Multi Camera Production

BA (Hons) Television Production Multi Camera Production SEMESTERS 1 & 2. 2013/14 2TVP 502 Module Leader: Ged Maguire G.Maguire1@westminster.ac.uk Office M1.15

MODULE PROFORMA: Full Module Title: PROMOTIONAL SHORTS Module Code: 2TVP 502 Module Level: 5 Academic credit weighting: 15 credits Length: 0.5 Semester School and Department: JMC/MAD Module Leaders: Ged Maguire Extension: TBA e.mail: G.Maguire1@westminster.ac.uk Host course: BA Television Production Status: Option for TV Production pathway Subject Board: Media Studies. Pre-requisites: Assessment: 100% Coursework. JACS code: Summary of Module content: This is the first part of the students experience of Multi Camera production so is designed to be a very different experience from the first and third year work. The skills are developed to produce a live TV programme in a magazine show format. There is scope within this structure to work with other departments/disciplines e.g. Commercial Music and Fashion. Students are expected to address the promotional value of what they produce and distribute it or parts of it via the web. As part of the log students will relate the learning to their PDP. Module Aims: To introduce students to multi-camera, vision mixed production in the studio or on location. This module will equip students to work in large teams to tight deadlines and to understand and co-ordinate all the production roles within a conventional multi camera structure. Students will learn through practice how to create a programme, produce the content, develop running orders to a proscribed duration and prepare for live broadcast. They will experience team- work and develop skills that are a valuable pre-cursor to their final projects.

Learning Outcomes: By the end of this module students will be able to: Jointly conceive, agree on and present a programme idea. Research and pre-plan a multi camera studio shoot. Produce a camera script. Work to a tight deadline Produce short insert items. Have knowledge of the editorial process under tight deadlines. Have had experience of set design. Commission a set designer with knowledge of multi-camera requirements. Discuss lighting requirements. Work in a large team within a studio structure. Schedule a studio shoot with regard to the requirements of all the different roles within a studio including: floor m anaging, vision m ixing, directing, producing etc. Work with studio talkback Perform a risk assessment Perform studio H&S procedures where applicable Work within compliance guidelines relating to chosen time slot Indicative Syllabus content: Viewing samples, reviewing previous work, discussing contemporary multi-camera output, extensive workshops for studio practice to include scripting, bar-counting, vision-mixing and studio camera operation. Allocation of studio roles for group work, and instruction in correct studio practice, particularly with reference to risk assessment, managing studio audiences and H&S procedures. Scripting and producing a live television show, producing a log and critical analysis of the product with reference to industry standards and genres. Teaching and Learning Methods: Classroom activity viewing and developing critical faculties, outlining and explaining roles and directing self-learning S tice tudio workshops, prac learning producing inserts, set building and design, production management etc. all extra-curricula Studio production in g

Activity type Category Student learning and teaching hours* Lecture Scheduled 6 Seminar Scheduled 6 Tutorial Scheduled 4 Project supervision Scheduled 4 Demonstration Scheduled 4 Practical Classes and workshops Scheduled 40 Supervised time in studio/workshop Scheduled 18 Fieldwork Scheduled 10 External visits Scheduled Work based learning Scheduled Total Scheduled 92 Placement Placement Independent study Independent 58 Total student learning and teaching hours 150 Assessment Rationale: Students are supported in understanding what they do in relation to the industry genres they are working in. Students are encouraged to understand how what they do relates to a broadcast standard model and are encouraged to be able to recognise the twin impostors success and failure, and be able to see how they can improve their output in future from the mistakes they might have made. The log and critical analysis are a very important part of this understanding. Assessment criteria: Each student will be expected to have demonstrated the ability to: Present his/her own creative solution in a group context. Plan, organise time and meet deadlines. Make a tangible contribution in a production team to produce a completed live TV programme. Display leadership where required. Critically analyse group and individual performance in a detailed log

