Units

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Sample subject outline - Semester 1 2013

Note: Subject outlines often change before the semester begins. Below is a sample outline.

Rationale

This advanced unit enables you to undertake the production of complex film, television or transmedia projects in a team-oriented environment, and working independently under supervision.

It aims to consolidate the skills and knowledge gained across the first and second year production units.

Aims

Designed as one of a pair (KPB320 and KPB321) of advanced production units, in KPB320 you will undertake complex projects in a team-oriented environment and also work independently under supervision. The unit aims to provide you with skills and knowledge in relation to the practical techniques, aesthetic literacies, and principles underpinning short film, television and transmedia production. It also aims to give you the opportunity to develop your creative potential and be cognisant of how important professional attitudes are to the successful creative process.

Initiated normally in the preceding year in KPB302 Project Development for Film Television and New Media, projects in this unit typically focus on the communication of non-fictional events. For example: documentaries, corporate videos, experimental videos, music videos, quiz shows, variety programs, reality television, and transmedia content. Drama based productions are usually undertaken in KPB321 Advanced Production (Craft) 2 and after completion of KPB308 Film and Television Drama Practice.

Objectives

On completion of this unit you should be able to:
1. Develop creative and technical abilities in an area of specialisation on short productions.
2. Learn practical skills and apply professional working practice, terminology and equipment used in an area of specialisation on short productions.
3. Develop skills in managing time and colloborative team work to achieve creative goals and timelines.
4. Develop an awareness of industry standard guidelines, including health and safety.
5. Identify learning and career goals, the strategies to achieve these goals, and proactively seek to establish and grow a career portfolio.

Content

This unit addresses content such as:
· The forms of film, television and transmedia production.
· Content will be specified according to the nature of the projects selected in the previous year in KPB302 Project Development for Film, Television and New Media.
· Contracts to work in roles, in one or more of the specialisation areas, on the production of one or more projects.
· After completion of KPB320, if you continue with KPB321, the other unit in the pair of advanced production units, normally you will be assigned a different specialisation and role to that undertaken in KPB320.

Approaches to Teaching and Learning

You will be required to undertake work outside of set class times. Accordingly, the learning and teaching in this unit will largely be independent of scheduled class sessions.

This unit is taught in a team-teaching mode through the production specialisations common to the major fields of film, television and transmedia production.

These specialisations are:
- Direction. This specialisation includes the direction and mediation of performance and events, and their translation via technology on location and in constructed settings.
- Cinematography. This specialisation includes image capture and lighting design.
- Sound. This specialisation includes sound recording, and sound editing and mixing.
- Vision Editing. This specialisation includes audio visual montage and image mixing.

You will attend regular production meetings in preparation for shoots, to develop teams and receive advice and formative feedback. Additionally, you will attend lectures, practical tutorials, workshops and consultations that include the specialisation areas.

You will need to work both individually and in groups. While specific group process skills will be taught, it is the responsibility of individual students to work on development of constructive attitudes to the group and its members.

Punctual attendance and full participation is expected for all scheduled university classes and production stages. However, attendance and participation is not subject to summative assessment except where absence will demonstrably affect other students.

Due to the practical nature of this unit and the importance to yourself and other students of developing individual skills, you are required to attend all workshop / tutorial classes. For reasons of health and safety, you will not be able to book or access equipment, the television studio, Avid edit suites and Protools if you do not have the required skills.

Assessment

LATE ASSIGNMENTS
An assignment submitted after the due date without an approved extension will not be marked. If you are unable to complete your assignment on time, you should submit on time whatever work you have done.

Faculty Assessment Information
To access the Creative Industries Faculty Assessment Information see the Blackboard site for this unit.FORMATIVE ASSESSMENT
You will receive formative feedback on your progress in this unit during tutorials, workshops, consultations, screenings and discussions throughout the semester.
Weight: 0%

SUMMATIVE ASSESSMENT
You will be awarded a final grade on a 1 to 7 scale.

