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Faculty of Arts School of Social Sciences

Communication Studies Project COMM3002

Semester 2, 2012 6 Points

Unit Coordinator:

Unit Teaching Staff:

Jennifer Jamieson Jen Jamieson, Kate McClung Lectures: GGGL: Woolnough Lecture Theatre, Monday 3:00pm Seminars: Collaborative Learning Studio (CLS) Room 2.31
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CONTACTING US
During the semester you may need to contact various staff members, and there are a number of ways to do this:

Teaching Staff:
Jen Jamieson Unit Coordinator/ Lecturer/Tutor Kate McClung Tutor ! Multimedia Centre Equipment Office

Room SSCI 1.12

Email jennifer.jamieson@uwa.edu.au kate.mcclung@uwa.edu.au

Phone 6488 1203

Consultation Times Monday 2pm 3pm To be advised

Opening Times: Equipment Checkout

Anita Krsnik (Project Officer) Room 2.36 Phone: 6488 2891 Adem Kerimofski (Admin/Tech Officer) Room 2.25 Phones: 6488 1696

Room 2.32 Phone: 6488 4678

Monday Friday 10am 11am Equipment Return Monday Friday 2pm 3pm

UNIT DESCRIPTION In this unit students undertake a supervised, collaborative project using the resources of the Multimedia Centre. Projects are based on typical industry needs in the communications field and components might include the creation and production of a short film. Students identify a repertoire of personal skills learned in the project management context and present a critical and reflective report on the project process. To this end, students will need to think carefully about the relationship between the technologies they are using and the theoretical concept they wish to explore through their project. Students are required to explore this interdependent relationship via a three-part process that involves: (i) developing a pre-production proposal that outlines the content, format and timeline of their proposed digital project, and explains the theoretical and conceptual agenda driving its creation (ii) completing a narrative-based digital project that directly experiments with their proposed theoretical and conceptual themes (iii) submitting a self-reflexive critical exegesis that analyses the theoretical concept explored through the digital work, and the various discoveries made regarding its theme as well as the medium employed to explore it To assist students in the completion of these tasks, they will be required to attend three different kinds of classes: 1) Lectures - students will be provided with theoretical information on a number of areas of screen production, which will help them to understand and articulate the technical, creative, and academic significance of their project.

2) Seminars - through technical demonstrations and tutor/group consultation, students will receive guidance in the practical and logistical formulation and execution of their digital project and critical exegesis. 3) Workshops- in workshops students will be taught how to use more developed elements of the digital software program: Adobe Premiere Pro. OUTCOME BASED EDUCATION STATEMENTS

This unit builds on the practical and theoretical knowledge gained in the Level 2 core units COMM2201 or COMM2001 Communication and Mass Media and COMM2203 or COMM2002 Digital Media. Students gain an understanding of not only key research skills, but also framing in both a critical and practical sense, as well as project management and the basic practical skills associated with using cameras. Students therefore progress to a more advanced and critical level in digital media production. Research and a variety of communication skills are deeply embedded in this unit. Students are able to (1) independently formulate, plan and execute an original digital media project; (2) make competent use of digital media software; (3) critically assess the communicative value and/or properties of their chosen medium; (4) understand key debates within scholarship about various media technologies and forms; (5) explain the theoretical or research significance of their practical production work in the form of a written argument; (6) reflect on the relationship between theory and practice; and (7) work collaboratively with peers to facilitate dialogue in a classroom setting. UNIT STRUCTURE Primary Contact Hours: 4 hrs per week. Additional Hours: In addition to class contact hours, students are expected to attend compulsory editing workshops (dates to be advised), as well as to regularly meet with group members out of class to work on their productions.

