1st Day Hand-Out MFTVN2 2017 PDF

2017
Master of Film & Television (Narrative)

2nd Year

SUBJECT GUIDELINES/HANDBOOK/ASSESSMENT FOLIO
TO BE HANDED OUT ON ORIENTATION DAY

Please Note: There are two LMS sites you probably need to become very familiar with.
The actual film schools LMS site (which contains information about the VCA) and the
other is our personal year group one; Narrative Projects 2A. The third important link you
will need over the year is the link to the Drop Box that contains all of the relevant
Production related forms for your films this year. This is called the Blue Book.

1) Please refer to the BLUE PRODUCTION book ONLINE VIA THE New DROP BOX LINK.
It is important that you understand early in the year what is expected from you. This will help in the
planning of your time during this graduate year. The Blue Book is for everyday reading (NOT) but is
important when you need it most, so please read it and get your head around the rules and regulations
of being a university student believe me, it will put you in good stead for the future.

http://go.unimelb.edu.au/fvn6

2) All year our year groups communication will be through the subject Narrative Projects 2A
LMS site. Every time I post something as an announcement, it triggers an email to your student email.
Please check this site every day or so. Its the only way I can update you or leave handouts, assessment
tasks and schedules permanently accessible to you.

Due to using industry professionals for some guest master classes, lectures or
workshops - unforeseen changes regarding classes can be expected from time to
time. It is vital for students to remain aware of these changes. However, in this
course, any changes are highly unlikely, there are at times additional classes Ill
organise when opportunities arise, and most of these will be optional.
Please check your student email at the end of each day for any updated information
regarding classes.

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INDEX PAGE for MFTVN2

THIS DOCUMENT IS TO BE HANDED OUT ON FIRST DAY OF MASTERS:

DATE: 28th Feb 2017

Please note the hand in dates for assessment work are RIGID. I dont chase people for work
due, but will often put up a reminder on the LMS.

Any Scriptwriting and Production Awards are only eligible for those students who submit
work on the due date. Extensions that apply after the due date are not always eligible
for awards. Eg; Marks for scripts are due 2 weeks after the hand in date, so any extensions
will delay the handouts of awards and prizes, often making the prizes useless for upcoming
productions. Timely awards and prizes are important for all graduating students.

Please refer to University policy in regard to extensions and special consideration for
any assessment items.

Student Handout 2017 for subjects: This is a detailed description of all subjects.

7 15 Minute Production Major Production guidelines.

Script Assessment Template & Script Feedback form This is a guide of what is given to
each script assessor.

Graduate Productions assessment and feedback info for Students This is a form you
receive at the end of the year explaining how to interpret your end of year assessments by
assessors. If the production has been granted an extension beyond the 31st of October then
TWO INTERNAL ASSESSORS will be appointed to mark the production instead of ONE
INTERNAL AND TWO EXTERNAL ASSESSORS.

Information & Notes for assessors for Major Productions These two sheets breakdown
the production guidelines the films have been made under and some guidelines to help
them assess your productions.

Major Production weighting guidelines for marks This is the template the assessors use
when marking your major productions at the end of the year. The marks are handed in to
the Supervising Producer at the end of the screening day. The assessors are then asked to
take two weeks to write up feedback for the students. These templates will be given to the
student with the feedback as soon as we receive them all, however, please note the
standards column in the template will be banded (with no individual mark within each
band given). You will be given an overall total mark.

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MASTER OF FILM AND TELEVISION (NARRATIVE) YEAR TWO 2017
Course Coordinator
Sandra Sciberras sandrars@unimelb.edu.au

Students are examined in the following subjects:

Subject Name: COURSE CODE SEMESTER Credit Points

Scriptwriting 2 FLTV70026 1 25
Narrative Projects 2A FLTV70030 1 12.5
Screen language 2 FLTV90017 Year Long 25
Narrative Projects 2B FLTV70031 2 37.5

COURSE OVERVIEW
The Master of Film and Television is a two year course, with the option to exit after year
one with a Graduate Diploma. Entry level into the second year of the Master of Film and
Television program is also offered. The course can be undertaken in one of three
specialised directing streams: Narrative and Documentary.

As a practice based course Year One sees students introduced to facets of motion picture
production within the chosen specialised stream, at a level which enables them to realise
a major exercise in Semester Two to a professional standard. The course is
predominantly delivered through workshops, lectures and tutorials.

Students undertake theoretical areas of study that include screenwriting and screen
language. Directing students are expected to write, direct and edit their own
productions.

In Year Two, a production period will follow directly after First Semester classes.

Each directing student focuses on, and assumes responsibility for, writing and directing
specific to their chosen strand (both creatively and technically) a substantive major
production for completion at a professional level.

LEARNING OUTCOMES
On completion of this course students will be able to contribute to the broad culture of
society, will qualify for employment in the film, television and allied industries and will
have acquired the following skills in their area of specialisation at an advanced level:

Narrative:
developed skills in writing, directing and editing an innovative short narrative motion
picture program at the highest professional standard;
ability to experiment and develop their own creativity for screen;
understanding of the creative achievements in screen or multimedia culture.

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ALL SCHOOL ASSESSMENT POLICIES

PLEASE REFER TO THE VCA BLUE BOOK for school policies or the University Of
Melb for University Policy.

Production Crewing: Completion of assigned student crew roles forms an important part
of skill development and ongoing assessment for both you and your classmates. Any
attempt to circumvent or undermine other students ability to perform their assigned
role(s) will be dealt with according to the University of Melbournes policy and procedures
for academic misconduct.

Likewise any action or omission that endangers the safety of any person, whether cast,
crew or general public, shall be taken very seriously and may result in penalties
appropriate to the seriousness of the incident, according to the universitys policy and
procedures for academic misconduct.

