HNC FP LO2 pre production
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This document outlines the requirements for Assignment 2 which involves creating pre-production materials for a short fiction film. Students must create an outline with a story summary, format, genre, and intended audience. They must also prepare a budget, crew and cast list, script, shooting script, and production schedule. Additionally, students need to do a location recce, take photos, and write a recce report considering lighting, access, hazards, permissions, and power at each location. Health and safety and risk assessments are also required.
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recognise the importance of content and instructional design;
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demonstrate an awareness of multimedia design and documentation;
distinguish between online multimedia development/prototyping, evaluation methodology and procedure.
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The document discusses the historical development of televisual narrative form from the early live BBC broadcasts in the 1930s to influential dramas of the 1960s. Key developments included Nigel Kneale revolutionizing the format with expansive sci-fi stories like The Quatermas Experiment, and plays in the 1960s addressing social issues through the works of writers like Ken Loach and Dennis Potter in the Wednesday Plays anthology series.
HNC FP Course overview
This document provides an overview of the historical context and development of narrative film form. It discusses the origins of narrative films from early actualities by the Lumiere Brothers to the development of primitive stories and early narratives around 1905. Key developments during the silent era are outlined, including the growth of national film industries, influential filmmakers like D.W. Griffith and the Birth of a Nation, and film movements such as German Expressionism. The influence of theatre and dark fairytales on Expressionist films is highlighted through examples like The Cabinet of Dr. Caligari and the work of F.W. Murnau.
HNC VE Editing Tech cont
Early films from the 1890s contained only single shots with no editing. Robert W. Paul's 1898 film Come Along Do! contained one of the first edits. Edwin Porter pioneered continuity editing in films like 1903's Life of an American Fireman, connecting shots across time and space. D.W. Griffith developed narrative film and continuity editing further in films like 1915's The Birth of a Nation. Soviet filmmakers like Lev Kuleshov and Sergei Eisenstein developed montage theory, using rhythmic editing to create new meanings from unrelated shots. The introduction of sound in the late 1920s posed new challenges for editors to sync sound and picture. Classical Hollywood style relied on invisible continuity editing throughout the 1930s-1950s
HNC VE course overview and editing technology
This document outlines assignments for a course on film and video editing techniques. Assignment 1 requires a report on the history and development of editing technology and practices in films and television. It describes 3 tasks: 1) the evolution of editing technology from initial cut-and-splice methods to digital non-linear systems, 2) the development of editing practices, and 3) genre-specific techniques. Assignment 2 involves organizing digital assets and editing a fictional production. Assignment 3 requires delivering the final edited production. Assignment 4 consists of a self-evaluation and recommendations for improving editing skills. The final deadline is March 28th.
Contextual studies Audience Theories pt1
This document provides an overview of audience reception theories and concepts related to analyzing how audiences interpret media texts. It discusses encoding/decoding theory, which proposes that producers encode meaning into texts and audiences can accept, partially accept, or reject these encodings. It also covers preferred, negotiated, and oppositional readings. As an example, it analyzes audience readings of the film Get Out. Other concepts covered include representation, signs and symbolism, and applying semiotic analysis to film clips. Students are assigned tasks analyzing scenes based on these theoretical frameworks.
Contextual studies New & emerging industries
This document discusses multimedia and emerging forms of digital storytelling. It defines multimedia as combining various artistic mediums, and notes the increasing use of nonlinear and interactive formats. Examples of linear and nonlinear multimedia are provided. The development of hypertext and hypermedia are discussed. Cross-platform storytelling is explored through the work of photographer Tim Hetherington. New forms of visual storytelling using virtual reality, social media platforms, and interactive web documentaries are mentioned through the work of Zackary Canepari on Flint, Michigan.
Unit 1 ownership and control
The document discusses film and TV distribution and regulation in the UK. It describes how distribution involves releasing completed films to audiences through cinema screenings and involves logistics of transporting film prints or digital files to theaters. Regulation involves bodies like OFCOM that set broadcast standards, and the BBFC that assigns film ratings. Independent films often use non-traditional distribution models, like same-day digital and theatrical releases to reach audiences on multiple platforms simultaneously with lower costs.
Research skills overview
This document provides an introduction to research skills for a documentary production unit. It outlines the objectives of learning about primary and secondary research methods, including qualitative and quantitative approaches. Examples of primary research methods discussed are audience research through questionnaires and interviews. Secondary research examples mentioned are accessing existing audience data and reviews of similar documentaries. The document provides guidance on developing research plans and analyzing case studies to inform the documentary project. It stresses the importance of properly citing and referencing sources.
Documentary developing ideas
This document discusses developing ideas for a documentary film. It begins by explaining that documentaries need to be well-planned with carefully chosen ideas to achieve their objectives. It then outlines different ways to generate documentary ideas, such as from personal experiences, historical events, or strong feelings about societal issues. The document also discusses the importance of research in the different stages of documentary production from initial planning to post-production evaluation. Finally, it provides guidance on creating an outline to plan a documentary, including developing a logline, researching the topic, and fleshing out the idea and story in a 1-2 page outline.
Documentary Week 2
This document provides an overview of the development of documentary film and propaganda in the 1930s-1940s. It discusses how governments in Germany, the UK, and US established documentary film units to influence public opinion. Leni Riefenstahl directed influential Nazi propaganda films like Triumph of the Will (1935) and Olympia (1938) that pioneered techniques but were controversial. John Grierson led the British Documentary movement with films like Drifters (1929) that celebrated ordinary people. Humphrey Jennings' Listen to Britain (1942) took a more ambiguous poetic approach compared to overt propaganda. The approaches of the German and British documentary styles are contrasted in portraying their messages and audiences.
Documentary week 3
The document discusses the objectives and content of a lesson on moving image documentary production. It provides definitions of documentary films, describes various documentary types and styles including direct cinema, compilation films and portrait documentaries. Techniques used in documentaries like interviews and reconstructions are examined. The works of influential documentarians Jean Rouch, Errol Morris and their films are analyzed in detail. The document concludes by defining categorical and rhetorical forms in documentaries and discussing examples that mix these forms.
Contextual Studies Week 1
This unit aims to develop students' understanding of media theory and its application to inform their own practice. Students will study the context of media production, including the influence of institutions, and analyze media products and their reception by audiences. The unit assessments require students to research and present on topics like current media sectors, the reception of media products, and the production and reception of a specific creative media product.
Documentary week 1
This document provides an overview of the course "HNC Unit 61: Moving Image Documentary Production". The 15-credit course runs from October to December and aims to develop an understanding of documentary filmmaking and provide skills to produce broadcast-quality documentaries. Key topics covered include the history and development of documentary film, from early actualities to modern approaches, as well as pre-production, production, and post-production processes. Assignments include an essay, pre-production presentation, and individual documentary film with evaluation. The course aims to prepare students to understand documentary formats and produce documentaries to a broadcast standard.
Practical skills week 1
This document provides information on the course "HNC Unit 6: Practical Skills for Moving Image". The 15 credit course runs from October 2nd to December 19th and aims to develop skills in moving image production. Learners will develop abilities in using video and audio equipment, understanding client requirements, and completing productions. The course covers topics like camera basics, lighting, audio, pre-production, and editing. There are 3 assignments including practical assignments, a presentation, and an individual film production with written evaluation. The document provides details on the course schedule, learning outcomes, content, and assignments.
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- 1. HNC Unit 33: Fiction Production for the Moving Image 6th Feb 2018 Pre-production
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