COMM3002 Outline

7/31/2019 COMM3002 Outline

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CONTACTING US

During the semester you may need to contact various staff members, and there are a number

of ways to do this:

Teaching Staff: Room Email Phone ConsultationTimes

Jen JamiesonUnit Coordinator/Lecturer/Tutor

SSCI1.12

[email protected] 6488 1203 Monday2pm 3pm

Kate McClungTutor

[email protected] To be advised

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Multimedia Centre

Equipment Office

Room

2.32

Phone: 6488 4678

Opening Times:

EquipmentCheckout

Monday Friday

10am 11am

Equipment Return

Monday Friday

2pm 3pm

Anita Krsnik (Project Officer)

Room 2.36

Phone: 6488 2891

Adem Kerimofski (Admin/Tech

Officer)

Room 2.25

Phones: 6488 1696

UNIT DESCRIPTION

In this unit students undertake a supervised, collaborative project using the resources of the MultimediaCentre. Projects are based on typical industry needs in the communications field and components mightinclude the creation and production of a short film. Students identify a repertoire of personal skillslearned in the project management context and present a critical and reflective report on the projectprocess.

To this end, students will need to think carefully about the relationship between the technologies theyare using and the theoretical concept they wish to explore through their project. Students are required toexplore this interdependent relationship via a three-part process that involves:

(i) developing a pre-production proposal that outlines the content, format and timeline of theirproposed digital project, and explains the theoretical and conceptual agenda driving its creation(ii) completing a narrative-based digital project that directly experiments with their proposedtheoretical and conceptual themes(iii) submitting a self-reflexive critical exegesis that analyses the theoretical concept exploredthrough the digital work, and the various discoveries made regarding its theme as well as themedium employed to explore it

To assist students in the completion of these tasks, they will be required to attend three different kinds ofclasses:

1) Lectures - students will be provided with theoretical information on a number of areas of

screen production, which will help them to understand and articulate the technical, creative, andacademic significance of their project.


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2) Seminars - through technical demonstrations and tutor/group consultation, students willreceive guidance in the practical and logistical formulation and execution of their digital projectand critical exegesis.

3) Workshops- in workshops students will be taught how to use more developed elements ofthe digital software program: Adobe Premiere Pro.

OUTCOME BASED EDUCATION STATEMENTS

This unit builds on the practical and theoretical knowledge gained in the Level 2 core units COMM2201or COMM2001 Communication and Mass Media and COMM2203 or COMM2002 Digital Media.Students gain an understanding of not only key research skills, but also framing in both a critical andpractical sense, as well as project management and the basic practical skills associated with usingcameras. Students therefore progress to a more advanced and critical level in digital media production.

Research and a variety of communication skills are deeply embedded in this unit. Students are able to(1) independently formulate, plan and execute an original digital media project; (2) make competent useof digital media software; (3) critically assess the communicative value and/or properties of their chosen

medium; (4) understand key debates within scholarship about various media technologies and forms; (5)explain the theoretical or research significance of their practical production work in the form of a writtenargument; (6) reflect on the relationship between theory and practice; and (7) work collaboratively withpeers to facilitate dialogue in a classroom setting.

UNIT STRUCTURE

Primary Contact Hours: 4 hrs per week.Additional Hours: In addition to class contact hours, students are expected to attend compulsoryediting workshops (dates to be advised),as well as to regularly meet with group members out of class towork on their productions.

GROUP WORK

Most digital media production, and certainly all professional digital video work, is collaborative. In orderto model the way digital media is produced in various production contexts, and due to the practicalrequirements of shooting and editing digital media, a large proportion of the work and assessment in thisunit involves working in groups. It is therefore essential that students work effectively as a team.

Groups will be formed in the second seminar of the semester, allowing each group plenty of time to planin advance of the assessment items. Groups are strongly encouraged to exchange reliable contactinformation with each other as early as possible, and to maintain regular contact throughout thesemester. It is each groups responsibility to effectively organise itself. If serious problems arise studentsshould contact their tutor or the unit coordinator immediately, but should make every effort to plancarefully to avoid difficulties wherever possible. If a group member is ill for a considerable period, which

will seriously impact on the groups work, that group member should contact their tutor and their groupimmediately (a medical certificate will be required).

To allow each individual group member to formally consider and report on how each team membercontributed to the pre-production proposal and the narrative digital project, Team Project Forms will becompleted, and may be used to help assist tutors with allocating individual marks for groupassessments.

