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BTEC Level Three
Diploma in
Creative Media Production
Year 13
Unit 4: Creative Media Production Management Pr...
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THE COURSE
Welcome to the BTEC National Diploma in Creative Media Production....
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
YOUR RESPONSIBILITIES
 You are expected to treat all equipment and accommoda...
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
Unit 4: Creative Media Production Management Project
Unit Introduction
The ai...
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
Unit 5: Working to a Brief in the Creative Media Industries
Unit Introduction...
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
Unit 24: Writing for Television and Video
Unit Introduction
At the heart of a...
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
Unit 31: Social Action and Community Media Production
Unit Introduction
The a...
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Assessment Criteria for Unit 4:
Creative Media Production Management Project
...
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Assessment Criteria for Unit 5:
Working to a Brief in the Creative Media Indu...
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Assessment Criteria for Unit 24:
Writing for Television and Video
P1 Describ...
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
Assessment Criteria for Unit 31:
Social Action and Community Media Productio...
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
THE BRIEF
The Council of the London Borough of Redbridge have asked the yout...
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
TASKS
TASK ONE
(5 = P1 M1 D1) (31 = P1 M1 D1)
You must demonstrate that you ...
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TASK THREE
(4 = P1 M1 D1) (31 = P3 M3 D3)
Draw up a list of initial ideas fo...
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TASK FIVE(a)
(4 = P2 M2 D2; P3 M3 D3) (5 = P2 M2 D2; P3 M3 D3) (24 = P3 M3 D...
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TASK SIX
(4 = P3 M3 D3) (5 = P3 M3 D3) (31 = P3 M3 D3)
Using the ideas and p...
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TASK DEADLINES
Task 1
Task 2
Task 3
Task 4
Task 5 (a/b)
Task 6
Task 7
PORTFO...
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RECOMMENDED READING
Key:
Author (year), Title (edition), Publisher.
ISBN
Bra...
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NOTES
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Units 4, 5, 24, 31 Assignment Brief

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Units 4, 5, 24, 31 Assignment Brief

  1. 1. Page 1 of 19 BTEC Level Three Diploma in Creative Media Production Year 13 Unit 4: Creative Media Production Management Project Unit 5: Working to a Brief in the Creative Media Industries Unit 24: Writing for Television and Video Unit 31: Social Action and Community Media Production Name: ................................................................................................... Deadline: ...................................................................................................
  2. 2. Page 2 of 19  THE COURSE Welcome to the BTEC National Diploma in Creative Media Production. You will find this a practical, work-related course on which you will learn by completing projects and assignments based on realistic workplace situations, activities and demands. We aim to help you to develop your creative and technical skills, as well as helping you to gain an understanding of the underlying theory of digital media production. In addition to learning about the employment area you have chosen, you will develop the skills needed to start a career in the media industry. To do this, you will be required to produce a portfolio of practical productions supported by paperwork and theoretical research. To be successful in doing this, you will have to work both independently and within groups in a professional manner, showing yourself to be organised, resourceful, reliable, committed and being capable of meeting strict deadlines. We hope that you will benefit from this challenging, yet rewarding course and that it will lead to you continuing your studies or eventually finding a job in the media industry. 
