COURSE OUTLINE BPSA THEATRE, FILM & TELEVISION 2009

PASA 6262 FILM & TELEVISION PROJECTS 2B

Level Course No. Course Name Credits
6 PASA6262 Film & Television Projects 2B 30
Course Coordinator
Dan Wagner dwagner2@unitec.ac.nz

Teaching Staff
Most Film and Television tutors with some guests

Course Description
This course is where all our screen projects reside. This means all activities
pertaining to our films and all the cross-specialty exercises. These activities
encompass not only the actual productions, but also all pre-production meetings,
recces, etc. Also in the Projects course are those classes which add to or inform the
specialties.
As distinguished from the Techniques courses (Production, Camera, Editing, Sound),
where the emphasis is on specialty skills, in the Projects courses, the emphasis is
on COLLABORATION and PROFESSIONAL PRACTICES. These qualities have to do with how
(well) you work together toward a common goal, and how your level of respect for
and commitment to your craft and your colleagues is reflected in your behaviour and
in your work. Therefore, we’ll be assessing things such as ATTENDANCE & PUNCTUALITY;
your level of PARTICIPATION in the classes and in every aspect of the projects; the level
and quality of your PLANNING; your degree of LEADERSHIP and/or INITIATIVE; and the clarity
and quality of your pre-production, on-set and post-production COMMUNICATION.

Course Aims and Learning Outcomes

Every course has Aims, and every class and assessment has Learning Outcomes. They
are what you will achieve by successfully completing each class and assessment. Here are
the aims and learning outcomes for this Course:

Course aim:
To enable students to employ appropriate professional film & television techniques and approaches in
production projects.
To employ film & television technologies creatively.

Learning Outcomes:
On completion of the course the student will be able to:

1. Demonstrate professional processes and techniques, in a given specialisation, that make an

aesthetic contribution to screen projects.
- Apply professional operational and technical skills to screen projects
- Relate screen arts specialisations to other specialist aspects of film-making
2. Employ discipline specific professional behaviour and practices.
3. Examine the use of new and emerging media technologies and evaluate their relationship to
content creation and/or delivery.

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Please Note: Attendance is an essential facet of your professional training/behaviour. You are
advised that poor attendance or substandard preparation may result in you being restricted in or
declined participation on a particular project. This may lead to a fail mark in an assessment
linked to that project.
If you are unable to attend a class or meeting, you MUST notify PASA reception (815 4321 ext.
7115, or email Belinda <blima@unitec.ac.nz>) of
1) your reason for non-attendance/lateness; and
2) when you expect to resume/attend.
Treat your attendance here in the same way you'd treat a job. You'd at least inform your employer as
soon as you know you'll be absent or late. On a shoot, you'd usually be obligated to find someone to
cover you. But you'd never just not show up. We take attendance and punctuality very seriously - so
must you.

Course Assessments and Due Dates

MARK THESE DATES IN YOUR DIARY NOW
If you don’t have a diary, get one! You’ll need it from here on.
Also, remember to CHECK your diary at least once a week!
Weighting Nature of assessment Learning Due Date
Outcomes
40% Assignment 1 (Professional Practice) 2 23rd November
30% Assignment 2 (New/Emerging Technologies) 3 12th October
30% Assignment 3 (Production Design) 1 23rd September

1. PROFESSIONAL PRACTICE
Tutor, Peer & Self-Assessment [on issues such as Communication, Collaboration, Participation, Initiative,
Attendance] of your work throughout the entire semester of classes and projects, with a particular focus on
your work on the Year 2 Short Films.

2. NEW /EMERGING TECHNOLOGIES

Using the technologies discussed in last semester's blogs, students, in cross-specialty groups will
collectively envisage how an integrated media production would run [from pre-production to delivery].

3. PRESENTATION – PRODUCTION DESIGN

The final class of the Production Design block (see below) will be a Presentation, where you will pitch to the
class your set design for a(n already-existing) film

Projects
Studio Two (shoots 28th July – 7th August) is a crossover project involving all 6 Film & Television
disciplines plus Acting. This single camera studio-shoot is a step up from the Year 1 version. Where
Studio One was a half-day shoot for each piece, each Studio Two script is a full-day shoot, enabling
each specialty to apply your craft skills with much more complexity.

Year 3 Short Films (shoots 18th August – 6th September) – You will serve as the support crew on the
graduating Short Films by the Year 3 students. As you will be making your own Short Film in the final
term of this Semester, working on this project will hold significant learning value for you.

Blue Screen Exercise (shoots 15th & 16th September) is a technical exercise introducing the unique
requirements of creating “composite” shots (an effect where separate visual elements are combined to
create the illusion of being one integrated shot).

Year 2 Short Films (shoots 20th October – 8th November) – This is your first effort at a single-camera
narrative film shot on location. Building on all your prior learning, this is a major collaborative effort
between all specialties

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Coursework

Production Design (8th-23rd September) This is a 6-class block which addresses the craft of the
motion picture Production Designer. The instructor is our Production Design tutor, Brent Hargreaves.
You will explore both the big-picture and the detailed concerns of the Art Department, an area which
has a significant impact and interrelations with every specialty on a television or film set.

