film production & direction by GLOUCESTERSHIRE COLLEGE FILM & MEDIA

COURSEWORK ASSESSMENT BRIEF ACADEMIC YEAR 2016 - 2017

MODULE

FILM PRODUCTION AND DIRECTION

ASSESSMENT TITLE

PRODUCING AND DIRECTING THE SHORT FILM

ASSESSMENT IDENTIFIER

DIG6099

SCHOOL

BIRMINGHAM CITY UNIVERSITY: FACULTY OF COMPUTING, ENGINEERING & THE BUILT ENVIRONMENT

WEIGHTING: 100% OF MODULE GRADE

GLOUCESTERSHIRE COLLEGE: DEPARTMENT OF ARTS & MEDIA ASSESSMENT HAND OUT DATE

MONDAY 22ND OF JANUARY 2017

ASSESSMENT HAND IN DATE

FRIDAY 5TH MAY 2017 (AT 4.30PM IN D121)

RE-ASSESSMENT HAND IN

TO BE CONFIRMED

NOTE

At the first assessment attempt, the full range of marks are available. At the reassessment, the mark is capped and the maximum mark that can be achieved is 40%

SUPPORT AVAILABLE FOR STUDENTS REQUIRED TO SUBMIT A RE-ASSESSMENT

Timetabled sessions will be arranged for the period immediately after marks grades have been given.

ASSESSMENT SUMMARY

1. A 10 to 15-minute short film (or portfolio of films agreed with programme leader). 2.

ASSESSMENT I.V8: JOE SUDLOW

Supporting digital sketchbook / digital journal.

This assessment is worth 100% of the module grade

AVOIDING ALLEGATIONS OF CHEATING The University takes allegations of cheating, in any form of assessment, very seriously. We class it as a disciplinary offence if a student attempts to gain or helps someone else to gain an unfair advantage over other students. Students who are suspected of cheating will have to attend a formal hearing to explain their case, and if found guilty of cheating the penalties can be severe, including the removal of academic credit or even your permanent expulsion from the University. Here are a few simple principles to follow to avoid allegations of cheating: It is YOUR responsibility to be aware of these principles and act accordingly. The basic principles are: • • • • • • • • •

Don’t pass off anyone else’s work as your own, including work from “essay banks”. This is plagiarism and is viewed extremely seriously by the University. Don’t submit a piece of work in whole or in part that has already been submitted for assessment elsewhere. This is called duplication and, like plagiarism, is viewed extremely seriously by the University. Always acknowledge all of the sources that you have used in your coursework assignment or project. If you are using the exact words of another person, always put them in quotation marks. Check that you know whether the coursework is to be produced individually or whether you can work with others. If you are doing group work, be sure about what you are supposed to do on your own. Never make up or falsify data to prove your point. Never allow others to copy your work. Never lend disks, memory sticks or copies of your coursework to any other student in the University; this may lead you being accused of collusion.

By submitting coursework, either physically or electronically, you are confirming that it is your own work (or, in the case of a group submission, that it is the result of joint work undertaken by members of the group that you represent) and that you have read and understand the University’s guidance on plagiarism and cheating. Students should be aware that, at the discretion of the module coordinator, coursework may be submitted to an electronic detection system in order to help ascertain if any plagiarised material is present. Students should also be aware that it is their responsibility to ensure that work submitted in electronic format can be opened on a faculty computer and to check that any electronic submissions have been successfully uploaded. If it cannot be opened it will not be marked. Any required file formats will be specified in the assignment brief and failure to comply with these submission requirements will result in work not being marked.

Standard Birmingham City University Undergraduate Assessment Regulations: Your studies will be governed by the Undergraduate Assessment Regulations (UAR 20). Under these regulations, you are permitted two attempts at assessment for each module: a first sit and reassessment attempt. This means that you will be required to withdraw from the course if, following the reassessment attempt, you have not passed. Fuller Gloscol / Birmingham City University regulations are contained in the last 7 pages of this document.

ASSIGNMENT MODULE

FILM PRODUCTION AND DIRECTION

QUALIFICATION

BSc FILM PRODUCTION WITH APPLIED TECHNOLOGY

HAND OUT DATE

MONDAY 23RD JANUARY 2017

HAND IN DATE

FRIDAY 5TH MAY 2017 (4.30PM IN D121)

PRODUCTION MATERIAL HAND IN

FRIDAY 5TH MAY 2017 (4.30PM IN D121)

DATE CREDITS

40 (LEVEL 6)

Steadicam work on the Oscar nominated film for best picture La La Land.

LEARNING OUTCOMES TO BE ASSESSED: A. Interpret a wide variety of source material that illustrates an understanding of the development of moving images in time, and in a live production, through comprehensive production and technical notes for actors and individual departments. B. Be able to create moving image artefacts and evidence an agreed upon industry defined production role. C. Be able to manage production and post production for moving images. Actively engage in an organisational or approved technical role making judgements in order to facilitate production within the constraints of a production department, available resources, schedule and budget. D. Reflect on and critique their managerial and production approach and offer constructive comment on own work and the work of their peers.

ASSIGNMENT DETAILS: “No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.” - Ingmar Bergman “The biggest mistake in student films is that they are usually cast so badly, with friends and people the directors know.” - Brian De Palma The quotations above help to remind us of the power and pitfalls of filmmaking. As you progress into production on your final film, remember to apply both technical and aesthetic skills to your individual job role. The piece you participate in making, will act as your industry calling card and marks given will form a significant part of your final grade. It is important, during the process, that you to continuously study and reflect upon the work of other practitioners who perform the role you will be undertaking. This will improve your practice and elevate the quality of your contribution to the final piece. PRODUCTION: For this assignment, working in a crew, you will produce a 10 to 15-minute short film intended for festival distribution. Each member of the crew must carry out their responsibilities through to the delivery of the product. In the production team, each person will equally contribute to the completion of the short film by way of their specific job role, which will be assessed individually. You should perform one of the 12 roles outlined below: \

1) 2) 3) 4) 5) 6) 7) 8) 9) 10) 11) 12)

Director Producer Production Designer Digital Imaging Technician, Editor & Colourist Director of Photography Boom Swinger, Sound Recording Assistant, and Assistant Sound Designer Sound Recordist & Sound Designer Assistant Director Camera Operator ST 1 Assistant Camera & Focus Puller Chief Lighting Technician (Gaffer) Key Grip

PLEASE NOTE: A. If you intend to work in any other role, you must put in a written request via email and have written permission from the programme leader - Nosa Obayiuwana. B. Each of the 12 numbered roles above represents a single job to be performed by one individual. C. Your name and role must be clearly specified in the end credits of the film or on a signed crew list submitted by the Director and Producer to Nosa Obayiuwana on the hand in date. D. All films must be shot at a native minimum resolution of 4K UHD (3840 x 2160).

