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2 level 3 15 credits Make a Short Film Unit10318 Film and Television Foundation Skills

This assessment is usually only for students who have completed AS9I495 OR EQUIVALENT. Please discuss with your teacher

**credit:15 are offered with Achieved as the highest possible grade because this is not Media Studies ncea** **Go home for the university approved course if you are planning on a University pass for 2016**

**sub-field:**Film and Television **purpose:**People credited with this unit standard are able to: prepare a script; make advanced preparations; make a video; assess the video; and assess the experience of making a video. **entry information:**Open, but it is recommended that this unit standard be attempted after credit has been gained, or demonstrate equivalent knowledge and skills. **moderation option:**A centrally established and directed national moderation system has been set up by Moderation Services.

10318//Make a short video// (level 3) 15 credits
 * Film Production** **This activity assesses:**
 * UNIT: Elements**

There are five steps

 1 )Prepare a script 2 )Make advance preparations 3 )Make a video 4 )Assess the video 5 )Assess the experience of making a video


 * Conditions:** Students will write a script for a film and documentary, complete production and post-production activities and assess their finished film and the experience in class and as homework using camera equipment supplied by the course. They must take on the role of writer, producer and director themselves. They must also be involved in editing either as editing director or editor (see post production below). They may contract in others to perform the other roles, eg: Script editor, actors, production assistants, camera operator, sound recordist, technical editor.

Brief: You are working towards an end-of-year student film and documentary festival to be played to a public audience alongside work from schools in your region. You will prepare a concept, treatment, script and storyboard for a short film or documentary. Duration: 7-15 minutes Content: Attracting a rating of ‘M’ or less. Genre: any The festival will be attended by school students, family members, friends and members of the general public. It is held each year and attracts a wide range of people interested in student low-budget film and documentary production.
 * INSTRUCTIONS:**
 * TASK 1: Pre-production**
 * Target Audience:**


 * Complete the tasks on the following pages for EITHER documentary OR film.**

1Task 1: DOCUMENTARY Present a brief outline of your documentary. What is the purpose(s) of your documentary? Explain the ideas/messages that you wish to explore in your documentary. Explain how your documentary will appeal to the target audience. Consider practical details – what does your documentary involve in terms of: • • • • • • • time research personnel locations equipment releases graphics and special effects? What problems might you encounter and how might you solve them? Marking tick points 1.1, 1.2, 1.4
 * 1A. Concept:**

1B. Treatment Plan in detail the style of your documentary. You will need to discuss mood, structure, pace and documentary mode(s). You should make detailed reference to **at least FIVE documentary conventions**. How will you use them to explore the ideas/messages of your documentary? //Conventions might include:// Presenter Piece-to-camera Interview Vox pops Noddie Expert Title Visual Montage Reconstruction Archival footage Live footage Stills Blank screen Voiceover Narration Synchronous sound Music media personality presenting the documentary presenter speaks to camera person (Interviewee) contributes ideas on relevant subject to interviewer through questions and discussions. short opinion interviews with members of the public shot of interviewer asking question or reacting interviewee with special knowledge or status writing on screen to impart information or develop ideas image shot to add interest collection of quick cuts to give a strong impression event relevant to documentary staged and shot for visual interest shots from previous productions or shoots footage of an important event recorded as it happens photos or still frames from moving images causes us to pause, think, and reflect on soundtrack or previous images person speaks over other images voice that tells the story, fills in gaps, evokes ideas etc – speaker never seen sound recorded on location with any visual, live footage or interview etc often used for emotive effect or to add commentary 2 Sound effects - non-musical sound added during postproduction Conventions might also include other elements of film language like shot type, composition, angle, focus, lighting, camera movement, props, production design, special effects, other features of editing (juxtaposition, flashback or flashforward, parallel action, fast or slow motion, transitions, freeze frames, jump cuts, matched cuts) etc.1.2, 1.3
 * 1C. A/V Script**

Prepare an A/V script for your documentary. See attached sample. Prepare any scripting of any PTC or voiceover/narration material (this might be prepared during production or post-production) or scripting of dialogue for fictional elements. 1.2, 1.3, 1.4


