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JOHN CABOT UNIVERSITY

COURSE CODE: "DMA 328-2"
COURSE NAME: "Promotional Videos"
SEMESTER & YEAR: Fall 2023
SYLLABUS

INSTRUCTOR: Chloe Barreau
EMAIL: [email protected]
 HOURS: T 12:30 PM 3:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: COM 230 or permission of the instructor
OFFICE HOURS: Monday 3pm - 4pm
COURSE DESCRIPTION:
This course introduces students to the strategic, conceptual, creative, and technical aspects of promotional videos (teasers, promos, trailers, campaigns, sales reels, and spots). It provides a basic understanding of the various short formats produced in TV and Web communication. The aim is to study common procedures and to get hands-on experience making promos, including how to hook a viewer, how to reach a target, how to engage an audience, and most of all, how to sell a story. This course offers an intensive overview of the entire production process in promo production, including activities like researching, creating a concept pitch/brief, editing, and post-production. The class will feature screenings, exercises, in-class assignments, editing sessions, voiceover recording sessions, and group projects. In order to participate, students will be expected to have a basic understanding of the skills and concepts involved with video editing, audio recording, and mixing.
SUMMARY OF COURSE CONTENT:

Today’s short attention spans of the audience require quick, clever branding.
In the era of digital communication, networks are rushing to engage consumers through entertaining, shareable, efficient branded promos.
Most of the time, 30 seconds is all you got. How can you drive viewers to watch a program? What works? Why does it work?

After 15 years working with prestigious international brands such as NATIONAL GEOGRAPHIC, HISTORY CHANNEL, FOXCRIME, STUDIO UNIVERSAL, CANAL +... winning numerous PROMAX awards for creative communication along the way, the instructor is an expert in her field, able to share her own experience and set a professional environment. This course is meant to be inspiring as well as challenging, encouraging students to step beyond their comfort zone and use their creativity.

THEORY
- Screenings : examples of the most effective branded communication, practices that made them successful.
- Deep immersions into exciting case-studies: NATIONAL GEOGRAPHIC rebrand, outstanding HBO spots, innovative NETFLIX trailers.
  Who create these crucial entertainment pieces? How are they developed? Why do they connect with their audiences?
- Strategic overview of the Entertainment Industry : state of the business, TV's future.
- Discussions on current media trends : the digital era, the new waves of disruption.
- Study and analysis of Industry's best practices.

PRACTICE
- The class will mostly be a project-based learning environment offering useful practical skills.
- Introduction to the principles and technologies of audiovisual production.
- Students will create a variety of promotional videos from pre-existing audiovisual footage (TV shows, TV series, Feature films)  
- Premiere/Finalcut pro editing sessions, voiceover recordings, writing workshops spread throughout the semester.
- Logging, editing, copywriting, audio recording, mixing techniques.
- Experience and understanding of all the steps of the promo production process.

THEORETICAL APPROACH (screenings and analysis) and HANDS-ON EXPERIENCE (in class exercises and video assignments) will prepare students for further studies in digital production as well as professional careers in the following fields :

- TV / WEB / ENTERTAINMENT INDUSTRY
- COMMUNICATION
- ADVERTISING
- MARKETING
- NEWS / JOURNALISM / POLITICS

PRE-REQUISTE : COM 230 or permission of the instructor
In order to participate, students will be expected to have a basic understanding of the skills and concepts involved in video editing, audio recording and mixing.
However, since the course deals with a lot of Marketing aspects, it is open to Marketing / Communication students (with permission), as long as they are motivated, eager to learn the basics of editing and ready to team-up with students who have followed the COM 230 class. 
 
OUT OF POCKET MATERIAL
Students will be expected to bring an external hard drive to store and archive captured material and video projects. (Mac formatted, 500GB recommended)
 
EQUIPMENT
Students have access to the digital equipment provided by JCU for the course.
They can edit on Premiere and Finalcut X in the digital lab or on their personal computer on any other editing software, as long as they are able to deliver the video assignments in the following format : H264 1280x720
LEARNING OUTCOMES:

This course aims to provide students an understanding on how to create promotional videos for maximum audiovisual emotional impact and provides the skills necessary to produce them.

Upon completing of the course, students will be able to :

THEORY : INFORMATION LEVEL

·      Have a much broader culture in the field
.      Analise the audiovisual impact of TV communication
.      Understand the role and basic rules of on-air promotion : band perception and contents
.      Have a strategic and creative thinking about promotional communication

 
THEORY : EXPRESSIVE LEVEL

.     Learn the vocabulary associated with video production and on-air promotion 
.     Analise the current media trends and the changes the Entertainment Industry is going through
.     Have a better knowledge of video production workflow, tools and techniques

PRACTICE : SKILLS

·      Conduct a creative research and select excerpts
.      Follow a brief, ensure output is highly targeted to the local audience and respects brand values
.      Understand how to write an effective short script, learn the art of synthesis (Less is more)
.      Generate copy, ideas and concepts that best meet the brief and schedule
·      Improve planning and practical skills to manage projects
.      Work in a creative team within given budget and timeline
·      Develop communication skills and the learn the ability to be persuasive at various levels

English Writing (copywriting)

English Speaking (pitch)

Research (music, references)

