Syllabus: EMC 4940-001 Electronic Movie Production, Fall 2011 MTSU College of Mass Com, Dept.

of Electronic Media Communications Location: Comm 155 M/W/(F) 9:10 - 11:15 AM Faculty: Edward Bowen, (Comm 203), edward.bowen@mtsu.edu Twitter: http://twitter.com/enbowen Facebook: http://www.facebook.com/pages/Movie-Making-with-ProfessorBowen/247201061986173 YouTube: http://www.youtube.com/user/ProfBowen Office Hours: Monday/Wednesday 11:30 AM - 2:00 PM, other times by appointment Assistant: Susan Nogues, senogues@sbcglobal.net Prerequisite: EMC-3140 Multi-Cam Directing and Producing or EMC-3150 Single-Cam Directing & Producing Catalogue Description: Practical experience in the conceptualization, pre-production preparation, and production of a specific program format. Integration of theory and skills from other EMC/RIM courses. Sports, music, drama, and editing are probable topics. Topics will vary by semester offering. Can be repeated with different topics. Lecture/lab with three to six hours per week. Course Objectives: This is an ADVANCED course. This course is only for the serious-minded, production-oriented student with ample time to dedicate several hours to work outside of the classroom. This class is intended to teach an understanding of the production and direction of electronic motion pictures, while providing information and perspective on various film crew positions and a real world perspective. There will also be an emphasis on creativity in the face of limitations and obstacles. Course Structure: These goals will be addressed in a four-pronged attack. 1. An understanding of the production of motion pictures, from features to commercials, will be provided through lecture, screenings, outside reading and study, and when available guest speakers. Students will be expected to focus on a specific position or department of interest, and do independent research and study relating to that position or department, and filmmaking in general. Topics of lecture will include: Production Positions Screenwriting Pre-Production Script Breakdown Pre-Production Budgeting Pre-Production Scheduling Production Set Etiquette and Productivity Production Script Supervision and Slate Numbering Production Paperwork Production Casting and Directing and Managing Talent Production Unions

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Production Advantages and Disadvantages of Digital Production Production DSLR Cinematography Production Equipment Post-Production - Marketing and Advertising Post-Production Distribution

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2. The class will undertake to virtually produce a feature film within the limitations of the classroom environment. Script breakdowns, schedules, budgets, call sheets and production reports will be generated by the students based on information from the instructor. The project will likely be Paradise Falls, produced by Sean Bridgers, Nick Searcy and Peter Wentworth, and directed by Nick Searcy in 1997. 3. The class will review case studies. Potential topics are Project Greenlight Season 3: Feast Monsters (Gareth Edwards, 2010) (available streaming on Netflix and Amazon) Guy and Madeline on a Park Bench (Damien Chazelle, 2009) (available streaming on Netflix) Uncounted: New Math in American Elections (David Earnhardt, 2008) Paranormal Activity (Oren Peli, 2007) (Available streaming on Netflix and Amazon) Modern Parables (Thomas Purifoy, 2007) (Two episodes available at http://modernparable.com/try) The Call of Cthulhu (Andrew Leman, 2005) (Available streaming on Netflix) For Lovers Only (Michael Polish, 2010) Red Rover (Gary Oldman, 2010) The Last Three Minutes (Po Chan, 2010) Apricot (Ben Briand, 2009) 4. Each student will be expected to either select one of the following options A. Conceive and Direct a class video project, actively engaged from pre through post production. B. Conceive and Produce a class video project, actively engaged from pre through post production. C. Direct a class project conceived and produced by someone else, and crew a second production. D. Produce a class project conceived and directed by someone else, and crew a second production. E. Conceive and write a production and crew a second production F. Edit and post two class video projects G. Crew three class video projects. H. Direct an outside-of-class project and crew a class project. I. Produce an outside-of-class project and crew a class project. J. Produce, Direct and Edit two behind-the-scenes videos of a class project. K. Produce, Direct and Edit a behind-the-scenes video of a class project and crew a class project. Acceptable crew positions are as follows: Producer/Production Manager/Location Manager Producer/Production Manager/Location Manager

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Director Director of Photography Camera Operator Grip/Gaffer Script Supervisor Make-Up, Hair, and Wardrobe Art Department/Location Manager Sound Assitant Director