  3. 3. Page 3 of 19  YOUR RESPONSIBILITIES  You are expected to treat all equipment and accommodation with care.  You are NOT allowed to bring food, drink or chewing gum into work areas.  You may NOT use mobile phones while you are working, unless otherwise instructed.  NEVER allow other students or friends to use equipment booked out to you, and do not leave equipment unattended at any time. If it is damaged, lost or stolen, it is YOUR responsibility! If you experience any problems with equipment, ask for help from your teacher. Do not try to repair equipment yourself. Please remember It is your responsibility to back up your work onto a memory stick at the end of every lesson. You are responsible for saving your work to the hard drive of the computer and the safekeeping of your original material. Please remember to take your memory stick at the end of every session, and only use the memory stick to transport work. You must provide a folder for each unit and bring it to every lesson. You will also be introduced to a referencing system to allow you to produce comprehensive bibliographies of the materials you have used in your study. How to contact your teacher… Telephone: 020 8498 1300 Blog: https://zcmediastudies.wordpress.com Google Mail: zchristodoulou.317@kingsolomonhigh.com Twitter: @ZCMediaStudies 
  4. 4. Page 4 of 19  Unit 4: Creative Media Production Management Project Unit Introduction The aim of this unit is to provide you with the understanding, knowledge and skills required to manage the production of a media product from the initial idea through to completion. Working within the media industry involves a wide variety of people with a wide variety of skills in evolving organisational structures all working towards the production of a particular product. The organisation of any media product will be dictated by the limits of the production and the focus of the product itself, whether it be a promotional video, a radio programme, a website, or a newsletter. It will involve overall control through a manager or management team and imaginative direction through the creative team. In addition, the production will come to life through the skills and knowledge of individuals and specialised teams who will manage and develop your key areas of responsibility. This unit gives you the opportunity to enhance your skills through the planning and management of a media production. You will apply the skills, knowledge and understanding that you have developed in other units to the management of a media production either by undertaking and managing an individual assignment or through taking a major role in a production team, which is broken down into several smaller teams, possibly encompassing several different media. You can expect to gain experience in production management from the initial origination and researching of an idea, through the pitch, to managing a production team or a part of one, taking personal responsibility for the effectiveness of the production process. You will develop the ability to play a key part within a production, and will be given opportunities to demonstrate the management qualities, individual focus and appropriate collaborative skills needed for a successful production. Learning Outcomes 1. Be able to originate, develop and research an idea for a media product. 2. Be able to pitch a proposal for a media product. 3. Be able to manage a production process to create a media product. 
  5. 5. Page 5 of 19  Unit 5: Working to a Brief in the Creative Media Industries Unit Introduction This unit aims to take you through the whole process of working to a brief from initial negotiations, through the process of developing and realising ideas in liaison with the client to final self-evaluation on completion of the work. A good deal of work in the media industries, especially in the case of small to medium size companies and freelancers, is done to a brief for a client. It is, therefore, vital for entrants to the industry to understand the requirements of working to a brief, whether one negotiated by a company or individual with a client, or one set as a competition. Common types of brief would include, for example, one for a corporate or marketing programme, a website, an audio guide, or artwork for a computer game. The client might be a large multinational company or a local small business. But, whoever it might be, the skills involved in producing a media product to a professional brief are broadly the same. Dealing with a brief requires a range of skills, including the business skills needed to negotiate one, the creative ability to come up with ideas, and the specific technical skills needed to realise those ideas. Good interpersonal skills are also needed, as there is a need to be able to enter into someone else’s mind to some extent in order to get to know what they really want. Moreover, it has to be said, relations with clients are not always straightforward or easy. This unit can be contextualised in any media sector. It provides opportunities for work placements, work experience, externally set live briefs and competition briefs to be included in the programme. Working to a live brief could give you the opportunity to work in a professional environment with or for people who earn your living in the print, audio, moving image or interactive media industries. Working to a real brief will enable you to meet clients and work to deadlines. The feedback from the client will be invaluable in developing a professional approach to media work. You should experience the same types of demands and constraints as those encountered by professional people in your working lives, as working to a brief represents a crucial aspect of professional practice. Learning Outcomes 1. Understand the requirements of working to a brief. 2. Be able to develop a planned response to a brief. 3. Be able to apply a response to a brief. 4. Be able to review work on completion of a brief. 
  6. 6. Page 6 of 19  Unit 24: Writing for Television and Video Unit Introduction At the heart of a successful television or video product lies a well-researched, effectively written and appropriately formatted script. The wide range of script requirements across television and video genres demand writers who are flexible and competent in written and verbal communication. This unit aims to introduce you to both the skills involved in scriptwriting and the role of writers in the modern television and video production industry. This unit also aims to give you an overview of the scriptwriting process by adopting a script-to-screen approach, thereby encouraging you to think holistically. Work in this unit also allows you to practise key presentation and pitching techniques and reflect on the broad range of communication skills needed for success in this highly competitive field. However, the unit is intended to be primarily practical and, preferably, production led. With the notable exception of serial drama, the industry is moving away from the traditional commissioning process of ‘writing to assignment’ and now relies more heavily than ever before on writer-led systems such as proposal-based responses to commissions or unsolicited submissions. To reflect this, you are encouraged to generate scripts from ideas of your own, which will mean independent project instigation and management in addition to considering the commission-based approach. The need to present a proposal in an appropriate format, along with the skills to verbally pitch a proposal and format a script in line with industry conventions, are also included to reflect this industry shift. A script is the blueprint for television or video production and good writers must be able to develop realistic and appropriate products for what is a very demanding industry. Learning Outcomes 1. Know about the commissioning process for writing for television and video. 2. Be able to research, collect and prepare background materials. 3. Be able to produce script proposals. 4. Be able to pitch script proposals. 5. Be able to produce scripts for television and video production. 