Experiential Learning (creative use of editing)
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
ParticipationAttendance / Communication / Respect of the deadlines / Participation in class / Ability to search for references. 15%
Assignments x 3Students' assignments will be judged on the following : CONCEPT (idea and creative approach, originality) / LOOK (Footage choice, overall visual look and feel) / EDIT (Effective pacing, Sound and visual coordination / Length cut / Rhythm & Fluidity) / SCRIPT (Copywriting which successfully communicates and achieves goals) / GRAPHICS (Endpage / written elements, typos, logo) PROJ 1 - CREATIVE USE OF SOUNDBITES PROJ 2 - STUNT PROMO PROJ 3 - TEASER 20%
Final exam Student’s final assignment will be judged on the following: CONCEPT (idea and creative approach, originality) / LOOK (Footage choice, overall visual look and feel) / EDIT (Effective pacing, Sound and visual coordination / Length cut / Rhythm & Fluidity) / SCRIPT (Copywriting which successfully communicates and achieves goals) / GRAPHICS (Endpage / written elements, typos, logo) FINAL PROJ - STUNT PROMO + PITCH 25%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY

Students are expected to send an e-mail to the instructor in case of absence.
This course requires a significant amount of work to be completed outside of class hours.
Due to the once a week meeting schedule for the course, missing one class can mean missing out on a major technical or conceptual lesson plan, which can affect the qualty of your projects.
Three late arrivals (more than 10 minutes) are counted as one unexcused absence.
Two unexcused absences will result in a full letter drop in the final grade and three unexcused absences will result in failure.
In the case of excused absences due to documented illness of family emergencies, please e-mail me and present a Dean's note asap.

No personal computer or smartphone use will be authorized in class.
To encourage creative writing techniques, students will be invited to take notes manually.
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE

Weeks 1-4: Fundamentals.

Intro to promotional communication

STATE OF THE BUSINESS - The future of TV in the digital Era - The next wave of disruption

Strategic aspects of On-Air communication 360° campaign (on air / off air / web)

SIZE MATTERS : from 10'' TV teasers to 2'30 movie trailers, which length works better?


Weeks 5-8: Process & Case Study

CASE STUDY Global Campaigns

WORKING in TV : departments and workflows

THE PROMO PRODUCTION PROCESS

Workshop & exercises

Weeks 9-10: Creative Prep

VIEWING / log exercises: selection of scenes and soundbites from a program

CREATIVE research, looking for ideas and references

MUSIC research (commercial music / library music)


Weeks 11-13: Production

CREATIVITY : where do ideas come from?
 
Tricks and techniques / Lateral thinking
 
COPYWRITING : Less is more
Plot elements / Connection elements
 
Writing exercises : how to write a short and effective script


Week 12-15: Post-Production

EDITING exercises: organizing and selecting footage, cutting music.

SOUND exercises: cleaning up audio, VO recording, sound design, mixing

Final screening of finished projects

 
SessionSession FocusReading AssignmentOther AssignmentMeeting Place/Exam Dates
CLASS 1TV OR NOT TV - How to use this class - Introduction to promotional communication - MOVIE TRAILER / TV PROMO - STATE OF THE BUSINESS: the future of TV - THE NEXT WAVE OF DISRUPTION - Screenings    
CLASS 2ANATOMY OF A PROMO - WHAT IS A TV PROMO? What does a promo producer do for a living? - POST-NETWORK TV / MEDIA SATURATION / KNOW HOW – CREATE A PROJECT / LOG & ORGANIZE FOOTAGE    
CLASS 3ALL KIND OF PROMOS - 360° PROMO: The various ways to promote an event TRAILER / TEASER / GENERIC promo / EPISODIC promo / COMBO promo / STUNT promo / BRAND promo / LAUNCH promo - Screening & discussions / KNOW HOW – select SOUNDBITES / KEY MOMENTS  PROJECT 1 : soundbites  
CLASS 4THE PROMO PRODUCTION PROCESS - Working in TV: the various departments and workflows From assignment to approval, all the steps of promo production / ON-AIR TEAMS: Producer, editor, sound designer, speaker, graphic designer    
CLASS 5EDITING - CONTINUITY EDITING / EMPHATIC EDITING - PROMAX EDITING AWARDS Workshop on PROJ 1   
CLASS 6COPYWRITING - THE ART OF SYNTHESIS / SHORT STORYTELLING Plot VS Connection elements / Writing backwards WRITING FOR PROMOS - (PROJ 1 deadline)   
CLASS 7 PROJ 1 FEEDBACK / PROJ 2 BRIEF LOGGING / CREATIVITY / EDIT / EXECUTION PROJ 2 : stunt promo  
CLASS 8 15 MINUTES OF FEMME - ON SCREEN / REPRESENTATION - BEHIND THE SCENES / EMPLOYMENT - CASE STUDY - CREATIVE PROCESS: March 8th Global Women’s Strike Campaign    
CLASS 9THE SOUND OF SILENCE - SONIC SENIOTICS / The sound of music: EMOTIONAL CONNECTION MUSIC RESEARCH (commercial music / library music) – MUSIC CUT / SOUND DESIGN - (PROJ 2 deadline)   
CLASS 10 PROJ 2 FEEDBACK / PROJ 3 BRIEF - LOGGING / CREATIVITY / EDIT / EXECUTION  PROJ 3 : teaser 
CLASS 11 CREATIVITY - A CREATIVE CHRONOLOGY: looking for ideas and references Lateral Thinking / Emotional engagement SOMETHING FOR NOTHING   
CLASS 12 SIZE MATTERS - SIZE MATTERS: From 10’’ brand shorts to 3’ trailers, which length works better? RECAP / FILLERS / FEATURETTES - other promotional elements - (PROJ 3 deadline)    
CLASS 13 PROJ 3 FEEDBACK / FINAL PROJ BRIEF - PITCH - How to present an idea. Marketing strategy - dealing with approval FINAL PROJ  
CLASS14FINAL PROJECT workshop    
CLASS 15 FINAL EXAM