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The class will work as a team (or as a board) to decide on which projects and how many projects are produced. Extra Credit will be given for work on projects outside of class, with documentation from an appropriate supervisor. Course Attendance & Grading: Grading will be based on the following: 1. Work done on video projects as reflected in video project journals and in the quality, inventiveness and originality of the work as expressed through the final project itself (40%). 2. Work done on video projects as reflected in peer reviews (20%). Each student will be given a survey for peer review, and should fill out such a form for each student they work with in a project. Areas covered will include punctuality, problem solving, creative thinking, attitude and skill. 3. Thoroughness of practice script breakdowns, call sheets and production reports, and other assigned projects (15%). 4. A review of the students independent study through outside readings and screenings. (15%). 5. Classroom participation and attendance. Participation in conversations on the class Facebook page will apply. (10%). The grading system is as follows: A = 90 100; B = 80 89; C = 70 79; D = 60 69; F = 0- 69 The A student will: Have no more than 3 absences from class; Be an active, responsible, energetic and resourceful participant in class related video productions; Be punctual and thorough in relation to assigned paperwork and projects; Keep a thorough record of activity on class related video productions; Actively pursue opportunities, such as screenings and readings, outside of class to learn about filmmaking, and keep a thorough record of same; Actively participate in class online discussions. The Virtual Classroom: The conscientious student will avail themselves of all opportunities to learn about filmmaking. Sources, revelations and ideas can be shared with fellow students at

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http://www.facebook.com/pages/Movie-Making-with-Professor-Bowen/247201061986173. Postings will be applied toward the required student journals.

Previous class projects can be screened at: The Bocce Kid: http://youtu.be/1rNKZcENWTs FacesSpace: http://youtu.be/n_hwd6MC4y4 Squeeze: http://youtu.be/4vCfDrC2ZLI Fairness: http://youtu.be/eIoL5BMbKGM Watch Us Roam: http://youtu.be/hOydzwiben0 In addition, here are some valuable sources (Many of these have excellent podcasts available.): Creative Cow: http://www.creativecow.net/ Film Independent: http://www.filmindependent.org/about/ Film Indendent Legal Ease http://www.filmindependent.org/category/news-and-blog/legalease/ The Wrap Covering Hollywood: http://www.thewrap.com/ No Film School: http://nofilmschool.com/about/ Filmmaker Magazine: http://www.filmmakermagazine.com/ DVX User The Online Community for Filmmaking: http://www.dvxuser.com/V6/forum.php Belleflower The Movie: http://www.dvxuser.com/V6/forum.php American DSLR: http://americandslr.com/2011/02/how-to-create-extreme-slow-motionusing-apple-motion/ Digital Outback Photo: http://www.outbackphoto.com/index.html Vimeo Video School: http://vimeo.com/videoschool/lessons GoPro Videos: http://vimeo.com/videoschool/lessons Self-Reliant Films: http://www.selfreliantfilm.com/ Canon Digital Learning Center: http://www.learn.usa.canon.com/ Edit Smarter Larry Jordan: http://www.larryjordan.biz/ Digital Film Academy: http://www.digitalfilmacademy.com/ Filmmaking Webinars: http://www.filmmakingwebinars.com/ Film Riot: http://revision3.com/filmriot Pro Video Coalition: http://provideocoalition.com/index.php/ssimmons THE FINE PRINT:
STUDENTS WITH DISABILITIES: Reasonable Accommodations for Students with Disabilities - If you have a disability that may require assistance or accommodations, or if you have any questions related to any accommodation for testing, note taking, reading, etc., please speak with me as soon as possible. You may also contact the Office of Disabled Student Services (898-2783) with any questions about such services. Do you have a lottery scholarship? To retain Tennessee Education Lottery Scholarship eligibility, you must earn a cumulative TELS GPA of 2.75 after 24 and 48 attempted hours and a cumulative TELS GPA of 3.0 thereafter. You may qualify with a 2.75 cumulative GPA after 72 attempted hours (and subsequent semesters), if you are enrolled full-time and maintain a semester GPA of at least 3.0. A grade of C, D, F, or I in this class may negatively impact TELS eligibility. Dropping a class after 14 days may also impact eligibility; if you withdraw from this class and it results in an enrollment status of less than full time, you may lose eligibility for your lottery scholarship. Lottery recipients are eligible to receive the scholarship for a maximum of five years from the date of initial enrollment, or until a bachelor degree is earned; students

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who first received the lottery scholarship in Fall 2009 or later will additionally be limited to 120 TELS attempted hours. For additional Lottery rules, please refer to your Lottery Statement of Understanding form via RaiderNet, review lottery requirements on the web at www.mtsu.edu/scholarships/telsconteligibility_scholarships.shtml, or contact the Financial Aid Office at 898-2830.