Corporate Video: Media Entrepreneurship

Curricular Proposal for New Course
TCM 4XX Corporate Video: Media Entrepreneurship

Corporate Video: Media Entrepreneurship has been taught as TCM 494, for the last four semesters. This proposal is to move it forward to becoming a permanent course within the Cronkite School of Journalism's curricular offerings.

General Course Justification:

Every year more and more corporations are becoming involved in informational non-broadcast electronic media. Not all of today's information and news programs are for broadcast. In fact, more programs are produced for the corporate non-broadcast settings than in any other genre. You hear the terms: corporate television, industrial video, business television, closed circuit television, private television. They are all basic synonyms describing the business of informational non-broadcast electronic media.

Trades supporting this growing discipline include: Multimedia Producer; Videography; Government Video; Video New Media Magazine; Interactive Media Business; Computer Video; Interactive Age; and, Digital Video Magazine. You even see the subject dominating current RTNDA Communicator, as new technology affects the traditional newsroom.

There are more than sixty (60) corporate video networks in existence within the nation.

The corporate use of television is growing. It is a world not quite as "glamorous" as traditional news operations, but:

* it is a stable career path.
* employs a broader range of news and information processing skills.
* it features a broader range of topical and informational processing challenges.
* it pays more at the entry level. According to the ITVA survey, "on the average
the people in corporate television tend to earn slightly more than
comparable professionals in broadcasting." Indeed many start in commercial
television news, "burn out" and turn to more stable corporate television career.

The International Television Association (ITVA) is the interdisciplinary body representing this discipline. It caters to a membership of more than 10,000 in the United States. There are more than 100+ local ITVA chapters in existence across the nation. Its annual conference attracts approximately 8,500. There is a local chapter in Phoenix (which Dr. Craft helped found) and this could greatly assist our students in terms of placement and networking.

At most universities offering corporate communications studies the track involves two to three coordinated courses. Here at ASU we have those courses on the books, but the track is not clear and the courses are not coordinated. This course was developed as the capstone course meant to build upon the existing TCM 235 (w/no substantial change — if it were ever possible I do support the notion this course should be split into three: current, field and audio); and, TCM 437, which as discussed we'll eventually bring into line. Our numbers will grow, as they have at other institutions, once direction is created and communicated. This will take time.

Corporate video is one of the fastest growing areas of our discipline.

ASU Course Justification

At present the course is a small capstone service course. It provides an information processing and producing experience for students who've had substantial experience in field and post production (any two of the following prerequisites: TCM 235; TCM 330; TCM 437 or TCM 475).

It is a significant community service as students interact with real world clients working with community non-profit agencies. In the last four semesters students have produced video promotions and training materials for:

* City of Tempe, Kids Zone (thee videos for their after school program)
* City of Tempe, Property Management Enforcement
* City of Phoenix, Homeless
* Shoebox Ministries
* Wickenburg Museum

This current semester students are working for:

* City of Tempe, Kids Zone
* City of Mesa, Mesa Historical Museum
* City of Phoenix, Tumbleweed
* Parent Anonymous

What the general corporate industry wants in student training is complementary to our curriculum:

(1) a student interested in business — someone with a business sense.
(2) a student who can write and organize well.
(3) a student with an interest in almost everything (broad liberal arts again fit here).
(4) a student who can process information through a variety of electronic media.
(5) a student who can communicate effectively with the media tools at hand.

(These are just the reactions I've acquired in my conversations, some colleagues at BEA and the ITVA materials.)

General Course Description:

(1) The course deals with the information process within the corporate non-broadcast setting.

(2) It examines the special requirements of business, industrial, educational and governmental uses of video and electronic media.

(3) It introduces the student to the entrepreneurial skills necessary to create and build a media business and explore the day-to-day challenges of managing that business.

(4) The course exposes the students to the differing types of informational programs produced within the non-broadcast setting. These include video applications related to: corporate video news release; video conferencing; training; promotions; marketing & sales; motivational tapes; stockholder information; interactive video; and desktop video.

(5) The course covers topics of media law from a producer and contractual point of view.

Objectives:

(1) The course introduces the student to the non-broadcast video professional and the uses of electronic media to accomplish organizational and corporate outreach tasks.

(2) The course provides real world opportunity to accomplish some of the tasks expected of the freelance and corporate video entrepreneur.

Texts: The course requires no text as most are dated. Two are currently being written, which may be applicable: (1) The Real World Entrepreneur — Field Guide & Video (2) How to Be an Independent Video Producer. I'm reviewing both.

Supplementary Publications:

The Business Planing Guide, 7th Edition.
Corporate Television: A Producer's Handbook
Directing Corporate Video.
Diary of a Small Business Owner.
The Producers Legal Handbook
.
Prerequisites:

TCM 235; plus one of the following: TCM 330; TCM 437; TCM 475 or instructor's permission. Students must be able to shoot and edit independently (this is not a production class).