 * 1D. Shooting Plan and Interview Planners**

Prepare a shooting plan for your documentary. This plan splits up your documentary into sections for filming. See attached sample. Prepare interview plans for each interview using the supplied forms 1.5 Prepare a list of crew required in producing the documentary. This list should include name, contact details and role(s). Make sure that you have enough personnel to meet all requirements, and that you have back-up personnel available in case of illness or other issues. 2.2, 2.3
 * 1E. Personnel**

Prepare talent and location release forms for use in the production. All interviewees and location owners must complete a form and be given a copy for their records. 2.4 Prepare a production schedule using the attached form. 2.1
 * 1F. Releases**

Prepare a list of music, stills and archival footage to be used in the documentary. The owner of this property must be contacted and permission gained for their use. For music: Use the standard copyright forms through RIANZ to seek permission, unless:
 * 1H. Music, stills and archival footage**

• • The music was composed or recorded less than fifty years ago- use as you like The music was composed and recorded by friends or other non-contracted local performers- find out who ‘owns’ the recording and composition and get them to sign a release form For stills or archival footage: Find out who ‘owns’ the property and negotiate your right to use the property. Get the owner to sign a release form .2.4 3 4
 * 1G. Production Schedule**

Use the attached sample or prepare your own version of these documents. Call sheets detail each individual day’s shooting in terms of: Date, time, duration of shoot Scene(s), shots Location Personnel Equipment Safety issues Back-up plans Catering provisions
 * 1J. Call Sheets**

2.5, 3.1 Run regular production meetings with key personnel to discuss and plan each day’s shooting. Each meeting should be attended by relevant personnel and talent. Appoint someone to take notes. Summarise and relevant information and distribute to all relevant personnel. You should run a meeting at least twice a week during production at a time when relevant personnel are available. Use timetabled film classes by preference. You will need to submit records of these meeting for assessment. 2 .6 5 Prepare a single paragraph statement that captures the essence of your film idea. Write a plot outline for your film. This is a description of the action of your film in the third person present tense in paragraph form. It should give a clear idea of the important plot points and some idea of the ideas and style of the film. It should also make clear the setting(s) of the film (time and place). Prepare a series of brief character biographies and location descriptions. Give a brief account of how you will approach practical details – what does your film involve in terms of: • • • • • • • time research personnel locations equipment releases graphics and special effects? What problems might you encounter and how might you solve them? 1.4
 * 1K. Meetings:**
 * Task 1: FILM 1A. Concept:**

1.1, 1.2, Plan in detail the style of your film. You will need to discuss mood, structure, pace and film style. You should make detailed reference to **at least FIVE significant film conventions** which you will use to tell your story/ communicate ideas. How will you use film conventions to support your film’s story and communicate appropriate ideas? Film conventions might include: • • • • • • • • • • shot type composition angle focus lighting camera movement props production design special effects other features of editing (juxtaposition, flashback or flashforward, parallel action, fast or slow motion, transitions, freeze frames, jump cuts, matched cuts) etc. 1.2, 1.3 6 Prepare a full script for your short film. See attached sample. Make sure that you spend time going through the drafting process. Submit your script to your teacher and appointed script editor at least two times for comment Then prepare a storyboard for your film. 1.2, 1.3, 1.4
 * 1B. Treatment**
 * 1C. Script and Storyboard**

Prepare a shooting plan for your film. This plan splits up your film into sections for filming. See attached sample.1.5
 * 1D. Shooting Plan**

Prepare a list of crew required in producing the film. This list should include name, contact details and role(s). Make sure that you have enough personnel to meet all requirements, and that you have back-up personnel available in case of illness or other issues.2.2, 2.3
 * 1E. Personnel**

Prepare talent and location release forms for use in the production. All talent and location owners must complete a form and be given a copy for their records.2.4
 * 1F. Releases**

Prepare a production schedule using the attached form.2.1
 * 1G. Production Schedule**

Prepare a list of music, stills and archival footage to be used in the film. The owner of this property must be contacted and permission gained for their use. For music: Use the standard copyright forms through RIANZ to seek permission, unless: • • The music was composed or recorded less than fifty years ago- use as you like The music was composed and recorded by friends or other non-contracted local performers- find out who ‘owns’ the recording and composition and get them to sign a release form For stills or archival footage: Find out who ‘owns’ the property and negotiate your right to use the property. Get the owner to sign a release form.2.4
 * 1H. Music, stills and archival footage**