  7. 7. Page 7 of 19  Unit 31: Social Action and Community Media Production Unit Introduction The aim of this unit is to enable you to apply production skills in a community context. You will investigate existing social action and community media products and then apply your understanding through the production of a piece of work with a specific social action and community purpose. Finally, you will evaluate the effectiveness of the finished product. The media can have a profound impact on attitudes and behaviour and much media work is designed to engage with people in specific ways – for example, to change the way in which an issue is seen, to promote a cause, to challenge dominant ideologies or to instigate charitable giving. This can be described as social action media. The growing field of community media is typified by its service to a community combined with the participation of that community in its production. Community media has had a boost in the UK since the legalising of full-time community radio stations in the Community Radio Order 2004. In both cases, the work produced is not primarily designed for entertainment or profit, but in response to a specific social or political agenda. Social action and community media production work can take a variety of forms. It can include work intended for distribution to a mass audience, such as campaigning work for charities, public information or political parties. However, it can also include work that is primarily intended to bring about localised community improvement and for which mass distribution and exhibition are much lower priorities. Community media also places an emphasis on the benefits derived by participants from being involved in the production. Social action and community production work is not always non-fiction as it can also incorporate dramatic work drawn from, and intended to highlight, specific social and community issues. Through following this unit, you will develop an understanding of the relationship between the purpose of a work and its techniques, the conditions of production, and the intended distribution and exhibition of the work, not only in relation to community media but also in relation to the media in general. You will take into account issues of access, funding and representation. You will then implement this understanding through the production of a piece of work with a genuine social action or community purpose, based on research. Learning Outcomes 1. Understand the purpose and impact of social action and community media production work. 2. Be able to research for social action and community media production work. 3. Be able to plan and produce a piece of social action and community media production work. 4. Be able to reflect upon own social action and community media production work. 
  8. 8. Page 8 of 19  Assessment Criteria for Unit 4: Creative Media Production Management Project P1 Originate, develop and research an idea for a media product working within appropriate conventions and with some assistance M1 Originate, develop and research an idea for a media product showing some imagination and with only occasional assistance D1 Originate, develop and research an idea for a media product showing creativity and flair and working independently to professional expectations P2 Pitch a proposal for a media product with some appropriate use of subject terminology and with some assistance M2 Pitch a proposal for a media product competently with generally correct use of subject terminology and with only occasional assistance D2 Pitch a proposal for a media product to a near- professional standard consistently using subject terminology correctly and working independently to professional expectations P3 Manage a production process to create a media product working within appropriate conventions and with some assistance M3 Manage a production process competently to create a media product to a good technical standard, showing some imagination and with only occasional assistance D3 Manage a production process to near-professional standards to create a media product, showing creativity and flair and working independently to professional expectations 
  9. 9. Page 9 of 19  Assessment Criteria for Unit 5: Working to a Brief in the Creative Media Industries P1 Describe the requirements of working to a brief M1 Explain the requirements of working to a brief with reference to detailed illustrative examples D1 Comprehensively explain the requirements of working to a brief with elucidated examples P2 Plan a response to a brief working within appropriate conventions and with some assistance M2 Plan a response to a brief competently showing some imagination and with only occasional assistance D2 Plan a response to a brief to near-professional standards showing creativity and flair and working independently to professional expectations P3 Apply a response to a brief working within appropriate conventions and with some assistance M3 Apply a response to a brief competently showing some imagination and with only occasional assistance D3 Apply a response to a brief to near-professional standards showing creativity and flair and working independently to professional expectations P4 Comment on own work on completion of a brief with some appropriate use of subject terminology M4 Explain own work on completion of a brief with reference to detailed illustrative examples and with generally correct use of subject terminology D4 Critically evaluate own work on completion of a brief with reference to professional practice, and consistently using subject terminology correctly 
