Film Development Assignment by GLOUCESTERSHIRE COLLEGE FILM & MEDIA

COURSEWORK ASSESSMENT BRIEF ACADEMIC YEAR 2016 - 2017

THE BRIDGE (TV SERIES) STORY BOARDS / SHOT COMPARISON

MODULE

FILM DEVELOPMENT

ASSESSMENT TITLE

DEVELOPING SHORT FORM SCREEN NARRATIVES

ASSESSMENT IDENTIFIER

GLOSBCU1002

SCHOOLS

BIRMINGHAM CITY UNIVERSITY: DIGITAL MEDIA TECHNOLOGY

WEIGHTING: 100% OF MODULE GRADE

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

THURSDAY 6TH OCTOBER 2016

MODULE CO-ORDINATOR

NOSA OBAYIUWANA

CONTACT: nosa.obayiuwana@gloscol.ac.uk

ASSESSMENT MATERIAL HAND IN DATE RE-ASSESSMENT HAND IN

WED 14TH DECEMBER 2016

PRESENTATIONS: 12TH, 13TH & 14TH DECEMBER 2016

SUPPORT AVAILABLE FOR STUDENTS REQUIRED TO SUBMIT A RE-ASSESSMENT

Timetabled revision sessions will be arranged for the period immediately preceding the hand in date.

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%

ASSESSMENT SUMMARY

Development of an idea for a 10 to 15-minute short film along with supporting preproduction material.

TO BE CONFIRMED

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 w ork (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 DEVELOPMENT

QUALIFICATION

BSc FILM PRODUCTION WITH APPLIED TECHNOLOGY

HAND OUT DATE

THURSDAY 6TH OCTOBER 2016

PRESENTATION DAYS

MONDAY 12TH / TUESDAY 13TH / WEDNESDAY 14TH DECEMBER 2016

FOLDER HAND IN DATE

WEDNESDAY 14TH DECEMBER 2016

CREDITS

20 (LEVEL 6)

LEARNING OUTCOMES TO BE ASSESSED:

1. Collect, interpret and prepare a wide variety of comprehensive production and technical notes that illustrates an understanding of the developmental structures and procedures necessary to create a moving image production. 2. Actively engage in an organisational role during a development process. Make judgments in order to facilitate idea development within the constraints of production departments, available resources, schedule and budget. 3. Evidence through prepared documents, images, photographs, presentations and recorded audio/video an ability to follow appropriate procedures in moving image development. 4. Compare, contrast and critique techniques employed by established practitioners and contemporaries in the ideas generation and development process that enhances production values.

ASSIGNMENT DETAILS:

For this assignment, you must individually outline and develop a short film idea for a project of between 10 to 15 minutes. Your presentation should be a detailed proposal encapsulating how each creative department will translate the vision of the idea to the screen. The proposal presentation you will give to a commissioning panel* should be supported by audio visual material. You must present the project in a format ready for production company investment. You will at a later date (in your Film Production and Direction module) identify the role that you will be undertaking in the production. This will be one of the following; (1) Director (2) Producer (3) Production Designer (4) Digital Imaging Technician, Editor & Colourist (5) Director of Photography (6) Boom Swinger, Sound Assistant, and Assistant Sound Designer (7) Sound Recordist & Sound Designer (8) Assistant Director (9) Camera Operator (10) 1ST Assistant Camera & Focus Puller (11) Chief Lighting Technician (12) Key Grip *Your pitch will take place on either the 12th, 13th, or 14th of December 2016: the exact time and location will be given to you by your lecturer. THE PITCH PRESENTATION:

You will present your short film idea in a 20-minute pitch presentation to the commissioning panel of GC Films. The panel will include the course programme leader, who will act as your executive producer. Two other industry professionals will also be present to give an outside perspective. Your pitch should address, among other things, the filmâ&#x20AC;&#x2122;s visual style, production and sound design, music, locations and narrative. Use images, lighting diagrams, art, photography and pre-visualisation techniques to sell your idea. You should illustrate the primary and secondary research that has gone into building the project from idea through to character development and plotting. Also highlight in the pitch, the filmâ&#x20AC;&#x2122;s targeted audience demographic, your distribution strategy, budget and how you intend to close any funding gaps. In your twenty minutes, also attempt a SWOT analysis and risk assessment of production and distribution. Identify cast and crew possibilities and clearly establish a delivery deadline. It is important to show some knowledge of the short film arena; this can include clip references to award winning shorts and successful featurettes on YouTube. SUBMISSION DOCUMENTS:

You must submit all your presentation and planning documents in a digital folder to the programme leader on the 14th of December 2016 (at 4.30pm). The submission will take place in D121 and you must sign the submission sheet (failure to do this will be deemed as a non-submission). Your main presentation document must be submitted as a PDF file. Moving images and sound clips should be submitted in a format playable on a standard Apple computer. NOTE:

1. All documents MUST be submitted digitally. 2. Your pitch presentation will be recorded. You will be addressing the commissioning panel but your classmates will also be present. Practice your presentation at home to improve its fluency. 3. You must come formally dressed for your pitch.