E. All films must be submitted as (1) A UHD digital master in .mov format (2) A 1080P digital copy in .mov format and (3) A 1080p Blu-ray disk. F. The edited final film must be submitted by the director, producer and editor on the hand in date and time specified on the first page of this assignment brief. G. The film must not be uploaded to the internet (YouTube, Vimeo or any site whatsoever) without the prior consent in writing of the programme leader. E. Each individual student will submit a typed and well organised digital sketchbook / journal in the PDF format detailing production and technical issues involved in the creation of the ten to fifteen-minute short film (or the agreed portfolio of films). The work should contain an analysis that compares, contrasts and discusses all aspects of the production process from idea generation to screen. The student should evidence their role within the process. The digital sketchbook exists as a document to assist the student develop her role and evidence her participation in the project. The individual sketchbook is essential and will inform the marking of the 10 to 15-minute short film. ASSESSMENT EVIDENCE TO BE SUBMITTED: 1. A 10 to 15-minute short film (or portfolio of films agreed with programme leader). 2. Supporting digital sketchbook / digital journal. This assessment is worth 100% of the module grade

FEEDBACK:

•

Marks and feedback on your work will be provided within 30 working days of the submission of the assignment.

•

All marks will need to be moderated by Birmingham City University before they can be handed to students.

SUBMISSION RULES:

If you submit an assessment late at the first attempt then you will be subject to one of the following penalties: •

If the submission is made up to two hours following the deadline, the mark that you achieve will be deducted by 10%. If this deduction takes you below the pass threshold then you will be capped at that threshold; (For example: work awarded a mark of 60% would become 54%)

•

If the submission is made between two hours and up to 5 days following the deadline, your mark will be capped at the pass threshold;

•

If the submission is made after 5 days following the deadline, your work will be deemed as a fail and returned to you unmarked.

If you submit a reassessment late then it will be deemed as a fail and returned to you unmarked.

WORKLOAD: This assessment carries an equivalent word count of 6000 words and will typically take 100 hours to complete.

Each element and the overall grade will be marked according to the following grade boundaries:

Fail

3rd Class

2:2

2:1

1st Class

< 40 %

40 – 49%

50 – 59%

60 – 69%

> 70%

GENERAL ASSESSMENT CRITERIA: Mark 80% and above: evidence of much work beyond what that is normally expected leading to achievement of demanding objectives. The report demonstrates inventiveness and ability to analyse complex theory/concepts and relate them to practice. Content builds on knowledge/skills from higher level course modules, with depth in areas relevant to the degree title. There is extensive use of a range of relevant sources, which are correctly referenced through the text. Interpretation and analysis of findings is complete, and alternative approaches and application to other domains are considered. Report closely follows conventions with no shortcomings in structure, style or language. Mark 70 - 79%: evidence of much work of the highest quality leading to achievement of demanding objectives. The report demonstrates inventiveness and ability to analyse complex theory/concepts and relate them to practice. Content builds on knowledge/skills from higher level course modules, with depth in areas relevant to the degree title. There is extensive use of relevant sources, which are referenced through the text. Interpretation and analysis of findings is full, and alternative approaches and wider issues are considered. Report closely follows conventions with no major shortcomings in structure, style or language. Mark 60 - 69%: evidence of much good quality work, competently undertaken, and leading to achievement of demanding objectives, but not demonstrating the highest intellectual calibre associated with first class honours. The report demonstrates methodical care and competence in solving problems and in the treatment of information and results. Content involves knowledge/skills from course modules, with depth in areas relevant to the degree title. There is evidence of extensive research, but the benefit to the work, and in general the analysis and consideration of wider issues, is not fully explored. The report closely follows conventions with no major shortcomings in structure, style or language. Mark 50 - 59%: evidence of generally competent work leading to achievement of appropriate, but not fully challenging, objectives. The report demonstrates ability to solve relevant problems and handle data competently. Content relates to course modules but does not demonstrate the depth associated with higher classification. There is evidence of research, but with only limited consideration. Analysis may be narrow and with only limited consideration of wider issues. The report generally follows conventions but may suffer from some shortcomings.

Mark 40 - 49%: there is evidence of adequate ability and sufficient effort towards achievement of undemanding, but appropriate, objectives. There is demonstration of a reasonable quantity of relevant work, but without the investigative background, depth, or analysis associated with higher classifications There is evidence of some research, but the analysis is limited, and wider issues are not explored. However, there is evidence of ability to manipulate relevant data in a manner, and with comments, demonstrating an adequate level of understanding for the award. The report contains necessary major sections, but may suffer from significant shortcomings.

SPECIFIC MARKING CRITERIA

Undergraduate bands 0 – 39% Fail

Criterion 1 Mark:

40 – 49% Third

50 – 59% 2:2

60 – 69% 2:1

70 – 79% First

80 – 100% First

Interpret a wide variety of source material that illustrates an understanding of the development of moving images in time, and in a live production, through comprehensive production and technical notes for actors and individual departments. No or little collation / interpretation of source material. No or little understanding of the development of moving image projects. No or little understanding of production contexts Poor provision of technical notes for actors and individual departments

Sufficient collation / interpretation of source material. There is understanding of the development of moving image projects. Some understanding of production contexts but examples are limited Technical notes for actors and individual departments have been provided but they lack clarity and structure

Good collation / interpretation of source material. There is good understanding of the development of moving image projects. The influences of contemporary production techniques are clearly expressed. Good understanding of production contexts with examples given and explained Technical notes for actors and individual departments are clear and communicate with intention.

Very good collation / interpretation of source material. There is very good understanding of the development of moving image projects. The influences of contemporary production techniques are clearly expressed. Very good understanding of production contexts with examples given and explained Technical notes for actors and individual departments are clear and communicate with intention.

Excellent collation / interpretation of source material. Excellent understanding of the development of moving image projects. The influences of contemporary production techniques are clearly expressed. Excellent understanding of production contexts with examples given and explained Technical notes for actors and individual departments are clear, communicate with intention and are of professional standard.

Excellent collation / interpretation of source material. Excellent understanding of the development of moving image projects. The influences of contemporary production techniques are clearly expressed. Excellent understanding of production contexts with examples given and explained. Technical notes for actors and individual departments are clear and communicate with intention and are of professional standard.

Criterion 2 Mark:

Be able to create moving image artefacts and evidence an agreed upon industry defined production role. little or no individually generated preproduction evidence.

Sufficient individually generated preproduction evidence.

Material provided does not relate to job role in production.

Some material relates to the job role performed but other documents have little bearing on students designated assignments.

Structured and well-presented individually generated preproduction evidence. Different documents are submitted.

Well-structured and appropriately presented individually generated preproduction evidence.

There is clear evidence of research, planning and thought

There is clear evidence of research, planning and thought. Documentation shows evidence of progression and critical thinking throughout the development process related to the job role.

Criterion 3 Mark:

Mark:

There is clear evidence of research, planning and thought. Documentation shows evidence of progression and critical thinking throughout the development process related to the job role.

Be able to manage production and post production for moving image fiction. Actively engage in an organisational or approved technical role making judgements in order to facilitate production within the constraints of a production department, available resources, schedule and budget. Little or no evidence of ability to manage production or post production for moving image projects

Criterion 4

Well-structured and appropriately presented individually generated preproduction evidence to a professional standard (as would be seen in the production of a studio or TV film).

Sufficient evidence of ability to manage production or post production for moving image projects.

Good evidence of ability to manage production or post production for moving image projects.

