reading list) on which you
will be tested twice during the semester (a midterm and final).
Project Approval. Students who wish to see an idea go into production will pitch projects
to the class. All students will vote on their top choices, and the class will thus decide
which films go into production (number TBD). These projects will then be pitched to the
Wally! Competition jury panel, a panel of industry professionals, who will award money
to their top pick(s). Details will be discussed in class.
The projects will require shared financial participation. Groups must submit a group
contract signed by all members before beginning production.
Length:
There is no rule on minimum or maximum length, but students are encouraged to produce
projects under 10-minutes in duration. This is to allow for maximum production value
and to ensure a logistically feasible project. Moreover, a well-crafted 8-minute film
statistically stands a significantly greater chance of festival acceptance than a longer film
that is harder to program either in front of a feature or within a 1.5-hour program of
shorts. Projects that are less than 5-minutes, or longer than 15-minutes, will have to be
justified as to their complexity and appropriateness. For longer projects, a solid
production plan is required that shows you can complete a longer project in the time
allotted and without negative impact on the equipment and facilities shared by other
students.
Deliverables:
Based on the deadlines included in this syllabus or assigned by the instructor per the
group’s individual production schedule, the following elements must be delivered to
receive a grade in the course.
1) Production Notebook: Must include all necessary releases and licenses (talent,
music, group evaluations, etc.)
2) Copy of Finished full-resolution Production Master (QT movie file)
3) Viewing DVD-R to be delivered in a properly labeled Amery case (include flat
art, title and credit block to conform with convention)
4) Vimeo link – all work must be posted to vimeo.com. Passwords must be provided
5) Other elements as noted by instructor
6) Festival and/or distribution plan to include a minimum of five festival
submissions.
7) A complete press kit and access via password to your withoutabox.com profile.
8) Project website
Film Festivals – Student Screenings:
In addition to the public festivals to which you will submit, all projects must be submitted
for consideration and screening at the TFM Student Filmmakers Showcase or studentorganized screening. Although not all projects may be selected for screening, all must be
submitted.
COURSE POLICIES
Participation is required in classes and production meetings:
Critical to the professional functioning and success of each production is the regular
participation by key group members in the weekly production meetings. Your
participation in these meetings, therefore, will also contribute significantly to your grade
in the class. Lateness or absence due to documented medical or family emergency will be
excused. However, project assignments are still due on time unless previous
arrangements with the instructor have been made. Late projects may not be accepted and
will also receive a grade penalty at the instructor’s discretion (usually one full letter grade
for work made up in a timely manner).
Academic Dishonesty: Although there will be no papers due for this course, academic
dishonesty policies still apply to projects and exams. For example, having someone else
do your project work and representing it as your own work is the same as plagiarism.
Grading Procedures:
Much of your grade will rely on your participation in the weekly production meetings and
on the degree of professionalism in the production process you demonstrate. There will
be a strict adherence to deadlines and delivery schedules.
In addition to your demonstrated level of participation, each project will be subjected to
an intensive in-class critique that will determine the project grade. The Project grade will
be based on creative, technical and organizational aspects, as well as satisfaction of
learning objectives. Originality of concept and execution will be heavily weighted. Every
student will be graded individually. You are not competing with others in the class. Your
willingness to challenge yourself, ability to overcome obstacles, achievement of your
own personal goals and accomplishment of course objectives will be the most important
factors in determining your project grades.
Each grade will be determined based on the following percentages:
30%
Midterm – Prep Participation – Write a one-page summary of your prep activities for
each production. Attach the form in Fig #2 for bullet points and any supporting material
you feel is important. This is an individual grade and will be determined by both volume
and quality of work.
30%
Final - Completed Final Films on DVD Due and 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.
This grade is shared by everyone in the group.
30%
Individual Contributions of Creativity, Professionalism, Participation, Technical
Contribution and Attendance.
Note: Additionally, each student is required to attend at least two SDSU plays this
semester (tickets can be purchased online at http://theatre.sdsu.edu). Signed ticket stubs
or receipts for each student should be included in the group production notebook. This
will be considered in the above evaluation category under “participation.”
