VA444 Digital TV Production
Syllabus | International University of Sarajevo - Last Update on Feb 02, 2026
Syllabus Quick Jump
Search and navigate to any syllabus instantly
Visual Arts and Visual Communications Design
Muhammed Yasir Goz
Course Lecturer
Course Objectives
This course introduces students to the fundamentals of television production through a balance of creative development, technical training, and studio practice. Students will learn how to design and brand an original TV show concept, apply framing, composition, lighting, sound, and color theory, and practice professional interview techniques. They will gain hands-on experience with green screen, control room, and multi-camera directing, while also developing skills in editing and motion graphics using Adobe Premiere and After Effects. Through teamwork and rotating production roles, students will plan, rehearse, and produce studio-based segments, culminating in a final TV show intro project. By the end of the course, students will have built both a professional portfolio and an understanding of career pathways in the TV and media industry.
Learning Outcomes
After successful completion of the course, the student will be able to:
Course Materials
Required Textbook
Millerson, Gerald & Owens, Jim. Television Production (16th Edition, Routledge, 2020),Zettl, Herbert. Television Production Handbook (12th Edition, Cengage, 2019),Brown, Blain. Cinematography: Theory and Practice (4th Edition, Routledge, 2021),Adobe Creative Team. Adobe Premiere Pro Classroom in a Book (2023 Release, Adobe Press, 2023),Clayman, Sophia A. Interviewing for TV and Radio (Routledge, 2017),Block, Bruce. The Visual Story: Creating the Visual Structure of Film, TV and Digital Media (3rd Edition, Routledge, 2020)
Additional Literature
Editing Digital Video, John Rice&Brian McKernan,"The Art of Watching Film"Joseph M. BoggsTeaching Methods
Lectures and Discussions
Practical Workshops
Project-Based Learning
Group Work & Role Rotation
Simulations and Rehearsals
Weekly Topics
| Week | Topic | Readings / References |
|---|---|---|
| 1 | Course overview, expectations, grading,Introduction to TV production roles (director, floor manager, camera, sound, host, guest) Studio tour and equipment briefing | Millerson, Gerald & Owens, Jim. Television Production (Routledge, 2020), |
| 2 | Basics of TV Program Formats.Genres: talk shows, news, reality, documentary, entertainment,Workshop: brainstorming imaginary TV show ideas | Zettl, Herbert. Television Production Handbook, |
| 3 | Concept Development techniques,defining name, genre, slogan, purpose, and target audience,Mentoring | Block, Bruce. The Visual Story, |
| 4 | Framing, Composition & Shooting Techniques,Camera framing and rule of thirds in TV productionComposition for interviews and studio talk shows,Shooting techniques: pans, tilts, zooms, handheld vs. tripod | Brown, Blain. Cinematography: Theory and Practice |
| 5 | Visual Concepts, Mood and tone, style, storytelling, Directing with Multi Camera Project I | Block, Bruce. The Visual Story, |
| 6 | Interview Techniques for TV,How to research guests and prepare questions,Structuring interviews (opening, follow-ups, closing)Practicing tone, body language, and active listening | Clayman, Sophia A. Interviewing for TV and Radio (Routledge, 2017), |
| 7 | Green Screen Techniques, Control Room Equipments | Zettl, Herbert. Television Production Handbook, |
| 8 | MID-TERM, Project II | |
| 9 | Lighting Design, Theory and Practices,Principles of lighting in TV production,How lighting affects mood, tone, and visual storytelling,Practical setup in studio: interview lighting, soft vs. hard light, LED vs. spotlights | Birn, Jeremy. Digital Lighting and Rendering |
| 10 | Sound in TV Production.clarity, consistency, and emotional impact,Types of Microphones: lavalier, shotgun, handheld – advantages & best use cases in studio/interview settings Mic.Placement & Technique: avoiding noise, balancing host & guest voices using mixers, headphones, and studio monitors | Holman, Tomlinson. Sound for Film and Television (Routledge, 2020) |