Professional Conduct: As part of this unit, students are required to conduct themselves in aprofessional manner with regards to all areas of project management. This includes following theappropriate booking, handling, and returning of production equipment. If groups fail to abide by thesestrict equipment policies, the group will lose marks from their project grades, as this procedure is asignificant responsibility and assessment component of project management.


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READINGS AND COURSE MATERIALS

Required Texts:

1) Grammar of the Shot, Christopher J. Bowen Roy Thompson Burlington: Elsevier. 2009

2) Grammar of the Edit, Christopher J. Bowen Roy Thompson Burlington: Elsevier. 2009

Required Readings:

As outlined in the Unit Schedule, each week there are a number of required readings online which can

be accessed via the units LMS link.

ASSESSMENT STRUCTURE AND CRITERIA

The unit has four assessment components, which all contribute, and relate to the narrative digital

project.

Assessment Item Detail Value Assessment Type

1 Pre-production Proposal 25% Group

2 Narrative Digital Project &poster

35% Group

3 Critical Exegesis 20% Individual

4 Attendance and Participation 20% Individual

Total 100%

Assessment 1: Pre-production Proposal (25%)

Due: Week 7 - In classSubmission: Hardcopy

In their assigned groups, students must provide a well-developed pre-production proposal for their

digital production. These include:

1)Production Management Documentation

i. the project title and genre (documentary or drama)

ii. a five minute film script (drama) or treatment (documentary) for the project

iii. a brief outline and timeline of the steps they will need to take to complete the project

iv. a marked up script, floor plans, storyboards, shot lists where appropriate

Note 1: The proposal should be a coherent and sophisticated pre-production working document which

students will refer to during the filming and editing of their productions. Groups can determine how this

pre-production proposal is initially developed (individual group members taking on specific tasks, or the

whole group completing each task together) yet are reminded that the proposal must embody a strong

level of interconnectedness and a unity of style. Students are therefore required to meet regularly to

discuss ideas and to refine each criterion as a creative team.


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Note 2: Storyboard templates are located on LMS for download. Use these or create your own as

appropriate. Documentation for Project Management will also be available on LMS for download. Teams

should use these forms to organise themselves.

Assessment 2: Narrative Digital Project (35%)

Due: Study Break (5-7 November 2012) before 3pm, on the day of your tutorialLength: 5 minutes plus creditsSubmission: Hard drive to Anita Krsnik (room 2.36, Arts Builiding)

In their production groups, students must create a narrative-based short film or documentary on a theme

of their choice developed in consultation with their tutor.

Groups are invited to explore the possibilities for extending traditional genres or formats such as fictional

narrative, documentary, mockumentary, and/or poetic visual narrative through experimenting with

various filmic techniques they will be introduced to in this unit.

Teams must comprise 4-5 members for documentary and 5-6 members for drama. Teams will be

required to clearly define their crew roles and responsibilities.

Groups must also submit an electronic pdf movie poster for their film, as well as a final script/treatment,and all location agreements & talent release forms etc.

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Assessment 3: Critical Exegesis (20%)

Due:Week 13 Friday 2 November before 4.30pm. Length: 1500 wordsSubmission: Hardcopy to the CS/ECS/GS office (G.10, Arts Buidling)

Students are required to individually write a 1500 word self-reflexive essay analysing the logistical,

theoretical and conceptual parameters of their digital project. The exegesis offers students the

opportunity to critically reflect on the experience of completing a five-minute drama or documentary

production, and to articulate the development of their understanding in relation to the logistics of digital

media production, as well as the experience of exploring a theoretical concept through creative practice.

This analysis should be located within relevant writing and theory extending from the genre and field that

students have been working in, and should identify how their project exemplifies, challenges or develops

these theories.

For example, if students are making a drama that challenges the traditional three-act film narrative by

using non-linear storytelling techniques, they could discuss how their project was formed in relation todebates and theories about narrative construction ie. what have other filmmakers/authors/film theorists

said about these techniques? What other films have pushed the boundaries of storytelling though

flashbacks and flashforwards? What are the advantages and disadvantages of this unconventional

narrative construction?

Note 1: Helpful links for how to write an exegesis are provided on LMS.

Note 2: It important that this essay is reflective and analytical, not just descriptive. Students should

avoid informal expression and must contextualise their discussion in relevant writing in their given field.

