FSFM7006 Film, Media and Performing Arts Unit Handbook 2024-25 | UCA

Published: 13 Feb, 2025
Category Assignment Subject Education
University University for the Creative Arts (UCA) Module Title FSFM7006 Film, Media and Performing Arts

FSFM7006 Film, Media and Performing Arts Producing Handbook

FSFM7006 Introduction

  • Welcome to this Unit! This unit will provide you with a comprehensive introduction to the principles and practices of producing for the screen. You will learn about the different roles and responsibilities of the producer and the production team and how to manage each stage of production: pre- production, production, and post-production, distribution and exhibition.
  • The aim is to create a solid foundation upon which aspiring producers, having been given the necessary tools can develop their skills, and learn how to navigate the complex, multifaceted and demanding role of the Producer and Production Manager.
  • Film producers, production managers, line producers and 1st AD’s play a key role in the financial, practical and facilitating the creative components of the filmmaking process. The ability to successfully manage and execute a production is essential for anyone working in these production positions. This unit will provide students with knowledge of contemporary practice and the skills needed to effectively plan and execute a production, from concept to completion. Understanding of, and the ability to co-ordinate, the various roles, responsibilities and relationships within the production.
  • The unit will be delivered through a combination of lectures, seminars, workshops and practical exercises. Students will participate in practical exercises that will allow them to apply the skills and theory they learn in the classroom in order to investigate and practice producing and production management techniques. Assessment will be based on a combination of practical work and written assignments, including pitching a creative project based on existing IP, the creation of a production pack and a critical .

Teaching Team

Name

Role

Room

Email

Office Hours

Ioanna Karavela

Film Producing Lecturer

 

ikaravela.s1@ucreative.ac.uk

Tuesdays

Kerryn Arcari

Unit Tutor

 

 

 

Key Areas of Study:

  • The Role of the Producer
  • Financing
  • Budgeting
  • Scheduling
  • Location Scouting/ Casting
  • Promotion/ Festivals

Learning Outcomes 

UCA Grading Descriptors

 

Experimentation & innovation

LO1

Demonstrate investigation of creative, technical and theoretical approaches to producing IP for the screen industries.

Research & analysis

LO2

Demonstrate research, analysis and evaluative skills, and knowledge of contemporary practice, film history and film theory, through engagement with the delivery of a critical report.

Engaging with practice

LO3

Demonstrate engagement with creative, technical knowledge of producing for the creative industries through the creation of a pitch and a production pack.

Realisation & Communication

LO4

Create and deliver a professional pitch to effectively enhance communication of ideas and narrative. Produce a written report that critically evaluates the production of a professionally produced film of your choice.

Personal & professional connectivity

LO5

To develop the skills and attitudes any creative professional will need to work with impact in the world of creative work i.e., the Creative Industries and the Creative Economy.

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FSFM7006 Assessment 

This Unit is assessed through the completion of two (2) tasks. These are the summative assessments. For these assessments you will receive a summative grade. 

In addition to the summative elements, the Unit contains various tasks to assist you in evaluating your practical work in the Unit. This is formative assessment and will come from staff and peers.

Formative Assessment and Feedback

Please Note: This feedback does not count towards your final Unit grade.

You will receive formative feeback on projects from both staff and peers in relation to your non summative practical work which will go towards your understanding and improvement of your craft skills as you go through the unit.

There will be pitching practice in class which you will receive formative feedback on from the tutor.

Summative Elements

Table A1 - Assessment Components

Assessment Component

Weighting (%)

Typical Indicative Assessment tasks

Assessment Type

Written

20%

Analyse and evaluate the production approach of a professionally produced adapted film. The essay must conform to academic conventions, and should include appropriate references.

 

1500 words

Practical

80%

A short film production pack / portfolio and practical reflection where you will document you work on a short film production, including notes, reflections and evidence of involvement in aspects of the production process of your role. Can include production budget and schedule, including a detailed breakdown of costs, a production schedule and a risk assessment.

Portfolio / Pack

Practical project (LO 1,2,3,5) 

For your Practical Assessment you will be asked to create and and develop a creative pitch deck / production pack of a project based on an existing IP (book, play, etc) as the lead producer seeking to attract interest from collaborations, financiers and stakeholders alike.

