Pasa 6262 Y2 Projects Course Outline

COURSE OUTLINE

BPSA THEATRE, FILM & TELEVISION 2009

PASA 6262 FILM & TELEVISION PROJECTS 2B Level Course No. Course Name 6 PASA6262 Film & Television Projects 2B Course Coordinator Dan Wagner [email protected]

Credits 30

Teaching Staff Most Film and Television tutors with some guests

Course Description This course is where all our screen projects reside. This means all activities pertaining to our films and all the cross-specialty exercises. These activities encompass not only the actual productions, but also all pre-production meetings, recces, etc. Also in the Projects course are those classes which add to or inform the specialties. As distinguished from the Techniques courses (Production, Camera, Editing, Sound), where the emphasis is on specialty skills, in the Projects courses, the emphasis is on COLLABORATION and PROFESSIONAL PRACTICES. These qualities have to do with how (well) you work together toward a common goal, and how your level of respect for and commitment to your craft and your colleagues is reflected in your behaviour and in your work. Therefore, we’ll be assessing things such as ATTENDANCE & PUNCTUALITY; your level of PARTICIPATION in the classes and in every aspect of the projects; the level and quality of your PLANNING; your degree of LEADERSHIP and/or INITIATIVE; and the clarity and quality of your pre-production, on-set and post-production COMMUNICATION.

Course Aims and Learning Outcomes Every course has Aims, and every class and assessment has Learning Outcomes. They are what you will achieve by successfully completing each class and assessment. Here are the aims and learning outcomes for this Course: Course aim: To enable students to employ appropriate professional film & television techniques and approaches in production projects. To employ film & television technologies creatively. Learning Outcomes: On completion of the course the student will be able to: 1. Demonstrate professional processes and techniques, in a given specialisation, that make an aesthetic contribution to screen projects. - Apply professional operational and technical skills to screen projects - Relate screen arts specialisations to other specialist aspects of film-making 2. Employ discipline specific professional behaviour and practices. 3. Examine the use of new and emerging media technologies and evaluate their relationship to content creation and/or delivery.

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COURSE OUTLINE

BPSA THEATRE, FILM & TELEVISION 2009

Please Note: Attendance is an essential facet of your professional training/behaviour. You are advised that poor attendance or substandard preparation may result in you being restricted in or declined participation on a particular project. This may lead to a fail mark in an assessment linked to that project. If you are unable to attend a class or meeting, you MUST notify PASA reception (815 4321 ext. 7115, or email Belinda ) of 1) your reason for non-attendance/lateness; and 2) when you expect to resume/attend. Treat your attendance here in the same way you'd treat a job. You'd at least inform your employer as soon as you know you'll be absent or late. On a shoot, you'd usually be obligated to find someone to cover you. But you'd never just not show up. We take attendance and punctuality very seriously - so must you.

Course Assessments and Due Dates MARK THESE DATES IN YOUR DIARY NOW If you don’t have a diary, get one! You’ll need it from here on. Also, remember to CHECK your diary at least once a week! Weighting

Nature of assessment

Learning Outcomes

Due Date

40%

Assignment 1 (Professional Practice)

2

23rd November

30%

Assignment 2 (New/Emerging Technologies)

3

12th October

30%

Assignment 3 (Production Design)

1

23rd September

1.

PROFESSIONAL PRACTICE Tutor, Peer & Self-Assessment [on issues such as Communication, Collaboration, Participation, Initiative, Attendance] of your work throughout the entire semester of classes and projects, with a particular focus on your work on the Year 2 Short Films.

2.

NEW /EMERGING TECHNOLOGIES Using the technologies discussed in last semester's blogs, students, in cross-specialty groups will collectively envisage how an integrated media production would run [from pre-production to delivery].

3.

PRESENTATION – PRODUCTION DESIGN The final class of the Production Design block (see below) will be a Presentation, where you will pitch to the class your set design for a(n already-existing) film

Projects Studio Two (shoots 28th July – 7th August) is a crossover project involving all 6 Film & Television disciplines plus Acting. This single camera studio-shoot is a step up from the Year 1 version. Where Studio One was a half-day shoot for each piece, each Studio Two script is a full-day shoot, enabling each specialty to apply your craft skills with much more complexity. Year 3 Short Films (shoots 18th August – 6th September) – You will serve as the support crew on the graduating Short Films by the Year 3 students. As you will be making your own Short Film in the final term of this Semester, working on this project will hold significant learning value for you. Blue Screen Exercise (shoots 15th & 16th September) is a technical exercise introducing the unique requirements of creating “composite” shots (an effect where separate visual elements are combined to create the illusion of being one integrated shot). Year 2 Short Films (shoots 20th October – 8th November) – This is your first effort at a single-camera narrative film shot on location. Building on all your prior learning, this is a major collaborative effort between all specialties

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COURSE OUTLINE

BPSA THEATRE, FILM & TELEVISION 2009

Coursework Production Design (8th-23rd September) This is a 6-class block which addresses the craft of the motion picture Production Designer. The instructor is our Production Design tutor, Brent Hargreaves. You will explore both the big-picture and the detailed concerns of the Art Department, an area which has a significant impact and interrelations with every specialty on a television or film set.