Students are strongly encouraged to conduct their own readings into their subject matter, beyond those

provided in the unit reader.


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Note 3: To make sure that the conceptual aspects of their project usefully inform its practical

dimensions, students are advised to begin their research at the same time as they are formulating their

project; the two facets of the project should evolve simultaneously ie: theoretical research informing your

creative work, and vice versa. Keeping diarised notes throughout the development of your project will

greatly assist you in the formal write up of the exegesis.

Note 4: The Critical exegesis should be presented as a formal document, including quotations from

relevant scholarly resources and endnoting/footnoting where necessary. The Communications Style

Guide is available on LMS. Penalties will apply for incorrect or insufficient referencing.

Assessment 4: Attendance and Participation (20%)

Attendance and individual participation and cooperation, during lectures, seminars, and editing

workshops as well as in regular out of class group meetings, is required in order to pass this component

of the unit. As a group member you are expected to contribute meaningfully to each assignment so that

all members have the opportunity to realise the digital project outcomes and fulfill their individual

production role to the best of their ability.

HOW PROJECTS WILL BE ASSESSED

Further details about assessment processes and criteria will be outlined by your tutor. In principal,however, there are minimal technical criteria that should be met, as much of your project work revolvesaround the acquisition of technical skills in digital media development using computers, solvingproblems and being creative. Project assessment follows these basic qualitative procedures:

Criteria Brief Description

Production Values Quality of Direction and Production.

Technical: Visuals/Sound

Demonstration of technical proficiency in camera work, and attention tosound production values.

Technical: Editing Demonstration of software skills; sense of timing and editing structure.

Technical:Innovation Innovative use of a variety of digital mediums and techniques whereappropriate.

Communication Values Structure of work. Clarity. Coherence. Engagement. Group Participation.

Analysis Theoretical research and critical reflection.

EDITING

HELPFUL ONLINE ADOBE TUTORIALS

Premiere Pro CS5:http://tv.adobe.com/show/learn-premiere-pro-cs5

After Effects CS5:http://tv.adobe.com/show/learn-after-effects-cs5

Photoshop CS5:http://tv.adobe.com/show/learn-photoshop-cs5

MOST IMPORTANT: DATA BACK-UP

LEARN HOW TO BACK-UP YOUR DATA TO EXTERNAL HARD-DRIVE. YOU ARE RESPONSIBLE FOR ENSURING THE BACK-UP AND INTEGRITY OF YOUR

PROJECTS.


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Teaching and Learning Responsibilities!

Charter of student rights and responsibilities

The Charter of Student Rights and Responsibilities upholds the fundamental rights of students whoundertake their education at the University of Western Australia. The University's charter of StudentRights and Responsibilities is available at http://www.secretariat.uwa.edu.au/home/policies/charter

Student Guild contact details

Contact details for the University Student Guild can be found at http://www.guild.uwa.edu.au!

ACE/AISE/CARS

Academic Conduct Essentials (AACE1000/AACE7000)

Academic Conduct Essentials (ACE) is a compulsory online module for all students about ethicalscholarship and the expectations of correct academic conduct that UWA has of its students. All studentsat any level undergraduate, postgraduate, onshore, offshore who are enrolled into a UWA course,are required to complete anonline module which introduces you to the basic issues of ethicalscholarship and the expectations of correct academic conduct that UWA has of its students. The unit iscalled Academic Conduct Essentials, or ACE for short, and is available through the LearningManagement System using your Pheme account. Those students required to complete ACE areautomatically enrolled in the unit. Information about ACE is available in the UWA Handbook for both theundergraduate unit and the postgraduate unit.!

Communication and Research Skills (CARS1000)All commencing undergraduate students are required to complete CARS1000 within the first 10 weeksof their first semester. CARS1000 is an online, self-paced unit that provides an introduction to the skillsneeded to find and use information effectively and efficiently, to communicate effectively and to work inteams. Topics covered include how to locate and use library resources, the search process and searchstrategies, how and why to reference work, evaluating online sources, writing, presenting and working inteams. CARS1000 is a Moodle unit containing several modules. In order to pass the unit, the unit quizmust be completed with a mark of 80% or greater. Multiple attempts at the quiz are allowed. Completionof the unit will be recorded as an Ungraded Pass (UP) or Ungraded Fail (UF) on your academic record.Students can only access this unit via the Learning Management System, Moodle.!