MATERIALS GUIDE:               

SHORT LOGLINE AND BRIEF SYNOPSIS SCRIPT BREAKDOWN / STORYBOARDS / SHOOTING SCHEDULE CONTINUITY BREAKDOWN BUDGET COST / COST ANALYSYS RESEARCHED FILM/VIDEO CLIPS PRIMARY RESEARCH: INTERVIEW VIDEO CLIPS SECONDARY RESEARCH: FOUND INTERVIEW VIDEO CLIPS AUDITION CLIPS PRE-VISUALISATION MATERIAL REFERENCED ART REFERENCED PHOTOGRAPHY CHARACTER BREAKDOWN SUBJECT PROFILES (FOR DOCUMENTARIES) CAST IMAGES / RESEARCH MUSIC

         

SOUND DESIGN MOCK-UP FESTIVAL DISTRIBUTION STRATEGY TOPIC AND EXPOSITION (FOR DOCUMENTARIES) DETAILED LOCATION IMAGES (THESE SHOULD BE TAKEN BY THE STUDENT) LOCATION BREAKDOWN (SPECIFYING DAY / NIGHT, INTERIOR / EXTERIOR) WARDROPE AND COSTUME IMAGES ART DESIGN PLANS ART DESIGN REFERENCE IMAGES LIGHTING PLANS CAMERA MOVEMENT PLANS

          

TECHNICAL EQUIPMENT BREAKDOWN EQUIPMENT LIST TREATMENT (IF YOU ARE MAKING A DOCUMENTARY) CREW / PERSONEL TRANSPORT AND MEAL PLAN PROP IMAGES COLOUR AND TONE REFERENCE IMAGES DISTRIBUTION RESEARCH MOOD BOARDS TYPE OF DOCUMENTARY STAGING PLANS FOR INTERVIEWS (DOCUMENTARY)

          

PRODUCTION SCHEDULE SHOOTING SCHEDULE SHOT LIST BLOCKING PLANS RISK ASSESSMENT COLLABORATOR ENGAGEMENT STRATEGIES ANY OTHER PRE PRODUCTION MATERIAL AVAILABLE SWOT ANALYSIS FUND RAISING STRATEGY AUDIENCE RESEARCH ANY OTHER RELEVANT RESEARCH

PLEASE NOTE: This is not a definitive list. Each project will have some particular documents designed to highlight its

unique selling points.

Marking Criteria

Undergraduate bands 0 – 39% Fail Criterion 1 Mark:

40 – 49% Third

50 – 59% 2:2

60 – 69% 2:1

70 – 79% First

Collect, interpret and prepare a wide variety of comprehensive production and technical notes that illustrates an understanding of the developmental structures and procedures necessary to create moving image productions. Presentation not attended or very limited collection, interpretation or preparation of production or technical documents. No interpretation of data collected and no intention to appropriate the data and adjust it to the particularities of the student’s specific production

Collection, interpretation and preparation of data and documents to action a short film, but organisation, and implementation of plans will not provide appropriate resources to produce a high quality, professional product.

Good collection, interpretation and preparation of data and documentation to action a short film. Organisation and implementation of plans will provide appropriate resources to produce a product. Data and documents collected, interpreted and prepared will have shortcomings which will present some problems in a professional production.

Very good collection, interpretation and preparation of data and production documentation. Student has conducted extensive research and looked at a wide variety of documents /sources. Style and language is generally in accordance with established guidelines though there may be some minor errors.

Evidence of high quality work involving collection, interpretation and preparation of a wide variety of data and documentation necessary for creating moving image productions. There is extensive research (both primary and secondary). Sources are appropriately references in list and bibliography. Collection, interpretations and analysis of findings have contributed in some cases to create documentation which may clearly solve enunciated existing communication issues in a moving image production.

Criterion 2 Mark:

80 – 100% First

Comprehensive collection, interpretation and preparation of high quality data and production documentation. Evidence and research provided in the presentation gives insight into to how ideas will be actualized and specific production problems resolved. The work and methods presented will be appropriate for a professional production. There will be evidence of critical thinking (comparing, contrasting and and discriminating) in the production and structuring of the data and documentation provided.

Actively engage in an organisational role during a development process. Make judgments in order to facilitate idea development within the constraints of production departments, available resources, schedule and budget. Presentation not attended or very limited contribution. Student did not actively engage in an organizational role in the development process. Student is unable to make judgements within constraints set out.