GROUP WORK
Most digital media production, and certainly all professional digital video work, is collaborative. In order to model the way digital media is produced in various production contexts, and due to the practical requirements of shooting and editing digital media, a large proportion of the work and assessment in this unit involves working in groups. It is therefore essential that students work effectively as a team. Groups will be formed in the second seminar of the semester, allowing each group plenty of time to plan in advance of the assessment items. Groups are strongly encouraged to exchange reliable contact information with each other as early as possible, and to maintain regular contact throughout the semester. It is each groups responsibility to effectively organise itself. If serious problems arise students should contact their tutor or the unit coordinator immediately, but should make every effort to plan carefully to avoid difficulties wherever possible. If a group member is ill for a considerable period, which will seriously impact on the groups work, that group member should contact their tutor and their group immediately (a medical certificate will be required). To allow each individual group member to formally consider and report on how each team member contributed to the pre-production proposal and the narrative digital project, Team Project Forms will be completed, and may be used to help assist tutors with allocating individual marks for group assessments. Professional Conduct: As part of this unit, students are required to conduct themselves in a professional manner with regards to all areas of project management. This includes following the appropriate booking, handling, and returning of production equipment. If groups fail to abide by these strict equipment policies, the group will lose marks from their project grades, as this procedure is a significant responsibility and assessment component of project management.

READINGS AND COURSE MATERIALS Required Texts:

1) Grammar of the Shot, Christopher J. Bowen Roy Thompson Burlington: Elsevier. 2009 2) Grammar of the Edit, Christopher J. Bowen Roy Thompson Burlington: Elsevier. 2009
Required Readings: As outlined in the Unit Schedule, each week there are a number of required readings online which can be accessed via the units LMS link. ASSESSMENT STRUCTURE AND CRITERIA The unit has four assessment components, which all contribute, and relate to the narrative digital project. Assessment Item 1 2 3 4 Detail Pre-production Proposal Narrative Digital Project & poster Critical Exegesis Attendance and Participation Total Value 25% 35% 20% 20% 100% Assessment Type Group Group Individual Individual

Assessment 1: Pre-production Proposal (25%) Due: Week 7 - In class Submission: Hardcopy In their assigned groups, students must provide a well-developed pre-production proposal for their digital production. These include: 1) Production Management Documentation i. ii. the project title and genre (documentary or drama) a five minute film script (drama) or treatment (documentary) for the project

iii. a brief outline and timeline of the steps they will need to take to complete the project iv. a marked up script, floor plans, storyboards, shot lists where appropriate Note 1: The proposal should be a coherent and sophisticated pre-production working document which students will refer to during the filming and editing of their productions. Groups can determine how this pre-production proposal is initially developed (individual group members taking on specific tasks, or the whole group completing each task together) yet are reminded that the proposal must embody a strong level of interconnectedness and a unity of style. Students are therefore required to meet regularly to discuss ideas and to refine each criterion as a creative team.

Note 2: Storyboard templates are located on LMS for download. Use these or create your own as appropriate. Documentation for Project Management will also be available on LMS for download. Teams should use these forms to organise themselves. Assessment 2: Narrative Digital Project (35%) Due: Study Break (5-7 November 2012) before 3pm, on the day of your tutorial Length: 5 minutes plus credits Submission: Hard drive to Anita Krsnik (room 2.36, Arts Builiding) In their production groups, students must create a narrative-based short film or documentary on a theme of their choice developed in consultation with their tutor. Groups are invited to explore the possibilities for extending traditional genres or formats such as fictional narrative, documentary, mockumentary, and/or poetic visual narrative through experimenting with various filmic techniques they will be introduced to in this unit. Teams must comprise 4-5 members for documentary and 5-6 members for drama. Teams will be required to clearly define their crew roles and responsibilities. Groups must also submit an electronic pdf movie poster for their film, as well as a final script/treatment, and all location agreements & talent release forms etc.

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Assessment 3: Critical Exegesis (20%) Due: Week 13 Friday 2 November before 4.30pm. Length: 1500 words Submission: Hardcopy to the CS/ECS/GS office (G.10, Arts Buidling) Students are required to individually write a 1500 word self-reflexive essay analysing the logistical, theoretical and conceptual parameters of their digital project. The exegesis offers students the opportunity to critically reflect on the experience of completing a five-minute drama or documentary production, and to articulate the development of their understanding in relation to the logistics of digital media production, as well as the experience of exploring a theoretical concept through creative practice. This analysis should be located within relevant writing and theory extending from the genre and field that students have been working in, and should identify how their project exemplifies, challenges or develops these theories. For example, if students are making a drama that challenges the traditional three-act film narrative by using non-linear storytelling techniques, they could discuss how their project was formed in relation to debates and theories about narrative construction ie. what have other filmmakers/authors/film theorists said about these techniques? What other films have pushed the boundaries of storytelling though flashbacks and flashforwards? What are the advantages and disadvantages of this unconventional narrative construction? Note 1: Helpful links for how to write an exegesis are provided on LMS. Note 2: It important that this essay is reflective and analytical, not just descriptive. Students should avoid informal expression and must contextualise their discussion in relevant writing in their given field. Students are strongly encouraged to conduct their own readings into their subject matter, beyond those provided in the unit reader.