Very good evidence of ability to manage production or post production for moving image projects.

Excellent evidence of ability to manage production or post production for moving image projects.

Excellent evidence of ability to creatively manage production or post production for moving image projects.

Reflect on and critique their managerial and production approach and offer constructive comment on own work and the work of their peers. Little or no ability to reflect on own managerial or production approach and offer constructive commentary on own work or the work of peers

sufficient ability to reflect on own managerial or production approach and offer constructive commentary on own work or the work of peers

Good ability to reflect on own managerial or production approach and offer constructive commentary on own work or the work of peers

Very good ability to reflect on own managerial or production approach and offer constructive commentary on own work or the work of peers

Excellent ability to reflect on own managerial or production approach and offer constructive commentary on own work or the work of peers

Section One Module Title: FILM PRODUCTION & DIRECTION

Code: DIG6099

Credit Value: 40

Level: 6

Module Overview Production and direction represent core elements in the creation of moving images. These sectors provide an extensive range of opportunities and roles for new entrants into the profession. Key to working in the film industry is an understanding of the collaborative nature of motion picture production. This module provides students with the opportunity to investigate and experience the discipline of this collaborative process at a management level by analysing a wide range of data to assess the most suitable approach to producing individual artefacts in preparation for delivery. The module will provide students with a contextual grounding by looking at a variety of practitioners and styles. Theoretical knowledge will combine with practice-based learning in the creation of students own moving image work. The module builds on pre-production, production, post-production and production management skills. It will enable learners develop advanced technical abilities in camera, lighting, editing and set management. Students will be presented with a wide range of opportunities for the development of creativity both within the production process and in topic or subject content. Learning will be employment centred; students will gain an understanding of the jobs available to new entrants in short films, local independent features and international studio co-productions. INDICATIVE CONTENT: Aesthetics: The director’s style, transcontinental aesthetics, camera angles, continuity, cutting, close-ups, composition, director themes, space and time. Production Management Techniques: Narrative moving image research and production, departmental budget accounting, script development, shot lists, narrative structure, scheduling, production documentation preparation, pre-production meetings, production fund raising, contracts and personal releases, location scouting and permissions, equipment management and hire, time management on set. Professional Lighting Techniques: Lighting concepts, the lighting department, lighting controls, lighting instruments, measuring light, lighting practice, location lighting, set lighting, specialised lighting (automobile, exterior nights, large interiors), in camera lighting tools, lighting health and safety. Camera Techniques: Compositional strategies, cameras, lenses, lens choice and perspective, camera grip and movement, camera controls and functions, camera codecs, camera support, camera safety. Art Direction: Moods, set versus location, exploiting a location, set dressing, props, wardrobes, hair / make-up, health and safety. Casting & Directing Techniques: Previsualisation, rehearsals, directing actors, casting documents, the casting session, directing on set, script breakdown, improvisation, blocking, shooting ratios, tweaking, managing performance, working with collaborators, mise-en-scene, off the set, audience testing. On-set Protocol: Call time, punctuality, on-set communication, running the set, slating, director commands, removing and storing items off set, avoiding problems, health and safety on set and on location. Key Departmental Responsibilities: The director’s voice, director’s team versus producer’s team, crew responsibilities, crew management, managing the cast, staff welfare. (PLEASE SEE LEARNING SCHEDULE FOR DETAILS)

Module Learning outcomes: 1. Interpret a wide variety of source material that illustrates an understanding of the development of moving images in time, and in a live production, through comprehensive production and technical notes for actors and individual departments. 2. Be able to create moving image artefacts and evidence an agreed upon industry defined production role. 3. Be able to manage production and post production for moving images. Actively engage in an organisational or approved technical role making judgements in order to facilitate production within the constraints of a production department, available resources, schedule and budget. 4. Reflect on and critique their managerial and production approach and offer constructive comment on own work and the work of their peers.

Library & Learning Resources Purchase Mamer, B (2014). Film Production Technique: Creating the Accomplished Image. 4th ed. United Kingdom: Cengage Learning. Essential (Books/Journals/Specific chapters/Journal Articles) Brown, B (2002). Cinematography Theory and Practice: Image Making for Cinematographers, Directors, and Videographers. Oxford: Focal Press. Honthaner, E. L (2010). The Complete Film Production Handbook. Oxford: Focal Press. Jackman, J (2010). Lighting for Digital Video and Television. Oxford: Focal Press. Mascelli, J.V (1965). The Five C's of Cinematography: Motion Picture Filming Techniques. Los Angeles: Silman-James Press. Millerson, G (1991). Lighting for Television and Film. 3rd ed. Oxford: Focal Press. Ondaatje, M (2008). The Conversations: Walter Murch and the Art of Editing Film. London: Bloomsbury. Proferes, N. T (2013). Film Directing Fundamentals. 2nd ed. Massachusetts / Oxford: Focal Press. Rabiger, M (2013). Directing: Film Techniques and Aesthetics. 5th ed. New York & London: Focal Press. Reisz, M & Millar, G (2010). The Technique of Film Editing. 2nd ed. Massachusetts / Oxford: Focal Press. Ryan, M. A (2010). Producer to Producer: A Step-by-Step Guide to Low-Budget Independent Film Producing. Studio City, California: Michael Wiese Productions. Shorter, G (2012). Designing for Screen: Production Design and Art Direction Explained. Wiltshire: The Crowood Press. Weston, J (1996). Directing Actors: Creating Memorable Performances for Film and Television. Studio City, California: Michael Wiese Productions. Morricone, E and Miceli, S (2013). Composing for the Cinema. New York / Toronto / Plymouth: Scarecrow Press.

Journals: • American Cinematographer (ASC) • British Cinematographer (BSC) • Film & digital Times: The Journal of Art, Technique, and Technology in Motion Picture Production Worldwide • Definition Magazine • MovieMaker Magazine • Screen International • Sight and Sound • Filmmaker Magazine: The Journal for Independent Film Websites: BBC Film Network Theblackandblue.com Nofilmschool.com Redsharknews.com Screenonline.com HDFilmtools.com Reel-show.tv British Society of Cinematographers Art Directors Guild Screen Actors Guild Spotlight Cinema Audio Society Thehurlblog.com The British Film Institute Thecinelens.com Indicative Software Resources: • Adobe Creative Cloud • Avid Media Composer • Apple Final Cut X • Davinci Resolve • Movie Magic Budgeting 7 • Celtx • Shotput Pro Films: Kubrick: A Life in Pictures (2001) The Evolution: From Concept to Screen to X-Men 2 (2006) Gotham Uncovered: Creation of a Scene (2008) Carol (2015) A Girl Walks Home Alone at Night (2014) Girlhood (2014) Moolaade (2004) A Touch of Sin (2013)