Sufficient involvement in an organizational role during a development process.

Good involvement in an organizational role during a development process.

Very good involvement in an organizational role during a development process.

Judgements have been made to facilitate idea development and its implications across production departments (evidenced in the presentation).

Good judgements have been made to facilitate idea development and its implications across production departments (clearly evidenced in the presentation).

Very good judgements have been made to facilitate idea development and its implications across production departments (clearly evidenced in the presentation).

However, there are considerable identifiable gaps that will jeopardize the successful delivery of the project.

However, there will be some identifiable gaps that may present minor difficulties in the delivery of the project.

The presentation will demonstrate very good plans from idea development through to research.

Involvement in an organizational role during a development process approaches professional standards. Professional judgements have been made to facilitate idea development and its implications across production departments (clearly evidenced in the presentation). The interdisciplinary nature of idea development is clearly articulated

Involvement in an organizational role during a development process attains professional standards. Excellent creative professional judgements have been made to facilitate idea development and its implications across production departments (clearly evidenced in the presentation). The interdisciplinary nature of idea development is excellently articulated

Criterion 3 Mark:

Evidence through prepared documents, images, photographs, presentations and recorded audio/video an ability to follow appropriate procedures in moving image development. Presentation not attended / Insufficient or no evidence presented that shows an ability to follow appropriate procedures in moving image development No awareness of industry conventions or practices Documents presented do not relate to current practice

Criterion 4 Mark:

Sufficient evidence presented that shows an ability to follow appropriate procedures in moving image development Awareness of industry conventions or practices has been shown Documents presented relate to current industry practice but show obvious flaws in template and communication etiquette in the written and visual documents evidenced.

Good evidence presented that shows an ability to follow appropriate procedures in moving image development. Industry conventions and practices are followed with intention as evidenced through consistent adherence to convention in the material presented. Documents presented relate to current industry practice but show minor flaws in template and communication etiquette.

Very good evidence presented that shows an ability to follow appropriate procedures in moving image development. Industry conventions and practices are followed and adjusted to the needs of the studentâ&#x20AC;&#x2122;s individual project idea / development plan. Documents presented relate to current industry practice and show barely noticeable flaws in template and communication etiquette.

Professional industry quality evidence is presented that shows an ability to follow appropriate procedures in moving image development. Industry conventions and practices are followed and improved to the needs of the studentâ&#x20AC;&#x2122;s individual project idea / development plan. Documents presented relate to current industry practice and show no noticeable flaws in template and communication etiquette.

Excellent professional industry quality evidence is presented and creatively improved to show an ability to not only follow appropriate procedures in moving image development but also to improve and adapt them to the needs of an individual project. Ability will be shown to exceed professional expectations consistently and communicate information in new and innovative ways

Compare, contrast and critique techniques employed by established practitioners and contemporaries in the ideas generation and development process that enhances production values. No critique of techniques employed by established practitioners and contemporaries in the ideas generation or development process

Sufficient critique of techniques employed by established practitioners and contemporaries in the ideas generation or development process

Good critique of techniques employed by established practitioners and contemporaries in the ideas generation or development process

Very good critique of techniques employed by established practitioners and contemporaries in the ideas generation or development process

Excellent critique of techniques employed by established practitioners and contemporaries in the ideas generation or development process

Insufficient critique of techniques employed by established practitioners and contemporaries in the ideas generation or development process

A few case examples are employed to elaborate key points.

Good case examples are employed to elaborate key points.

Very good and diverse case examples are employed to elaborate key points.

Excellent and diverse case examples are employed to elaborate key points.

These examples highlight different idea and developmental strategies

These examples highlight different idea and developmental strategies across international production spaces.

Excellent critique of techniques employed by established practitioners and contemporaries in the ideas generation or development process. Creative suggestions are made to improve and fine tune the process using several case examples to draw out specific points. Examples highlight different idea and developmental strategies across emerging and established international production spaces.