| 11 | Color Theory in TV Production,Introduction to Color Theory: hue, saturation, brightness, complementary & analogous colors.Psychology of Color: how colors influence audience emotions and perception in TV shows Color in Branding: choosing consistent palettes for TV show identity. | Block, Bruce. The Visual Story, Ch. 6 (Color) |
| 12 | Studio Operations & Role Practice.Multi-camera directing and switching.Sound and lighting setup for interv. Floor management and live studio coordination. Team role assignments Project III | Millerson & Owens, Television Production, Ch. 12 (Studio Crew Roles) |
| 13 | Post-Production for Intros Adobe Premiere workflows for editing Motion graphics in After Effects Integrating logo, colors, and narration | Adobe Premiere Pro Classroom in a Book (Adobe Press, 2023), Lessons 1–5 |
| 14 | Final review of all projects | |
| 15 | Careers in TV ProductionOverview of roles in the TV/media industry (producer, director, editor, sound designer, lighting technician, etc.) How to build a student portfolio/showreel from their class projects | Millerson & Owens, Television Production, Ch. 16 (Careers in TV Production) |
Course Schedule (All Sections)
Office Hours & Room
| Day | Time | Office | Notes |
|---|---|---|---|
| Tuesday | 10:00 - 11:00 | B F3.15 | |
| Friday | 10:00 - 11:00 | B F3.15 |
Assessment Methods and Criteria
Assessment Components
Final Exam
AI: Not AllowedAlignment with Learning Outcomes : 4
Project 1
AI: Not AllowedAlignment with Learning Outcomes : 1
Midterm Exam - Project 2
AI: Not AllowedAlignment with Learning Outcomes : 2
Studo/Workshop Performance&Contribution
AI: Not AllowedAlignment with Learning Outcomes : 5
Presentation -Project 3
AI: Not AllowedAlignment with Learning Outcomes : 3
IUS Grading System
| Grading Scale | IUS Grading System | IUS Coeff. | Letter (B&H) | Numerical (B&H) |
|---|---|---|---|---|
| 0 - 44 | F | 0 | F | 5 |
| 45 - 54 | E | 1 | ||
| 55 - 64 | C | 2 | E | 6 |
| 65 - 69 | C+ | 2.3 | D | 7 |
| 70 -74 | B- | 2.7 | ||
| 75 - 79 | B | 3 | C | 8 |
| 80 - 84 | B+ | 3.3 | ||
| 85 - 94 | A- | 3.7 | B | 9 |
| 95 - 100 | A | 4 | A | 10 |
Late Work Policy
Information about late submission policies will be shared during class and posted in this section. Please check back for official guidelines.
ECTS Credit Calculation
📚 Student Workload
This 6 ECTS credit course corresponds to 150 hours of total student workload, distributed as follows:
Lecture Hours
45 hours ⏳ (15 week × 3 h)
Presentation
30 hours ⏳ (6 week × 5 h)
Project
36 hours ⏳ (9 week × 4 h)
Final exam study
24 hours ⏳ (2 week × 12 h)
Midterm project
15 hours ⏳ (3 week × 5 h)
150 Total Workload Hours
6 ECTS Credits
Course Policies
Academic Integrity
All work submitted must be your own. Plagiarism, cheating, or any form of academic dishonesty will result in disciplinary action according to university policies. When in doubt about citation practices, consult the instructor.
Attendance Policy
Students are expected to adhere to the attendance requirements as outlined in the International University of Sarajevo Study Rules and Regulations. Excessive absences, whether excused or unexcused, may impact academic performance and eligibility for assessment. Mandatory sessions (e.g., labs, workshops) require attendance unless formally exempted. For detailed policies on absences, documentation, and penalties, please refer to the official university regulations.
Technology & AI Policy
Laptops/tablets may be used for note-taking only during lectures. Phones should be silenced and put away during all class sessions. Audio/video recording requires prior permission from the instructor.
Artificial Intelligence (AI) Usage: The use of AI tools (e.g., ChatGPT, Copilot, Gemini) varies by assessment component. Please refer to the AI usage indicator next to each assessment item in the Assessment Methods and Criteria section above. Submitting AI-generated content as your own work, where AI is not explicitly allowed, constitutes an academic integrity violation.
