Unit convenor and teaching staff |
Unit convenor and teaching staff
Unit Convenor
Iqbal Barkat
Contact via iqbal.barkat@mq.edu.au
Y3A 154
TBA
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Credit points |
Credit points
3
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Prerequisites |
Prerequisites
MAS312
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Corequisites |
Corequisites
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Co-badged status |
Co-badged status
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Unit description |
Unit description
This unit is project-based. It offers students an opportunity to build on studies they have completed in earlier screen production units and to consolidate their creative, conceptual, and technical abilities through the collaborative production of short digital screen projects.
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Information about important academic dates including deadlines for withdrawing from units are available at https://www.mq.edu.au/study/calendar-of-dates
On successful completion of this unit, you will be able to:
Name | Weighting | Due |
---|---|---|
Screen Production Proposal | 15% | Sun 10 August 2014 |
Workshop Presentation | 15% | Weekly as designated |
Screen Production | 30% | Week 13 |
Critical Analysis/Evaluation | 15% | Week 14 |
Crew Role Performance | 15% | Week 14 |
Active Workshop Participation | 10% | Every Week |
Due: Sun 10 August 2014
Weighting: 15%
The first assignment for MAS313 will be a written proposal of no less than 700 words for a fiction, documentary, hybrid/experimental screen production of around 7 minutes duration drawing on an idea around the theme of either “photograph” or “dream”. You may approach the theme you select in any way you choose. You may choose to make the work for a variety of delivery platforms e.g. television, the web, film festivals, etc.
This proposal is worth 15% of your total marks for this unit. Proposals will be selected for production prior to your second workshop where crews will be formed.
The delivery date for this assignment is Sun 10 August 2014 . Early submissions appreciated. Assignments should be submitted on Ilearn.
The parameters of the final screen production are:
Up to 7 minutes in final length
5 shooting days
shooting ratio 10:1
5 picture edit days + 2 sound edit days
PLEASE NOTE: Preferably, your proposals are not to be dialogue based. You are expected to design your project considering images and sound as well as dialogue. Only minimal dialogue is suggested.
The proposal should include the following elements:
One sentence synopsis. A brief concentrated version of the story.
One paragraph statement summarising story, potential subtext and intended approach or style. How would you describe the intended style? Are you working within a particular genre? You should reference other media that have influenced your choices in this statement.
A Treatment describing the progression of your project paragraph by paragraph. Each paragraph describes a scene. So, if you think at this stage there might be six scenes, each paragraph will correspond to one of the scenes. The treatment gives a good sense of the story/idea in cinematic ie audiovisual terms. It is written in the present tense. If your project is selected you will be expected to develop a script/scriptment during the next few weeks. You can also include drawings or pictures in the treatment if you wish.
Brief description of any characters – no more than four lines per character. Note that the production must be feasible, so the number of characters should reflect this.
Research statement. One paragraph describing the research you have conducted so far together with your plans for future research. Here again you can reference other media that have influenced your ideas for this project.
Feasibility statement. One paragraph. This is an argument that your project can actually be made – that you can access locations, use equipment you may want etc, that the skills base exists to achieve your aims.
You are encouraged to include any additional material (print, photos, audiovisual etc) that you think may support your proposal.
SELECTION CRITERIA
Strength and originality of idea
Depth of research achieved to date
Potential for innovative storytelling and/or representational strategies
Feasibility in terms of numbers of locations, proximity of locations, location permissions, numbers of performers, design requirements, cinematography and sound requirements, skills base of crew.
ASSESSMENT CRITERIA
Strength and originality of core idea
Innovative potential of the audio-visual medium
Quality of research underpinning the idea
Suitability of the idea for a production of up to 7 minutes
Writing style: clarity, expression, grammar, presentation
Submission requirements
Late assignments will not be considered for production.
Due: Weekly as designated
Weighting: 15%
Each student will research and present a five minute workshop report on an excerpt from a creative screen work of their choice. The presentation will analyse and discuss the ways in which the screen work resonates creatively and technically with the screen production concept on which they are collaborating.