  10. 10. Page 10 of 19  Assessment Criteria for Unit 24: Writing for Television and Video P1 Describe the writer’s role in the commissioning process using some subject terminology appropriately. M1 Explain the writer’s role in the commissioning process with reference to detailed illustrative examples and with generally correct use of subject terminology. D1 Comprehensively explain the writer’s role in the commissioning process with elucidated examples and consistently using subject terminology correctly. P2 Collect and prepare suitable background materials for a scriptwriting project with some assistance. M2 Collect and prepare good background material for a scriptwriting project competently and with only occasional assistance. D2 Collect and prepare excellent background material for a scriptwriting project to near-professional standards working independently to professional expectations. P3 Produce script proposals for specific purposes working within appropriate conventions and with some assistance. M3 Produce script proposals for specific purposes showing some imagination and with only occasional assistance. D3 Produce script proposals for specific purposes showing creativity and flair and working independently to professional expectations. P4 Pitch a prepared proposal. M4 Pitch a prepared proposal effectively. D4 Pitch a prepared proposal to a near- professional standard. P5 Produce a script for a specific purpose working within appropriate conventions and with some assistance. M5 Produce a script for a specific purpose competently showing some imagination and with only occasional assistance. D5 Produce a script for a specific purpose to near- professional standards and working independently to professional expectations. 
  11. 11. Page 11 of 19  Assessment Criteria for Unit 31: Social Action and Community Media Production P1 Describe the purpose and impact of social action and community media production work M1 Explain the purpose and impact of social action and community media production work with reference to detailed illustrative examples D1 Comprehensively explain the purpose and impact of social action and community media production work with elucidated examples P2 Undertake research for social action and community media production work with some assistance M2 Undertake research for social action and community media production work competently with only occasional assistance D2 Undertake research for social action and community media production work to a near-professional standard working independently to professional expectations P3 Plan and produce a social action or community media product working within appropriate conventions and with some assistance M3 Plan and produce a social action or community media product to a good technical standard showing some imagination and with only occasional assistance D3 Plan and produce a social action or community media product of technical quality that reflects near-professional standards showing creativity and flair and working independently to professional expectations P4 Comment on own social action or community media production work M4 Explain own social action or community media production work with reference to detailed illustrative examples D4 Critically evaluate own social action or community media production work in the context of professional practice with elucidated examples 
  12. 12. Page 12 of 19  THE BRIEF The Council of the London Borough of Redbridge have asked the youth (14 – 19) of the borough to create a video that centres around, either, one of the local charities, or, one of the issues that are affecting the area and the residents. The duration of the video must be between 8 – 10 minutes. The Council believes that the level of community cohesion has been on the slide lately, especially amongst the younger residents. Therefore, they want this video to bring locals closer together, for the good of the borough. Some of the best-produced videos will be aired during the early autumn period of 2017 on local television stations for residents of the Redbridge region, as well as neighbouring communities. 
  13. 13. Page 13 of 19  TASKS TASK ONE (5 = P1 M1 D1) (31 = P1 M1 D1) You must demonstrate that you have understood the requirements of the project by writing an illustrated report that explains the structure and purpose of the brief. Things to consider: Client information (Redbridge Council); Structure of brief (informal agreement; competition); purpose of project (bring about local change; change attitudes; raise awareness; strengthen community ties); opportunities offered (new skills; self- development; employability).  TASK TWO (24 = P1 M1 D1) Create a slideshow that demonstrates your knowledge and understanding of the commissioning process for writing for the television industry. Include some illustrative examples for each explanation. Things to consider: Job roles involved in the process (commissioning editors, producers, scriptwriters, agents); commissioning bodies involved (corporations, independents); the role of the writer (planning, writing, negotiating); legal and ethical considerations (copyright, censorship and watershed, libel). 