Note 3: To make sure that the conceptual aspects of their project usefully inform its practical dimensions, students are advised to begin their research at the same time as they are formulating their project; the two facets of the project should evolve simultaneously ie: theoretical research informing your creative work, and vice versa. Keeping diarised notes throughout the development of your project will greatly assist you in the formal write up of the exegesis. Note 4: The Critical exegesis should be presented as a formal document, including quotations from relevant scholarly resources and endnoting/footnoting where necessary. The Communications Style Guide is available on LMS. Penalties will apply for incorrect or insufficient referencing. Assessment 4: Attendance and Participation (20%) Attendance and individual participation and cooperation, during lectures, seminars, and editing workshops as well as in regular out of class group meetings, is required in order to pass this component of the unit. As a group member you are expected to contribute meaningfully to each assignment so that all members have the opportunity to realise the digital project outcomes and fulfill their individual production role to the best of their ability.

HOW PROJECTS WILL BE ASSESSED

Further details about assessment processes and criteria will be outlined by your tutor. In principal, however, there are minimal technical criteria that should be met, as much of your project work revolves around the acquisition of technical skills in digital media development using computers, solving problems and being creative. Project assessment follows these basic qualitative procedures: Criteria Production Values Technical: Visuals/ Sound Technical: Editing Technical:Innovation Communication Values Analysis EDITING HELPFUL ONLINE ADOBE TUTORIALS Premiere Pro CS5: http://tv.adobe.com/show/learn-premiere-pro-cs5 After Effects CS5: http://tv.adobe.com/show/learn-after-effects-cs5 Photoshop CS5: http://tv.adobe.com/show/learn-photoshop-cs5 MOST IMPORTANT: DATA BACK-UP LEARN HOW TO BACK-UP YOUR DATA TO EXTERNAL HARD-DRIVE. YOU ARE RESPONSIBLE FOR ENSURING THE BACK-UP AND INTEGRITY OF YOUR PROJECTS. Brief Description Quality of Direction and Production. Demonstration of technical proficiency in camera work, and attention to sound production values. Demonstration of software skills; sense of timing and editing structure. Innovative use of a variety of digital mediums and techniques where appropriate. Structure of work. Clarity. Coherence. Engagement. Group Participation. Theoretical research and critical reflection.

Teaching and Learning Responsibilities!

Charter of student rights and responsibilities The Charter of Student Rights and Responsibilities upholds the fundamental rights of students who undertake their education at the University of Western Australia. The University's charter of Student Rights and Responsibilities is available at http://www.secretariat.uwa.edu.au/home/policies/charter Student Guild contact details Contact details for the University Student Guild can be found at http://www.guild.uwa.edu.au
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ACE/AISE/CARS Academic Conduct Essentials (AACE1000/AACE7000) Academic Conduct Essentials (ACE) is a compulsory online module for all students about ethical scholarship and the expectations of correct academic conduct that UWA has of its students. All students at any level undergraduate, postgraduate, onshore, offshore who are enrolled into a UWA course, are required to complete anonline module which introduces you to the basic issues of ethical scholarship and the expectations of correct academic conduct that UWA has of its students. The unit is called Academic Conduct Essentials, or ACE for short, and is available through the Learning Management System using your Pheme account. Those students required to complete ACE are automatically enrolled in the unit. Information about ACE is available in the UWA Handbook for both the undergraduate unit and the postgraduate unit.
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Communication and Research Skills (CARS1000) All commencing undergraduate students are required to complete CARS1000 within the first 10 weeks of their first semester. CARS1000 is an online, self-paced unit that provides an introduction to the skills needed to find and use information effectively and efficiently, to communicate effectively and to work in teams. Topics covered include how to locate and use library resources, the search process and search strategies, how and why to reference work, evaluating online sources, writing, presenting and working in teams. CARS1000 is a Moodle unit containing several modules. In order to pass the unit, the unit quiz must be completed with a mark of 80% or greater. Multiple attempts at the quiz are allowed. Completion of the unit will be recorded as an Ungraded Pass (UP) or Ungraded Fail (UF) on your academic record. Students can only access this unit via the Learning Management System, Moodle.
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Indigenous Studies Essentials (INDG1000) This unit is a Welcome to Country that introduces students to the shared learning space that is The University of Western Australia. This learning space includes both Western and Indigenous knowledge systems. The unit looks at the local, national and global contexts of Indigenous peoples.!"#$%&'#(! consider where the University is located and share in the Noongar story of the place. They explore Aboriginal people in a national context and Indigenous people globally. Students are introduced to a range of protocols relevant to their professional and disciplinary contexts. This comprises an online quiz (100 per cent). A database of questions addresses all sections of the module. Students are permitted to attempt the quiz as often as they wish to achieve the required 80 per cent pass mark. This unit is a mandatory and informational unit. Students can only access this unit via the University Learning Management System, Moodle.
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Information for students with disabilities The University has a range of support services, equipment and facilities for students with a disability. If you would like to receive advice on these services please email uniline@uwa.edu.au or visit http://www.studentservices.uwa.edu.au/information_about/disability_programme
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Academic literacy and academic misconduct