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%

MODULE GUIDE Section One Module Title: FILM DEVELOPMENT

Code: GLOSBCU1002

Credit Value: 20

Level: 6

Module Overview 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 this collaborative process at a management level by analysing a wide range of data to assess the most suitable approach to producing individual artefacts and translate this data in to planning documents in preparation for principal photography. Crucial throughout the module is student engagement with the process of development from concept through to the shoot of moving images. As cinema becomes increasingly interdisciplinary and transnational existing as ultralow budget, independent, and big studio / television productions, it is imperative for entrants into the industry to grasp the importance of process across different production departments. This module will nurture and strengthen students’ pre-production skills alongside their verbal and written communication. They will learn to critically breakdown and construct documentation vital for the phase where the film transmutes from written word to moving image. Module work will combine theoretical, practical and critical thinking in live environments to develop student familiarity with the development process. This will prepare them for employment in an increasingly multifarious industry. Continuous interaction with lecturers and practitioners during their own productions and external work placements will allow students compare and contrast approaches to improve idea generation capacity and their own practice. INDICATIVE CONTENT: The Production Office and Production Management Techniques Heads of department; responsibilities; Scale of production. Research and Production, The Development Toolkit, Budget, Script Timing, Detailed Script Breakdown, Cross Plot, Stripboard, Schedule, Pre-production Meetings. Film Development Strategies Identity, Film Idea, Story, Point of View, Point-to-point Description, Defining the acts, Character/participant objectives, obstacles, growth and change. Analysis of script units, Character Arcs, Character analysis, Visual and Aural design arcs, the Story Development and the finale. Pre-visualisation Storyboards, Animatics, Visual References, Using Photography, Lighting Plans, Using Models. Professional Cinematography Preparation Techniques Lighting concepts, camera plans and style influences, test shots. Art Direction Moods, Sets vs Locations, exploiting a location, Set Dressing, Props, Wardrobe, Make-up/Hair. Directorial Choices Style; Narrative; POV; Cast. Communicating concept ideas to crew. The Editor in Preproduction Choice of format, the look, LUTs, DIT, planning for the grade; planning for the cut. Developing Department Responsibilities. The Director’s voice, Director’s team vs Producer’s team, Crew Responsibilities and Directing the Crew.

Module Learning outcomes: 5. Collect, interpret and prepare a wide variety of comprehensive production and technical notes that illustrates an understanding of the developmental structures and procedures necessary to create a moving image production. 6. Actively engage in an organisational role during a development process. Make judgments in order to facilitate idea development within the constraints of production departments, available resources, schedule and budget. 7. Evidence through prepared documents, images, photographs, presentations and recorded audio/video an ability to follow appropriate procedures in moving image development. 8. Compare, contrast and critique techniques employed by established practitioners and contemporaries in the ideas generation and development process that enhances production values.

Library & Learning Resources Purchase Thurlow, M & Thurlow, C (2013). Making Short Films: The Complete Guide from Script to Screen. 3rd ed. New York & London: Bloomsbury Academic. Essential (Books/Journals/Specific chapters/Journal Articles) Aronson, L (2010). The 21st Century Screenplay: A Comprehensive Guide to Writing Tomorrow's Films. 2nd ed. Australia: Allen & Unwin Ascher, S and Pincus, E (2012). The Filmmaker's Handbook 2013: A Comprehensive Guide for the Digital Age. 4th ed. London / New York / Toronto: Plume. Brown, B (2014). The Filmmaker's Guide to Digital Imaging: for Cinematographers, Digital Imaging Technicians, and Camera Assistants. Massachusetts / Oxford: Focal Press. Egri, L (2004). Art of Dramatic Writing: Its Basis in the Creative Interpretation of Human Motives. 4th ed. Place of publication: not known: Touchstone. G, Bettman (2003). First Time Director: how to make your breakthrough movie. Studio City, California: Michael Wiese Productions (available from Amazon.co.uk: ÂŁ14.00) Gill, L, (2012) Running the Show: The Essential Guide to Being a First Assistant Director Oxford: Focal Press Haligan, F (2015). The Art of Movie Storyboards: Visualising the Action of the World's Greatest Films. London: Ilex Press. Honthaner, E. L (2010). The Complete Film Production Handbook. Oxford: Focal Press. Ondaatje, M (2008). The Conversations: Walter Murch and the Art of Editing Film. London: Bloomsbury. Patz, D. S (2011). Film Production Management 101: Management and Coordination in a Digital Age. 2nd ed. Studio City, California: Michael Wiese Productions. Mamer, B (2014). Film Production Technique: Creating the Accomplished Image. 4th ed. United Kingdom: Cengage Learning. Rea, P W (2010). Producing and Directing the Short Film and Video. 3rd ed. Burlington, M.A & Abingdon Oxon: Focal Press. Shorter, G (2012). Designing for Screen: Production Design and Art Direction Explained. Wiltshire: The Crowood Press.

Recommended Cooke, M (2008). A History of Film Music. Cambridge, United Kingdom: Cambridge University Press. Harris, C (2016). Jaws in Space : Powerful Pitching for Film & TV Screenwriters. Place of publication: unknown: Creative Essentials. Keast, G (2015). The Art Of The Cut: Editing Concepts Every Filmmaker Should Know. Honolulu, Hawaii: Kahala Press.

