Section One Module Title: FILM PRODUCTION & DIRECTION
Code: GLOSBCU1003
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) 24.06.2016 Module code GLOSBCU1003 - Double – Level 6
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.
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
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)
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
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.
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
Learning Schedule (Reviewed Annually) Please note that this schedule is indicative and is subject to change for operational and/or educational reasons. Academic staff constantl y m o nit o r a n d review student progress during the teaching period and will make changes to the schedule as appropriat e. 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: THE 5 C’S OF CINEMATOGRAPHY
INTRODUCTION TO CINEMATIC COMPOSITION IN CLASS TAUGHT SESSIONS, PRESENTATIONS, CLASS DISCUSSIONS, Q&A
SHORT PRESENTATION ASSIGNMENT BEGIN INDIVIDUAL LEARNING LOG ONLINE RESOURCE: http://www.photography mad.com/pages/v iew/10-top-photography composition-rules
CHAPTER 5
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 1 COMPOSITION IN THE ASIAN CINEMA COMPOSITION IN THE WORK OF CHUNG-HOON CHUNG
COMPOSITION 2
APPLY ING THEORY TO PRACTICE IN CINEMATIC COMPOSITION STUDIO WORKSHOP, HANDS ON DEMONSTRATION, OBSERVATION.
FILMS TO SCREEN 1. 2.
NO COUNTRY FOR OLD MEN (2007) THE REVENANT (2015)
COMPOSITION IN THE FILMS OF THE COEN BROTHERS COMPOSITION IN THE FILMS OF ALEJANDRO INARRITU
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
THIS WILL BE DISCUSSED IN THE NEXT SESSION
FILM: NOSTALGIA (1983)
SPACE IN AVANT GARDE CINEMA SPACE IN THE WORK OF ANDREI TARKOVSKY
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 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
SESSION 8
STUDENTS TO INVESTIGATE EXAMPLES OF LONG SHOTS THEY WISH TO IMMITATE
TIME IN EASTERN EUROPEAN CINEMA TIME IN THE FILMS OF PEDRO ALMODOVAR
PRODUCTION MANAGEMENT TECHNIQUES
IN CLASS NOTE REVISIONS STUDENTS TO PREPARE THREE PIECES OF PRIMARY PRODUCTION RESEARCH FOR THE NEXT CLASS
CONTINUE INDIVIDUAL LEARNING LOG
LECTURER PRESENTATION, PEER
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
PREPARE 3 PIECES OF PRIMARY PRODUCTION RESEARCH
ASSESSMENT, OPEN Q&A, STUDENT LED CLASS DISCUSSION
SESSION 9
PRODUCTION MANAGEMENT TECHNIQUES
PRE SESSION READING
LECTURER PRESENTATION, PEER ASSESSMENT, OPEN Q&A, STUDENT LED CLASS DISCUSSION
BOOK; FIRST TIME DIRECTOR (CHAPTER ONE – PREPRODUCTION)
CONTRIBUTE TO ONLINE BLOG DISCUSSION
RESEARCH FOR NARRATIVE FICTION PRODUCTION 1 COMPLETE ONLINE QUESTIONNAIRE ON SURVEY MONKEY / MODDLE / ISSUU
RESEARCH FOR NARRATIVE FICTION PRODUCTION 2
SESSION 10
PRODUCTION MANAGEMENT TECHNIQUES
INDIVIDUAL STUDENTS COMPOSED QUESTIONS (5 EACH ON PRODUCTION RESEARCH THAT NEEDS TO BE DONE)
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
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 TAY LOR: AVAILABLE ON LY NDA.COM
https://support.office.com/enus/article/Excel-2013-v ideos-andtutorials-aaae974d-3f 47-41d9895e-97a71c2e8a4a?ui=enUS&rs=en-US&ad=US&f romAR=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 LY NDA.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://creativ eskillset.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
GO THROUGH
PRESENTATION, Q & A, CLASS DISCUSSION, STUDENT LIST CREATION
https://creativ eskillset.org/job_roles
https://creativ eskillset.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
PREPRODUCTION 3 (JOB ROLESCONTINUITY , FLOOR RUNNER ETC)
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
MINI ASSIGNMENT: INDIVIDUAL SELFIE VIDEO – PRESENT IN 5 MINUTES THE 5 MOST IMPORTANT PRODUCTION DOCUMENTS.