Use the attached sample or prepare your own version of these documents. Call sheets detail each individual day’s shooting in terms of: Date, time, duration of shoot Scene(s), shots Location Personnel Equipment Safety issues Back-up plans Catering provisions 2.5, 3.1 7 Run regular production meetings with key personnel to discuss and plan each day’s shooting. Each meeting should be attended by relevant personnel and talent. Appoint someone to take notes. Summarise and relevant information and distribute to all relevant personnel. You should run a meeting at least twice a week during production at a time when relevant personnel are available. Use timetabled film classes by preference.2.6 8
 * 1J. Call Sheets**
 * 1K. Meetings:**

Complete production activities as scheduled. Make sure that you:
 * TASK 2: PRODUCTION: Film or documentary**

Secure a good range of shots and takes to give the editor wide choice in editing decisions Focus on achieving high quality shots- do them again and again until you are happy with them. Demonstrate leadership skills in running the shoot- if there are difficulties or issues arising, you need to negotiate and problem sole to ensure that all personnel work well together and achieve the best possible result Listen to the concerns of others, and make fair but firm decisions when necessary Remind all personnel that co-operation and focus are essential Follow all safety procedures as specified in the call sheets Return all gear safely and report all damage to Andrew Return the location to the state that you found it in and thank the location owner You will need to get all crew to complete a production review using the sheet provided. 3.2, 3.3, 3.4, 3.5. 3.6

Edit your film or documentary. You will need to act as either editing director or editor; if you are acting as editing director, you will need to contract in a technical editor. Editing director: Makes editing decisions and instructs the technical editor but does not control the interface Technical editor: controls the editing interface but does not make editing decisions Editor: Controls the editing interface and makes all decisions
 * TASK 3: POST-PRODUCTION: Film or documentary**

Be prepared to spend considerable time on this stage Be prepared to shoot extra pick-ups if necessary. Often it is not clear what shots you will need until you attempt to edit your material Pay careful attention to the definition of ‘polished’ on the accompanying sheet. Try out a rough cut (an early edit) on a trial audience and listen carefully to feedback that they give you. Watch their responses carefully as they view – you can learn much from this. Often audiences will enjoy unexpected things. You might get them to give you a written response (e.g. what did you like, what worked well, what could be better?). Encourage them to be honest and give constructive criticisms. Do not be offended if people say they don’t like it or don’t understand it. Try to figure out (with them) why that is. It might be your intention to challenge them anyway!

9 It is very easy for people to criticise. It is very hard to put yourself out on a limb and create for public consumption. Be brave and humble. 3.7
 * Remember**

Write a report where you assess your finished product and the production process. You will discuss: Technical quality of your product in terms of lighting, camerawork, editing, sound and production design Overall effect of the product in terms of storyline, impact on the audience, relationship to original concept Positive experiences during production Negative experiences during production Lessons learnt from the production in terms of script writing, other pre-production activities, production, editing and directing. Your report must be at least 500 words.4.1, 4.2, 5.1, 5.2, 5.3 10
 * TASK 4: Review: Film or documentary**

