Unit convenor and teaching staff |
Unit convenor and teaching staff
Unit Convenor
Iqbal Barkat
Contact via iqbal.barkat@mq.edu.au
Y3A 191B
By appointment. Thursdays preferred.
Lecturer/Tutor
Kush Badhwar
Contact via email
Y3A 191
By appointment.
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Credit points |
Credit points
3
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Prerequisites |
Prerequisites
MAS212 and MAS213
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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:
Assessment tasks will be submitted in class for discussion and online, through iLearn. Assessments to be discussed in class must be brought to class as a printed hard copy and as a soft copy in the following formats only: PDF, PPT or any web-based presentation format e.g. Prezi. The Mac computers in Y3A do not have Keynote installed.
All written work can only be submitted on iLearn as PDFs only. No other format will be accepted.
Late Penalties
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 (including weekends) after the original submission deadline. No late submissions will be accepted for timed assessments – e.g. quizzes, online tests.
Name | Weighting | Hurdle | Due |
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Workshop Presentation | 40% | No | Weekly as designated |
Screen Production | 60% | No | Week 13 |
Due: Weekly as designated
Weighting: 40%
Workshop Presentation of Creative Strategies, Research Plan and Study Plan
Due: Weeks 3 to 7
Each student will research and present a ten minute workshop report.
They are to include the following:
The presentation will be accompanied by a report that must include the following:
ASSESSMENT CRITERIA
Depth of research and analysis conducted in relation to selected excerpts and crew role;
Degree of relevance of selected excerpts and analysis to screen production concept;
Relevance and feasibility of research plan.
Relevance and feasibility of study plan.
Effectiveness of Presentation
Written Expression
Due: Week 13
Weighting: 60%
Due: Week 13
Weighting: 60%
This assignment has 2 components:
Final Film (30%)
Critical Evaluation of Role (30%)
1. FINAL FILM
Each student will perform a crew role on a collaborative digital video screen production of up to 7 minutes. Each member of the creative production team is expected to undertake adequate preparation to carry out their role.
The Final Film must be exported in AVID Media Composer.
2. Critical Evaluation of Role
You are assessed on your crew role performance as evidenced in the final film supported by a range of documentation.
Documentation to be provided includes:
a. A report of around 1000 words analysing and evaluating the ways technical and aesthetic considerations have combined to realise (or not) the original concept. This report 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? Discuss it in relation to other films (e.g. of a similar genre or style). How has your role contributed to the technical and aesthetic realization of the production? What more could you have done to improve the production? Outline the major learning challenges you faced in your crew role during the process and how you resolved it. Also critically assess the contributions of each member of your team (peer assessment); one or two sentences for each member should be sufficient.
b. 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. Refer to your research and study plan (Assessment 1).
3. 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
Final films 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
The critical analysis will be assessed according to the following criteria:
1. Coherence, structure and argument of critical analysis.
2. Clarity of writing style, grammar and appropriate referencing.
3. Demonstrated effectiveness of contribution in crew role as evidenced in final film.
4. Demonstrated commitment in crew role as evidenced by attendance at workshops, production meetings, technical workshops, tests, shoot and post-production and other activities as necessary.
5. Demonstrated creative and technical preparation for crew role as evidenced in documentation provided.
6. Capacity to critically reflect on learning experience.
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.
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 as 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
Late Penalties
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 (including weekends) after the original submission deadline. No late submissions will be accepted for timed assessments – e.g. quizzes, online tests.
Students who are experiencing major difficulties such as long-term illness are expected to apply for Special Consideration at https://students.mq.edu.au/study/my-study-program/special-consideration.
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 'a completed Professional Authority Form (PAF)' and discussed with workshop lecturer.
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.
MAS 313 READING LIST & SCHEDULE
Additional readings will be provided weekly on iLearn.
Week 1
No Lectures & Workshops
Production groups to arrange meeting with convenor to discuss productions.
Week 2
LECTURE 1 – PRODUCING & DIRECTING
WORKSHOP 1
a. Confirmation of production groups b. Students not in groups to pitch production ideas or production skills (crew role)
READINGS
Vachon, C. & Edelstein, D. Shooting to Kill. Quill: NY 2002. PP 18-35.
Dancyger, K. The Director’s Idea The Path to Great Directing (Chapter 5: pp 55-70; Chapter 22: pp 300-315)
Baum, C. The time of whose lives exactly? Australian Broadcasting Corporation The Drum. Sydney. 2013. http://www.abc.net.au/news/2013-07-24/baum-the-time-of-whose-lives/4840638
Week 3
LECTURE 2: SCREEN PERFORMANCE
WORKSHOP 2:
a. Directors’, Producers’, 1st ADs’ live presentations Creative Strategies, Research Plan and Study Plan (Assignment 1) b. Workshop scenes from scripts.
