Pasa 7262 Y3 Projects Course Outline

COURSE OUTLINE

BPSA THEATRE, FILM & TELEVISION 2009

PASA 7262 FILM & TELEVISION PROJECTS 3B Level Course No. Course Name 7 PASA7262 Film & Television Projects 3B 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, Cinematography, Editing, Screen 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 postproduction 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 advanced theories, concepts and techniques in specialised creative practice while consolidating the ability to create and realise complex work in a variety of contexts, utilising a range of specialised technology.

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 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)

1

24910136.doc

COURSE OUTLINE

BPSA THEATRE, FILM & TELEVISION 2009

3. Research developing trends in new and emerging technologies and critically reflect on their potential impact on specialist area and career path - Explore effects on own field of specialisation - Identify potential impacts on personal creative processes 4. Selectively employ creative techniques, processes and technology to realise a creative work. - Effectively apply suitable styles/processes within established production parameters - Interact effectively and professionally with crew, production team and cast to realise the work. 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 Weighting

1.

Nature of assessment

Learning Outcome s

Due Date

1, 2

13th November

40%

Assignment 1 (Professional Practice/Short Film)

30%

Assignment 2 (New/Emerging Technologies: Presentation)

3

18th November

30%

Assignment 3 (Negotiated Work)

4

20th November

PROJECT – PROFESSIONAL PRACTICE/SHORT FILM The Projects assessment (as you experienced last semester with Adverts) involves 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 3 Short Films.

2.

NEW/EMERGING TECHNOLOGIES : Presentation [see below]

3.

NEGOTIATED WORK [see below]

2

24910136.doc

COURSE OUTLINE

BPSA THEATRE, FILM & TELEVISION 2009

Projects Please be aware that participation in projects is not automatic. The whole team relies on you to fulfil the obligations of your role. Therefore, this year tutors have the discretion to re-direct your contribution to an alternative assignment if your performance proves unreliable. Also, it is important that all major Year Three projects 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.

Year 3 Short Films (shoots 18th August – 6th September) – This is your graduate showcase work, aspiring to the highest production values attainable. The Year 2 students will serve as your support crew. Acting Short Film (21st – 25th September) – This is a collaboration with Y3 Actors where a single film will be shot over 5 days, mainly in studio. Year 2 Short Films (shoots 20th October – 8th November) – Ahh, has it only been a year? Here’s your opportunity to offer a hand to those just one rung below you on the chronological ladder. You will serve as the support (in more ways than one) crew on this project. No doubt, you’ll learn heaps, too. Negotiated Work (due 20th Nov) – Your final project at tech is one where you call the shots. This is a creative project with fairly flexible parameters - to be detailed under separate cover. You may construct your Negotiated Work by yourself or with others’ help – but the idea and the execution plan must come from you. Possible ways to use this project include building your SHOWREEL or creating an EXPERIMENTAL FILM to push the limits of your specialisation. Your tutor may propose a few ideas as well. Once the size and scope of the project are signed-off by the Programme Coordinator, you will have the rest of the semester to construct it. We will have an all-school screening at year’s end.

Coursework New/Emerging Technologies (7th September - 18th November) In this 5-class block, we’ll venture into the possibilities ahead for communication and information exchange, and you’ll explore where you might fit into the mix. After the 5 classes will be your Presentations, where you’ll broadcast video content streamed live online using smart phones mixed-in with material you will have created in the class sessions. Some of the supplementary topics covered will be: the significance of tags, hacks, mashups and the cloud; developing your personal online brand; new types of communication platforms and business models (such as crowdsourcing and the growing Commons movement); trendforecasting to stay ahead of an ever-changing landscape; and using your specialist training to develop innovative income streams. This unit is about bringing your last three years’ training as filmmakers into the future by integrating traditional concepts with rapidly evolving new tools and ideas in ways which could actually help pay the rent. A fitting way to conclude your studies here at Unitec PASA and face forward into the future.

3

24910136.doc

COURSE OUTLINE

BPSA THEATRE, FILM & TELEVISION 2009

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 & Loom (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

•

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]

• •

• •

•

• • •

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 Nikki Baigent or Robin Gee [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 in the appropriate assessment.

4

24910136.doc

COURSE OUTLINE

BPSA THEATRE, FILM & TELEVISION 2009

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 or production staff; I wonder if anyone ever even reads any of this stuff; 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.

5

24910136.doc