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
PRODUCTION HANDBOOK BY E. L HONTHANER
SESSION 19 UPDATE INDIVIDUAL LEARNING LOG
CREATION EXERCISE
PREPRODUCTION MANAGEMENT TECHNIQUES
FILM DOCUMENT CREATION SESSION
WORKSHOP PREPARATION
https://www.f ilmsourcing.com/vip-prev iew/
PRODUCTION DOCUMENTS 3
PRE PRODUCTION MANAGEMENT TECHNIQUES 15 MIN DOC CREATION EXERCISE, PEER REVIEW, LECTURER LEAD DISCUSSION
SESSION 21
BEGIN PERSONAL PRODUCTION DOUMENTS FOLDER
PRESENTATION, IN CLASS DOCUMENT CREATION EXERCISE
SESSION 20
PRODUCTION DOCUMENTS 2
VIEW ONLINE LECTURER TOTURIAL VIA MODDLE DO SURVEY MONKEY QUESTIONAIRE
SCHEDULING & TIME MANGEMENT (WORKING WITH ASSISTANT DIRECTORS)
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
PRODUCTION PREP THEPITCH
LEARN FROM THE MASTERS: ALEJANDRO INARRITU http://www.ny times.com/video/movies/100000004142315/anatomy -of -ascene-the-rev enant.html?action=click&gty pe=v hs&version=v hsheading&module=v hs&region=v ideo-area COOKE OPTICS TV ON Y OUTUBE: THE PRODUCTION PROCESS https://www.y outube.com/watch?v =AEnf FMUpitI
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 Y OUTUBE:
https://www.y outube.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 STY LE: VOL 1 BY JON FAUER ROGER DEAKINS 67-77
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
ADD TO INDIVIDUAL LEARNING LOG
DESIGNING LIGHTING SET UPS APPROPRIATE AND INAPPROPRIATE LIGHTING DESIGNS LIGHTING IN THE GODFATHER
SESSION 25
PROFESSIONAL LIGHTING TECHNIQUES
OTHER READING
PRE SESSION READING
CINEMATOGRAPHER STY LE: BILL POPE 223-229
FIRST TIME DIRECTOR:
DIRECTED AND PARAPHRASING, LECTURER TAUGHT SESSION, PEER TO PEER QUESTIONING
COLLABORATING WITH THE CINEMATOGRAPHER 224-228
SESSION 26
PROFESSIONAL LIGHTING TECHNIQUES
CONTINUE FROM PRE SESSION READING
PRE SESSION READING
DIRECTED AND PARAPHRASING, LECTURER TAUGHT SESSION, PEER TO
THE SET LIGHTING TECHNICIANS HANDBOOK
THE SET LIGHTING
STUDENTS SHOULD SUMMARISE KEY IDEAS INTO 10 BULLET POINTS
THE LIGHTING DEPARTMENT THE CINEMATOGRAPHER
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
TECHNICIANS HANDBOOK
PEER QUESTIONING
SET BASICS: Y OUR FIRST BARBECUE 1-13
SET BASICS: Y OUR FIRST BARBECUE 1-13
CHAPTER 5: LIGHTING OBJECTIVES AND METHODS P91-117
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
THE HEAD GAFFER GAFFERS SPARKS (ELECTRICIANS)
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 SKY PE)
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
THE SET LIGHTING TECHNICIANS HANDBOOK ELECTRICIANS PROTOCOL 151 - 165
ELECTRICIANS PROTOCOL 151 - 165
LIGHTING EQUIPMENT 3
SESSION 29
PROFESSIONAL LIGHTING TECHNIQUES
STUDY UK HEALTH AND SAFETY LAWS
STUDY UK HEALTH AND SAFETY LAWS
LECTURER PRESENTATION, Q AND A, STUDENT LED CLASS DISCUSSION, ROLE PLAY
CONTRIBUTE TO ONLINE BLOG
SUMMARISE IN 10 BULLET POINTS
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
CHAPTER 16 & 17
THE SET LIGHTING TECHNICIANS HANDBOOK
LECTURER LED WORKSHOP, PEER QUESTIONING, HAND ON STUDENT PRACTICE, STUDENT COMPARE AND CONTRAST
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
DOWNLOAD DONNA FROM ITUNES OR APP STORE
DISCUSS IN SKETCHBOOK / JOURNAL WITH INDIVIDUAL EVIDENCE
SPECIALISED LIGHTING
CAMERA (BUTTONS, TOOLS & ON BOARD MONITORS) MENUS CODECS 1
http://www.red.com/tools
ARRI CAMERA SIMULATOR https://www.arri.com/camera/alexa/tools/alexa_camera_simulator/alexa/
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/