Recommended Box, H. C (ed) (2010). Set Lighting Technician's Handbook: Film Lighting Equipment, Practice and Electrical distribution. 4th ed. Massachusetts / Oxford: Focal Press. Holman, T (2010). Sound for Film and Television. 3rd ed. Massachusetts / Oxford: Focal Press. Litwak, M (2012). Contracts for the Film and Television Industry. 3rd ed. Beverly Hills, California: Silman-James Press. Mackendrick, A (2005). On Filmmaking: An Introduction to the Craft of the Director. New York: Faber & Faber. Background Battista, Paul (2013). Independent Film Producing: How To Produce A Low Budget Feature Film. New York: Allworth Press. Bordwell, D (1999). On the History of Film Style. Place of publication: Not known: Harvard University Press. Bordwell, D & Thompson, K (2012). Film Art: An Introduction. 9th ed. New York: McGraw-Hill Education. Brown, B (2014). The Filmmaker's Guide to Digital Imaging: for Cinematographers, Digital Imaging Technicians, and Camera Assistants. Massachusetts / Oxford: Focal Press. Cannon, D (2012). In-Depth Acting. London: Oberon Books. Cousins, M (2011). The Story of Film. 3rd ed. Place of publication not known: Pavilion. Elkins, D. E (2013). The Camera Assistants Manual. 6th ed. Massachusetts / Oxford: Focal Press. Esper, W (2009). Actor's Art and Craft: William Esper Teaches the Meisner Technique. New York / Toronto: Anchor Books. Grove, E (2013). Raindance Producers' Lab Lo-To-No Budget Filmmaking. 2nd ed. Massachusetts / Oxford: Focal Press. Hart, D (1996). The Camera Assistant: A Complete Professional Handbook. Massachusetts: Focal Press. Hurkman, A (2014). Colour Correction Handbook: Professional Techniques for Video and Cinema. U.S.A: Peachpit Press. Hurkman, A (2014). Colour Correction Lookbook: Creative Grading Techniques for Video and Cinema. U.S.A: Peachpit Press. Kenworthy, C (2012). Master Shots: 100 Advanced Camera Techniques to Get an Expensive Look On Your Low Budget Movie. 2nd ed. Studio City, California: Michael Wiese Productions. Longwell, D (1990). Sanford Meisner on Acting. New York / Toronto: Vintage books. Monroe, R (2009). How Not to Make a Short Film: Straight Shooting from a Sundance Programmer. New York: Hyperion. Scoppettuolo (2016). Learning Davinci Resolve 12: A Step-by-Step Guide to editing and Colour Grading. Place of publication not known: Learning Paths. Stradling, L (2010). Production Management for TV and Film. Great Britain: Bloomsbury. Stump, D (2014). Digital Cinematography: Fundamental, Tools, Techniques, and Workflows. Massachusetts / Oxford: Focal Press. Thurlow, M & Thurlow, C (2013). Making Short Films: The Complete Guide from Script to Screen. 3rd ed. New York & London: Bloomsbury Academic.

Learning Schedule (Reviewed Annually) Please note that this schedule is indicative and is subject to change for operational and/or educational reasons. Academic staff constantly monitor and review student progress during the teaching period and will make changes to the schedule as appropriate. Any changes will be notified fully to students.

Pre-session Activities/Learning

Session Topic/s (incl. delivery style and indicative formative learning activities)

Post-session Activity

NOTE: THERE ARE 3 SESSIONS PER WEEK (WITH 2 LECTURERS). EACH SESSION LASTING 2.5 HOURS SESSION 1 PRE-SESSION READING:

INTRODUCTION TO CINEMATIC COMPOSITION

THE 5 C’S OF CINEMATOGRAPHY

IN CLASS TAUGHT SESSIONS, PRESENTATIONS, CLASS DISCUSSIONS, Q&A

CHAPTER 5

•

COMPOSITION 1

•

COMPOSITION IN THE ASIAN CINEMA

•

COMPOSITION IN THE WORK OF CHUNG-HOON CHUNG

SHORT PRESENTATION ASSIGNMENT BEGIN INDIVIDUAL LEARNING LOG ONLINE RESOURCE: http://www.photographymad.com/pages/view/10-top-photographycomposition-rules

SESSION 2

CINEMATIC COMPOSITION

ONLINE QUIZ: MODDLE

PRE SESSION PRACTICAL:

IN CLASS TAUGHT SESSIONS, DISCUSSION & REVIEW OF STILL IMAGE ASSIGNMENT, Q& A

CONTINUE INDIVIDUAL LEARNING LOG

STILL IMAGE PHOTOGRAPHIC ACTIVITIY: 3 IMAGES

• SESSION 3 PRE SESSION READING: FIRST TIME DIRECTOR CHAPTER 3 (PART 2) VISUAL DESIGN P53-P78

COMPOSITION 2

APPLYING THEORY TO PRACTICE IN CINEMATIC COMPOSITION STUDIO WORKSHOP, HANDS ON DEMONSTRATION, OBSERVATION. •

COMPOSITION IN THE FILMS OF THE COEN BROTHERS

•

COMPOSITION IN THE FILMS OF ALEJANDRO INARRITU

FILMS TO SCREEN 1.

NO COUNTRY FOR OLD MEN (2007)

THE REVENANT (2015)

SESSION 4

SPACE IN NARRATIVE FICTION 1

GROUP ASSIGNMENT

PRE SESSION VIEWING:

QUESTION & ANSWER, ACTIVE BOARD PRESENTATION, STUDENT MINI IN CLASS PRESENTATION

IN GROUPS OF THREE STUDENTS WILL OUTLINE 5 UNIQUE REPRESENTATIONS OF SPACE IN THE 2 FILMS OF THEIR CHOICE

•

SPACE IN AVANT GARDE CINEMA

THIS WILL BE DISCUSSED IN THE NEXT SESSION

•

SPACE IN THE WORK OF ANDREI TARKOVSKY

FILM: NOSTALGIA (1983)

SESSION 5

SPACE IN NARRATIVE CINEMA 2

ONLINE 10 MIN 1:1 TUTORIALS

GROUP ASSIGNMENT

CLASS DISCUSSION, MINI CLASS PRESENTATION IN GROUPS, QUESTION & ANSWER SESSION.

EXAMINE INDIVIDUAL LEARNING LOG

IN GROUPS OF THREE STUDENTS WILL OUTLINE 5 UNIQUE REPRESENTATIONS OF SPACE IN THE 2 FILMS OF THEIR CHOICE SESSION 6 STUDENTS TO INVESTIGATE EXAMPLES OF LONG SHOTS THEY WISH TO IMMITATE

