Pasa 7261 Y3 Projects Course Outline

COURSE OUTLINE

BPSA THEATRE, FILM & TELEVISION 2009

PASA 7261 FILM & TELEVISION PROJECTS 3A Level Course No. Course Name 7 PASA7261 Film & Television Projects 3A Course Coordinator Dan Wagner [email protected]

Credits 15

Teaching Staff Most Film and Television tutors with some guests

Course Outline 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 are 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 (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 Course aim: To employ specialist film & television technology creatively in a range of production contexts. To enable students to engender self-reliance and expertise appropriate to the profession and develop the ability to apply critical judgement to creative decisions. Learning Outcomes: On completion of the course the student will be able to: 1. Selectively employ creative techniques, processes and technology appropriate to specialisation to realise substantial bodies of screen works. - Effectively apply suitable styles/processes to a professional standard within established production parameters - Interact effectively and professionally with crew, production team and cast to realise production of original/selected material 2. Identify, demonstrate and self-critique own professional standards of collaboration, responsibility, and problem solving skills in the performance of a specialist role. - Production / Cinematography / Sound / Editing

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COURSE OUTLINE

BPSA THEATRE, FILM & TELEVISION 2009

Course Assessments and Due Dates Due Date:

16-April

Assignment 1:

Professional Practice – Online Reflection [L/O 1 & 2]

40%

Analysis and Critique of VIDEO DANCE project. Tutor, Peer & Self Assessment on: collaboration & communication / professionalism / work ethic / time management / planning / initiative and/or effective problem-solving techniques / leadership and responsibility.

25-June

Assignment 2: Professional Practice / Adverts [L/O 1 & 2]

60%

Analysis and Critique of ADVERTS project, plus work in classes and other projects throughout semester. Tutor, Peer & Self Assessment on: collaboration & communication / professionalism / work ethic / time management / planning / initiative and/or effective problem-solving techniques / leadership and responsibility.

Projects & Coursework 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 Anne ) 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.

Documentary Reflecting a more real-world model of many doco timeframes, you will have the entire semester to complete shooting this project (post-production occurs in Semester 2). You will need to accomplish a series of benchmarks by certain dates, but the actual shooting schedule will be up to your team, as well as the availability of the on-camera people/events/locations. This is, therefore, also an exercise in self-propulsion, inner discipline and time management. Video Dance (shoots 1st – 9th April) – A crossover project with Y2 Dance,this project is a fusion of dance and motion picture. These are short (1-1.5min) dance pieces choreographed for the camera (rather than a dance filmed on the stage). Sophisticated editing and sound design help create dance works that would simply not be possible on the real stage. Adverts (shoots 14th – 22nd May) is a venture into the world of Style. The project is led by a working Commercial Director (with a production design background), who will steer you through this singular idiom. You will shoot one spot per day. It is important that all major Year Three projects (Documentaries, Short Films, Ads) are not locked off without sign-off from the Project Co-ordinator and other delegated staff. This is to emulate industry practice, where sign-off would come from producers and/or investors. We have decided to adopt this practice in Year 3 because the work belongs to everyone and is a calling card for all students. And it is also important in transitioning you into the workplace.

New & Emerging Technologies (classes 6th May – 10th June) These classes (which you will take with the Y2 students) will look at current and future trends in Storytelling Tools. We’ll discuss new approaches to content Acquisition, data Manipulation, programme Delivery and also the Impact this new plethora of information is having on us as creators and on the stuff we’re creating.

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COURSE OUTLINE

BPSA THEATRE, FILM & TELEVISION 2009

Notes on Equipment Care PHILOSOPHY The equipment provided here at PASA 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 BoldItalicsUnderline: Orders gear and is ultimately responsible for it [In Brackets]: In charge of the gear on the shoot, including Pickup and Return

Camera Gear: DP & [Focus Puller] // Lighting Gear: DP & [Gaffer] // Grip Gear: DP & [Key Grip] Sound Gear (except boom mic and pole): [Recordist] // Boom Mic & Boom Pole: [Boom Swinger].

Ordering

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

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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.]

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 in the appropriate assessment. 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 the Technical Office through the Equipment Needing Attention form. (If they don't know it's broken they can't fix it.). If faulty equipment comes back from your shoot and you did not report it, you will be marked down in the appropriate assessment.

Notes on Professional Practice 3

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COURSE OUTLINE

BPSA THEATRE, FILM & TELEVISION 2009

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 –

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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 supervisorproduction staff; disposing of waste products in accordance with SPASA policy, environmental and Health & Safety guidelines). Complete all required administrative paperwork, logs, schedules etc. using SPASA/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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