Course Title: Establish the creative vision for screen productions

Part B: Course Detail

Teaching Period: Term1 2014

Course Code: VART5924C

Course Title: Establish the creative vision for screen productions

School: 345T Media and Communication

Campus: City Campus

Program: C6087 - Advanced Diploma of Screen and Media

Course Contact : Program Administration

Course Contact Phone: +61 3 9925 4815

Course Contact Email:mcvet@rmit.edu.au


Name and Contact Details of All Other Relevant Staff

C6087- ADVANCED DIPLOMA OF SCREEN & MEDIA

Teacher: Ms Barbara Gliddon
Phone: 9925 4072
Email: barbara.gliddon@rmit.edu.au

Mr John Reeves

Phone: 99254895

Email: john.reeves@rmit.edu.au

Nominal Hours: 50

Regardless of the mode of delivery, represent a guide to the relative teaching time and student effort required to successfully achieve a particular competency/module. This may include not only scheduled classes or workplace visits but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities.

Pre-requisites and Co-requisites

N/A

Course Description

This unit of competency, Establish the creative vision for screen productions CUFDRT601A is delivered in the class Design Studio 4, together with Develop a marketing plan BSBMKG609A and Manage the marketing process BSBMKG603B. The aim of this course is for students to concurrently develop a variety of screen based productions, both as individuals and as part of production teams.


National Codes, Titles, Elements and Performance Criteria

National Element Code & Title:

CUFDRT601A Establish the creative vision for screen productions

Element:

1 Review and interpret scripts.

Performance Criteria:

1.1. Read available drafts of scripts and arrange meetings with appropriate creative personnel to discuss potential interpretations of the vision.
1.2. Assess the intended creative aims of scripts, define proposed objectives and explore how they may be realised visually or through the use of sound.
1.3. Generate and consider a range of ideas for visualising scripts until a clear narrative emerges.
1.4. Identify research and reference materials to inform creative directions and to assist in providing the context for productions.
1.5. Review script drafts in collaboration with writers, agree on the need for any rewrites and organise timetables for completions.
1.6. Prepare clear development notes for script writers to produce script re-drafts as required.
1.7. Document perceived visual and dramatic elements in scripts as the basis for shot plans.
 

Element:

2 Prepare shot plans to realise visual narrative.

Performance Criteria:

2.1.Mark up working script into its component scenes and identify key dramatic elements and technical parameters within each scenic unit.
2.2. Plot key dramatic elements within each scene and between scenes to realise the transformation of the written narrative into its visual representation.
2.3. Consider the whole of the narrative and scenes to determine the location of characters and other elements for each individual shot.
2.4. Assess the photographic qualities of proposed shots and how they may impact on interpreting the story overall and within each scene.
2.5. Ensure overall shot plans allow both narrative and visual aspects to be controlled and carried forward to meet overall production requirements.
2.6. Discuss shot plans with relevant production personnel prior to development of any storyboards.
 

Element:

3 Review and communicate proposed shot plan

Performance Criteria:

3.1. Identify and document areas of productions that may be affected by script versions and discuss changes with colleagues.
3.2. Arrange sign-off for final script with producers if applicable and ensure it is distributed to relevant creative personnel.
3.3. Maintain an ongoing review of script and shot plans and organise for any further rewrites while production is underway.
3.4. Provide relevant production personnel with appropriate documentation, including latest version of script or script updates as applicable.
 


Learning Outcomes


Upon successful completion of this course, you will have acquired the skills and knowledge to develop the creative vision required for the production of a variety of screen based products. These include animations, short narrative dramas, interactive, mobile and web based productions.


Details of Learning Activities

Discussions

Research activities

Presentations

Listening and writing exercises

analysis of material.

Out-of-class activities include, but are not limited to,
• research
• reading
• independent project based work.


Teaching Schedule

Please note: While your teacher will cover all the material in this schedule, the weekly order is subject to change depending on class needs and availability of speakers and resources.
 This course is co delivered and assessd with CUFWRT601A Write scripts.

Week Class Content
Assessments dueElements
CUFWRT601A
CUFDRT601A.
Week 1Introduction to Write scripts and Establish the creative vision for screen productions.
Write scripts: Critical language in examining screenplays. Reflection on previous production including strengths and weaknesses. Meeting deadlines.

Evaluating screenplays with regard to mise-en-scene. Examining various screenplays. Assessing of the creative aims of screenplays.

 

1

1

Week 2The Audience: Audience expectations, the purpose of various screenwriting narrative forms. Brainstorming ideas. Source material supplied by the teacher. (co-delivered with Establish the Creative Vision for Screen Productions.) Evaluating script concepts and ideas.