Indigenous Studies Essentials (INDG1000)

This unit is a Welcome to Country that introduces students to the shared learning space that is TheUniversity of Western Australia. This learning space includes both Western and Indigenous knowledgesystems. The unit looks at the local, national and global contexts of Indigenous peoples. !"#$%&'#(!consider where the University is located and share in the Noongar story of the place. They explore

Aboriginal people in a national context and Indigenous people globally. Students are introduced to arange of protocols relevant to their professional and disciplinary contexts. This comprises an online quiz(100 per cent). A database of questions addresses all sections of the module. Students are permitted toattempt the quiz as often as they wish to achieve the required 80 per cent pass mark. This unit is amandatory and informational unit. Students can only access this unit via the University LearningManagement System, Moodle.!

Information for students with disabilitiesThe University has a range of support services, equipment and facilities for students with a disability. Ifyou would like to receive advice on these services please [email protected] or visithttp://www.studentservices.uwa.edu.au/information_about/disability_programme!

Academic literacy and academic misconductPlagiarism!Be aware that the work you submit must be your own with no unacknowledged debt to some other writeror source. To pass off written work as your own, whether you have copied it from someone else or fromsomewhere else (be it a published writer, another person, a TV program, a library anthology, a lecture, awebsite or whatever) is to deprive yourself of the real benefits of this unit and to be guilty of plagiarism.Plagiarism is a serious offence! University policy is that plagiarism, the unacknowledged quotation ofmaterial from other people's work, is a ground for failure. Moreover, your name is placed on a central


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plagiarism register. If you take notes from other sources (critical articles, background works, etc.) youmust quote carefully and accurately, and acknowledge the quotation. Even if you paraphrase, you muststill acknowledge that you are paraphrasing. Please refer to the University's policy document for furtherinformationhttp://www.arts.uwa.edu.au/students/policies/dishonesty

Appeals against academic assessmentIn the first instance, students are strongly advised to talk informally to the lecturer about the gradeawarded. The University provides the opportunity for students to lodge an appeal against any markwhich he or she feels is unfair. Any student making an appeal is under an obligation to establish a primafacie case by providing particular and substantial reasons for the appeal. Students may wish to contactthe Guild Education Officers to aid them in the appeals process. There is a 20 working day time limit formaking any such appeal. An appeal against academic assessment may result, as appropriate, in anincrease or decrease in the mark originally awarded. The University regulations relating to appeals andthe form on which the appeal should be lodged can be found athttp://www.secretariat.uwa.edu.au/home/policies/appeals

LATE WORK

It is necessary to speak to your Unit Coordinator or Tutor before the due date if you think thatyou will have difficulty handing in an assessment on time. Work that has not been granted anextension receives a deduction of 2 marks per UWA working day. All student work is due

BEFORE 4.30pm unless otherwise stated. No work will be accepted after the end of theexamination period (without formal deferral from the Academic Student Advisor). Handwrittenwork will be accepted provided it is legible.

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LINK TO LMS

http://www.lms.uwa.edu.au

Other Important InformationAssistance with study skills, including English language skills, is available free of charge from Student

Services for all enrolled students (see http://www.studentservices.uwa.edu.au/ss/learning).Student Services location: Second Floor, South Wing, Guild Village; telephone: 6488 2423.


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Student Preparation, Required Readings, and Assessment Deadlines


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1 30-Jul-12 NO LECTURE NO SEMINARPre-production: Develop your digital project ideas to bringalong for discussion and group formation in week 3

2

6-Aug-12

NO LECTUREUnit Introduction & ProductionManagement

Unit outline Discussion

Discussion: Production Crew Roles &Procedures

STUDENTS to share their initial project

ideas with the class for discussion &feedback

Pre-production: Develop your digital project ideas to bringalong for discussion and group formation next week

Required Reading:Pre-production - Producing Videos: A Complete Guide2

nd

Edition, Mollison, M, 2003 pg 343-368

3

13-Aug-12

Revealing and ConstructingTruth on Screen:Documentary, Cinema Verite,Docudrama, Mockumentary &Reality TV

Discussion: Pre-production Proposal andCritical Reflection Essay

Students to share their project ideas withthe class for ongoing discussion &feedback

Students to form production groups decide

on individual production roles

Pre-production: Groups should begin project proposals andpre-production tasks

Required Reading:

Rabiger, Michael, Directing the Documentary, 2004

MacGregor, Brent, with Simpson, Roddy, TowardsDefining the Digital Documentary, in John Izod, RichardKilborn, & Matthew Hibberd (eds)

Suggested Further Readings:

Wells, Paul, The Documentary Form: Personal andSocial Realities, in Jill Nelmes (ed.), An Introduction toFilm Studies, London & New York, Routledge, 1996,pp.167-191

John Izod, Richard Kilborn, & Matthew Hibberd (eds),From Grierson to the Docu-Soap: Breaking theBoundaries, Luton, University of Luton Press, 2000, pp.185-195

4 20-Aug-12Scriptwriting: Models ofAuthorship, Linear and Non-Linear Narrative Forms &Open-ended Narration

Discussion: Scriptwriting format &Documentary Treatments

Discussion: Pre-production Proposal andCritical Reflection Essay

Pre-production in groups

Camera & Steadicam demonstration in

Pre-production: Groups should continue work on projectproposals and pre-production tasks

Required Reading:

Seger, Linda, Making a Good Script Great, 1994, pg 18-

38 and 180-198

Dancyger Ken & Rush, Jeff, Alternative Scriptwriting,third ed, 2002,pg 30-38

Scriptwriting - Producing Videos: A Complete Guide2nd


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class Edition, Mollison, M, 2003 pg 319-342

Suggested Further Reading:

Cooper, Pat and Dancyger Ken, Writing the Short Film,third ed. 2005

Smith, Hazel, The Writing Experiemnet: Strategies forInnovative Creative Writing, 2005

5 27-Aug-12 Directing From Script toScreen: Visualising &Breaking Down a Scene

Discussion: Clarification of anyScriptwriting or Treatment Questions

Shooting to Edit Discussion & Exercise:Breaking Down a Scene, Floorplans, Shot

lists & Storyboards

Groups to share their concept with theclass for continuing refinement andfeedback

DIRECTORS &PRODUCERSWORKSHOPTBC

Pre-production: Groups should continue work on pre-production proposals and tasks

Required Reading:

Putting Your Shots Together: Prethinking the Editing

Process pp. 93-112 in Grammar of the Shot, RoyThompson & Christopher J Bowen, 2009

Film Directing: Shot by ShotVisualizing from Concept toScreen Katz, Steven d. 1991, Pg 7-22

Storyboards pg 23-85 in Film Directing: Shot by Shot

Katz, Steven d.

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3-Sep-12

Cinematography:Composition, Mise-en-scene& Lighting

Pre-production Consultation: Groups to useclass time to work on their pre-productionproposals

EDITING

WORKSHOPS

(compulsory

for editors &

directors)

DIRECTORS &PRODUCERSWORKSHOPTBC

Pre-production: Groups should continue work on pre-production proposals and tasks

Required Reading:

Weston, Judith, Directing Actors: Creating MemorablePerformances for Film and Television 1996

Shooting an Interview - Producing Videos: A CompleteGuide2

ndEdition, Mollison, M, 2003 pg 387-388

Rabiger, Michael, Directing the Documentary, 2004

Directing: Telling the Story - Producing Videos: A

Complete Guide2nd

Edition, Mollison, M, 2003, pg 74-83

Composition and Framing - Producing Videos: A

Complete Guide2nd

Edition, Mollison, M, 2003, pg 57-75 Lighting - Producing Videos: A Complete Guide2

nd


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10-Sep-12

Building Characters:Achieving AuthenticPerformances in Documentary& Drama

Pre-production Consultations: Groups touse class time to work on pre-productionproposals & tasks

Pre-production Proposals due Friday

EDITING

WORKSHOPS

(compulsory

for editors &

directors)

Pre-production: Groups to work on Pre-production Tasks

Required Reading:

Bordwell, D and Thompson, K, History of Film: An

Introduction, 1994


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week 7 by 10amOptional

RECORDINGSTUDIOWORKSHOPS

Doing Short Dramas - Producing Videos: A Complete

Guide2nd


8 17-Sep-12 Cinematography:Composition, Mise-en-scene& Art Direction

Project proposal feedback from tutor

Groups to use class time to finalise anyPre-production tasks

Lighting demonstration in class

Production: Groups begin filming

Required Reading:

The Art of Composition pg 23-65 in Grammar of theShot, Roy Thompson Christopher J Bowen 2009

Dynamic Shots Talent and Camera in Motion pg113- 130 in Grammar of the Shot, Roy Thompson

Christopher J Bowen 2009 Light in Composition pg 74-93 in Grammar of the

Shot, Roy Thompson Christopher J Bowen 2009

Suggested Further Reading:

Bordwell, D and Thompson, K, Film Art: An Introduction,2001.