ASSESSMENT CRITERIA
Due: Week 13
Weighting: 30%
Each student will perform a crew role on a collaborative digital video screen production of up to 6 minutes. Each member of the creative production team is expected to undertake adequate preparation to carry out their role. As this is a collaborative effort each student will be awarded the same grade for the completed production unless a student has not participated in all stages of the process where required eg pre-production, production and post-production - in which case they will not receive a mark. For example, a sound recordist who does not take part in recording sound during the shoots will not be given a mark for this assignment.
ASSESSMENT CRITERIA
Projects will be assessed by a panel of screen production staff according to the following criteria:
1. Originality and structure of completed project
2. Effectiveness of creative choices in mise en scene, composition, shot construction, lighting, sound, design, editing, direction of performance, production and logistics management etc
3. Degree that completed project has achieved creative goals
Due: Week 14
Weighting: 15%
A short essay of 700 words analysing and evaluating the ways technical and aesthetic considerations have combined to realise (or not) the original concept. This analysis is to be approached critically - this means that if the project has in some way not achieved its original goals, this should be addressed. Statements such as 'the production is really good' are not convincing. Think deeply about the work. Could it be improved?In the discussion you should refer to at least one other film viewed in the unit (excluding student productions). Any films or other writing cited in the essay must be fully referenced and included in a filmography and/or bibliography. Assignments to be delivered to appropriate box W6A and should include faculty cover sheet.
ASSESSMENT CRITERIA
Due: Week 14
Weighting: 15%
You are assessed on your crew role performance as evidenced in the final production supported by a range of documentation.
Documentation to be provided includes:
· Production portfolio of documents demonstrating your technical and creative research, preparation and process undertaken in your crew role and any other involvement you have in the production;
· One written paragraph of up to 200 words outlining a major learning challenge you faced in your crew role during the process and how you resolved it;
· Signed and dated weekly log during pre-production, production and post-production of one paragraph outlining in dot points relevant actions you took in relation to the project during that time frame
ASSESSMENT CRITERIA
Due: Every Week
Weighting: 10%
Active workshop participation is more than simply being in attendance (which is compulsory). In order to receive high marks for workshop participation, students must be punctual and well-prepared, complete any required in or out of class work including attendance at relevant technical demonstration sessions and production meetings (which will be logged), prepare for workshop presentations, engage actively by asking and answering questions and participating constructively in pair or group work as required. The marks allocated for participation in this unit reflect the importance of student participation in a production course, particularly one such as MAS313 that focuses on communication and the production of a short collaborative digital video work.
ASSESSMENT CRITERIA
Timetable
For details of the unit timetable please go to: www.timetables.mq.edu.au
Technology & Software
This is a screen production unit. Students may be required to work with a range of the department's digital and mechanical technologies and editing software including still and moving image recorders (eg. Sony HD FS700 cameras), sound recorders, digital editing software, image stabilising equipment, tripods, dollies, various portable lighting equipment, etc.
Health and Safety
Students must wear suitable shoes in the screen production studio as a health and safety requirement. This means flat-heeled closed shoes such a runners. Students wearing open toed footware such as sandals or thongs, or high heeled shoes, will not be permitted to work in the studio.
Students must adhere to health and safety guidelines during workshops and production activities. A safety report is required for all productions.
Changes to previous offerings
N/A
Assessment
All assignments must be attempted in order to be considered for a Pass in this unit.
Extensions for assignments are only granted on the grounds of illness or misadventure and appropriate documentation such as a medical certificate must be presented as part of an application for extension. If you are having problems please speak to your workshop lecturer or the unit convenor as soon as possible. Late delivery of assignments without the agreement of the lecturer may incur a penalty of 2% per day.
Attendance
It is a compulsory requirement to attend all production workshops and lectures.
Any absence from a workshop must be supported by documentation such as a medical certificate and discussed with workshop lecturer.
Failure to attend two or more workshops may result in a Fail.