Incompletes:
Not completing your project on time is not considered sufficient grounds for an
incomplete. No incomplete grades are given for this class unless:
1) You have completed at least 80% of the course work.
2) The Incomplete results from a documented medical or family emergency, or other
unusual circumstance approved by the Department Chair’s office.
3) You are not failing the course at the time the Incomplete is requested.
10%
The “Hero” Project:
This assignment came out of feedback from an ASC panel at The American Society of
Cinematographer’s Clubhouse and Panavision. “Everyone should have heroes!” Students
must be literate about the craft people they hope to emulate. Whatever your primary role
is in 560, find an outstanding craftsperson to do a study of.
Hero Project Explained:
1.) Make A DVD and a Vimeo post of highlights from your
selected craftpersons work, from 3 to 5 different films.
2.) No more than 10 minutes long.
3.) Include a written description of the scenes and why you
admire their work. A paragraph on each should be enough.
Start the project with a slate white on black:
Title (Slate) # 1:
“This project is intended for educational use only.
Title (Slate) #2
Example: “John Smith: A Study of Cinematographer Laszlo Kovacs”
Title each scene:
Example:
Scene from Easy Rider 1969
Tracking Shot from Car
Chapter 4 or Scene 4 on DVD
Professional Behavior:
All productions must adhere to the highest standards of professional behavior and safety.
No weapons or weapon facsimile may be used during production without the written
permission of the professor. All weapons must be examined by a faculty member before
being used on set. All action scenes or scenes in which injury or the perception of injury
may occur must be cleared with a faculty member and a safety officer or equivalent must
be on set, with safety and the situational awareness of the set their only responsibility.
Everyone – cast, crew, vendors and bystanders must be made aware of the production and
the intention of the action and must be treated with respect at all times.
Lab Fee: This course requires a $20 lab fee.
Miscellaneous
All submitted work must be typed. Scripts and schedules must be submitted in
acceptable formats.
Press Kit Essentials
1. This is best handled using withoutabox.com, which allows you to create a complete
profile of your film project. The press kit would be expected to include:
• Title
• Tag Line
• Log Line
• Shooting Format
• Synopsis
• Director’s Statement – Some festivals request a brief Statement of the Director,
which can vary widely in content and approach, often addressing the significance of
the project or aspects of process. It is NOT a synopsis.
• Director Bio
• Producer Bio
• Writer Bio
• Any other bios from cast or crew that are significant to the film and could be used in
marketing. They should emphasis professional credits. Be written in third person,
identifying the person by entire name and for the duration of the bio by last name.
• Cast and Crew Listing (same as end credits)
• Production Notes and Anecdotes: Some festivals request brief notes and anecdotal
accounts pertaining to the production, which can vary widely in content and
approach.
• Quotes from cast and crew about the project.
• A positive review (or excerpts from a review that are favorable).
• Any previous publicity
• One Sheet (poster)
• Postcard (art)
• Flyer (art)
• The total PDF Press Kit – No Larger than 4mb
OTHER ITEMS TO BE DELIVERED:
2.) Author DVD of Film with Appropriate Slipcover Artwork
DVD Case w/ artwork (labeled with title of project, director, contact number, and
running time)
DVD Disc w/ artwork (labeled with title of project, director, contact number, and
running time)
3.) Create Artwork - To be delivered on a data disc, each file to be labeled with title of
project, director, contact number.
• Poster and postcard employing iconic image from your short.
• Digital Images (headshots) of the Director, Producer and other important members of
the cast and crew - with captions and photographer credit.
• Production stills - with captions and photographer credits
• Color Stills lifted from the film – with captions
Note: Create Caption Document:
Number the images and include a .PDF document that matches captions with images.
Note: Images should be .JPGs minimum 4x6 225 ppi no larger than 3MB
• One Sheet (poster) .jpg 27” x 40”
• Postcard as .jpg
• Flyer as .jpg
• Camera ready titles and promo graphics as .jpg
• Behind the Scenes Video of the Project
4.) Make all of these files accessible on a webpage utilizing the design of the “One
Sheet”.
Now you have both a standard and on-line press kit and all the materials to upload to
“Withoutabox.com.”