You must:  Prepare a series of material that will accompany your work. 

You will need to communicate your vision for the work you want to produce supported by images, mood boards, casting ideas, genre decisions and overall budget considerations. 
Furthermore, you will need to submit this comprehensive production pack outlining, potential financiers and why they may be interested in your proposal, top sheet budget, production schedule, finance plan and location considerations. 

Written Project (LO 2,4,5,) 

You will use your new learning of producing for film to analyse and evaluate the production value, financing and casting from a professionally produced film of your choice. You will be encouraged to provide detailed analysis, including consideration of how the budget, location, art department and casting considerations serve the narrative, and offer analysis informed by reading of contemporary practice, film history and theoretic discourse. The essay must conform to academic conventions, and should include appropriate references with a bibliography using the Harvard referencing style. 

The essay must be no more than 1500 words

Date Time Method of Submission:

Practical project: 13th of May at 1pm via My UCA Blackboard link Written Project: 14th of May at 1pm via My UCA Blackboard link

Submission will be through MyUCA

  • Create a folder on your OneDrive add the file you wish to share. Create a share link. Paste into a document with your name, student number and the unit number, save as a PDF and submit that through MyUCA

We will share links for the My UCA submission points via teams.

Week

Date

Weekly Subjects

1

6 Feb

 

Ioanna Karavela

Introduction- Producing Specialism Aspirations & Goals Role of the Producer: Creative or Business?

Demystifying the varied Producer Titles & Roles

2

13 Feb Paul Usher

Developing a script, working with Writers

Script notes - how to evaluate IP and asses the feasibility of a creative proposal

IP, Underlying Rights and how to secure them

3

23rd Feb

Ioanna Karavela

Pitching, Creative Decks, Treatments and how to create interest around your IP

4

1st Mar

Ioanna Karavela

Above and Below the Line Roles Liaising with the Director

Casting and the role of the Casting Director Attaching talent (Cast & Crew)

5

5 Mar

Kerryn Arcari

Funding Opportunities for the Independent Producer Public Funding (BFI, Creative England, etc) Government Support (Tax Credit)

Crowd funding

Private Equity/Donations/In-Kind support/Sponsorhips Commissioned work/ Studios/ Broadcasters/Co- productions

6

12 Mar

Ioanna Karavela

Above & Below the Line Budget

Budgeting (short film/low-budget/broadcast budget) Digital Formats Vs Film and how to budget for it Location Scouting

7

19 Mar

 

Ioanna Karavela

Risk Assessments - Intimacy Coordinator- SFX-Action Sequences Unions and their Regulations BECTU / SAG/PACT/ Equity Special Agreements for the Independent Producer: Equity & Non Union Agreements

 

 

EASTER BREAK

8

9 Apr

Ioanna Karavela

Script breakdown Shooting Schedule Pink Pages

Call sheets

9

16 Apr

 

Ioanna Karavela

Studio filming VS Shooting on location

Art Department and their importance. CGI

Shooting Abroad : Carnets/ Visas/ Inoculations/ Excess baggage Working with a fixer

Production and Equipment Insurance, Errors and Omissions (E&O)

10

23 Apr

 

Ioanna Karavela

Drama Team Vs Documentary Team Role of the Production Manager

Documentary Protocol (releases/permissions and ethics) Archive & Stills, clearance & copyright

11

30 Apr

Ioanna Karavela

Music: Composers, commercial tracks, alternative sources Compliance

Deliverables and their importance

12

7 May

Ioanna Karavela

Festival Preparation: Why Festivals? Marketing/ PR

Creating Hype, Trailer, Poster & their importance

Sales Agents/ Films Markets EFM / CANNES / TIFF/ Sundance

13

14 May

 

Ioanna Karavela

Distribution dos & don’ts MGs Split Revenue

Bouncing back when it hasn’t worked Planning for the next project

14

21 May

 

Ioanna Karavela

TV Series - Narrative - Factual - Working with Broadcasters and Streamers

Reading

To develop your skills in finding, accessing and analyzing relevant discussion and information you are encouraged to explore all sources of information to drive and enhance your learning (books, academic and professional journals, online resources, etc.).

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