Background Capodagli, B (2010). Innovate the Pixar Way: Business Lessons from the World's Most Creative Corporate Playground. U.S.A: McGraw-Hill. Simon Brown (Editor), Sarah Street (Editor), Liz Watkins (Editor) (2013). Color and the Moving Image: History, Theory, Aesthetics, Archive. New York, NY & Abingdon Oxon: Routledge

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. SESSION LENGTH AT GLOUCESTERSHIRE COLLEGE: 3 AND 3.5 HOURS

Pre-session Activities/Learning

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

Post-session Activity

SESSION 1 / WEEK 1:

THE PRODUCTION OFFICE

PRE SESSION READING:

IN-CLASS TAUGHT SESSION, PRSENTATION, CLASS Q & A

COMPLETE QUIZ ACTIVITY VIA MODDLE / SURVEY MONKEY

MAKING SHORT FILMS: CHAPTER 1 – THE HOLY TRINITY

  

SESSION 2 / WEEK 1:

THE PRODUCTION OFFICE

PRE SESSION ACTIVITY:

DISCUSSION, DEBATE, IN CLASS Q & A

ONLINE WEBSITE REVIEW: FILM 4 PRODUCTIONS



ABOVE AND BELOW THE LINE ROLES SET ETIQUETTE PRODUCTION STRUCTURE OF THE ULTRA LOW BUDGET FILM

PRODUCTION STRUCTURE OF THE MEDIUM BUDGET FILM PRODUCTION STRUCTURE OF THE HOLLYWOOD STUDIO FILM DIFFRENCES BETWEEN BRITISH, EUROPEAN AND AMERICAN PRODUCTION STRUCTURES

BEGIN ONLINE BLOG DISCUSSION WATCH: HEARTS OF DARKNESS: A FILMMAKERS APOCALYPSE (1991)

CURSORY STUDY OF INDEPENDENT PRODUCTION COMPANIES



SESSION 3 / WEEK 2:

PRODUCTION MANAGEMENT TECHNIQUES

BEDTIME READING

PRE SESSION ACTIVITY

GROUP WORKSHOP, Q AND A, STUDENTS FEEDBACK

THE FILMMAKERS HANDBOOK: CHAPTER 17 – PRODUCING AND DISTRIBUTING THE MOVIE

  

LAJOS EGRI – THE ART OF DRAMATIC WRITING



SCRIPT DEVELOPMENT SCRIPT BREAKDOWN FOR PRODUCTION THE SHOT LIST

GROUP OF 3 OR 4 ONLINE THROGH SKYPE: ACTIVITY SHOULD BE RECORDED STUDENTS TO OUTLINE 5 KEY POINTS

SESSION 4 / WEEK 2:

PRODUCTION MANAGEMENT TECHNIQUES

EXAMINE ONLINE:

CLASS DISCUSSION, DISCUSSION WITH INDUSTRY PROFESSIONALS (WRITERS AND PRODUCERS), Q AND A

http://www.elementsofcinema.com/cinematography/shotlist/

THE DEVELOPMENT TOOKIT 1   

CONTRIBUTE TO ONLINE BLOG DISCUSSION ON PRODUCTION MANAGEMENT TECHNIQUES

KEY SKILLS FILM & SCRIPT ANALYSIS WRITING AND DELIVERING

SESSION 5 / WEEK 3:

PRODUCTION MANAGEMENT TECHNIQUES

BEDTIME RESEARCH

PRE SESSION ACTIVITY

SMALL GROUP SEMINAR

GROUP CHAT ABOUT KICKSTARTER

THE DEVELOPMENT TOOKIT 2

CREATE LIST ON THE MOST 10 MOST SUCCESSFUL FILM PROJECTS ON KICKSTARTER IN THE UNITED KINGDON

      

KEY SKILLS FILM & SCRIPT ANALYSIS WRITING AND DELIVERING DEVELOPMENT NOTES THE VERBAL PITCH CONTRACTS FOCUS ON FINANCING CASE STUDIES

SESSION 6 / WEEK 3:

PRODUCTION MANAGEMENT TECHNIQUES

BEDTIME SCREENING:

EXAMINE KICKSTARTER LIST IN GROUPS 10 MINUTES BEFORE SESSION STARTS

SMALL GROUP SEMINAR

THE GODFATHER DVD SPECIAL FEATURES (FRANCIS FORD COPPOLA’S DEVELOPMENTAL NOTES)

    

DEVELOPMENT NOTES THE VERBAL PITCH: SCREEN KICKSTARTER PITCHES CONTRACTS FOCUS ON FINANCING CASE STUDIES

SESSION 7 / WEEK 4:

PRODUCTION MANAGEMENT TECHNIQUES

HOME WORK;