•

MINI GROUP PRESENTATION

•

SPACE AND SHOT LENGHT

PRACTICAL LONG SHOT STUDIO / WORKSHOP SESSION

STUDENTS TO INVESTIGATE EXAMPLES OF LONG SHOTS THEY WISH TO IMMITATE

STUDENTS TO READ DISTRIBUTED ONLINE HANDOUT – ISSUU START ONLINE BLOG DISCUSSION BASED ON THE HANDOUT

HANDS ON PRACTICE / LONG SHOT TEST IN STUDIO OR AT LOCATION, PEER SUPPORT, OBSERVATION, PEER REVIEW OF SHOTS •

COMPARE & CONTRAST STUDENT SHOTS

•

OUTLINE AREAS FOR FURTHER EXPERIMENTATION

SESSION 7

TIME IN NARRATIVE CINEMA

CONTINUATION OF ONLINE BLOG DISCUSSION

LECTURER TALK, STUDENT LED CLASS DISCUSSION, STUDENT NOTE TAKING •

TIME IN EASTERN EUROPEAN CINEMA

•

TIME IN THE FILMS OF PEDRO ALMODOVAR

IN CLASS NOTE REVISIONS STUDENTS TO PREPARE THREE PIECES OF PRIMARY PRODUCTION RESEARCH FOR THE NEXT CLASS

SESSION 8

PRODUCTION MANAGEMENT TECHNIQUES

CONTINUE INDIVIDUAL LEARNING LOG

PREPARE 3 PIECES OF PRIMARY PRODUCTION RESEARCH

LECTURER PRESENTATION, PEER ASSESSMENT, OPEN Q&A, STUDENT LED CLASS DISCUSSION

CONTRIBUTE TO ONLINE BLOG DISCUSSION

•

RESEARCH FOR NARRATIVE FICTION PRODUCTION 1

SESSION 9

PRODUCTION MANAGEMENT TECHNIQUES

PRE SESSION READING

LECTURER PRESENTATION, PEER ASSESSMENT, OPEN Q&A, STUDENT LED CLASS DISCUSSION

COMPLETE ONLINE QUESTIONNAIRE ON SURVEY MONKEY / MODDLE / ISSUU

BOOK; FIRST TIME DIRECTOR (CHAPTER ONE – PREPRODUCTION)

•

SESSION 10

PRODUCTION MANAGEMENT TECHNIQUES

1 MINUTE ESSAY TOPIC: RESEARCH FOR PRODUCTION

Q&A, STUDENT LED CLASS DISCUSSIONS

SESSION 11

PRODUCTION MANAGEMENT TECHNIQUES

FILL IN INDIVIDUAL LEARNING LOG

PREPARE STUDIO

LECTURER INSTRUCTION, STUDENT PRACTICE, OBSERVATION

CONTRIBUTE TO ONLINE BLOG DISCUSSION

RESEARCH FOR NARRATIVE FICTION PRODUCTION 2 INDIVIDUAL STUDENTS COMPOSED QUESTIONS (5 EACH ON PRODUCTION RESEARCH THAT NEEDS TO BE DONE)

FILM SCREENING: GOTHAN UNCOVERED: CREATION OF A SCENE

•

STUDIO WORKSHOP: STUDENTS WILL INVENT SHOT SCENARIO AND PREPARE / EXECUTE IN TEAMS

SESSION 12

PRODUCTION MANAGEMENT TECHNIQUES

WATCH TUTORIALS:

ONLINE PRE SESSION STUDY

STUDENT PRODUCED EXCEL SHEETS IN SESSION, LECTURER 1:1, OBSERVATION, PEER SUPPORT

EXCEL TIPS AND TRICKS 2016 BY DENNIS TAYLOR: AVAILABLE ON LYNDA.COM

https://support.office.com/enus/article/Excel-2013-videos-andtutorials-aaae974d-3f47-41d9895e-97a71c2e8a4a?ui=enUS&rs=en-US&ad=US&fromAR=1

•

PLEASE SEE COURSE GUIDE FOR ACCESS

EXCEL FOR PRODUCTION PLANNING

SESSION 13

PRODUCTION MANAGEMENT TECHNIQUES

CONTRIBUTE TO ONLINE BLOG DISCUSSION

PRE SESSION STUDY

STUDENT PRODUCED EXCEL SHEETS IN SESSION, LECTURER 1:1, OBSERVATION, PEER SUPPORT

FILL IN INDIVIDUAL LEARNING LOG

VIDEO: BUDGETING VIDEO PROJECTS BY RICHARD HARRINGTON AVAILABLE ON LYNDA.COM

•

MOVIEMAGIC FOR PRODUCTION PLANNING

SESSION 14

PRODUCTION MANAGEMENT TECHNIQUES

BEDTIME READING HANDOUT:

PRE SESSION READING

MISCONCEPTION CHECK, ROLE PLAY, GAME SIMULATION

MAKING SHORT FILMS: CLIFFORD THURLOW

BOOK; FIRST TIME DIRECTOR (CHAPTER ONE – PREPRODUCTION)

•

CHAPTER III: GETTING IT MADE

PRE PRODUCTION 1 (JOB ROLES – ABOVE THE LINE)

SESSION 15

PRODUCTION MANAGEMENT TECHNIQUES

GO THROUGH

PRE SESSION READING

PRESENTATION, Q & A, CLASS DISCUSSION, STUDENT LIST CREATION

https://creativeskillset.org/job_roles

HANDOUT: PRODUCED BY – PAUL N LAZARUS III PAGES 7799

•

PREPRODUCTION 2 (JOB ROLES MANAGEMENT)

PLEASE READ THROUGH JOB ROLES AND WATCH ASSOCIATED VIDEOS

SESSION 16

PRODUCTION MANAGEMENT TECHNIQUES

GO THROUGH

PRESENTATION, Q & A, CLASS DISCUSSION, STUDENT LIST CREATION

https://creativeskillset.org/job_roles

https://creativeskillset.org/job_roles PLEASE READ THROUGH JOB ROLES AND WATCH ASSOCIATED VIDEOS SESSION 17 PRE SESSION READING THE COMPLETE FILM PRODUCTION HANDBOOK BY E. L HONTHANER

SESSION 18 PRE SESSION READING THE COMPLETE FILM PRODUCTION HANDBOOK BY E. L HONTHANER SESSION 19 UPDATE INDIVIDUAL LEARNING LOG

•

FILM DOCUMENT CREATION SESSION

PLEASE READ THROUGH JOB ROLES AND WATCH ASSOCIATED VIDEOS

PREPRODUCTION MANAGEMENT TECHNIQUES

THE COMPLETE FILM PRODUCTION HANDBOOK BY E. L HONTHANER

PRESENTATION, IN CLASS DOCUMENT CREATION EXERCISE

GROUP ACTIVITY IN 3’S: STUDENTS SHOULD CONCENTRATE ON EXAMINING PRODUCTION DOCUMENTS AND DISCUSSING THE PROS AND CONS OF INDIVIDUAL FORMATS

•

PRODUCTION DOCUMENTS 1

PREPRODUCTION MANAGEMENT TECHNIQUES PRESENTATION, IN CLASS DOCUMENT CREATION EXERCISE •

MINI ASSIGNMENT: INDIVIDUAL SELFIE VIDEO – PRESENT IN 5 MINUTES THE 5 MOST IMPORTANT PRODUCTION DOCUMENTS.

PRODUCTION DOCUMENTS 2

PREPRODUCTION MANAGEMENT TECHNIQUES

BEGIN PERSONAL PRODUCTION DOUMENTS FOLDER https://www.filmsourcing.com/vip-preview/

PRESENTATION, IN CLASS DOCUMENT CREATION EXERCISE •

SESSION 20

PREPRODUCTION 3 (JOB ROLESCONTINUITY, FLOOR RUNNER ETC)

PRODUCTION DOCUMENTS 3

PRE PRODUCTION MANAGEMENT TECHNIQUES 15 MIN DOC CREATION EXERCISE, PEER REVIEW, LECTURER LEAD DISCUSSION •

SCHEDULING & TIME MANGEMENT (WORKING WITH ASSISTANT DIRECTORS)

VIEW ONLINE LECTURER TOTURIAL VIA MODDLE DO SURVEY MONKEY QUESTIONAIRE

SESSION 21 WORKSHOP PREPARATION

PRE PRODUCTION MANAGEMENT TECHNIQUES

PRODUCTION GROUP MEETING UPDATE PRODUCTION LOGS.