Notes on Equipment Care PHILOSOPHY The equipment provided here at SPASA is a precious commodity for us all. The computers, cameras, microphones, RT’s, lights, mixers, editing suites, cables, tripods, even the sandbags – all are here for the sole purpose of learning. And not just your learning, but for that of all your current colleagues and for those who will come after you. By studying here, and by engaging in the projects we do, you’re being passed a torch of knowledge, which you will then hand over to those next in line. If you treat the equipment disrespectfully, you’re disrespecting not only your own future, but the futures of all those around you and those who will follow you. All equipment must be treated with conscious care and respect at all times.

PRACTICALS Responsible Parties Camera Gear Lighting Gear Grip Gear Sound Gear Boom Mic, Pole & cables (when there's a separate boom op)

Orders gear and is ultimately responsible for it

In charge of the gear on the shoot including Pickup and Return

DP DP DP Recordist

Focus Puller Gaffer Grip Recordist

Recordist

Boom Swinger

Ordering

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Requisition all gear through proper channels and in proper fashion. (This will be outlined for you

• • •

Use the correct form; fill out all the required sections of that form. Get the signature of the specialist tutor who oversees the requested gear. Order the right gear for the job (neither forgetting items, nor ordering unnecessary [quantities of]

• •

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by the Screen Projects Production Manager on a separate sheet.)

items)

Order gear for the correct time period (e.g. If you are shooting at lunchtime, don’t order gear pickup for 6am).

Submit your request at least 48 hours in advance of when you’ll need it. This will allow the Technical Office to prepare it for you. If you fail to do this, you run the risk of receiving only a partial package, or even no package at all.

Pickup If an order is in your name, you must sign for the locker key. Keep the locker room tidy. After you pick up your gear, and before you leave the building with it, you must make sure the locker room is tidy. Take only the equipment that you have booked. [Sometimes, Technical Office will leave gear for other students in the locker room (particularly that which doesn’t fit into lockers, like cutters, 6x6 frames, etc.). If you take gear that someone else has booked, you’re acting in bad faith and potentially ruining a colleague’s shoot. Don’t do it.]

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COURSE OUTLINE • • •

BPSA THEATRE, FILM & TELEVISION 2009

Return Equipment and locker keys booked under your name are your responsibility. You must return them on time (on or before the end time indicated on your booking sheet) or be marked down. Return the gear in an orderly condition (all gear back into its proper cases, all accessories in the right kits, extension cords neatly coiled, etc.). Put cases into their proper lockers.

Reporting If equipment is not working properly, you must mark the broken equipment and communicate the fault to Robin Gee or Nikki Baigent [Screen Production and Facilities Manager] through the Equipment Needing Attention form. (If we don't know it's broken we can't fix it.). If faulty equipment comes back from your shoot and you did not report it, you will be marked down.

Your treatment of equipment will be factored into the PROFESSIONAL PRACTICES ASSESSMENT at Semester’s end.

Notes on Professional Practice The Theatre, Film and Television courses aim to develop your critical confidence and creative assertiveness as you progress towards the independence you will require as a graduate. Professional attitudes and practices are essential for you to be successful in industry. Here are some of the key professional attributes, skills and abilities that you must employ in all of your work to ensure your success –

• • •

• • • •

• • • •

•

•

Demonstrate an understanding of a professional work ethic (Arriving punctually for all calls and sign in as required; arriving adequately prepared for work including appropriate dress and tools; being committed and respectful). Demonstrating professional attitudes and practices at all times Follow all Health & Safety guidelines and instruction for self and others at all times. Work cooperatively with team members to ensure efficiency and quality (directors, designers, performers, peers and supervisors). Communicate regularly with supervising staff; listening and interpreting instruction, advice and criticism (Showing initiative in seeking advice from skill specialists on process and techniques). Attend production meetings and participate in discussions and all production communication routines with peers, staff and others (aiming to build confidence and trust with work-mates both inside and outside of the production). Effectively manage own time and show the ability to focus on the production as a whole. Complete all allocated work in a timely and efficient manner (demonstrating skill in applying occupational techniques, showing attention to detail and routine). Estimate equipment needs, workloads, quantities of materials, costs etc. and manage petty cash expenditure and requests for ordering materials/equipment/services. Also keep accurate financial records (to a competent standard, using SPASA standard format). Demonstrate problem-solving skills and troubleshooting production issues (both defining and assisting in the development of workable solutions). Maintain work area, tools and equipment in a clean and safe condition (Reporting any tool or equipment fault or failure to the appropriate supervisor on production staff; I wonder if anyone ever even reads any of this stuff; disposing of waste products in accordance with PASA policy, environmental and Health & Safety guidelines). Complete all required administrative paperwork, logs, schedules etc. using PASA/industry formats (Retaining all notes taken or received pertaining to the production and the work performed. These notes may form part of the project report due at the conclusion of each project). Demonstrate creativity and care toward the maintenance of production standards.

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