FACEBOOK DISCUSSION ON THE PLOT OF ONLY GOD FORGIVES

PEER ASSISTED LEARNING: GROUP ROLE PLAY ACTIVITY

REFER TO BOOK; THE ART OF DRAMATIC WRITING



PLOTTING THE NARRATIVE

HIGHLIGHT 3 NARRATIVE TURNING POINTS

DESIGN 3 DIMENSIONAL CHARACTER PROFILE

SESSION 8 / WEEK 4:

PRODUCTION MANAGEMENT TECHNIQUES

READING: MAKING SHORT FILMS - PART VI: SCRIPTS AND INSIDER TIPS

PEER ASSISTED LEARNING: GROUP ROLE PLAY ACTIVITY  

BEDTIME READING: MAKING SHORT FILMS - PART VI: SCRIPTS AND INSIDER TIPS

PRE PRODUCTION MEETINGS SCHEDULING DURING DEVELOPMENT

SESSION 9 / WEEK 5:

FILM DEVELOPMENT STRATEGIES

BEDTIME READING:

READING: MAKING SHORT FILMS - PART V: SCRIPTS AND INSIDER TIPS

CRIP SHEET ACTIVITY, NOTE TAKING, ACTIVE BOARD ACTIVITY, CLASS DISCUSSION, PRESENTATION

LINDA ARONSON: THE 21 ST CENTURY SCREENPLAY

 

PART 1: GETTING IDEAS

APPROACHES TO SCRIPT DEVELOPMENT THE EGRI APPROACH

SESSION 10 / WEEK 5:

FILM DEVELOPMENT STRATEGIES

BEDTIME READING:

READING:

CRIP SHEET ACTIVITY, NOTE TAKING, ACTIVE BOARD ACTIVITY, CLASS DISCUSSION, PRESENTATION

LINDA ARONSON: THE 21 ST CENTURY SCREENPLAY

 

APPROACHES TO SCRIPT DEVELOPMENT THE ARONSON APPROACH

PART 3: PRACTICAL PLOTTING

PROFESSIONAL CINEMATOGRAPHY PREPARATION TECHNIQUES

BEDTIME READING:

LINDA ARONSON: THE 21 ST CENTURY SCREENPLAY PART 3: PRACTICAL PLOTTING SESSION 11 / WEEK 6: SMART PHONE ASSIGNMENT: USE GOGGLE IMAGES TO SCREEN GRAP 5 IMAGES OF GREAT LIGHTING IN A FILM OR TV DRAMA YOU LIKE

SESSION 12 / WEEK 6: AMERICAN CINEMATOGRAPHER (ANY EDITION) SELECT SPECIFIC INTERVIEW AND DISCUSS TECHNIQUES IN GROUP BEFORE CLASS

WORKSHOP, STUDIO SESSION, DEMONSTRATION, LECTURE, IMAGE PRESENTATION, STUDENT FEEDBACK

AMERICAN CINEMATOGRAPHER (ANY EDITION)

  

SELECT SPECIFIC INTERVIEW AND DISCUSS TECHNIQUES

PROFESSIONAL CINEMATOGRAPHY PREPARATION TECHNIQUES WORKSHOP, STUDIO SESSION, DEMONSTRATION, LECTURE, IMAGE PRESENTATION, STUDENT FEEDBACK   

SESSION 13 / WEEK 7: PREPARE STUDIO

LIGHTING CONCEPTS RESEARCH FOR CINEMATIC DESIGN DEVELOPING VISUAL REFERENCES

DESIGNING TESTS LIGHTING AND MOVEMENT PLANS

PROFESSIONAL CINEMATOGRAPHY PREPARATION TECHNIQUES WORKSHOP, STUDIO SESSION, DEMONSTRATION, LECTURE, IMAGE PRESENTATION, STUDENT FEEDBACK  

SESSION 14 / WEEK 7: PREPARE STUDIO

DEVELOPING MOOD THROUGH LIGHT 1 LENSES AND LIGHT APPLIANCES

PROFESSIONAL CINEMATOGRAPHY PREPARATION TECHNIQUES WORKSHOP, STUDIO SESSION, DEMONSTRATION, LECTURE, IMAGE PRESENTATION, STUDENT FEEDBACK  

SESSION 15 / WEEK 8: BEGIN INDIVIDUAL MOOD FOLDER OF FILM IMAGES FOR IDEA DEVELOPMENT

SELECT SPECIFIC INTERVIEW AND BULLET POINT (10 POINTS)

AMERICAN CINEMATOGRAPHER (ANY EDITION) SELECT SPECIFIC INTERVIEW AND BULLET POINT (10 POINTS) WATCH: I SAW THE DEVIL SELECT 10 SCREEN GRAPS AND UPDATE AND DISCUSS IN ONLINE BLOG