  14. 14. Page 14 of 19  TASK THREE (4 = P1 M1 D1) (31 = P3 M3 D3) Draw up a list of initial ideas for potential projects, explaining the advantages and disadvantages of each idea. Include some illustrative examples for each point. Things to consider: Explanations of ideas; Examples linking to ideas; Advantages (audience interests; market niche; resource access); constraints (time, finances, legal, ethical, regulatory).  TASK FOUR (4 = P1 M1 D1) (24 = P2 M2 D2) (31 = P2 M2 D2) Carry out primary and secondary research into your chosen project via: - Audience questionnaires (demographic details; audience opinions; psychographic details). - Textual analyses of existing media (TV programmes; annotation of existing scripts). - Online research of existing findings (statistics and other data). The findings of each method of research should be collated and summarised via an illustrative slideshow. All questionnaires, records, bibliographies and other notes must be kept and filed appropriately in your portfolio. 
  15. 15. Page 15 of 19  TASK FIVE(a) (4 = P2 M2 D2; P3 M3 D3) (5 = P2 M2 D2; P3 M3 D3) (24 = P3 M3 D3; P5 M5 D5) (31 = P3 M3 D3) You must now plan, design and undertake the following pre-production documentation: i. Production schedule ii. Treatment (see task 5b) iii. Budget (see task 5b) --------------------------- iv. Script v. Storyboard vi. Location scout form(s) vii. Site plan(s) viii. Risk assessment(s) ix. Location release form(s) x. Talent release form(s)  TASK FIVE(b) (4 = P2 M2 D2) (24 = P4 M4 D4) Once the treatment and budget have been completed, your production groups will present the ideas for a potential script and the other ideas for the production. There should be an accompanying slideshow for visual aid. Things to consider: Pitch communication (appropriate tone, eye contact, open communication); slideshow (clear fonts and images, legible text). 
  16. 16. Page 16 of 19  TASK SIX (4 = P3 M3 D3) (5 = P3 M3 D3) (31 = P3 M3 D3) Using the ideas and pre-production documents that you have created, you must now begin filming and editing your social action and community production. All group members must contribute to the filming, direction and editing of the video. Things to consider: Purpose of video; target audience; continuity; variety of shot types/angles/movements; suitable sound.  TASK SEVEN (5 = P4 M4 D4) (31 = P4 M4 D4) Now that you have completed your video, you must evaluate its effectiveness, as well as your own performance during the project. The format of the evaluation can take any published form. Things to consider: Finished product (fitness for purpose, potential impact, technical qualities); audience feedback (questionnaire, focus group, vox pop); constraints experienced and overcome (financial, legal, regulatory); management of project (time management, independent working, teamwork). 
  17. 17. Page 17 of 19  TASK DEADLINES Task 1 Task 2 Task 3 Task 4 Task 5 (a/b) Task 6 Task 7 PORTFOLIO HAND-IN 
  18. 18. Page 18 of 19  RECOMMENDED READING Key: Author (year), Title (edition), Publisher. ISBN Branston G and Stafford R (2010) The Media Student’s Book (fifth edition), Routledge. ISBN: 978-0-415-55842-6 Connell B (2010), Exploring the Media: Text, Industry, Audience (second edition), Auteur. ISBN: 978-1-906733-47-6 Lacey N (2002), Media Institutions and Audiences: Key Concepts in Media Studies, Palgrave. ISBN: 0-333-65870-1 Long B and Schenk S (2015), The Digital Filmmaking Handbook (fifth edition), Cengage Learning, Boston. ISBN: 978-1-305-25871-6 Long B and Wall T (2009) Media Studies: Texts, Production and Context, Pearson Education. ISBN: 978-1-4058-5847-2 The BBC’s About page – www.bbc.co.uk/aboutthebbc The BBC’s film site – www.bbc.co.uk/film The BFI’s History of Film and TV site – www.screenonline.org.uk The British Film Council – film.britishcouncil.org The Guardian’s film site – www.guardian.co.uk/film The Independent’s film site – www.independent.co.uk/arts-entertainment/film The Internet Movie Database – www.imdb.com The Sector Skills Council for Creative Media’s TV site - www.creativeskillset.org/tv/industry The Sector Skills Council for Creative Media’s screenwriter info – www.creativeskillset.org/creative_industries/film/job_roles/3078_screenwriter 
  19. 19. Page 19 of 19 NOTES

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