Notes on Equipment Care

PHILOSOPHY
The equipment provided here at SPASA is a precious commodity for us all. The computers, cameras,
microphones, RT’s, lights, mixers, editing suites, cables, tripods, even the sandbags – all are here for
the sole purpose of learning. And not just your learning, but for that of all your current colleagues and
for those who will come after you. By studying here, and by engaging in the projects we do, you’re
being passed a torch of knowledge, which you will then hand over to those next in line. If you treat the
equipment disrespectfully, you’re disrespecting not only your own future, but the futures of all those
around you and those who will follow you.

All equipment must be treated with conscious care and respect at all times.

PRACTICALS
Responsible Parties
Orders gear In charge of the gear on the shoot
and is ultimately responsible for it including Pickup and Return
Camera Gear DP Focus Puller
Lighting Gear DP Gaffer
Grip Gear DP Grip
Sound Gear Recordist Recordist
Boom Mic, Pole & cables
(when there's a separate boom
op) Recordist Boom Swinger

Ordering
• Requisition all gear through proper channels and in proper fashion. (This will be outlined for you
by the Screen Projects Production Manager on a separate sheet.)
• Use the correct form; fill out all the required sections of that form.
• Get the signature of the specialist tutor who oversees the requested gear.
• Order the right gear for the job (neither forgetting items, nor ordering unnecessary [quantities of]
items)
• Order gear for the correct time period (e.g. If you are shooting at lunchtime, don’t order gear pick-
up for 6am).
• Submit your request at least 48 hours in advance of when you’ll need it. This will allow the
Technical Office to prepare it for you. If you fail to do this, you run the risk of receiving only a partial
package, or even no package at all.
Pickup
• If an order is in your name, you must sign for the locker key.
• Keep the locker room tidy. After you pick up your gear, and before you leave the building
with it, you must make sure the locker room is tidy.
• Take only the equipment that you have booked. [Sometimes, Technical Office will leave gear for
other students in the locker room (particularly that which doesn’t fit into lockers, like cutters, 6x6
frames, etc.). If you take gear that someone else has booked, you’re acting in bad faith and
potentially ruining a colleague’s shoot. Don’t do it.]

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Return
• Equipment and locker keys booked under your name are your responsibility. You must return
them on time (on or before the end time indicated on your booking sheet) or be marked
down.
• Return the gear in an orderly condition (all gear back into its proper cases, all accessories in
the right kits, extension cords neatly coiled, etc.).
• Put cases into their proper lockers.
Reporting
If equipment is not working properly, you must mark the broken equipment and communicate
the fault to Robin Gee or Nikki Baigent [Screen Production and Facilities Manager] through the
Equipment Needing Attention form. (If we don't know it's broken we can't fix it.). If faulty
equipment comes back from your shoot and you did not report it, you will be marked down.

Your treatment of equipment will be factored into the PROFESSIONAL PRACTICES

ASSESSMENT at Semester’s end.

Notes on Professional Practice

The Theatre, Film and Television courses aim to develop your critical confidence and
creative assertiveness as you progress towards the independence you will require as a
graduate.

Professional attitudes and practices are essential for you to be successful in industry. Here
are some of the key professional attributes, skills and abilities that you must employ in all of
your work to ensure your success –

• Demonstrate an understanding of a professional work ethic (Arriving punctually for all calls and
sign in as required; arriving adequately prepared for work including appropriate dress and tools;
being committed and respectful).
• Demonstrating professional attitudes and practices at all times
• Follow all Health & Safety guidelines and instruction for self and others at all times.
• Work cooperatively with team members to ensure efficiency and quality (directors, designers,
performers, peers and supervisors).
• Communicate regularly with supervising staff; listening and interpreting instruction, advice and
criticism (Showing initiative in seeking advice from skill specialists on process and techniques).
• Attend production meetings and participate in discussions and all production communication
routines with peers, staff and others (aiming to build confidence and trust with work-mates both
inside and outside of the production).
• Effectively manage own time and show the ability to focus on the production as a whole.
• Complete all allocated work in a timely and efficient manner (demonstrating skill in applying
occupational techniques, showing attention to detail and routine).
• Estimate equipment needs, workloads, quantities of materials, costs etc. and manage petty cash
expenditure and requests for ordering materials/equipment/services. Also keep accurate financial
records (to a competent standard, using SPASA standard format).
• Demonstrate problem-solving skills and troubleshooting production issues (both defining and
assisting in the development of workable solutions).
• Maintain work area, tools and equipment in a clean and safe condition (Reporting any tool or
equipment fault or failure to the appropriate supervisor on production staff; I wonder if anyone
ever even reads any of this stuff; disposing of waste products in accordance with PASA policy,
environmental and Health & Safety guidelines).
• Complete all required administrative paperwork, logs, schedules etc. using PASA/industry
formats (Retaining all notes taken or received pertaining to the production and the work
performed. These notes may form part of the project report due at the conclusion of each
project).
• Demonstrate creativity and care toward the maintenance of production standards.

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