IN STUDIO WORKSHOP, MOCK EXERCISE, OBSERVATION • SESSION 22 INDIVIDUAL PITCH PRACTICE

EQUIPMENT, LOCATION PLANNING, PERMISSIONS

PRE PRODUCTION MANAGEMENT TECHNIQUES CLASS DISCUSSION, GROUP WORK – MAP PRODUCTION DIAGRAM

LEARN FROM THE MASTERS: ALEJANDRO INARRITU

•

PRODUCTION PREP

http://www.nytimes.com/video/movies/100000004142315/anatomy-of-ascene-the-revenant.html?action=click&gtype=vhs&version=vhsheading&module=vhs&region=video-area

•

THEPITCH

COOKE OPTICS TV ON YOUTUBE: THE PRODUCTION PROCESS https://www.youtube.com/watch?v=AEnfFMUpitI

SESSION 23

PROFESSIONAL LIGHTING TECHNIQUES

SEAN BOBBITT BSC CAMERAIMAGE LECTURE

WORKSHOP PREPARATION

PRESENTATION, STUDIO WORKSHOP, OBSERVATION AND LECTURER FEEDBACK, PEER REVIEW AND SUPPORT

ON THE ARRICHANEL ON YOUTUBE:

•

https://www.youtube.com/watch?v=IHcYjKpJb-I

LIGHTING CONCEPTS 1

SESSION 24

PROFESSIONAL LIGHTING TECHNIQUES

CONTRIBUTE TO GROUP ONLINE BLOG

PRE SESSION READING

PRESENTATION, STUDIO WORKSHOP, OBSERVATION AND LECTURER FEEDBACK, PEER REVIEW AND SUPPORT

SUMMARIZE KEY ASPECTS OF DEAKINS INTERVIEW

CINEMATOGRAPHERS STYLE: VOL 1 BY JON FAUER ROGER DEAKINS 67-77

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LIGHTING CONCEPTS 2

SESSION 24

PROFESSIONAL LIGHTING TECHNIQUES

FILM TO SEE:

PRE SESSION READING

CINEMA SCREENING, Q & A, CONPARE AND CONTRAST DISCUSSION

PAINTING WITH LIGHT (2007) – DIRECTED BY CRAIG McCALL

FIRST TIME DIRECTOR: PART 2: EXTERNALLY AND INTERNALLY GENERATED CAMERA MOVES. P56-P63

•

DESIGNING LIGHTING SET UPS

•

APPROPRIATE AND INAPPROPRIATE LIGHTING DESIGNS

•

LIGHTING IN THE GODFATHER

ADD TO INDIVIDUAL LEARNING LOG

SESSION 25

PROFESSIONAL LIGHTING TECHNIQUES

OTHER READING

PRE SESSION READING

DIRECTED AND PARAPHRASING, LECTURER TAUGHT SESSION, PEER TO PEER QUESTIONING

CINEMATOGRAPHER STYLE: BILL POPE 223-229

FIRST TIME DIRECTOR: COLLABORATING WITH THE CINEMATOGRAPHER 224-228

•

THE LIGHTING DEPARTMENT

•

THE CINEMATOGRAPHER

STUDENTS SHOULD SUMMARISE KEY IDEAS INTO 10 BULLET POINTS

SESSION 26

PROFESSIONAL LIGHTING TECHNIQUES

CONTINUE FROM PRE SESSION READING

PRE SESSION READING

DIRECTED AND PARAPHRASING, LECTURER TAUGHT SESSION, PEER TO PEER QUESTIONING

THE SET LIGHTING TECHNICIANS HANDBOOK

•

THE HEAD GAFFER

CHAPTER 5: LIGHTING OBJECTIVES AND METHODS P91-117

•

GAFFERS

•

SPARKS (ELECTRICIANS)

THE SET LIGHTING TECHNICIANS HANDBOOK SET BASICS: YOUR FIRST BARBECUE 1-13

SESSION 26

PROFESSIONAL LIGHTING TECHNIQUES

PRE SESSION READING

PRESENTATION, STUDIO WORKSHOP, OBSERVATION AND LECTURER FEEDBACK, PEER REVIEW AND SUPPORT

THE SET LIGHTING TECHNICIANS HANDBOOK LIGHTING FIXTURES; THE BASIC TUNGSTEN ARSENAL P31 - P69

•

SET BASICS: YOUR FIRST BARBECUE 1-13

STUDENTS TO COMPLETE ONLINE OBJECTIVE OPTIONS EXERCISE ON USE OF LIGHTING EQUIPMENT CONTRIBUTE TO ONLINE BLOG DISCUSSION UPDATE INDIVIDUAL LEARNING LOG

LIGHTING EQUIPMENT 1

SESSION 27

PROFESSIONAL LIGHTING TECHNIQUES

ASSIGNMENT:

PRE SESSION READING

PRESENTATION, STUDIO WORKSHOP, OBSERVATION AND LECTURER FEEDBACK, PEER REVIEW AND SUPPORT, LIGHTING PRACTICE

RECORDED ONLINE GROUP DISCUSSION (IN TEAMS OF THREE OR FOUR VIA SKYPE)

THE SET LIGHTING TECHNICIANS HANDBOOK LIGHTING FIXTURES; THE HMI ARSENAL P171- 202

LIGHTING EQUIPMENT 2

SESSION 28

PROFESSIONAL LIGHTING TECHNIQUES

HOMEWORK

PRE SESSION READING

PRESENTATION, STUDIO WORKSHOP, OBSERVATION AND LECTURER FEEDBACK, PEER REVIEW AND SUPPORT, LIGHTING PRACTICE

PRE SESSION READING

THE SET LIGHTING TECHNICIANS HANDBOOK ELECTRICIANS PROTOCOL 151 - 165

LIGHTING EQUIPMENT 3

THE SET LIGHTING TECHNICIANS HANDBOOK ELECTRICIANS PROTOCOL 151 - 165 SUMMARISE IN 10 BULLET POINTS

SESSION 29

PROFESSIONAL LIGHTING TECHNIQUES

STUDY UK HEALTH AND SAFETY LAWS

LECTURER PRESENTATION, Q AND A, STUDENT LED CLASS DISCUSSION, ROLE PLAY

CONTRIBUTE TO ONLINE BLOG

•

HEALTH AND SAFETY IN THE STUDIO

•

HEALTH AND SAFETY ON LOCATION

•

HANDLING EQUIPMENT SAFELY

SESSION 30

PROFESSIONAL LIGHTING TECHNIQUES

THE SET LIGHTING TECHNICIANS HANDBOOK

PRE SESSION READING

LECTURER LED WORKSHOP, PEER QUESTIONING, HAND ON STUDENT PRACTICE, STUDENT COMPARE AND CONTRAST

CHAPTER 16 & 17

THE SET LIGHTING TECHNICIANS HANDBOOK CHAPTER 16 & 17

•

SESSION 31

CAMERA TECHNIQUES

ONLINE PRACTICE RESOURCES

SET UP WORKSHOP

LECTURER LED PRESENTATION / WORKSHOP, STUDENT PRACTICE, PEER SUPPORT, STUDENT NOTES

RED CAMERA SIMULATOR

•

CAMERA (BUTTONS, TOOLS & ON BOARD MONITORS)

