Category | Assignment | Subject | Education |
---|---|---|---|
University | University for the Creative Arts (UCA) | Module Title | FSFM7006 Film, Media and Performing Arts |
Teaching Team
Name |
Role |
Room |
|
Office Hours |
Ioanna Karavela |
Film Producing Lecturer |
|
ikaravela.s1@ucreative.ac.uk |
Tuesdays |
Kerryn Arcari |
Unit Tutor |
|
|
|
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. |
Buy Answer of FSFM7006 Assignment & Raise Your Grades
Request to Buy AnswerThis 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.
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.
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 |
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
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
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 |
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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