Assessment Methods and Weightings: Product 30% Group work 20% Individual growth as expressed i n a personal reflective log & Critical analysis 50% All assignments must be attempted in order for a student to be considered to have passed the module providing the aggregate of all assignment marks is 40% or more. The log needs to be a comprehensive document of around 1,000 to 1,500 words that describes the stage-by-stage development of and reflection on the learning outcomes from the project. Critical analysis should relate the programme to its broadcast peers and analyse the strengths and failings of the programme. Word count no more than 1,500 to 2,500 words. Combined maximum word count 4,000 words. Sources: For all practical modules students are expected to keep up with current media issues by reading the newspaper media pages and exploring useful media related web sites; e.g. BBC, Guardian, Times etc. Recruitment and jobs: http://www.mandy.com Advertising standards; http://www.asa.org.uk/asa/ Skillset. http://www.skillset.org/careers/further_resources/article_4143_1.asp provides useful links to industry sites O www.ofcom.org.uk ffice C om m unications Press Complaints (O fcom ) at Commission at www.pcc.org.uk for code of practice and PCC reports. Adorno, T.W. (1990), 'On Popular Music' in Rock and Popular Music: Politics, Policies, Institutions, ed. S. Frith et al pp. 301-314. A The llen, Television R. & H Studies ill, A. (ed Reader, s.) (2 0 0 4), London: Routledge G The len Television C reeber Genre (ed) (2001) Book London: BFI 2001 Barthes, R. (1987) Image-Music-Text, London: Fontana E Rocking. A nn Around K aplan the Clock - Music, Television, Postmodernism and Consumer Culture Methuen 1987 Carol Vernallis The Kindest Cut: The Functions and Meanings of Music Video Editing in Screen Vol 42 no. 1, Spring 2001 C llis arol Experiencing V erna Music Video: Aesthetics and Cultural Context, Columbia University Press, NY, 2004

Multi Camera Production: Module Leader : Ged Maguire OUTCOMES Produce an as live TV magazine show with studio music performances. Conceive and pitch an achievable idea for a Group TV Production. Research, script, plan, shoot and record a broadcast quality TV magazine show working in a large production group. Identify a visual style and genre appropriate to the chosen subject matter. identify the potential platform or platforms for eventual dissemination of the programme. Use the potential of the medium creatively in order to engage an audience. Respond creatively to obstacles and changes of plan. Demonstrate professional attitudes and practice when working as a team. Write an individual log and evaluation of the production process together with a critical evaluation of the final programme that you have worked on. Combined length between 2,500 to 4,000 words. Produce a production file for your programme. The production file must include: All paperwork related to the development of your Programme (but NOT large amounts of research material printed directly from the internet). All drafts of schedules, minutes of production meetings, scripts, treatments and story boards where appropriate. Copies of all written communication relevant to the production (ie Emails & correspondence with contributors) All contacts, agreements, contributor s release forms, call sheets, location agreements, music cue sheets. A Programme as Broadcast script. (script of the finished edit with timecode references and information necessary to clear all music and archive footage) Risk assessment forms. A short, one paragraph description or 'billing' of the programme for inclusion in websites, festival entries or press listings. Description of process. Every student will pitch proposals for TV Magazine shows to the group. Ideas will be chosen on the basis of: The potential the idea has to make a powerful programme that is informative, thought provoking, engaging and visually interesting. The practicality of the idea. Your ability to convey the idea in an exciting way so that others can see its potential.

The best ideas will be chosen by the groups and the module leader. Production teams of around 16 members will be formed. Production roles within the group will be jointly agreed and allocated. Individual responsibilities will be discussed and agreed by the group. Each production team will devise its own schedule. The entire group will be involved in the development of the ideas. Good communication within the group is essential. The Group Producer is responsible for making sure that facilities have been booked by themselves or other team members. Each student is responsible for the preparation & compilation of the production files and making sure team members supply appropriate paperwork for the file. It is recommended that minutes are taken and circulated at every production meeting. Diary : After groups have been formed most of your time is self managed in cooperation with your production team. There will be weekly progress/production meetings with the module leader by arrangement with each group. Production schedule for Multi Camera Production Dates tba General Notes & Tips REMEMBER: Scheduling of the shoots and facilities is the responsibility of each production group. Editing is a key structural and creative part of the production process. It takes longer to edit something properly than to shoot it. Do not leave the edit until the last minute. It will undermine the success of your production. More importantly leaving time to shoot pick ups is crucial. Every role in the production team is important. Bad timekeeping is unprofessional conduct and will be marked appropriately. Everyone must have their defined area of responsibility (ie production roles cannot be 'shared') but this does not mean that other members of the team cannot help out when necessary. If something goes wrong (and it will) discuss it, sort it out and learn from it. ALL FACILITIES AND EQUIPMENT IN M BLOCK MUST BE BOOKED THROUGH THROUGH HASAN OR YOUR MODULE LEADER. Facilities in J block, the library and other campuses are bookable via the relevant local system or are available on a first come first served basis. Additional information:

MULTI CAMERA PRODUCTION FILE check list: Must include: Treatment outlining film content, aims, design style, proposed audience and distribution platform SELECTED visual reference & inspirational material. All drafts of scripts Story boards where appropriate. Shooting schedules. STUDIO RUNNING ORDERS Call sheets Contact sheets Marked up transcripts of interviews Production correspondence All contributors agreements and release forms. Location agreements. Music Cue sheets PasB (Programme as Broadcast scripts). Budget. Risk Assessment forms LOG & CRITICAL ANALYSIS Total word count 2,500 to 4,000 words maximum Please write under these headings. Log. Min 500 to Max 1,000 words A record, with dates, of the production process. This should be brief and contain essential information in note form such as The date. The activity. Location. Members of the group who were present and their role. Analysis of the production process. Min 1,000 to Max 1500 Explain the thought processes behind your role. For example: What research did you do into your role? What influenced your practical and creative decisions? (ie did you take inspiration from the effect of that role on other relevant programmes in the same genre). What is your analysis of your own: reliability and contribution to the work load? creativity and contribution to the content. expertise and poficiency in your role Analyse the group performance including examples of how well the group functioned and what could have been improved. fill in a peer group assessment form for your production group. (excluded from word count)

Critical Analysis of the finshed programme Min 1000 to Max 1500 This should include. An explanation of the defining ideas and how your ideas were inspired by other films or TV commercials sharing the same theme or genre (with examples). A discussion of how the idea developed and the criteria that were used. How appropriate do you think the visual style, music and editing was for the subject of your promotional film? What you consider to be the successes and failures of the production. Whether your final programme succeeded in fulfilling its original aims. With hindsight, what would have done differently. How your finished programme compares to others in the same genre. A brief critique of 3 other promotional films made on this module. How your film might find an audience. A discussion of how your idea could be developed in future. How useful the production experience was to you and what skills you would like to expand in future. Multi camera submission Group Submissions. Production File 1 DVCAM tape of your Group programme 1 DVD of your Group programme and network trail. 1 Disc holding; QT file of the Group and Individual Promos. Template to be found on Blackboard. Individual Submission. Log. Critical Analysis and peer group assessment form. Electronic Submission Full Delivery Specification All tapes, discs and cases must be clearly labelled indicating: 1. The title of the Group. 2. The title and durations of the Group programme 3. The module number 4. The academic year and semester in which it was produced The names of all the crew can be written on the inside of the label. Stickers should be attached to tapes on the top and the edge with the programme title and other information. Discs should have similar information on the label. All programmes should have 10 seconds of bars & tone and clock at the start of the programme.

This can be generated during 'print to video' from Final Cut Pro. Electronic Submission of WRITTEN coursework: Compulsory for Log & Critical Analysis See appendix at end for instructions

Marking Criteria Broad criteria for assessment 70%-100% Broadcastable in principal with little or no alteration. Work that is characterised by competence, professionalism and high quality of research. A serious effort to be aware, understand and be original within its genre. Distinct in its quality, creativity and presentation. 60%-69% Broadcastable with light to moderate editing/remixing Broadly competent in understanding of the practices and technology in its genre. Demonstrate consistent evidence of research and planning. Good to very good in its quality, creativity and presentation. 50%-59% Broadcastable with light to moderate editing/remixing A competent piece of work showing thought and understanding of the practices and technology employed. Would benefit from more thought, research and planning. Moderate level of quality and presentation. 40%-49% Requires heavy alteration. Would not be broadcast without re-working of significant elements. Demonstrates some technical proficiency but without complete understanding of the creative process and development of ideas. 25%-40% Work that fails to meet the brief and is unbroadcastable. Project may display some relevant material but is seriously incomplete or inadequate creatively and technically. Work displays no imagination and extremely poor presentation.

Assessment Methods and Weightings breakdown Assessment details: Assignment Description % Date Set Deadline for Submission Deadline for preliminary feedback and method of delivery 001 Product: Multi Cam show 30 7 th Nov 2013 Group A 6 th Dec Group B 13/12/2013 Verbal feedback at group screening: Group A 6 th Dec Group B 13 th Dec 002 Group work via: Log & Critical Analysis of Documentary 003 Log and Critical Analysis of Multi Camera Show 20 7 th Nov 2013 50 7 th Nov 2013 16th December Written Feedback: 24 th January Semester 2 week 2 16th December Written Feedback: 24 th January Semester 2 week 2