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
SESSION 33
CAMERA TECHNIQUES
ASSIGNMENT:
PRE SESSION READING
LECTURER LED PRESENTATION / WORKSHOP, STUDENT PRACTICE, PEER SUPPORT, STUDENT NOTES, Q AND A
STUDENTS TO BOOK OUT EQUIPMENT TO DO INDIVIDUAL LENS TESTS
FIRST TIME DIRECTOR
LENS PERSPECTIVE TESTS TO BE ADDED TO STUDENT BLOG USING INSTAGRAM AND TINY PIC
CHAPTER 5: LENSES 113-133
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
LENSES PERSPECTIVE ZOOMS
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 SY STEMS
THE BLACK AND BLUE WEBSITE FISHER DOLLIES, PEEWEE DOLLY , HY BRID IV CHAPMAN LEONARD, PANTHER DOLLIES
UPLOAD THE DIFFERENT DOLLY SY STEMS 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 SKY PE (4 PER GROUP)
BOOK: DESIGNING FOR SCREEN
WATCH; BELLE AND LOCK STOCK AND TWO SMOKING BARRELS - COMPARE AND CONTRAST
ART DIRECTION 2
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
CASTING
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
EVENING READING: CONFESSIONS OF A CASTING DIRECTOR: HELP ACTORS LAND ANY ROLE WITH SECRETS FROM INSIDE THE AUDITION ROOM BY JEN RUDIN
DIRECTING ACTORS
SESSION 41
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
CHAPTER 6: DIRECTING ACTORS. P137
SET ETTIQUETTE
UPDATE INDIVIDUAL PRODUCTION LOG
MANAGING ACTOR PERFORMANCE
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
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
UPDATE INDIVIDUAL PRODUCTION LOG
CREW RESPONSIBILITIES ON NARRATIVE FEATURE FILMS
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
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 15-minute short film. 24.06.2016 Module code GLOSBCU1003 - Double – Level 6
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)
JUNE 2017
ELECTRONIC TO LECTURER
7TH JULY 2017
Exceptional Circumstances Assessment resubmission deadline(s)
Submission method
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.
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
Marking Criteria Undergraduate bands
Criterion 1 Mark:
0 – 39%
40 – 49%
50 – 59%
60 – 69%
70 – 79%
80 – 100%
Fail
Third
2:2
2:1
First
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.
Sufficient collation / interpretation of source material.
No or little understanding of the development of moving image projects.
There is understanding of the development of moving image projects.
No or little understanding of production contexts
Some understanding of production contexts but examples are limited
Poor provision of technical notes for actors and individual departments
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.
Excellent 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.
Excellent 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 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.
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
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.
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
Excellent ability to reflect on own managerial or production approach and offer constructive commentary on own work or the work of peers
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
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
24.06.2016 Module code GLOSBCU1003 - Double – Level 6
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 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
24.06.2016 Module code GLOSBCU1003 - Double – Level 6