DEVELOPING MOOD THROUGH LIGHT 2 MOVEMENT

PROFESSIONAL CINEMATOGRAPHY PREPARATION TECHNIQUES LECTURE, IMAGE PRESENTATION, STUDENT FEEDBACK, FILM SCREENING  

AMERICAN CINEMATOGRAPHER (ANY EDITION)

MACBETH WHIPLASH

SELECT 10 SCREEN GRAPS AND UPDATE AND DISCUSS IN ONLINE BLOG

SESSION 16 / WEEK 8:

ART DIRECTION

SEARCH GALLERY INFO ON LINE: SATCHI GALLERY

IMAGE PRESENTATION, GALLERY TRIP, DISCUSSION  

RESEARCH FOR ART DESIGN DEVELOPING NARRATIVE THROUGH ART DESIGN

SESSION 17 / WEEK 9:

DIRECTORIAL CHOICES

GROUP 10 MINUTE PREP -

CLASS TUTORIALS, 1:1 SESSIONS, NOTE TAKING, GROUP ACTIVITY, GAMES, DEBATES

WHO IS WONG KAR WAI?

DIRECTORIAL STYLE 1

UPDATE BLOG WITH IMAGES YOU FOUND IMPRESSIVE FROM GALLERY VISIT - DISCUSS ON BLOG GATHER A SELECTION OF IMAGES ON THE FILMS OF WONG KAI WAI - PUT THESE IN YOUR INDIVIDUAL MOOD FOLDER

SCREENING: IN THE MOOD FOR LOVE SESSION 18 / WEEK 9:

DIRECTORIAL CHOICES

GROUP 10 MINUTE PREP -

CLASS TUTORIALS, 1:1 SESSIONS, NOTE TAKING, GROUP ACTIVITY, GAMES, , DEBATES

WHO IS LARS VON TRIER?

DIRECTORIAL STYLE 2

GATHER A SELECTION OF IMAGES ON THE FILMS OF LARS VON TRIER - PUT THESE IN YOUR INDIVIDUAL MOOD FOLDER

SCREENING: DANCER IN THE DARK SESSION 19 / WEEK 10:

THE EDITOR IN POST PRODUCTION

INVESTIGATE

TRIP: ARRI MEDIA

WORKSHOP / STUDIO SESSION / TRIP

MAGLINER CARTS

 

INNOVATIV CARTS

THE D.I.T CART THE LOOK

SESSION 20 / WEEK 10:

THE EDITOR IN POST PRODUCTION

PRE SESSION DISCUSSION

WORKSHOP / STUDIO SESSION

WHATS ON A D.I.T’S CART

  

DOWNLOAD AND PLAY WITH RED CINE X

PLANNING GRADING PLANNING THE FIRST CUT DEVELOPING AND TESTING LUTS

THE ARRI COLOUR TOOL AFTER CLASS STUDIO SESSION: PLAY WITH CAMERAS IN STUDIOS

SESSION 21 / WEEK 11:

DEPARTMENTAL RESPONSIBILITIES

BEDTIME WATCHING:

FOREIGN TRIP PLANNING

IN CLASS SESSION, DISCUSSION, Q AND A

LOST IN LA MANCHA

 

DEVELOPING CREW RESPONSIBILITIES DIRECTORS TEAM V PRODUCERS TEAM IN DEVELOPMENT

 SESSION 22 / WEEK 11:

DEPARTMENTAL RESPONSIBILITIES

FOREIGN TRIP PLANNING

IN CLASS SESSION, DISCUSSION, Q AND A  

DIRECTING THE CREW (DEVELOPMENT STRATEGIES) SHIELDING THE DIRECTOR

SUMMARISE 5 KEY THINGS OF WHAT NOT TO DO FROM LOST IN LA MANCHA DISCUSS IN ONLINE BLOG

SESSION 23 / WEEK 12:

PRODUCTION DOCUMENTATION

HOMEWORK

FOREIGN TRIP PLANNING

PEER ASSISTED LEARNING, IN CLASS TUTORIAL

DESIGN DOCUMENTS



DESIGNING PRODUCTION DOCUMENTS 1

SESSION 24 / WEEK 12:

PRODUCTION DOCUMENTATION

HOMEWORK

BROUSE - THE COMPLETE FILM PRODUCTION HANDBOOK

PEER ASSISTED LEARNING, IN CLASS TUTORIAL

DESIGN DOCUMENTS



DESIGNING PRODUCTION DOCUMENTS 2

SESSION 25 / WEEK 13:

PREPARATION WEEK

GO TO:

GROUP DISCUSSION - 10 MINUTES BEFORE CLASS - PITCH PREP - WHAT ARE YOU SUPPOSED TO PITCH?