Appendix: Electronic Submission Unless explicitly stated otherwise in writing by the module leader, all coursework on this module is submitted via Blackboard only. It will automatically be scanned through a text matching system (designed to check for possible plagiarism). DO NOT attach a CA1 form or any other form of cover sheet; YOU MUST include your name and student ID on the first page of your assignment. (To submit your assignment: Log on to Blackboard at http://learning.westminster.ac.uk; Go to the relevant module Blackboard site; Click on the Submit Coursework link in the navigation menu on the left-hand side, as (advised by the module teaching team; Click on the link for the relevant assignment; Follow the instructions. (Finance holds. (If on the due date you have a finance hold on your student account, you may not be able to access Blackboard to be able to submit electronically. If this is the case, you may be able to submit a paper copy to the Registry. Assignments submitted this was will ONLY be accepted if it is clear that you have a finance hold on the due date. The penalties for late submission will still apply. (You will be given details by the module teaching team about how and when you will receive your marks and feedback on your work. (REMEMBER: (It is a requirement that you submit your work in this way. All coursework must be submitted by the set time on the due date. (If you submit your coursework late but within 24 hours or one working day of the specified deadline, 10% of the overall marks available for that element of assessment will be deducted, as a penalty for late submission, except for work which is marked in the range 40 49%, in which case the mark will be capped at the pass mark (40%). If you submit your coursework more than 24 hours or more than one working day after the specified deadline you will be given a mark of zero for the work in question. The University s mitigating circumstances procedures relating to the nonsubmission or late submission of coursework apply to all coursework

How this module fits into the degree This module aims to builds on and enhance the technical and story telling skills acquired in the previous two years. It encourages self-motivation, creative problem solving and time-management. The module aims to replicate industry practice with regard to meeting dead-lines, teamwork, planning and the importance of legal and ethical issues. It aims to develop a critical and reflective approach to the entire production process and to the developing platforms on which content is shown. Aims of the four courses The BA Media degrees aim to provide students with the opportunity to study media and to gain basic professional expertise in a chosen area of it. We aim to: a) develop understanding of the social, political and economic context in which the media operates, in all its forms; b) nurture skills at storytelling, through practical and creative expression and in terms of narrative structure; c) develop analytical and critical insight into media content, in order to understand their social and cultural significance and to gain awareness for a student s own practice d) provide the opportunity to develop a range of intellectual and practical skills in research, analysis and problem-solving to help students maximise their learning on the course; e) to provide a range of professional knowledge and skills including understanding media law, ethics, and issues concerning production guidelines; the use of information technology, organisation, planning and team work, writing/producing for different media and for different markets or audiences; f) to enable students to gain professional expertise through work experience, and to help develop subsequent employment opportunities in either television or radio production, journalism, public relations and advertising or digital media and their related fields. Learning Our Teaching and Learning Strategy is designed to reflect the rapidly changing media world and the multiple skills needed for academic study and practical work. The teaching and learning methods on the course are directly related to the aims and learning outcomes identified above. We have designed the course to develop student s knowledge and skills in five keys areas: Media Contexts

Storytelling Content and Analysis Critical and Problem Solving Skills Professional Skills These are applicable both to theory and practical work, and are reflected at each stage of a student s career during the course, with incremental progression. At the point of graduation we also intend that our students will have gained professional opportunities open to them for their future careers. The key focus is to engage students with different ways of learning, to help support a variety of learning styles and personal development in the academic environment. We support our modules with online material through the University s Blackboard Virtual Learning Environment. This material may include practical examples, technical support, key references, discussion groups and many other functions. Knowledge and Understanding Theory all degrees At Level 4 students will gain a general understanding of the main theoretical approaches to studying media and the institutional and social context within which media operate. They will also be provided with the tools, vocabulary and historical perspective required so that they can start engaging critically with print, audio and video texts. At Level 4 students will also learn how to make basic analyses of media production, texts, consumption and policy and the relationship of media to society. At Level 5 students will learn about how different approaches to studying the media have emerged from a range of disciplines and gain an appreciation of the main chronological stages in media development over the last 120 years. They will also explore in more detail the political, social and economic implications of social technologies. Students then begin to specialise in particular areas of media theory. At Level 5 students have a solid grounding in the use of historical evidence in the development of a theoretical understanding of the media, and will learn how to make critical and more advanced analyses of media production, texts, consumption and policy. At Level 6, students will gain an in-depth understanding of a number of particular areas of media analysis and media research techniques and be able to apply critically them to the analysis of media production, texts and consumption. At Level 6 students will gain full command over the use of evidence and theory to develop rigorous and sophisticated analyses of media production, texts consumption and policy. Also at Level 6 students will undertake a detailed piece of original research and produce a 12,500 word dissertation which presents the results in the context of their methodology and related to current media analysis. Practice-based learning outcomes BA (Hons) Television Production

At level 4, students will gain a general understanding of industry practices and techniques in television production. Television Production students will learn a selection of basic production skills television: for example basic camerawork, lighting, video editing At level 5, students will begin to learn to apply these techniques in the production of television programmes. They learn how to make documentary programmes, multi-camera production, how to make creative videos and promotional shorts. At level 6, Television Production students will work on two advanced production projects, to apply these techniques to professional publishable, broadcast or industry standards.