Plagiarism! Be aware that the work you submit must be your own with no unacknowledged debt to some other writer or source. To pass off written work as your own, whether you have copied it from someone else or from somewhere else (be it a published writer, another person, a TV program, a library anthology, a lecture, a website or whatever) is to deprive yourself of the real benefits of this unit and to be guilty of plagiarism. Plagiarism is a serious offence! University policy is that plagiarism, the unacknowledged quotation of material from other people's work, is a ground for failure. Moreover, your name is placed on a central

plagiarism register. If you take notes from other sources (critical articles, background works, etc.) you must quote carefully and accurately, and acknowledge the quotation. Even if you paraphrase, you must still acknowledge that you are paraphrasing. Please refer to the University's policy document for further information http://www.arts.uwa.edu.au/students/policies/dishonesty

Appeals against academic assessment

In the first instance, students are strongly advised to talk informally to the lecturer about the grade awarded. The University provides the opportunity for students to lodge an appeal against any mark which he or she feels is unfair. Any student making an appeal is under an obligation to establish a prima facie case by providing particular and substantial reasons for the appeal. Students may wish to contact the Guild Education Officers to aid them in the appeals process. There is a 20 working day time limit for making any such appeal. An appeal against academic assessment may result, as appropriate, in an increase or decrease in the mark originally awarded. The University regulations relating to appeals and the form on which the appeal should be lodged can be found at http://www.secretariat.uwa.edu.au/home/policies/appeals LATE WORK It is necessary to speak to your Unit Coordinator or Tutor before the due date if you think that you will have difficulty handing in an assessment on time. Work that has not been granted an extension receives a deduction of 2 marks per UWA working day. All student work is due BEFORE 4.30pm unless otherwise stated. No work will be accepted after the end of the examination period (without formal deferral from the Academic Student Advisor). Handwritten work will be accepted provided it is legible.

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LINK TO LMS http://www.lms.uwa.edu.au

Other Important Information

Assistance with study skills, including English language skills, is available free of charge from Student Services for all enrolled students (see http://www.studentservices.uwa.edu.au/ss/learning). Student Services location: Second Floor, South Wing, Guild Village; telephone: 6488 2423.

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Workshops 62!7#%4.8!

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Student Preparation, Required Readings, and Assessment Deadlines
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Date

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1 2

30-Jul-12

NO LECTURE

NO SEMINAR Unit Introduction & Production Management Unit outline Discussion

Pre-production: Develop your digital project ideas to bring along for discussion and group formation in week 3 Pre-production: Develop your digital project ideas to bring along for discussion and group formation next week Required Reading: nd Pre-production - Producing Videos: A Complete Guide 2 Edition, Mollison, M, 2003 pg 343-368

NO LECTURE

6-Aug-12

Discussion: Production Crew Roles & Procedures STUDENTS to share their initial project ideas with the class for discussion & feedback

13-Aug-12

Revealing and Constructing Truth on Screen: Documentary, Cinema Verite, Docudrama, Mockumentary & Reality TV