CLASS SCHEDULE AND PRODUCER’S CHECKLIST
Note: Unless indicated, each group will meet each Tuesday of class, unless otherwise
arranged. To offer some initial perspective, you will have a total of 14 weeks from the
first day of class to deliver a finished, authored DVD/data file as described in this
syllabus. It may seem like plenty of time now, but rest assured that every single
production group will feel the pressure of time and deadlines. PLAN CAREFULLY,
according to the below deadlines schedule.
TFM 560 Fall 2011 Schedule
WK 1
WK 2
WK 3
Pre-Production
Course Orientation. Pitching. Guest: Wally Schlotter
PITCHES!! Pitches presented to class for vote
Assignment: (Re) read Mamet On Directing Film
Read: Tomaric Reading Assignment 1:
Development Chart (pgs. 3-4)
Preproduction: pgs. 46-74 (28 pages)
Hero Presentations (5 – 6 min max)
WK 4
Industry Pitch (competing for The Wally! Award)
Read: Tomaric Reading Assignment 2:
Breakdown and Scheduling: pgs. 77-97 (20 pgs.)
Locations: pgs. 105-118 (13 pgs.)
DUE: Finalized Script / Finalized Casting sheet
DUE
Aug. 27
Sept 3
Sept. 10
Sept. 10
Spet 17th
Sept 17
TFM Student Film Showcase (Thurs. & Fri.)
Sept. 18, 19
Hero Presentations (5 – 6 min max)
Sept. 24
READ: Tomaric Reading Assignment 3:
Casting: pgs 121-140 (19 pgs.)
Crew: pgs 143-167 (24 pgs.)
Sept. 24
Wally Award Decision announcement (Full Class, 1 hr,
followed by production meetings)
Principal Photography Complete
Dailies / Shoot Report and Progress
Oct. 1
READ: Tomaric Reading Assignment 4:
Lights & Grip: pgs. 193-204 (11 pgs)
Production Design: pgs. 207-231 (24 pgs.)
Oct. 1
WK 7
READ: Tomaric Reading Assignment 5:
Production: pgs. 232-241 (9 pgs.)
Oct. 8
WK.8
READ: Tomaric Reading Assignment 6:
Directing: pgs. 251-290 (39 pgs.)
Oct. 15
WK. 9
READ: Tomaric Reading Assignment 7:
Cinematography: pgs. 293-358 (65 pgs.)
Oct 22
WK.10 READ: Tomaric Reading Assignment 8:
Audio recording: pgs 361-377 (16 pgs.)
Hair & Makeup: pgs. 379-385 (6 pgs.)
Craft Services: pgs 387-391 (4 pgs.)
Oct. 29
WK.11 Screen Dailies in Class (10-min presentation), 1st Cut
READ: Tomaric Reading Assignment 9:
Editing: pgs. 395-431 (36 pgs.)
Nov. 5
WK.12
Nov. 12
WK 5
WK 6
Oct. 1
READ: Tomaric Reading Assignment 10:
Visual Effects: pgs. 435-451 (16 pgs.)
Postproduction Audio: pgs. 453-464 (11 pgs.)
Music: Pgs. 467-479 (12 pgs.)
WK.13 Picture Lock
READ: Tomaric Reading Assignment 11:
Distribution: pgs. 480-507 (27 pgs.)
Nov. 19
WK.14 BREAK
WK.15 SCREEN ROUGH CUTS (w/ Greg)
Nov. 26
Dec. 3
WK.16 Delivery of Final Films (films to be screened in class –
Full class meeting)
Dec. 10
All other deliverables due
Dec. 15
TFM STUDENT FILM SHOWCASE – Don Powell
Theatre 7:30 pm
TO SIGN:
I not only read the entire syllabus carefully, but I understand it in its entirety and
have asked every question I can think of, and will not deny ever having seen it. I
especially remember the delivery deadline of the 560 film! (May 7).
…………………………………………………………………………………………….
NAME- Write legibly
…………………………………………………………………………………………….
DATE
This form needs to be signed and personally handed to me DURING OFFICE HOURS
OR BEFORE CLASS before our 3rd meeting in order to get class participation credit
for the first session.