Discussion/evaluation of the role of visualisation including mis-e-scene, and dramatic intent: why this location, this time of day, this costume, these colours? Blocking, rule of thirds, lighting etc. Thoughts on visualising the screenplay.

 

1

1

Week 3Identifying the purpose of individual screenplays. Variety in screenwriting :examination and discussion will include : tropes, genres and styles. Examination of structure both overarching and internal.

Blocking and art direction and costuming. Examples on screen.

 

1

1

Week 4Review discuss and obtain feedback about narratives from relevant personnel as required. Identification of class groups for second semester productions.

Documenting perceived visual and dramatic elements in screenplays as the basis for a shot plan.

(Marking up a screenplay, preparing a shot list or doing a storyboard.) Preparing notes for the writer.Review discuss and obtain feedback about narratives from relevant personnel as required. Identification of class groups for second semester productions.

Documenting peceived visual and dramatic elements in screenplays as the basis for a shot plan.

(Marking up a screenplay, preparing a shot list or doing a storyboard.) Preparing notes for the writer.

 

1

2

Week 5Reading screenplays. Establish criteria to provide an effective measure of the success of the scripts in their context: pace, tone, beginning and ends of scenes and story beats.

Preparing a shot list from a screenplay supplied by teacher.

 

1

2

Week 6Write Draft Scripts: Writing tools and techniques:

Dialogue and action. Text and subtext.

Students will prepare either a shot list, a marked up screenplay or story board on a scene or scenes supplied by the teacher. This will be handed in at the end of class with a signed and dated cover sheet attached.

Doing a shot plan. CUFWRT601A Formative assessment task 1 due.

2

2

Week 7 Working in collaboration and interpersonal communications. Editing assessing and giving feedback to another writer.Students will exchange their individual screenplays for feedback report.

Prepare clear development notes for writers.
Students will exchange their individual screenplays for feedback. A written report will be prepared and delivered to the writer and teacher in week 10.

 

2

1

Week 8Obligations with regard to facts,copyright, RMIT’s code of ethics. Classifications ratings.

Plot key dramatic elements within each scene and between scenes to realise the transformation of writing to visual narration. Examples on screen.Text and sub text.

 

 2

1

Week 9Production and performance requirements. Identification of a range of performance and production requirements
Discussion and feedback in groups.

The short film and the budget.

Making up (invention) and making do; (resourcefulness) and the short film.

Assess the photographic qualities of the screenplay. Ensure overall shot plans allow narrative and visual aspects to be managed.On the page and on the screen.Level of instruction to performers in screenplays.

 

2

2

Week 10Produce Final Scripts:

A written report (one copy to the writer one to the teacher is to be delivered this week.) This is formative assessment task (task1) and is also formative assessment task one for Establish Creative Vision for Screen Productions. To be delivered only once.

Sound design as it pertains to visual narrative.

and...

Brief on summative assessment task to be delivered in week 15. Students will deliver an in depth analysis of one scene (at least two pages in length) from his or her own screenplay outlining the preferred location, what makes this a preferred location with regard to mise-en-scene and dramatic intent and feasibility of production, a brief lighting plan, narrative beats, character arc and costuming. This is to be one thousand to fifteen hundred words in length and is to cover all of the above under paragraph headings. It is to be delivered to the teacher with a signed and dated cover sheet attached in week fifteen. Relevant images may be attached in support of the written work.

Formative CUFWRT601 Assessment task due.

Formative CUFWRT601A Assessment task due.

2

1,2

Week 11Incorporating feedback. Delivering feedback (professional language.) Working in dual - the writer and the editor and or assessor. Documenting responses.
Listening skills. Discerning levels of response both as writer and assessor editor

Discussing possible changes through various drafts of the screenplay.

Incorporating feedback, keeping all personnel informed about possible re-writes and productions changes. Review the screenplay and shot plans.

 

 3

3

Week 12Writing a draft screenplay. Students work individually on screenplays. One to one meetings with teacher at times allocated by teacher are available as requested and required. 

 3

1,2,3

Week 13Writing a draft screenplay. Students work individually on screenplays. One to one meetings with teacher at times allocated by teacher are available as requested and required. 

 2,3

1,2,3

Week 14Deadline for delivery of draft screenplay to teacher for feedback as required. 

 2,3

 

Week15Make final adjustments to screenplay and submit to relevant personnel. Writing the final draft incorporating feedback. Students work individually on screenplays. One to one meetings with teacher at times allocated by teacher are available as requested and required.Summative CUFDRT601A assessment task due

3

3

Week 16Deadline for final delivery of final draft screenplay. This is a summative assessment task.