Discussion: Pre-production Proposal and Critical Reflection Essay Students to share their project ideas with the class for ongoing discussion & feedback Students to form production groups decide on individual production roles

Pre-production: Groups should begin project proposals and pre-production tasks Required Reading: Rabiger, Michael, Directing the Documentary, 2004 MacGregor, Brent, with Simpson, Roddy, Towards Defining the Digital Documentary, in John Izod, Richard Kilborn, & Matthew Hibberd (eds) Suggested Further Readings: Wells, Paul, The Documentary Form: Personal and Social Realities, in Jill Nelmes (ed.), An Introduction to Film Studies, London & New York, Routledge, 1996, pp.167-191 John Izod, Richard Kilborn, & Matthew Hibberd (eds), From Grierson to the Docu-Soap: Breaking the Boundaries, Luton, University of Luton Press, 2000, pp. 185-195

20-Aug-12

Scriptwriting: Models of Authorship, Linear and NonLinear Narrative Forms & Open-ended Narration

Discussion: Scriptwriting format & Documentary Treatments Discussion: Pre-production Proposal and Critical Reflection Essay Pre-production in groups Camera & Steadicam demonstration in

Pre-production: Groups should continue work on project proposals and pre-production tasks Required Reading: Seger, Linda, Making a Good Script Great, 1994, pg 1838 and 180-198 Dancyger Ken & Rush, Jeff, Alternative Scriptwriting, third ed, 2002, pg 30-38 nd Scriptwriting - Producing Videos: A Complete Guide 2

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Edition, Mollison, M, 2003 pg 319-342 Suggested Further Reading: Cooper, Pat and Dancyger Ken, Writing the Short Film, third ed. 2005 Smith, Hazel, The Writing Experiemnet: Strategies for Innovative Creative Writing, 2005

27-Aug-12

Directing From Script Screen: Visualising Breaking Down a Scene

to &

Discussion: Clarification of any Scriptwriting or Treatment Questions Shooting to Edit Discussion & Exercise: Breaking Down a Scene, Floorplans, Shot lists & Storyboards Groups to share their concept with the class for continuing refinement and feedback

DIRECTORS & PRODUCERS WORKSHOP TBC

Pre-production: Groups should continue work on preproduction proposals and tasks Required Reading: Putting Your Shots Together: Prethinking the Editing Process pp. 93-112 in Grammar of the Shot, Roy Thompson & Christopher J Bowen, 2009 Film Directing: Shot by Shot Visualizing from Concept to Screen Katz, Steven d. 1991, Pg 7-22 Storyboards pg 23-85 in Film Directing: Shot by Shot Katz, Steven d. Pre-production: Groups should continue work on preproduction proposals and tasks Required Reading: Weston, Judith, Directing Actors: Creating Memorable Performances for Film and Television 1996 Shooting an Interview - Producing Videos: A Complete nd Guide 2 Edition, Mollison, M, 2003 pg 387-388 Rabiger, Michael, Directing the Documentary, 2004 Directing: Telling the Story - Producing Videos: A nd Complete Guide 2 Edition, Mollison, M, 2003, pg 74-83 Composition and Framing - Producing Videos: A nd Complete Guide 2 Edition, Mollison, M, 2003, pg 57-75 nd Lighting - Producing Videos: A Complete Guide 2 Edition, Mollison, M, 2003 pg 272-306 Pre-production: Groups to work on Pre-production Tasks Required Reading: Bordwell, D and Thompson, K, History of Film: An Introduction, 1994

Cinematography: Composition, Mise-en-scene & Lighting 3-Sep-12

Pre-production Consultation: Groups to use class time to work on their pre-production proposals

EDITING WORKSHOPS (compulsory for editors & directors)

DIRECTORS & PRODUCERS WORKSHOP TBC

7 10-Sep-12

Building Characters: Achieving Authentic Performances in Documentary & Drama

Pre-production Consultations: Groups to use class time to work on pre-production proposals & tasks Pre-production Proposals due Friday

EDITING WORKSHOPS (compulsory for editors & directors)

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week 7 by 10am Optional RECORDING STUDIO WORKSHOPS 8 17-Sep-12 Cinematography: Composition, Mise-en-scene & Art Direction Project proposal feedback from tutor Groups to use class time to finalise any Pre-production tasks Lighting demonstration in class