READINGS
Haase, C. (2003). Acting for film. New York: Allworth Press. PP113- 136
Comey, J. (2002). The art of film acting: A guide for actors and directors. Oxford: Focal Press. PP 10-27
Tucker, P. (2003). Secrets of screen acting. New York: Routledge. 143 -151
McDonald, P. (1999). "Secrets and Lies" in Lovell, A. & P. Kramer (eds). Screen Acting, Routledge: NY, London. PP 138-151.
Rabiger, M. (2003). Film Directing. Focal Press: Boston. PP 278-284
Vachon, C. & Edelstein, D. Shooting to Kill. Quill: NY 2002. PP 144-16
Week 4
LECTURE 3: CAMERA & LIGHTING
WORKSHOP 3:
a. DPs’ live presentations Creative Strategies, Research Plan and Study Plan (Assignment 1) b. Workshop scenes from scripts.
READINGS
Daley, K. (1980) Basic Film Technique, London, NY: Focal Press. PP 33-37
Phillips, W. (2002) Film - An Introduction. NY: Bedford St Martins. PP 64-72
Castle, J. (2003) "When Girls Grow Up To Be Cameramen" in French, L (ed.). Womenvision — Women and the Moving Image in Australia, Melbourne: Damned Publishing. PP 57-67
Mercado, G, (2011) The Filmmakers Eye; learning (and breaking) the rules of cinematic composition. Focal Press. PP 1-20 Goodridge, M. & Grierson, T. (2012) Cinematography. Film Craft. Ilex. PP. 56-65 Heer, J. (1982). Cinematography. Bomb, 1, 2, PP46-69.
Cuttle, C. (2003). Lighting by design. Oxford: Architectural Press. Pp 115 -136
Week 5
LECTURE 4: PRODUCTION DESIGN
WORKSHOP 4:
a. Production Designers’ live presentations Creative Strategies, Research Plan and Study Plan (Assignment 1) b. Workshop scenes from scripts.
READINGS
Bacher, H. P. (2008). Dream worlds: Production design in animation. Burlington, MA: Focal Press. PP 8-28
LoBrutto, V. (2002). The filmmaker's guide to production design. New York: Allworth Press. PP 77-87
Week 6
LECTURE 5: EDITING
WORKSHOP 5:
a. Editors’ live presentations Creative Strategies, Research Plan and Study Plan (Assignment 1) b. Workshop scenes from scripts.
READINGS
Button, B. (2002). Nonlinear editing: Storytelling, aesthetics, and craft. Lawrence, Kan: CMP Books. PP 112- 146
Dancyger, K. (1997). The technique of film and video editing: Theory and practice. Boston: Focal Press. PP 373 382 Ondaatje, M. (2002) The Conversations: Walter Murch and the Art of Editing. Bloomsbury: London. PP 22-51
Rabiger, M. (2003) Directing. Focal Press: Boston. 2003 PP 519-532
Week 7
LECTURE 6: SOUND
WORKSHOP 6:
a. Sound Designers’ live presentations Creative Strategies, Research Plan and Study Plan (Assignment 1) b. Workshop scenes from scripts.
READINGS
Dancyger, K. (1997). The technique of film and video editing: Theory and practice. Boston: Focal Press. PP 383 – 399
Kalinak, K. M. (2010). Film music: A very short introduction. Oxford: Oxford University Press. PP 22-31
Beauchamp, R. (2005). Designing sound for animation. Burlington, MA: Elsevier/Focal Press. PP 17-27 Bordwell, D. & Thompson, K. (1985) "Fundamental Aesthetics of Sound in the Cinema" in Weis, E., and J.Belton (eds) Film Sound. NY: Columbia. PP 181-199.
Week 8
NO LECTURE OR WORKSHOP
Students to work on acquiring video and audio for the films. Production groups make appointment to show rushes to unit convenor and technical officer.
Week 9
NO LECTURE
WORKSHOP 7 (2 HRS) Production groups show rough assemblies in class. Peers give feedback on rough assemblies.
Week 10
NO LECTURE OR WORKSHOP
Students to work on edits, dialogue editing, acquiring sound effects, atmos and music. Production groups make appointment to show work-in-progess edits to unit convenor and technical officer.
Week 11
NO LECTURE
WORKSHOP 8 (2 HRS) Production groups show edits in class. Peers give feedback on edits.
Week 12
NO LECTURE OR WORKSHOP
Students to work on fine cuts and sound design Production groups make appointment to show work-in-progess edits to unit convenor and technical officer.
Week 13
NO LECTURE
WORKSHOP 9 (2 HRS) Production groups show completed films in class. Peers give feedback on films.
FOCUS SCREENING OF FILMS - Date TBA
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