Credit:

At the 400- level it would be 3-credits.

Method:

Lecture, discussion and practical exercise predominate. Visiting lectures, critics and the actual client will make appearances within the classroom to augment assignments, address specific topics and critique student performance.

Assignments:

The assignment is the creation of a product for an actual client. The students have produced for a number of nonprofit organizations including: The City of Tempe, City of Phoenix, Shoebox Ministries; Wickenburg Museum; and their current employers etc. The specifics of the assignment are as follows:

(1) create an 8-12 minute informational video for an actual client
(2) determine the nature of the video, the client and clear it with the instructor
(3) establish regular communications with client and instructor.
(4) research the proposal for the client
(5) write a script and get approval from the client for producing
(6) budget the script
(7) working with class mates, produce, shoot and edit to the script
(9) final showing with the client in class
(10) client assessment

Enrollment: Prerequisite hold the class to small group size (3-6 maximum). This is required to accommodate supervision of individual projects. There's a lot of time-consuming student and client contact required within this course.

Equipment Needs:

Students will need equal access to the best equipment available. Particularly the AVID and S- VHS equipment. Keeping the class size small, we have easily accommodated this within the current equipment allocations. I'd like up-to-date desktop editing facilities, but I know Mr. Dove is working on it.

I order to minimize an end of the semester equipment paranoia assignments are calendered and due on differing days. We've all worked together effectively in the past and I see no need to change that nature.

My future guesses on what these equipment crunches will need our attention and cooperation: AVID time, (we are eventually doing to need more AVID capability and upgraded systems); and edit bays.


TCM 494 MW 12:30-1:30
Corporate Video: Media Entrepreneurship Office: A145E — Phone 965-8661
Spring 2000

Instructor: Donald G. Godfrey

Purpose: The course will introduce the student to the entrepreneurial process within non- broadcast video, focusing on the information process; and, the organizational and freelance responsibilities within the corporate video fields.

Objective: (1) This course provides a hands-on opportunity working your way through some of the tasks expected of the freelance and corporate video entrepreneur. Students will be working, individually and in teams, with a "real world" client. (2) The course seeks to introduce the student to the entrepreneurial skills within the non-broadcast setting and explore the day-to-day challenges of managing such a business. (3) The course will expose students to the differing types of informational programs produced within the non-broadcast setting including: VNR, training, promotions, marketing and sales, distribution, etc.

Prerequisites: TCM 235; plus one of the following: TCM 330; TCM 437; TCM 475 or instructor's permission. Students must be able to shoot and edit independently.

Credit: 3
Textbook: None
Readings: Distributed in class

Method: (1) Lecture discussion. (2) Criticism of existing corporate and student work. (3) Guest Lecturers/field trips. (4) Working with an actual client.

Assignments: (1) Mandatory attendance. (2) Creating a video for an actual client.
(3) Daily work logs and notebook/portfolio. (4) Readings as directed.

Grades: They are determined by your project, your portfolio and your attendance. Attendance is mandatory (you are allowed one non-excused absence from class — all others mean a full grade deduction per absence).

Grades are earned. They are not negotiated!

Schedule:

Week 1, January 17 — Orientation - Independent, freelance and major corporate settings
— Notebook/portfolio directives
— Assignment Directives
— Dealing with the client (run through initial process)

Week 2, January 24 — Avid/Editing/Camera Reviews
— Analysis and Criticism — Promotion Focus
— Report on meetings with clients
— Budgeting and Profits — the rate card
— Drafting the agreements
— Draw for due days

Week 3, January 31 — Analysis and Criticism — Promotion Focus
— Draft Agreements and Outlines Due
(distribute to class and individual reports, "walk through")

Week 4, February 7 — Analysis and Criticism — Training Focus
— Agreements and Outlines — signed by client
— Planning and producing the idea

Week 5, February 14 — Technical reviews -- Avid/Editing/Camera Reviews
— Analysis and Criticism — Documentary Focus (City of Gold)
— Budgeting the Idea, Finances, Tax and Profits

Week 6, February 21 — Scripting and script requirements
— Analysis and Criticism – Documentary Focus (The Telephone)
— Producers and the law

Week 7, February 28 — Corporate Video Marketplace

Week 8, March 6 — Developing a Business Plan

Week 9, March 13 — Spring Break

Week 10, March 20 — Handling the news media
— Product Distribution

Week 11, March 27 — Government video, "Destination Alberta, and "Yukon"
— Critic and analysis

Week 12, April 3 — Corporate Video, "Motorola,"
— Critic and analysis

Week 13, April 10 — Open Lab
Projects # 1, Assignment Due
(Critic and analysis w/client)