DOWNLOAD DONNA FROM ITUNES OR APP STORE

•

MENUS

https://www.arri.com/camera/alexa/tools/alexa_camera_simulator/alexa/

•

CODECS 1

DISCUSS IN SKETCHBOOK / JOURNAL WITH INDIVIDUAL EVIDENCE

SPECIALISED LIGHTING

http://www.red.com/tools

ARRI CAMERA SIMULATOR

SESSION 32

CAMERA TECHNIQUES

ONLINE PRACTICE RESOURCES

SIMULATOR PRACTICE

LECTURER LED PRESENTATION / WORKSHOP, STUDENT PRACTICE, PEER SUPPORT, STUDENT NOTES

RED CAMERA SIMULATOR

•

DOWNLOAD DONNA FROM ITUNES OR APP STORE

CODECS 2

http://www.red.com/tools

ARRI CAMERA SIMULATOR https://www.arri.com/camera/alexa/tools/alexa_camera_simulator/alexa/

SESSION 33

CAMERA TECHNIQUES

ASSIGNMENT:

PRE SESSION READING FIRST TIME DIRECTOR

LECTURER LED PRESENTATION / WORKSHOP, STUDENT PRACTICE, PEER SUPPORT, STUDENT NOTES, Q AND A

STUDENTS TO BOOK OUT EQUIPMENT TO DO INDIVIDUAL LENS TESTS

CHAPTER 5: LENSES 113-133

•

LENSES

•

PERSPECTIVE

•

ZOOMS

LENS PERSPECTIVE TESTS TO BE ADDED TO STUDENT BLOG USING INSTAGRAM AND TINYPIC

SESSION 34

CAMERA TECHNIQUES

ASSIGNMENT:

DOWNLOAD AND PRESENT HEALTH AND SAFETY TEMPLATE

LECTURER LED PRESENTATION / WORKSHOP, STUDENT PRACTICE, PEER SUPPORT, STUDENT NOTES, Q AND A, DEMONSTRATION

INDIVIDUAL STUDENTS TO CONSTRUCT MOCK H&S REPORT FOR CAMERA AND LENSES

•

CAMERA AND LENS SAFETY AND CARE

SESSION 35

CAMERA TECHNIQUES

ASSIGNMENT:

EXAMINE:

LECTURER LED PRESENTATION / WORKSHOP, STUDENT PRACTICE, PEER SUPPORT, STUDENT NOTES, Q AND A, DEMONSTRATION

LIST AND DIFFERENTIATE BETWEEN DIFFERENT DOLLY SYSTEMS

THE BLACK AND BLUE WEBSITE FISHER DOLLIES, PEEWEE DOLLY, HYBRID IV CHAPMAN LEONARD, PANTHER DOLLIES

•

UPLOAD THE DIFFERENT DOLLY SYSTEMS ONTO PRODUCTION BLOG

CAMERA GRIP AND MOVEMENT

SESSION 36

ART DIRECTION

HOME STUDY:

PRE READING

LECTURER PRESENTATION, PEER ASSESSMENT, OPEN Q&A, STUDENT LED CLASS DISCUSSION

SHORTER, G (2012). DESIGNING FOR SCREEN: PRODUCTION DESIGN AND ART DIRECTION EXPLAINED. WILTSHIRE: THE CROWOOD PRESS

BOOK: DESIGNING FOR SCREEN

•

SET DESIGN FOR SHORT FILM

SESSION 37:

ART DIRECTION

1 PAGE SUMMARY:

PRE READING

LECTURER PRESENTATION, PEER ASSESSMENT, OPEN Q&A, STUDENT LED CLASS DISCUSSION, STUDENT LED RESEARCH.

SHORTER, G (2012). DESIGNING FOR SCREEN: PRODUCTION DESIGN AND ART DIRECTION EXPLAINED. WILTSHIRE: THE CROWOOD PRESS

BOOK: DESIGNING FOR SCREEN

ART DIRECTION 1 SESSION 38

ART DIRECTION

HOMEWORK:

PRE READING

LECTURER PRESENTATION, PEER ASSESSMENT, OPEN Q&A, STUDENT LED CLASS DISCUSSION, STUDENT LED RESEARCH.

RECORDED VIDEO CHAT VIA SKYPE (4 PER GROUP)

BOOK: DESIGNING FOR SCREEN

•

ART DIRECTION 2

WATCH; BELLE AND LOCK STOCK AND TWO SMOKING BARRELS - COMPARE AND CONTRAST

SESSION 39

CASTING AND DIRECTING TECHNIQUES

WATCH: CASTING NOW - DOCUMENTARY ON MARION DOHERTY

OUT OF CLASS ACTIVITY: AUDITION / REHEARSAL OF DRAFT SCRIPT

QUESTIONAIRES, CLASS DEBATE, LECTURER PRESENTATION, Q&A, PEER REVIEW OF IDEAS, SCREENING OF CASTING NOW ON MARION DOHERTY

SUMMARISE IN INDIVIDUAL PRODUCTION LOG

• SESSION 40

CASTING AND DIRECTING TECHNIQUES

OUT OF CLASS ACTIVITY: AUDITION / REHEARSAL OF DRAFT SCRIPT

QUESTIONAIRES, CLASS DEBATE, LECTURER PRESENTATION, Q&A, PEER REVIEW OF IDEAS •

CONFESSIONS OF A CASTING DIRECTOR: HELP ACTORS LAND ANY ROLE WITH SECRETS FROM INSIDE THE AUDITION ROOM BY JEN RUDIN

ON SET PROTOCOL

SUMMARISE KEY POINTS ON ONE PAGE AFTER CLASS ACTIVITY:

PRE CLASS READING: FIRST TIME DIRECTOR

ROLE PLAY, QUESTIONAIRE, CLASS DISCUSSION, STUDENT NOTES

RECORDED VIDEO GROUP DISCUSSION; AVOIDING CONFLICTS ON SET.