Communication Policy
All course-related communication should occur through official university channels (institutional email or SIS). Emails should include [VA444] in the subject line.
Academic Quality Assurance Policy
Course Academic Quality Assurance is achieved through Semester Student Survey. At the end of each academic year, the institution of higher education is obliged to evaluate work of the academic staff, or the success of realization of the curricula.
Learning Tips
Be prepared to contribute thoughtfully during class discussions, labs, or collaborative work. Active participation deepens understanding and encourages critical thinking.
Complete assigned readings or prep materials before class. Take notes, highlight key ideas, and jot down questions. Aim to grasp core concepts and their applications—not just facts.
Use course frameworks or methodologies to analyze problems, case studies, or projects. Begin early to allow time for reflection and refinement. Seek feedback to improve your work.
Don’t hesitate to reach out when something is unclear. Use office hours, discussion boards, or peer networks to clarify concepts and stay on track.
Syllabus Last Updated on Feb 02, 2026 | International University of Sarajevo
Print Syllabus
Referencing Curricula Print this page
| Course Code | Course Title | Weekly Hours* | ECTS | Weekly Class Schedule | ||||||
| T | P | |||||||||
| VA444 | Digital TV Production | 0 | 3 | 6 | ||||||
| Prerequisite | Senior Standing | It is a prerequisite to | - | |||||||
| Lecturer | Muhammed Yasir Goz | Office Hours / Room / Phone | Tuesday: 10:00-11:00 Friday: 10:00-11:00 |
|||||||
| myasirgoz@ius.edu.ba | ||||||||||
| Assistant | Assistant E-mail | |||||||||
| Course Objectives | This course introduces students to the fundamentals of television production through a balance of creative development, technical training, and studio practice. Students will learn how to design and brand an original TV show concept, apply framing, composition, lighting, sound, and color theory, and practice professional interview techniques. They will gain hands-on experience with green screen, control room, and multi-camera directing, while also developing skills in editing and motion graphics using Adobe Premiere and After Effects. Through teamwork and rotating production roles, students will plan, rehearse, and produce studio-based segments, culminating in a final TV show intro project. By the end of the course, students will have built both a professional portfolio and an understanding of career pathways in the TV and media industry. | |||||||||
| Textbook | Millerson, Gerald & Owens, Jim. Television Production (16th Edition, Routledge, 2020),Zettl, Herbert. Television Production Handbook (12th Edition, Cengage, 2019),Brown, Blain. Cinematography: Theory and Practice (4th Edition, Routledge, 2021),Adobe Creative Team. Adobe Premiere Pro Classroom in a Book (2023 Release, Adobe Press, 2023),Clayman, Sophia A. Interviewing for TV and Radio (Routledge, 2017),Block, Bruce. The Visual Story: Creating the Visual Structure of Film, TV and Digital Media (3rd Edition, Routledge, 2020) | |||||||||
| Additional Literature |
|
|||||||||
| Learning Outcomes | After successful completion of the course, the student will be able to: | |||||||||
|
||||||||||
| Teaching Methods | Lectures and Discussions,Practical Workshops,Project-Based Learning,Group Work & Role Rotation,Simulations and Rehearsals | |||||||||
| Teaching Method Delivery | Face-to-face | Teaching Method Delivery Notes | ||||||||
| WEEK | TOPIC | REFERENCE | ||||||||
| Week 1 | Course overview, expectations, grading,Introduction to TV production roles (director, floor manager, camera, sound, host, guest) Studio tour and equipment briefing | Millerson, Gerald & Owens, Jim. Television Production (Routledge, 2020), | ||||||||
| Week 2 | Basics of TV Program Formats.Genres: talk shows, news, reality, documentary, entertainment,Workshop: brainstorming imaginary TV show ideas | Zettl, Herbert. Television Production Handbook, | ||||||||