Week 14, April 17 — Open Lab
— Projects # 2 Assignment Due
(Critique and analysis w/client)


Week 15, April 24 — Open Lab
Projects # 3 Assignment Due
(Critique and analysis w/client)

Week 16,May 1 — Projects # 4 Assignment Due
(Critique and analysis w/client)
— Portfolio Resume Reviews

Final Exam — As scheduled per attendance requirements

Video Assignment Directives

Your assignment is the creation of a product for an actual client. The specifics of this assignment are as follows:
(1) Create an 6-12 minute video (within your assigned budget).
(2) Determine the nature of the video (discuss it w/your client, clear it w/your instructor).
(3) Establish regular communications with your client and instructor.
(4) Research the proposal for the client.
(5) Write a script, present it to class/instructor for review and criticism.
(6) Acquire script approval from your client, working to be sure there is a clear understanding between what is needed and what you are proposing!
(7) Shoot field footage, edit rough cut and adjust the script as necessary.
(8) Present rough cut to the class/instructor for criticism and analysis.
(9) Present Final Program to class (with the client present).

You may select any client you wish. Your instructor has several assignment opportunities, or you may want to produce for your current employer or someone you know. Avoid selections of people such as brothers, sisters, friends etc. You get the idea – what you want is someone with whom you can develop a professional relationship, someone who is going to provide you real world client interaction. Experiencing that interaction is an important part of what you'll learn. Now, there are legal implications important to your choice. Those implications are the copyright and state versus commercial enterprise laws. Generally speaking, the non-profit client will be able to put your final project to use and a commercial client will not.

In relation to the copyright law — it is possible you're going to be using some copyrighted materials (music) in this classroom experience. This is permitted under "fair use" provisions of the law. However, if you show or use your production for any other purpose you will be in violation of the copyright law, because you will not have paid for the rights to use the materials in those settings. If you use copyrighted materials, you'll need a CG disclaimer billboarded at the head of your final video stating: "This Production Is Restricted to ASU Classroom Use Only. Copyrighted Materials Have Been Used In Relation to this Assignment." We do have production music available in the School for your use, you may create your own keyboarding or you may use other music with the disclaimer.

In relation to the state versus a commercial enterprise situation. The law prohibits ASU, as a state institution, from competing with private enterprise. Therefore, if you select a private business as your client, there has to be a clear understanding that the client CANNOT USE your assignment. The CG disclaimer for a project conducted for a commercial client should read: "This Production is Restricted to ASU Classroom Assignment Use Only." A similar statement will need to be worked into your written agreement which is signed by you and your client.

Work your way carefully around all aspects of the law. It is important not only in terms of this assignment, but in all aspects of corporate non-broadcast video.

You will need three (3) VHS copies of your program for your client, instructor and you.

Notebook Requirement Directives

A clear clean notebook/portfolio is key to your putting your personal capstone on this course experience. You'll need to keep a detailed log of everything you do related to this course to create this notebook. There are five (5) primary sections to your notebook.
(1) Time Logged Section – Keep a detailed log of your activities including: date, time and subject of any client meetings and subject discussions; research time; script writing time; shooting and editing time — any thing project related. I suggest keeping a small pocket pad that you can translate into your notebook log at the end of each week. Be sure the notebook is written so that your instructor will understand. This is tedious, but essential in constructing your final summary AND you'll learn from it how to better estimate your time, thus effecting your profitability.
(2) Entrepreneurial Organization. Keep your lecture notes, those that pertain to freelance, law, organization etc. in a separate section this same notebook.
(3) Project Section. Keep lecture notes pertaining to your project in the front of this section . Plus, maintain the following: student/client agreement drafts and signed agreements; script drafts, signed shooting scripts, signed editing scripts, the final scripts; all signed release forms and any other materials pertaining to the legal requirements of your project. This is a large section of your notebook, but I want to see your progress.
(4) Project Summary Section. This section capstones your project experience. In addition to the traditional "what I learned from this exercise," your instructor wants to know: did your final analysis (in terms of process, time & budget) match your earlier semester estimates. If not, why? Were there any specific challenges you experienced relative to your relationship with your client? The key questions relate to the process and profitability. Did you manage your time and the project in order to make a profit? This is largely a comparison between your "estimates" and actual costs – coming from Section 1 and the estimates you gave your instructor early in the semester. This exercise will help you improve your ability to estimate, thus your profitability.
(5) Portfolio Section. I want you to synthesize your experience. Consider me as your next client. . You can create a resume here. You can create a spec tape. This section is yours.

Your instructor may be asking to see notebook papers throughout the course, so it is important to keep it up-to-date – particularly Sections 1-3.

You'll need to hand in your notebook before the last day of class.