If you are continuing in KPB321 in the next semester you will receive a grade of A (Result Unfinalised) for KPB320, which will be converted into a numerical grade upon the completion of KPB321. In this circumstance, the grades for KPB320 and KPB321 will be identical.

Assessment name: Creative Work
Description: (Summative)
Assessment will be based on the development, screenings, and fully functioning deliverables of the completed projects. At the end of semester there is a screening of all projects where the Supervisor of each department provides an assessment of the overall production and a brief critique focused on their area of specialisation. The projects you will be assessed on will be dependent on the designation, nature and complexity of your roles on one or more projects, and is subject to negotiation.

Included with the submitted Project Master/Transmedia Production, there needs to be a Copyright Report that details all the vision and audio copyright ownership and clearances; and an Press Kit (EPK); both in hard copy and on disk.
Relates to objectives: 1, 2, 3, & 4
Weight: 40%
Internal or external: Internal
Group or individual: Group
Due date: End Semester

Assessment name: Student negotiated assessment
Description: (Summative)
You will contract to undertake a number of crew roles on film, television and transmedia productions. The designation of roles will be dependent on the nature and complexity of the project/s and is subject to negotiation. Selection for crew positions may be based upon proposed career paths, demonstrated ability, evidence of practice and learning, and approval from Department Supervisors.

You will need to demonstrate technical and artistic ability, and submit items for assessment, based on the specific requirements of the crew role/s. This may include practical Style Documents, Production Documents, Workflows, and Risk Assessments appropriate to the project and role.

Crewing will normally be determined in the preceding year following the pitches in KPB302 Project Development for Film, Television and New Media.

Specialist Crew Roles may include:
Writer (of selected scripts/ not co-written); Director; Director Of Photography; Vision Editor; Visual Effects Editor; Sound Editor; Sound Recordist; Continuity Supervisor; and Camera Operator. Other roles for assessment are by negotiation only. All crew roles are negotiable and will require approval from the unit lecturers.
Relates to objectives: 1, 2, 3, 4 & 5
Weight: 60%
Internal or external: Internal
Group or individual: Individual
Due date: Throughout semester

Academic Honesty

QUT is committed to maintaining high academic standards to protect the value of its qualifications. To assist you in assuring the academic integrity of your assessment you are encouraged to make use of the support materials and services available to help you consider and check your assessment items. Important information about the university's approach to academic integrity of assessment is on your unit Blackboard site.

A breach of academic integrity is regarded as Student Misconduct and can lead to the imposition of penalties.

Resource materials

For students, this unit may incur costs associated with such things as: additional equipment and materials (e.g.disks, tapes) not already provided for by QUT; travel to locations and accommodation; art direction, costumes and makeup; music composition and copyright clearances; payment for actors; and catering.

Required Text(s): There is no set text for this unit. Heads of Department will inform students of recommended material.

Recommended References

Bayes, S. (2004) Avid advanced editing techniques [videorecording]:with Xpress Pro & Xpress DV and Avid special effects & color correction [videorecording]: with Xpress Pro & Xpress DV. Desktop Images: Burbank.

Bruder, M (et al) (1986) A practical handbook for the actor. Vintage Books, New York.

Case, D. (2001) Film technology in post production. Focal Press:London.

Cole, H. (2005) Costuming for film: the art and the craft. Silman-James Press: Los Angeles.

Coleman, L. J. & Friedberg, D. (2010) Make the cut: a guide to becoming a successful assistant editor in film and TV. Focal Press: Burlington.

Cristiano, G. (2007) The storyboard design course: the ultimate guide for artists, directors, producers and scriptwriters. Thames & Hudson: London.

Dancyger, K. (2007) The technique of film and video editing: history, theory and practice. Focal Press: Boston.

Dancyger, K. (2006) The director's idea: the path to great directing. Focal Press: Oxford.

DiCillo, T. & Griffiths, M. & Viscidi, M. (2003) Living in oblivion. (videorecording) : Columbia TriStar Home Entertainment:Culver City.