Composition and Framing - Producing Videos: A

Complete Guide2nd

Edition, Mollison, M, 2003, pg 57-75.

Lighting - Producing Videos: A Complete Guide 2nd


24-Sep-12 PRODUCTION SHOOTING it is very important that groups use this week to finish filming & begin logging/capturing footage

NON TEACHING WEEK no classes or lectures

9 1-Oct-12 Sound: The Invisible YetPowerful Medium

Production Shooting - no seminar Production: Groups filming

Required Readings:Microphones & Location Sound Recording -

Producing Videos: A Complete Guide2nd

Edition,Mollison, M, 2003 pg 200-212 and222-242

108-Oct-12

Editing: Graphic, Rhythmic,Spatial & Temporal Relations

Rough cut presentations: feedback in class Post-Production: Groups editing

Required Reading:

Screen Direction pg 42-54 in Grammar of the

Edit, Roy Thompson Christopher J Bowen 2009


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Continuity pg 66-74 in Grammar of the Edit,

Roy Thompson Christopher J Bowen 2009

General Practices for Editors pg 97-109 inGrammar of the Edit, Roy ThompsonChristopher J Bowen 2009

Editing: Temporal Connections in Film Directing:

Shot by ShotVisualizing from Concept to ScreenKatz, Steven d. 1991, Pg 145-156

1115-Oct-12

Specialist lecture Production/Post-production: Groups caneither use this seminar to finalize any re-shoots or to continue editing their footage

Please inform your tutor if you plan tonot attend the seminar in order to finishfilming

Production/Post-production: Groups to completeany re-shooting and continue editing their footage

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22-Oct-12

Guest Filmmaker TBC Post-production Consultations: Groups touse class time to edit with tutor & MMCtechnical assistance

Rough cut presentations: feedback in class

Post-production: Groups to continue editing theirproductions and begin work on their individual criticalexegesis

Prepare Critical Exegesis: Write down any researchquestions or theoretical issues that your project workhas raised, and identify any readings that could helpyou explore these issues further. Bring along notes toclass next week

Required Reading:How to write an exegesis article links

1329-Oct-12

NO LECTURE Rough Cut Presentations: groups to

receive critical feedback on theirproductions from their tutor and peers

Vote for films for screening

ESSAY due Friday 2nd

November 2012 before

4:30pm submitted to English & CommunicationStudies office

Study Week

5-Nov-12

DIGITAL MEDIA PROJECT & FILM POSTER Due:in class times of study week to Anita Krsnik,MMC

POST PRODUCTION material due Friday 9th

November before 4:30pm submitted to English &

Communication Studies Office


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!

SHOWCASE SCREENINGIndustry Judges and Prizes Awarded

Time & Venue TBC


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!"#$%&'()*(+,&-.(/$0"12&23-("14(5)#2"%(5#231#3-(

Recording Studio 2.30

Conditions of Acceptable Use

The Recording Studio is considered a piece of Multimedia Centre (MMC)

equipmentAny damage to, or misuse of the Studio will result in the user incurring expenses for

repair or replacement and/or equipment borrowing penalties.

Do not remove/unplug/swap any cables

If you require assistance please contact MMC staff.

No food or drink is allowed in the Recording Studio

Do not place food scraps or other organic waste in the bins. The bins are for

recyclable material only. The user will be responsible for any cleaning expenses

incurred or the repair/replacement cost of facilities damaged by food or drink.

Do not touch the foam walls

The walls are lined with acoustic foam and any damage to the foam walls will affect

the functionality of the Recording Studio. Any damage will result in the user incurring

expenses for repair or replacement and/or equipment borrowing penalties.

Leave the Recording Studio as you found it

The Studio should be neat and tidy and free of any rubbish and clutter. Any objects

moved should be returned to their original position. Lights should be turned off. Any

items that you bring into the Studio must be removed before the end of your booking

time.