Unit Readings
Students are expected to undertake independent research into the creative and technical aspects of screen production. Weekly readings will be uploaded on ILearn. The readings are intended only as a supplement to the core screen production work, as well as enhancing your understanding of theoretical and production concepts discussed during the unit. Although readings will not be assessed from week to week, it is strongly advised that you broaden your understanding of concepts and practices relating to screen production by completing relevant readings, as well as independently researching your specific crew role areas of interest.
The list below includes other recommended texts that will be available in Reserve.
Directing/Producing
Cohen Hart, Juan Salazar & Iqbal Barkat, Screen Media Arts, Victoria: OUP 2009.
Mercado, G., The filmmaker's eye : learning (and breaking) the rules of cinematic composition, Boston: Focal Press c20011
Profieres, Nicholas T., Film Directing Fundamentals, Boston: Focal Press, 2001.
Rabiger, Michael, Directing: film techniques and aesthetics, Boston: Focal Press, 2003.
Rea, Peter and D. Irving, Producing and Directing the Short Film and Video, Boston: Focal Press, 2nd ed., 2000
Katz, Steven, Film Directing Shot By Shot: visualising from concept to screen, Studio City CA: Michael Wiese Production in conjunction with Focal Press, 1991
Art Direction
Affron, C & M., Sets in Motion: art direction and film narrative, New Brunswick, NJ: Rutgers University Press, 1995.
Gibbs, John, Mise-en-scene: film style and interpretation, London: Wallflower 2002
Editing
Dancyger, Ken, Technique of Film and Video Editing, Boston: Focal Press, 2007. **
Murch, Walter, In the Blink of an Eye, Sydney: AFTRS, 1992.
Sound Chion, Michel, Audio-vision: sound on screen, New York: Columbia Press, 1994.
Larsen, Peter, Film Music, London: Reaktion, 2007.
Sider, Larry et al (eds.), Soundscape: the school of sound lectures 1998-2001, London: Wallflower, 2003.
Cinematography
Mercado, G., The filmmaker's eye : learning (and breaking) the rules of cinematic composition, Amsterdam ; Boston : Focal Press/Elsevier, c2011.
Schaefer, Dennis and Larry Salvato, Masters of Light - Conversations with Contemporary Cinematographers, Berekeley and LA: University of California Press, 1984.
Tarkovsky, Andrei, Sculpting in Time - Reflections on the Cinema, London: Faber, 1989.
Continuity
Miller, Pat, Script Supervising and Film Continuity, Boston: Focal Press, 1999.
Rowlands, Avril, Continuity Supervisor, Boston: Focal Press, 2000.
Please see iLearn for unit schedule.
Macquarie University policies and procedures are accessible from Policy Central. Students should be aware of the following policies in particular with regard to Learning and Teaching:
Academic Honesty Policy http://mq.edu.au/policy/docs/academic_honesty/policy.html
Assessment Policy http://mq.edu.au/policy/docs/assessment/policy.html
Grading Policy http://mq.edu.au/policy/docs/grading/policy.html
Grade Appeal Policy http://mq.edu.au/policy/docs/gradeappeal/policy.html
Grievance Management Policy http://mq.edu.au/policy/docs/grievance_management/policy.html
Disruption to Studies Policy http://www.mq.edu.au/policy/docs/disruption_studies/policy.html The Disruption to Studies Policy is effective from March 3 2014 and replaces the Special Consideration Policy.
In addition, a number of other policies can be found in the Learning and Teaching Category of Policy Central.
Macquarie University students have a responsibility to be familiar with the Student Code of Conduct: https://students.mq.edu.au/support/student_conduct/
MMCCS Session Re-mark Application http://www.mq.edu.au/pubstatic/public/download/?id=167914
Information is correct at the time of publication
Macquarie University provides a range of support services for students. For details, visit http://students.mq.edu.au/support/
Learning Skills (mq.edu.au/learningskills) provides academic writing resources and study strategies to improve your marks and take control of your study.
Students with a disability are encouraged to contact the Disability Service who can provide appropriate help with any issues that arise during their studies.
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