PEER ASSISTED LEARNING

THE LONDON SCREENWRITING FESTIVAL WEBSITES - SEE PITCH VIDEOS

SESSION 26 / WEEK 13:

PREPARATION WEEK

WORK ON OWN IDEAS GENERATION AND DEVELOPMENT MATERIAL

LECTURER / 1:1 FEEDBACK SESSION / PEER REVIEW / PRACTITIONER RESEARCH



PITCH PREP

LOCATION RECCES

PROJECT DEVELOPMENT SESSION 27 / WEEK 14:

PREPARATION WEEK

WORK ON OWN IDEAS GENERATION AND DEVELOPMENT MATERIAL

LECTURER / 1:1 FEEDBACK SESSION / PEER REVIEW / PRACTITIONER RESEARCH 

PROJECT DEVELOPMENT

LOCATION RECCES

SESSION 28 / WEEK 15:

PREPARATION WEEK

WORK ON OWN IDEAS GENERATION AND DEVELOPMENT MATERIAL

LECTURER / 1:1 FEEDBACK SESSION / PEER REVIEW / PRACTITIONER RESEARCH PROJECT DEVELOPMENT

SESSION 29 / WEEK 15:

PREPARATION WEEK

WORK ON OWN IDEAS GENERATION AND DEVELOPMENT MATERIAL

LECTURER / 1:1 FEEDBACK SESSION / PEER REVIEW / PRACTITIONER RESEARCH PROJECT DEVELOPMENT

SESSION 30 / WEEK 16:

PREPARATION WEEK

SET VISIT /WORK EXPERIENCE

LECTURER / 1:1 FEEDBACK SESSION / PEER REVIEW / PRACTITIONER RESEARCH

GATHER PRIMARY RESEARCH THROUGH INTERVIEWS DISCUSS ON BLOG GATHER PRIMARY RESEARCH THROUGH INTERVIEWS DISCUSS ON BLOG

SET VISIT /WORK EXPERIENCE

PROJECT DEVELOPMENT SESSION 31 / WEEK 16:

LIVE PROPOSAL / PRESENTATION WEEK

INDIVIDUALS TO PRACTICE PITCHING PRIVATELY

SUMMATIVE ASSESSMENT OF PROPOSAL PRESENTATION

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Section Two – Assessment (Reviewed Annually) IN CLASS RECORDED INDIVIDUAL PROPOSAL PRESENTATION Assessment method Each individual student must outline and develop a short film idea for a project of between 10 to 15 minutes. Their presentation should be a detailed proposal encapsulating how each creative department will translate the vision of the idea to the screen. The proposal presentation should be supported by audio visual material and the student should present the project in a format ready for production company investment.

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 in-class proposal presentation will allow students experience the development process from idea generation through to pitch. This assessment method will merge creative thinking with planning and production research. The scenario attached will enable the student make linkages between the different departments involved in a film’s production and achieving a unified cinematic vision. The assessment method will permit insight into the collaborative nature of film production and the importance or primary and secondary research (through communication with established practitioners, contemporaries and peers). This practice-led, knowledge applied approach will assist learners develop a holistic and connected impression of process, creativity and execution within the industry. FORMATIVE ASSESSMENT: Students will be required to undertake practical film production planning exercises across the semester to consolidate their learning and highlight how much key information they have acquired.

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

BREAKDOWN OF SUMMATIVE ASSESSMENT METHODS WRITTEN EXAMS: 0% PRACTICAL EXAMS: 0% COURSEWORK: 100% ASSESSMENT WEIGHTINGS 

IN-CLASS RECORDED INDIVIDUAL PROPOSAL PRESENTATION: 100%

Assessment Scope

20 MINUTE IN CLASS RECORDED INDIVIDUAL PROPOSAL PRESENTATION:

Explanation of the scope and range of the assessment.

The individual in class recorded proposal presentation should contain the following: Material that shows the student’s ability to collect, interpret and prepare a wide variety of production and technical documentation for a specific production (LEARNING OUTCOME 1). Evidence through discussion, images, production diagrams, photographs, video and audio the student’s individual contribution to the development process within a short film idea (LEARNING OUTCOME 2 & 3). Material that shows the student has been able to compare, contrast and critique techniques employed by established practitioners and contemporaries that enhance production values (LEARNING OUTCOME 4).

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

Feedback on formative mini exercises will be provided in class during 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. Summative assessment will be combined with a lecturer student 1:1 session.

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) 14TH JANUARY 2016

Submission method

Return of work

(e.g. electronic/Moodle/other)

(Date not 20 days)

ELECTRONIC TO LECTURER Exceptional Circumstances explanation Assessment resubmission Submission method (e.g. electronic/Moodle/other) deadline(s)

10TH FEBRUARY 2017

Return of work

*Resubmission deadline(s) are only relevant if you are unsuccessful in your first attempt â&#x20AC;&#x201C; please see University Regulations on resubmission policy and procedure.