Dmytryk, E. (1984) On film editing: an introduction to the art of film construction. Focal Press: Boston.

Harman, R. (1997) Film directing - killer style and cutting edge techniques. Los Angeles: Lone Eagle Pub.

Holman, T. (2002), (2nd ed) Sound for film and television. Focal Press, Boston.

Katz, S. D. (1991) Film directing shot by shot: visualizing from concept to screen. Studio City, CA: Focal Press.

Kauffmann, S. (2009) (4th ed) Avid editing : a guide for beginning and intermediate users. Elsevier/Focal Press: Burlington.

Kennedy, A. (2011) Editing with Avid Media Composer 5. Peachpit Press: Berkeley,Calif.

La Motte, R. (2010) Costume design 101: the art and business of costume design for film and television. Michael Wiese Productions: Studio City.

LoBrutto, V. (2002) The filmmaker's guide to production design. Allworth: New York.

Miller, P.P. (1999) (3rd ed) Script supervising and film continuity. Focal Press, Boston.

Mollison, M. (2010) (3rd ed) Producing videos: a complete guide. Sydney: Allen and Unwin

Murch, W. (2001) In the blink of an eye. AFTRS: Sydney.

Musgrave, J. (2003) Make-up, hair and costume for film and television. Focal Press: Oxford; Burlington.

Rabiger, M. (3nd Ed) (2008) Directing: film techniques and aesthetics. Focal Press: Boston.

Rea, P. & Irving, D. (2010) (4th ed) Producing and directing the short film and video. Focal Press: Boston.

Rizzo, M. (2005) The Art Direction Handbook for Film. Focal Press: Amsterdam & Boston.

Rowlands, A. (2000) The continuity supervisor. Focal Press: Boston.

Salvi, D. (2003) Friendly Enemies: maximizing the director-actor relationship. Watson-Gutpill, New York.

Staten, G. (2009) (5th ed) The Avid Handbook: Advanced techniques, strategies, and survival information for Avid editing systems. Elservier: Burlington.

Weston, J. (1996) Directing actors: creating memorable performances for film & television. M. Wiese Productions, Studio City, CA.

Risk assessment statement

QUT takes its obligations to the Workplace Health and Safety Act 1995 very seriously. You as a student, must also meet your obligations under the Act. This can be done in different ways, but you are obliged to take action to manage exposure to risk.

There are Regulations, Advisory Standards and Industry Codes of Practice, to meet your obligations under the Act you must comply with these. You must take reasonable precautions and exercise proper diligence in making sure the risk is managed.

You have an obligation to exercise care when operating equipment and to follow instructions as to the safe operation of the equipment, safe manual handling and the use of safety devices and personal protective equipment.

AS STUDENTS WORKING ON FILM AND TELEVISION PRODUCTIONS, YOU WILL MAKE SURE THAT THE APPROPRIATE RISK ASSESSMENT HAS BEEN DOCUMENTED FOR THAT PROJECT AND THAT IT HAS BEEN APPROVED BY THE APPROPRIATE STAFF MEMBER.

RESPONSIBILITY:
Equipment faults and damage must be reported to Equipment Loans Centre and Computing staff as soon as possible.

You are responsible for ensuring equipment is secure and at no risk of damage. Action will be taken against anyone responsible for wilful damage or theft of QUT property.

SECURITY:
The Creative Industries facility offers 24 hour swipe card access. Consequently, the equipment you use there, your personal possessions and your personal safety are at risk unless everyone complies with the security regulations. Admission is by your own student card only. Do not let anyone in on your card unless prior authorization has been given by the Discipline Head. Under no circumstance should you give your student card to anyone else. These rules will be strictly enforced and anyone who breaks them will be subject to harsh disciplinary action by the university.

Disclaimer - Offer of some units is subject to viability, and information in these Unit Outlines is subject to change prior to commencement of semester.

Last modified: 28-Mar-2013