COURSE OUTLINE BPSA THEATRE, FILM & TELEVISION 2009

PASA 7262 FILM & TELEVISION PROJECTS 3B

Level Course No. Course Name Credits
7 PASA7262 Film & Television Projects 3B 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, Cinematography, Editing,

Screen 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 advanced theories, concepts and techniques in specialised
creative practice while consolidating the ability to create and realise complex work in a
variety of contexts, utilising a range of specialised technology.

Learning Outcomes:
On completion of the course the student will be able to:
1. Selectively employ creative techniques, processes and technology appropriate to specialisation to
realise bodies of screen works.
- Effectively apply suitable styles/processes to a professional standard within established production
parameters
- Interact effectively and professionally with crew, production team and cast to realise production of
original/selected material

2. Identify, demonstrate and self-critique own professional standards of collaboration, responsibility,

and problem solving skills in the performance of a specialist role.
(Production / Cinematography / Sound / Editing)

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3. Research developing trends in new and emerging technologies and critically reflect on their
potential impact on specialist area and career path
- Explore effects on own field of specialisation
- Identify potential impacts on personal creative processes

4. Selectively employ creative techniques, processes and technology to realise a creative work.
- Effectively apply suitable styles/processes within established production parameters
- Interact effectively and professionally with crew, production team and cast to realise the work.

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

Weighting Nature of assessment Learning Due Date

Outcome
s
40% Assignment 1 (Professional Practice/Short Film) 1, 2 13th November
30% Assignment 2 (New/Emerging Technologies: Presentation) 3 18th November
30% Assignment 3 (Negotiated Work) 4 20th November

1. PROJECT – PROFESSIONAL PRACTICE/SHORT FILM

The Projects assessment (as you experienced last semester with Adverts) involves 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 3 Short Films.

2. NEW/EMERGING TECHNOLOGIES : Presentation

[see below]

3. NEGOTIATED WORK
[see below]

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Projects
Please be aware that participation in projects is not automatic. The whole team
relies on you to fulfil the obligations of your role. Therefore, this year tutors
have the discretion to re-direct your contribution to an alternative assignment if
your performance proves unreliable.
Also, it is important that all major Year Three projects are not locked off without
sign-off from the Project Co-ordinator and other delegated staff. This is to
emulate industry practice, where sign-off would come from producers and/or
investors. We have decided to adopt this practice in Year 3 because the work
belongs to everyone and is a calling card for all students. And it is also
important in transitioning you into the workplace.

Year 3 Short Films (shoots 18th August – 6th September) – This is your graduate showcase
work, aspiring to the highest production values attainable. The Year 2 students will serve
as your support crew.
Acting Short Film (21st – 25th September) – This is a collaboration with Y3 Actors where a
single film will be shot over 5 days, mainly in studio.
Year 2 Short Films (shoots 20th October – 8th November) – Ahh, has it only been a year?
Here’s your opportunity to offer a hand to those just one rung below you on the
chronological ladder. You will serve as the support (in more ways than one) crew on this
project. No doubt, you’ll learn heaps, too.
Negotiated Work (due 20th Nov) – Your final project at tech is one where you call the shots.
This is a creative project with fairly flexible parameters - to be detailed under separate
cover. You may construct your Negotiated Work by yourself or with others’ help – but the
idea and the execution plan must come from you. Possible ways to use this project include
building your SHOWREEL or creating an EXPERIMENTAL FILM to push the limits of your
specialisation. Your tutor may propose a few ideas as well. Once the size and scope of the
project are signed-off by the Programme Coordinator, you will have the rest of the semester
to construct it. We will have an all-school screening at year’s end.

Coursework
New/Emerging Technologies (7th September - 18th November)
In this 5-class block, we’ll venture into the possibilities ahead for communication and
information exchange, and you’ll explore where you might fit into the mix. After the 5 classes
will be your Presentations, where you’ll broadcast video content streamed live online using
smart phones mixed-in with material you will have created in the class sessions. Some of the
supplementary topics covered will be: the significance of tags, hacks, mashups and the
cloud; developing your personal online brand; new types of communication platforms and
business models (such as crowdsourcing and the growing Commons movement); trend-
forecasting to stay ahead of an ever-changing landscape; and using your specialist training
to develop innovative income streams. This unit is about bringing your last three years’
training as filmmakers into the future by integrating traditional concepts with rapidly evolving
new tools and ideas in ways which could actually help pay the rent. A fitting way to conclude
your studies here at Unitec PASA and face forward into the future.

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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 & Loom
(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.]
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
in the appropriate assessment.
• 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 the Nikki Baigent or Robin Gee [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 in the appropriate assessment.

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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 or production staff; I wonder if anyone ever
even reads any of this stuff; disposing of waste products in accordance with SPASA policy,
environmental and Health & Safety guidelines).
• Complete all required administrative paperwork, logs, schedules etc. using SPASA/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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