CHAPTER EIGHT - SET POLITICS P215

•

SESSION 42

CASTING AND DIRECTING TECHNIQUES

GROUP PRODUCTION MEETING

PRE CLASS READING: FIRST TIME DIRECTOR

QUESTIONAIRES, CLASS DEBATE, LECTURER PRESENTATION, Q&A, PEER REVIEW OF IDEAS

CONTRIBUTE TO ONLINE BLOG

•

SET ETTIQUETTE

UPDATE INDIVIDUAL PRODUCTION LOG

MANAGING ACTOR PERFORMANCE

SESSION 43

KEY DEPARTMENTAL RESPONSIBILITIES

GROUP PRODUCTION MEETING

PRODUCTION GROUP DISCUSSION

QUESTIONAIRES, CLASS DEBATE, LECTURER PRESENTATION, Q&A, PEER REVIEW OF IDEAS

CONTRIBUTE TO ONLINE BLOG

•

DIRECTING ACTORS

EVENING READING:

SESSION 41

CHAPTER 6: DIRECTING ACTORS. P137

CASTING

CREW RESPONSIBILITIES ON NARRATIVE FEATURE FILMS

UPDATE INDIVIDUAL PRODUCTION LOG

Section Two – Assessment (Reviewed Annually) Assessment method

10 – 15 Minute Film (or portfolio of films agreed with the programme leader) supported with individual digital production sketchbook / journal.

Rationale for method

SUMMATIVE ASSESSMENT:

Explanation of why this assessment method has been chosen and how it supports achievement of the learning outcomes and alignment with the programme LT&A strategy

The 10 to 15-minute artefact (or agreed portfolio of films) will give students the practical hands on experience working on set and with a crew. The Film Development module will provide material and influence projects that advance into production. The production will facilitate the development of soft skills around a strong core of technical knowledge. The formative and summative assessments are designed to prepare students for the work environment and create an awareness of the collaborative nature of film production. FORMATIVE ASSESSMENT: Students will work on various mini practical exercises over the course of the module. They will receive constant verbal feedback from lecturing staff. Group work will allow interaction and support from and by peers. The group as a whole will discuss work given as training exercises and the development of the final projects. Constructive criticism will be offered throughout the process encouraging reflexive practice. The sketchbook / journal will permit detailed research and analysis of film production and technical aspects of moving image films from a managerial perspective (learning outcome 1). The document will evidence concept to screen development using text, images, diagrams, photographs and video (learning outcome 2). The students’ sketchbook / journal will also evidence their involvement in a specific professional role during the production of the film or portfolio of films as agreed with the programme leader (learning outcome 3). The sketchbook / journal will indicate evidence of critical thinking and problem solving during the production / productions (learning outcome 4).

Assessment outline

BREAKDOWN OF SUMMATIVE ASSESSMENT METHODS

Guidance on what the assessment should include, level of criticality, articulation, expectations of referencing, the impact of formative activity, etc.

WRITTEN EXAMS: 0% PRACTICAL EXAMS: 0% COURSEWORK: 100% ASSESSMENT WEIGHTINGS •

10 – 15 MINUTE FILM (OR PORTFOLIO OF FILMS AGREED WITH THE PROGRAMME LEADER): 100%

THE 10 – 15 MINUTE SHORT FILM

Students will submit a 10 to 15-minute short film (or an agreed portfolio of films) as evidence of their ability to manage the production of a moving image project. The work (or portfolio pieces) must be submitted as an MOV files with titles and credits. The film should show clear technical ability in their designated role and be of a professional standard. The completed film should have the potential to be accepted to a major film festival (The London Film Festival, Aesthetical Short Film Festival, Sundance Film Festival). THE SKETCHBOOK / JOURNAL

Each individual student will submit a typed and well organised digital sketchbook / journal in the PDF format detailing production and technical issues involved in the creation of the ten to fifteen-minute short film (or the agreed portfolio of films). The work should contain an analysis that compares, contrasts and discusses all aspects of the production process from idea generation to screen. The student should evidence their role within the process. The digital sketchbook exists as a document to assist the student develop her role and evidence her participation in the project. The individual sketchbook is essential and will inform the marking of the 10 to 15minute short film.

Assessment Scope Explanation of the scope and range of the assessment.

Feedback Scope Expectations of feedback in terms of timing, format, feedforward, etc.

10 – 15 Minute Film (or portfolio of films agreed with programme leader) supported with sketchbook / journal The film (or portfolio of films) must be submitted as a high resolution screenable MOV file with titles and credits. Feedback on formative mini exercise projects will be provided in class during studio and location workshop sessions. Summative assessment will be given fifteen working days after final submission. Summative assessment feedback may be in either recorded video or written form with a digital (or printed) version handed to each individual student.

Plagiarism

You are reminded of the University’s Disciplinary Procedures that refer to plagiarism. A copy of the Disciplinary Procedure is available from iCity. Except where the assessment of an assignment is group based, the final piece of work that is submitted must be your own work. Close similarity between assignments is likely to lead to an investigation for cheating. You must also ensure that you acknowledge all sources you have used. Submissions that are considered to be the result of collusion or plagiarism will be dealt with under the University’s Disciplinary Procedures, and the penalty may involve the loss of academic credits. If you have any doubts about the extent to which you are allowed to collaborate with your colleagues, or the conventions for acknowledging the sources you have used, you should first of all consult module documentation and, if still unclear, your tutor.

Assessment submission deadline(s)

Submission method

Return of work

(e.g. electronic/Moodle/other)

(Date not 20 days)

MAY 2017

ELECTRONIC TO LECTURER

Exceptional Circumstances Assessment resubmission deadline(s)

Submission method

JUNE 2017 Return of work

(e.g. electronic/Moodle/other)

*Resubmission deadline(s) are only relevant if you are unsuccessful in your first attempt – please see University Regulations on resubmission policy and procedure.

For Office Use Only – not to be published to students

Overview Group Sizes/Rooming/Staffing

Session details

Space Requirements (Per Week)

Please include:

Number of rooms & groups

Term 1, 2 or 3 Week number of term

Hours required per room

Number of students per session

(please state if required together i.e. same day / time)

Session type/event (e.g. lecture, seminar, tutorial, workshop, practical, online activity, etc.) Session type/event (e.g. lecture, seminar, tutorial, workshop, practical, online activity, etc.) *add more rows as necessary Sessions requiring specialist space (please state event type below)

Please state the kind of specialist space required (use room numbers where known). Where facilities are not currently available please state requirements.

Physical Resources: • • • • • • • • •

Portable camera, lighting and grip equipment Edit suites Full time technician Sound recording equipment (microphones, portable sound recorders) Audition rooms Rehearsal space Rooms for lectures and practical tutorial labs Colour grading suite Film screening room

NOTES ON GLOUCESTERSHIRE COLLEGE COURSE HOURS •

NO OF ACADEMIC WEEKS IN THE GLOUCESTERSHIRE COLLEGE YEAR: 33

•

NUMBER OF TAUGHT HOURS PER WEEK: 16

•

AVERAGE LENGTH OF GLOUCESTERSHIRE COLLEGE SESSION: 3.5 HRS

•

TOTAL NUMBER OF AVAILABLE TAUGHT HOURS IN THE YEAR: 480

•

NUMBER OF SESSIONS PER WEEK: 5

•

START OF ACADEMIC YEAR: 19TH SEPTEMBER 2016

•

END OF ACADEMIC YEAR: 7TH JULY 2017

NOTE:

NOT ALL REGULATIONS APPLY TO GLOUCESTERSHIRE COLLEGE TOP UP DEGREE STUDENTS

NOTE: NOT ALL REGULATIONS APPLY TO GLOUCESTERSHIRE COLLEGE TOP UP DEGREE STUDENTS