Assessment tasks are submitted online, through iLearn.  

All written work can only be submitted on iLearn as PDFs only. No other format will be accepted. Hard copies will not be accepted.

For film submissions, refer to assessment guidelines in the unit guide and also to announcements on iLearn.

There are no examinations in this unit.

 

Class Participation Policy

As participation in team activity during class is linked to and underpins the unit Learning Outcomes, you will need to either apply for Special Consideration to cover any missed workshop/practical  (if the disruption is greater than three consecutive days) or supply appropriate documentation to your unit convenor for any missed workshop/practical (if less than three consecutive days). Group collaboration is an essential part of the final project. You are expected to present yourself for all group meetings/activities and the in-class presentations at the time and place designated. 

 

Late Submissions / Special Consideration 

Unless a Special Consideration request has been submitted and approved, (a) a penalty for lateness will apply – two (2) marks out of 100 will be deducted per day for assignments submitted after the due date – and (b) no assignment will be accepted more than seven (7) days (incl. weekends) after the original submission deadline. No late submissions will be accepted for timed assessments – e.g. quizzes, online tests.

 

Feedback

Feedback in this unit is available in multiple forms: informal feedback through the ‘announcement’ function in iLearn, if there are points of relevance to the whole class; in email communication with individual students by the convenor in response to questions related to unit activities; in personal consultations by phone or face to face as requested by appointment; as formal feedback during workshops from staff and peers; as general comment and rubric comments attached to assignments.

 

Examples

Examples of assessments will either be posted iLean (including sample films) and/or discussed in lectures & workshops.  

 

ASSESSMENT GRADES AND STATUS

Assessment standards in this unit align with the University's grade descriptors, as follows: 

Grade HD     Range 85-100          Status ‘Standard Grade’ in AMIS: Pass

Provides consistent evidence of deep and critical understanding in relation to the learning outcomes. There is substantial originality, insight or creativity in identifying, generating and communicating competing arguments, perspectives or problem solving approaches; critical evaluation of problems, their solutions and their implications; creativity in application as appropriate to the program.

Grade D        Range 75-84                        Status ‘Standard Grade’ in AMIS: Pass

Provides evidence of integration and evaluation of critical ideas, principles and theories, distinctive insight and ability in applying relevant skills and concepts in relation to learning outcomes. There is demonstration of frequent originality or creativity in defining and analysing issues or problems and providing solutions; and the use of means of communication appropriate to the program and the audience.

Grade C        Range 65-74                        Status ‘Standard Grade’ in AMIS: Pass

Provides evidence of learning that goes beyond replication of content knowledge or skills relevant to the learning outcomes. There is demonstration of substantial understanding of fundamental concepts in the field of study and the ability to apply these concepts in a variety of contexts; convincing argumentation with appropriate coherent justification; communication of ideas fluently and clearly in terms of the conventions of the program.

Grade P         Range 50-64                        Status ‘Standard Grade’ in AMIS: Pass

Provides sufficient evidence of the achievement of learning outcomes. There is demonstration of understanding and application of fundamental concepts of the program; routine argumentation with acceptable justification; communication of information and ideas adequately in terms of the conventions of the program. The learning attainment is considered satisfactory or adequate or competent or capable in relation to the specified outcomes.

Grade F         Range 0-49              Status ‘Standard Grade’ in AMIS: Fail

Does not provide evidence of attainment of learning outcomes. There is missing or partial or superficial or faulty understanding and application of the fundamental concepts in the field of study; missing, undeveloped, inappropriate or confusing argumentation; incomplete, confusing or lacking communication of ideas in ways that give little attention to the conventions of the program.

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 F5 cameras), sound recorders, digital editing software, image stabilising equipment, tripods, dollies, various portable lighting equipment, etc. Students undertaking independent productions may use their own equipment.

Health and Safety

Students must adhere to health and safety guidelines during workshops and production activities. A safety report is required for all productions. Detailed guidelines will be provided on iLearn.

Attendance

It is a compulsory requirement to attend all production workshops and lectures.

Any absence from a workshop or lecture must be supported by documentation such as a 'a completed Professional Authority Form (PAF)' and discussed with the convenor.

Unit Readings

Students are expected to undertake independent research into the creative and technical aspects of screen production. A list of the weekly readings is available from the unit schedule and links to Library eReserve  will be provided 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 recommended texts that will be available from the MQ Library.

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.

Additional weekly readings will be provided on iLearn.

READING LIST & SCHEDULE

Additional info on schedule, readings and other resources  will be provided weekly on iLearn.

SCHEDULE

Week 1

Intensive Week (Online)

27^th, 28^th and 29th July 3 pm to  8 pm  Online via Zoom

This intensive week will combine lectures and workshops to deal with the following topics/concerns:

1. The principles of independent short film production;
2. What’s an idea for a short? Students to pitch production ideas. We will discuss these ideas and select those that will go into production.
3. Production Skills. Student will pitch production skills (crew role). Confirmation of production groups.

Week 2

No lectures or workshops. Student to meet as a group to work on at least one aspect of their production together which will be demonstrated in class or online in Week 3. These aspects could include or not restricted to:

• scripting
• performance
• visual/aural style and directing
• cinematography and design
• edit and sound design
• aspects of producing e.g safety

Week 3

Workshops in Screen Studio or online via Zoom.

Students will demonstrate what they have worked on as a group the previous week. They will present their findings to class.  We will collectively refine these ideas in class and further their explorations.

Students will report on how they are progressing with their study plans.

Week 4

No lectures or workshops. Student to meet as a group to work on at least one aspect of their production together which will be demonstrated in class in Week 5.

Week 5

Workshops in Screen Studio or online via Zoom. Students will demonstrate what they have worked on as a group the previous week. They will present their findings to class.  We will collectively refine these ideas in class.

Students will report on how they are progressing with their study plans.

Week 6

Workshops in Screen Studio or online via Zoom. Shoot and edit online drafts of productions (or sample scenes).

Week 7

No lectures or workshops. Students to prepare for shoots.

Semester Break Week 1

Final preproduction or shoot

Semester Break Week 2 

Final preproduction or shoot

Week 8 

No workshops. Last week of shooting. Post production commences.

Week 9 

No workshops.  Consult with convenor on edits.

Week 10 

Workshops in Screen Studio or online via Zoom. Show draft assemblies in class.

Week 11 

No workshops. Edit locked off. Sound design. Consult with convenor on edits

Week 12 

Workshops in Screen Studio or online via Zoom. Show fine cuts in class.

Week 13 

No workshops.  Meetings with production groups to finalise edits.

Week 14 

Export.

Focus Screening - TBA