Review processes.

Summative CUFWRT601 assessment task due

 3

3

    


Learning Resources

Prescribed Texts

A variety of screenplays.

To be advised in class


References

You are advised to look at the course Blackboard site for ongoing updated information.

Field, 1994, Screenplay: the foundations of screenwriting, Dell Publishing

Field, 2006, The screenwriter's workbook, Delta Trade Paperbacks

Vorhaus, 1994, The comic toolbox: how to be funny even if you're not, Allen & Unwin


Other Resources


You will need access to a computer.

RMIT will provide you with resources and tools for learning in this course through our online systems and access to specialised facilities and relevant software. You will also have access of the library resources.

Other required resources include suitable digital media storage such as a portable hard drive or USB flash drive, with at least 4Gb capacity.


Overview of Assessment

Assessment for this course is ongoing throughout the semester and involves practical exercises, knowledge assessment tasks, presentations and written projects.


Assessment Tasks

Assessment tasks in this course are either formative or summative. Formative tasks provide the basis for ongoing feedback and can be considered essential building blocks for the more substantial summative assessment tasks. Summative assessment tasks in this unit are graded.

To demonstrate competency in this course you need to complete each one of the following pieces of assessment to a satisfactory standard.
You must submit all pieces of assessment in order for your competency to be assessed in this course.
 
Assessment tasks.

Assignment One: Formative assessment task 1.

Preparing a shot list or story board or marked up screenplay. Week 6. In class time.

Assignment Two: Formative assessment task 2. Students will analyse a scene or scenes supplied by the teacher, marking out the story beats .This will be handed in at the end of class with a signed and dated cover sheet attached. Due week 10. In class time.


Assignment Three : Summative task. Brief on week 10, due in week 15.

An in depth analysis of one scene of at least two pages in length from his or her own screenplay outlining the preferred location with regard to mise-en-scene, dramatic intent and feasibility of location, thoughts on narrative beats character arc and costuming. This is to be 500 words in length and is to cover the above under relevant paragraph headings.
This is to be delivered to the teacher with a signed and dated cover sheet in week fifteenGrades which apply to courses delivered in accordance with competency-based assessment, but which also use graded assessment:

Grades which apply to courses delivered in accordance with competency-based assessment, but which also use graded assessment:
CHD Competent with High Distinction
CDI Competent with Distinction
CC Competent with Credit
CAG Competency Achieved - Graded
NYC Not Yet Competent
DNS Did Not Submit for Assessment.


Assessment Matrix

The assessment matrix demonstrates alignment of assessment tasks with the relevant Unit of Competency. These are available through the course contact in Program administration

Other Information

Attendance
The major learning experience involves class based exercises, demonstration and pre production activities. It is strongly advised that students attend all sessions in order to engage in the required learning activities, ensuring the maximum opportunity to gain the competency.

Cover Sheet for Submissions
You must complete a submission cover sheet for every piece of submitted work. This signed sheet acknowledges that you are aware of the plagiarism implications.

Feedback - You will receive spoken and written feedback from teachers on your work. Where appropriate, this feedback will also include suggestions on how you can proceed to the next stage of developing your projects.
Student feedback at RMIT http://www.rmit.edu.au/browse;ID=9pp3ic9obks7

Student Progress
Monitoring academic progress is an important enabling and proactive strategy to assist you to achieve your learning potential. Student progress policy http://www.rmit.edu.au/browse;ID=vj2g89cve4uj1

Special consideration Policy (Late Submission)
All assessment tasks are required to be completed to a satisfactory level. If you are unable to complete any piece of assessment by the due date, you will need to apply for an extension. You can apply in writing for up to a week’s extension from your course teacher. If you need a longer extension, you wil need to apply for special consideration. Special consideration, appeals and discipline http://www.rmit.edu.au/browse;ID=qkssnx1c5r0y

Academic Integrity and Plagiarism - RMIT University has a strict policy on plagiarism and academic integrity. Please refer to the website for more information on this policy go to Academic Integrity
http://www.rmit.edu.au/browse;ID=kw02ylsd8z3n

Work Placement:
It is a requirement of this program that all students participate in authentic work related tasks. These may be either simulated or in a real work environment. On occasion, we are approached by industry and given opportunities for students to apply for short term placements. When these placement opportunities arise, students are required to negotiate the specific details with the relevant program coordinator or teacher. All industry placements require students, RMIT staff and host organisations to sign a written agreement prior to the commencement of the placement.
 

Course Overview: Access Course Overview