| Week 3 | Concept Development techniques,defining name, genre, slogan, purpose, and target audience,Mentoring | Block, Bruce. The Visual Story, | ||||||||
| Week 4 | Framing, Composition & Shooting Techniques,Camera framing and rule of thirds in TV productionComposition for interviews and studio talk shows,Shooting techniques: pans, tilts, zooms, handheld vs. tripod | Brown, Blain. Cinematography: Theory and Practice | ||||||||
| Week 5 | Visual Concepts, Mood and tone, style, storytelling, Directing with Multi Camera Project I | Block, Bruce. The Visual Story, | ||||||||
| Week 6 | Interview Techniques for TV,How to research guests and prepare questions,Structuring interviews (opening, follow-ups, closing)Practicing tone, body language, and active listening | Clayman, Sophia A. Interviewing for TV and Radio (Routledge, 2017), | ||||||||
| Week 7 | Green Screen Techniques, Control Room Equipments | Zettl, Herbert. Television Production Handbook, | ||||||||
| Week 8 | MID-TERM, Project II | |||||||||
| Week 9 | Lighting Design, Theory and Practices,Principles of lighting in TV production,How lighting affects mood, tone, and visual storytelling,Practical setup in studio: interview lighting, soft vs. hard light, LED vs. spotlights | Birn, Jeremy. Digital Lighting and Rendering | ||||||||
| Week 10 | Sound in TV Production.clarity, consistency, and emotional impact,Types of Microphones: lavalier, shotgun, handheld – advantages & best use cases in studio/interview settings Mic.Placement & Technique: avoiding noise, balancing host & guest voices using mixers, headphones, and studio monitors | Holman, Tomlinson. Sound for Film and Television (Routledge, 2020) | ||||||||
| Week 11 | Color Theory in TV Production,Introduction to Color Theory: hue, saturation, brightness, complementary & analogous colors.Psychology of Color: how colors influence audience emotions and perception in TV shows Color in Branding: choosing consistent palettes for TV show identity. | Block, Bruce. The Visual Story, Ch. 6 (Color) | ||||||||
| Week 12 | Studio Operations & Role Practice.Multi-camera directing and switching.Sound and lighting setup for interv. Floor management and live studio coordination. Team role assignments Project III | Millerson & Owens, Television Production, Ch. 12 (Studio Crew Roles) | ||||||||
| Week 13 | Post-Production for Intros Adobe Premiere workflows for editing Motion graphics in After Effects Integrating logo, colors, and narration | Adobe Premiere Pro Classroom in a Book (Adobe Press, 2023), Lessons 1–5 | ||||||||
| Week 14 | Final review of all projects | |||||||||
| Week 15 | Careers in TV ProductionOverview of roles in the TV/media industry (producer, director, editor, sound designer, lighting technician, etc.) How to build a student portfolio/showreel from their class projects | Millerson & Owens, Television Production, Ch. 16 (Careers in TV Production) | ||||||||
| Assessment Methods and Criteria | Evaluation Tool | Quantity | Weight | Alignment with LOs | AI Usage |
| Final Exam | 1 | 35 | 4 | Not Allowed | |
| Semester Evaluation Components | |||||
| Project 1 | 1 | 15 | 1 | Not Allowed | |
| Midterm Exam - Project 2 | 1 | 25 | 2 | Not Allowed | |
| Studo/Workshop Performance&Contribution | 1 | 10 | 5 | Not Allowed | |
| Presentation -Project 3 | 1 | 15 | 3 | Not Allowed | |
| *** ECTS Credit Calculation *** | |||||
| Activity | Hours | Weeks | Student Workload Hours | Activity | Hours | Weeks | Student Workload Hours | |||
| Lecture Hours | 3 | 15 | 45 | Presentation | 5 | 6 | 30 | |||
| Project | 4 | 9 | 36 | Final exam study | 12 | 2 | 24 | |||
| Midterm project | 5 | 3 | 15 | |||||||
| Total Workload Hours = | 150 | |||||||||
| *T= Teaching, P= Practice | ECTS Credit = | 6 | ||||||||
| Course Academic Quality Assurance: Semester Student Survey | Last Update Date: 16/02/2026 | |||||||||