Notify MMC staffof any problems

If you notice any violation of these conditions please notify the MMC staff prior to your

use of the Studio so that they can ensure these facilities remain in good condition and

continue to be operational. Users will not be liable for normal wear and tear.

Failure to comply with any of these conditions may result in academic

penalties, expense liability and/or incur equipment borrowing penalties.

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Project Submission Form

Communication Studies 3002

This form must accompany your external hard drive

Student name:

Student number:

Group number:

Hard drive number:

Name of tutor:

Project name:

Project duration:

Project genre:

Submission date:

Have you exported a final version of your project? Yes No

Is this final exported file saved onto your external hard drive? Yes No

Has this final exported file been named correctly? Yes No

(File names should be written in this format: Group 01 Final.mov)

Does this final exported file play back correctly and completely? Yes No

Was your project checked by a Project Officer before submission? Yes No

Did the Project Officer give approval for your project to be exported? Yes No

Name of MMC staff member accepting submission:

Student signature:

Comments:

To be completed by MMC staff:

Date submission received:

Does this hard drive submission include a final exported movie file? Yes No

Does the final exported file play back correctly? Yes No

MMC staff signature:

Comments:


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Communication and Media Studies 3002

Equipment Booking and Borrowing Procedure

Bookings:

Equipment bookings can be made in person, via email, or over the phone by contacting the

Administrative/Technical Officer (see contact details below). Students also have the option to

make bookings during the Multimedia Centre equipment office opening times. Changes to

bookings or cancellations are to be made in the same way.

Additional equipment must be specified at the time of the booking, not at check out. This

should be indicated on the booking form.

Lighting Kits, Steadicams and the Crane cannot be booked for more than two consecutive

days, except for weekend bookings. Students may request a double booking of four days ifthe equipment is available.

Cancellations must be made at least 24 hours prior to the booking time.

Bookings for Shure headphones are for editing only and are restricted to 1 day.

Filming Weeks:

Start:

Week 8

Friday, 21 September 2012

First pick-up at 10am

Finish:

Study Break

Monday, 5 November 2012

Last return at 2pm

Multimedia Centre

Equipment Office

Room

2.32

Phone: 6488 4678

Opening Times:

Equipment

Checkout

Monday Friday

10am 11am

Equipment Return

Monday Friday

2pm 3pm

Anita Krsnik (Project Officer)

Room 2.36

Phone: 6488 2891

Adem Kerimofski (Admin/Tech

Officer)

Room 2.25

Phones: 6488 1696


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Equipment available to book:

Standard Kit

Sony MiniDV Camera and Accessories

Tripod

Rode Microphone

Headphones

Boom Pole

Reflector

Carry Bag

Additional Items

Steadicam (Shoulder Mount)

Steadicam (Pole)

Crane & Tripod

Lighting Kit

Lighting Accessory Kit and Sandbags

Extension Power Cable

Powerboard

Checkout:

Students must present their Student Card every time they borrow equipment.

Students may only pick up equipment from 10am 11am, every Monday - Friday.

Students must sign an Equipment Checklist Form every time equipment is checked out.

Students cannot alter their booking at the time of checkout. Cancellations must be made at

least 24 hours prior to the booking time.

Students are only supplied 2 Sony MiniDV tapes per group, thenthey can purchase others from retail outlets.

Returns:

If students are returning equipment that was not booked out under

their name, then they must supply the student number of the

person who borrowed the equipment.

Students must charge all camera batteries before returning equipment.

Equipment must be returned between 2pm 3pm.

If equipment is returned late, students must sign a Late Returns Form.

Students must report any faulty, damaged or lost items to MMC Staff. If students are

returning equipment that is faulty or has been damaged, they must complete a

Faulty/Damaged Items Report.


19/19

19

If equipment has been lost or stolen, students must complete a Stolen/Missing Items

Report.

Recording Studio Bookings

The Recording Studio will be available for audio and video recordings.

The Recording Studio is open from 9:30am 4:30pm,Monday Friday.

Students can book the Recording Studio from Week 8 Week 13.

Bookings are restricted to 2 hours. However, if, on the day, the studio is available, students

may request a double booking of 4 hours.

Cancellations must be made at least 24 hours prior to the booking time.

Students must present their student card at the time of their booking. This card will then beexchanged for a Temporary Access Card to access the Studio.

The procedure for booking the studio is to be announced later in the semester.

Date post:	04-Apr-2018
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