I am going to document ‘The Race to the Sky’ which is a car race up a dirt mountain in the Cardrona valley, situated thirty miles from Wanaka. I want to get across the point that car racing is a very dangerous sport but it still pulls in many people to give it a go. I want to know what drives people to become involved in cars – what is so gravitating about cars? I want to give a strong impression of the excitement of the race as it is very impressive when you are there, and I have been going for several years. I want to use a lot of artistic and fast-paced shots. The documentary will appeal to the film festival audience as it will be fast moving and easy to watch because of all the interesting shots of cars driving fast that I will get. It will basically be entertaining without getting into too much detail about the race and other issues as there is not enough time to explore these in the short format. For this reason I will also interview the drivers and try to get some funny stories and interesting comments that I can cut in with the footage. The main thing will be to shoot the racing footage well as this is what will sell my documentary to the audience. I know that not all people like car racing but I want to make it professional and slick enough so that people who don’t like racing will enjoy the documentary just for its style and professionalism. A reason I chose this topic is because it won’t involve too many challenges. Getting interviews will be quite easy for me because a family friend, Trevor Crowe, is a family friend. He drives for Subaru which is the same as Possum Bourne therefore it should be easy to get interviews with Possum. I have also been told that many of the drivers would be all too happy to do an interview. It’s also an area I know well and I have been to the race a few times in the past. One of the main challenges will be getting the action on tape so I might need to get 2 cameras so that I can have someone else in another place to film. It will also be hard because I will have to be in about 5 places at once: at the start, the finish (3500 ft up a hill), half way up the track and of course among the drivers. This just means that it’ll be 3 long 10-hour days in a row of non- stop action. A big advantage will be that I will do all the shooting on one weekend and then I will be able to spend lots of time editing which is my major challenge as I have never edited anything before. I will need to put lots of time aside so that I can get used to the editing software and I will definitely be getting an access card so that I can get into the editing room as much as possible. 2. Treatment: Style My documentary will have a fast paced action packed feel to it because motor sport is a very fast moving sport with lots of action. With artistic angles, fast shots contrasted with slow motion and the sophisticated feel of the marquee café. It will not be full of information because I don’t want it to be too boring. I will focus a lot of attention on getting the editing right as the pace of shots and transitions will be what really make this documentary work. Most of the visuals will be set in montage with shots of varying length depending on the pace of the action at that moment. I am hoping to get some humour out of the drivers too as this will be appropriate in appealing to the audience in this upbeat documentary.I will edit these in as sound bites intercut into the other footage to give plenty of variety and keep the pace up. Hopefully I will be able to match appropriate comments to images and I will make 11 sure that I make notes after each interview so that I can get enough shots on the day. Most of the information will be portrayed by images instead of dialogue. Original funky music will help set the lively atmosphere I want for my documentary. Sharp cuts choreographed to the music beat will be effective and once again give it an up-beat feel as well as a polished style. The overall structure will follow the race from start to finish with interviews cut in through the documentary. I will have a sunrise shot at the beginning (fast motion) and will end with the award of the trophy to the winning driver. The documentary will mainly be in the expository mode as I am keen to give a strong impression of the excitement and danger.
 * Pre-production Exemplar: Documentary Man, Machine and Mountain**
 * 1A. Concept**
 * 1B. Treatment: Conventions**
 * Interviews:** I will interview some of the drivers and ask them why they do it and how they got into it. I want to contrast young enthusiastic drivers with the older ones like Possum Bourne and Japan’s legend Monster who have been doing it for so long. I want the contrast of the satisfaction they get from the race let alone getting a good time with the dangers that they face. I know a few of the drivers quite well and they are quite good at telling funny stories so I will ask questions to draw some of these out as well.
 * Voiceover:** I want voiceovers of some of my interviewees. I will use them so that I can use cutaways to fast paced action. This will stop my documentary from being so monotonous and make it more appealing. I’d also like to have voiceover where it is necessary to explain any of the action the audience sees. I will also use a voiceover narrator to link and explain what is going on in the documentary.
 * Live Footage:** Live footage will make up the bulk of my documentary. I want to give the audience a ‘be there’ feel like they are watching it for real with no dramatisations or biased outlook. I will focus on getting some really effective shots of cars racing as this will be visually impressive and will work well intercut with the interviews. I will use the zoom lens and tripod based pans to follow the action closely and make sure that I position my camera to get some interesting and effective high and low angles to increase the edgy feel. I will need to spend a lot of time practising this as I know how hard it is to get good steady shots with the camera zoomed in. I will definitely use a tripod.
 * Music:** I will use some original upbeat instrumental music from my old school band to give parts of the documentary an up-beat feel. They have agreed to do so but if it doesn’t work out I have some commercial music as back-up. I want to have some music that will really fit with the images and will wait until I have shot and completed an early cut before getting the band to have a look and try some improvising.
 * Stills:** I will use a montage of stills which will be very daring and artistic looking with dirt flying up around the cars to show the extreme action especially where it looks like cars are coming close to spinning out. By freezing these moments I will focus the audience on the extreme dangers of the sport.

See the useful form available on Monet > Resources> Film> Level 3 > folder 10318