Doing Short Dramas - Producing Videos: A Complete nd Guide 2 Edition, Mollison, M, 2003 pg 333-338

Production: Groups begin filming Required Reading: The Art of Composition pg 23-65 in Grammar of the Shot, Roy Thompson Christopher J Bowen 2009 Dynamic Shots Talent and Camera in Motion pg 113- 130 in Grammar of the Shot, Roy Thompson Christopher J Bowen 2009 Light in Composition pg 74-93 in Grammar of the Shot, Roy Thompson Christopher J Bowen 2009 Suggested Further Reading: Bordwell, D and Thompson, K, Film Art: An Introduction, 2001. Composition and Framing - Producing Videos: A nd Complete Guide 2 Edition, Mollison, M, 2003, pg 5775. nd Lighting - Producing Videos: A Complete Guide 2 Edition, Mollison, M, 2003 pg 272-306

24-Sep-12

PRODUCTION SHOOTING it is very important that groups use this week to finish filming & begin logging/capturing footage NON TEACHING WEEK no classes or lectures

1-Oct-12

Sound: The Invisible Yet Powerful Medium

Production Shooting - no seminar

Production: Groups filming Required Readings: Microphones & Location Sound Recording nd Producing Videos: A Complete Guide 2 Edition, Mollison, M, 2003 pg 200-212 and 222-242

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8-Oct-12

Editing: Graphic, Rhythmic, Spatial & Temporal Relations

Rough cut presentations: feedback in class

Post-Production: Groups editing Required Reading: Screen Direction pg 42-54 in Grammar of the Edit, Roy Thompson Christopher J Bowen 2009

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Continuity pg 66-74 in Grammar of the Edit, Roy Thompson Christopher J Bowen 2009 General Practices for Editors pg 97-109 in Grammar of the Edit, Roy Thompson Christopher J Bowen 2009 Editing: Temporal Connections in Film Directing: Shot by Shot Visualizing from Concept to Screen Katz, Steven d. 1991, Pg 145-156

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15-Oct-12

Specialist lecture

Production/Post-production: Groups can either use this seminar to finalize any reshoots or to continue editing their footage Please inform your tutor if you plan to not attend the seminar in order to finish filming

Production/Post-production: Groups to complete any re-shooting and continue editing their footage

12 22-Oct-12

Guest Filmmaker TBC

Post-production Consultations: Groups to use class time to edit with tutor & MMC technical assistance Rough cut presentations: feedback in class

Post-production: Groups to continue editing their productions and begin work on their individual critical exegesis Prepare Critical Exegesis: Write down any research questions or theoretical issues that your project work has raised, and identify any readings that could help you explore these issues further. Bring along notes to class next week Required Reading: How to write an exegesis article links

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29-Oct-12

NO LECTURE

Rough Cut Presentations: groups to receive critical feedback on their productions from their tutor and peers Vote for films for screening

ESSAY due Friday 2 November 2012 before 4:30pm submitted to English & Communication Studies office

nd

Study Week 5-Nov-12

DIGITAL MEDIA PROJECT & FILM POSTER Due: in class times of study week to Anita Krsnik, MMC POST PRODUCTION material due Friday 9 November before 4:30pm submitted to English & Communication Studies Office
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SHOWCASE SCREENING Industry Judges and Prizes Awarded Time & Venue TBC

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Recording Studio 2.30 Conditions of Acceptable Use

The Recording Studio is considered a piece of Multimedia Centre (MMC) equipment Any damage to, or misuse of the Studio will result in the user incurring expenses for repair or replacement and/or equipment borrowing penalties. Do not remove/unplug/swap any cables If you require assistance please contact MMC staff. No food or drink is allowed in the Recording Studio Do not place food scraps or other organic waste in the bins. The bins are for recyclable material only. The user will be responsible for any cleaning expenses incurred or the repair/replacement cost of facilities damaged by food or drink. Do not touch the foam walls The walls are lined with acoustic foam and any damage to the foam walls will affect the functionality of the Recording Studio. Any damage will result in the user incurring expenses for repair or replacement and/or equipment borrowing penalties. Leave the Recording Studio as you found it The Studio should be neat and tidy and free of any rubbish and clutter. Any objects moved should be returned to their original position. Lights should be turned off. Any items that you bring into the Studio must be removed before the end of your booking time. Notify MMC staff of any problems If you notice any violation of these conditions please notify the MMC staff prior to your use of the Studio so that they can ensure these facilities remain in good condition and continue to be operational. Users will not be liable for normal wear and tear. Failure to comply with any of these conditions may result in academic penalties, expense liability and/or incur equipment borrowing penalties.

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Project Submission Form Communication Studies 3002

This form must accompany your external hard drive

Student name: Student number: Group number: Hard drive number: Name of tutor:

Project name: Project duration: Project genre: Submission date: Have you exported a final version of your project? Is this final exported file saved onto your external hard drive? Has this final exported file been named correctly? (File names should be written in this format: Group 01 Final.mov) Does this final exported file play back correctly and completely? Was your project checked by a Project Officer before submission? Did the Project Officer give approval for your project to be exported? Name of MMC staff member accepting submission: Student signature: Comments: Yes Yes Yes No No No Yes Yes Yes No No No

To be completed by MMC staff: Date submission received: Does this hard drive submission include a final exported movie file? Does the final exported file play back correctly? MMC staff signature: Comments: Yes Yes No No

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Communication and Media Studies 3002 Equipment Booking and Borrowing Procedure
Bookings: Equipment bookings can be made in person, via email, or over the phone by contacting the Administrative/Technical Officer (see contact details below). Students also have the option to make bookings during the Multimedia Centre equipment office opening times. Changes to bookings or cancellations are to be made in the same way. Additional equipment must be specified at the time of the booking, not at check out. This should be indicated on the booking form. Lighting Kits, Steadicams and the Crane cannot be booked for more than two consecutive days, except for weekend bookings. Students may request a double booking of four days if the equipment is available. Cancellations must be made at least 24 hours prior to the booking time. Bookings for Shure headphones are for editing only and are restricted to 1 day.

Filming Weeks: Start: Week 8 Friday, 21 September 2012

First pick-up at 10am

Finish: Study Break Monday, 5 November 2012

Last return at 2pm

Multimedia Centre Equipment Office

Opening Times: Equipment Checkout

Anita Krsnik (Project Officer) Room 2.36 Phone: 6488 2891 Adem Kerimofski (Admin/Tech Officer) Room 2.25 Phones: 6488 1696

Room 2.32 Phone: 6488 4678

Monday Friday 10am 11am Equipment Return Monday Friday 2pm 3pm

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Equipment available to book: Standard Kit Sony MiniDV Camera and Accessories Tripod Rode Microphone Headphones Boom Pole Reflector Carry Bag Additional Items Steadicam (Shoulder Mount) Steadicam (Pole) Crane & Tripod Lighting Kit Lighting Accessory Kit and Sandbags Extension Power Cable Powerboard

Checkout: Students must present their Student Card every time they borrow equipment. Students may only pick up equipment from 10am 11am, every Monday - Friday. Students must sign an Equipment Checklist Form every time equipment is checked out. Students cannot alter their booking at the time of checkout. Cancellations must be made at least 24 hours prior to the booking time. Students are only supplied 2 Sony MiniDV tapes per group, then they can purchase others from retail outlets.

Returns: If students are returning equipment that was not booked out under their name, then they must supply the student number of the person who borrowed the equipment. Students must charge all camera batteries before returning equipment. Equipment must be returned between 2pm 3pm. If equipment is returned late, students must sign a Late Returns Form. Students must report any faulty, damaged or lost items to MMC Staff. If students are returning equipment that is faulty or has been damaged, they must complete a Faulty/Damaged Items Report.

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If equipment has been lost or stolen, students must complete a Stolen/Missing Items Report. Recording Studio Bookings The Recording Studio will be available for audio and video recordings. The Recording Studio is open from 9:30am 4:30pm, Monday Friday. Students can book the Recording Studio from Week 8 Week 13. Bookings are restricted to 2 hours. However, if, on the day, the studio is available, students may request a double booking of 4 hours. Cancellations must be made at least 24 hours prior to the booking time. Students must present their student card at the time of their booking. This card will then be exchanged for a Temporary Access Card to access the Studio. The procedure for booking the studio is to be announced later in the semester.