Failure to comply with assignment guidelines as set by the subject coordinator may result
in assessment or academic penalties. Films produced outside the established production
guidelines may be judged ineligible for assessment and/or public screening.

CLASS PARTICIPATION is assessed using the following criteria of engagement;

Punctuality/Attendance

Ability to Discuss

Ability to give/receive Feedback

Team Work Skills.

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SCRIPTWRITING 2 FLTV70026
Subject Coordinator

Credit Points: 25
Contact/Time Commitment: 80 hrs (Semester 1)
Estimated total time commitment: 240 hrs
Mode of Subject Delivery: Lectures, workshops and master classes

SUBJECT DESCRIPTION
This subject deals with moving picture language and principles of
characterization and dramatic form at an advanced level. Each student will
develop a substantial script that they will take into production in Semester
Two. Students undertake additional specialist screenwriting tutorials relevant
to their strand of study. Students participate in actor/writer workshops that
help develop characterizations further.

Screenwriting 2 will be delivered through a variety of lectures, workshops and
master classes. All master students participate in 4 x 3hr tutorial classes,
script tutorials with their Supervising Producer and new students to the
school participate in 5 x 3hr storytelling workshops as well.

LEARNING OUTCOMES
This subject will:
demonstrate masterful creative and technical skills in the storytelling areas of film and
television;
demonstrate the use of script editing and re-writing skills;
develop script analysis and feedback skills for both short and long form scripts
develop an understanding of creative achievements in screen culture;
enable the completion of a film script, reflecting a high level of understanding in narrative
structure and conventions relevant to students strand of study.

GENERIC SKILLS
On completing this subject students will gain:
confidence in presenting work for critical review;
enhanced critical listening skills that effect productive writing and re-writing;
an understanding of the importance of audience participation;
heightened writing skills;
heightened skills of critical analysis, both in giving and receiving criticism;
demonstrated capacities for artistic imagination, creativity, transformation and
interpretation.

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SCRIPTWRITING 2 FLTV70026

BREAKDOWN OF ASSESSMENT ITEMS

1. Class Exercises x 2 (eqv 2000 words)
2 Main exercises to be handed out between weeks 1 - 3
Assessment weighting: 20%

2. Script Development Report. (eqv 2000 words) The writing of short
documents Including one liner, synopsis (short) and treatment (4 pages) -
an understanding of their function in relation to their major production.
Delivery is 1 x copy via email. Please include name, student Id, name of course,
date and contact number on the front page.
Assessment exercise to be handed out in week 3.
Due Date: MONDAY 3rd April

3. Production Script (eqv 5000 words). This is the MAJOR script handed in for
assessment. The script format (including spelling and big print) must comply
with industry standard - samples supplied on the LMS using script writing
programs such as final draft, screenplay or word. Scripts must be delivered in
a PDF file, 1 electronic copy via email to supervising producer and 1 hard copy
to the student centre.
Due Date: MONDAY 15th May
(1 internal staff and 1 external industry professional will assess this script).

MARKING CRITERIA

Character authenticity/
memorability 2

Narrative integrity 2

Enacting theme through
cinematic elements 1

Professional presentation
(incl: spell and format) 1

Audience engagement
and overall impact 4

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NARRATIVE PROJECTS 2A FLTV70030
Subject Coordinator Sandra Sciberras sandrars@unimelb.edu.au

Credit Points: 12.5
Contact/Time Commitment: 90 hrs (Semester 1)
Mode of Subject Delivery: Lecture, Group tutorial & Masterclasses.

SUBJECT DESCRIPTION
Narrative Projects 2A develops craft skills covering major aspects of narrative filmmaking
at an advanced level. Students will develop their knowledge of
current industry practices through industry guest lectures and industry studies. Students
will undertake craft upgrade and/or master classes depending on their strand of study
through workshop and lectures.

LEARNING OUTCOMES
This subject will enable students to:
demonstrate developed creative and technical skills in the area of film and television;
plan and organise work and solve problems;
effectively manage competing demands on time;
exhibit a developing knowledge of the film, television and allied industries.

GENERIC SKILLS
On completing this subject students will:
exhibit the ability to lead a team as well as participate as a member or a collaborate group
while respecting individual differences;
confidently communicate in oral, visual and written forms;
apply theoretical knowledge to practical problems.


1. Tutorial attendance, preparation and contributions
Ongoing attendance to all the industry lecture series, and masterclasses.

2. Assignment 1 - (eqv 2500 words) + (500 word rationale paper)
Due Date: 4th April Week 6

Create a Production and Cinematographers Design Folio.
Write a rationale statement to support your design folio.

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NARRATIVE PROJECTS 2A FLTV70030

3. Industry Practice Assignment - (2000 words)
Students attend the all school: 8 x 1.5hrs industry guest lecture series.
Attendance to Audit Industry Actor Masterclasses.
Due Date: 22nd MAY Week 12

Choose an industry practice and discuss elements such as: process and approach. The
following are several examples: You may examine one particular professional and look
specifically at their work, or a combination of in the one essay. Some examples are;
A production designer and their work.
A cinematographer and their work.
An editor and their work.
Special effects and the current trends?
Dramaturgy and the actor.
Digital lenses and why we still try and copy film OR do we?

Please include name, student Id, name of course, date and contact number of the front page
when delivering a hard copy to the student centre or via email.

MARKING CRITERIA

Evidence of Research; 10%
Clear understanding of the process and approaches of the chosen practice; 40%

SCREENLANGUAGE 2 - FLTV90017
Subject Coordinator

Credit Points: 25
Contact/Time Commitment: 75hrs (Semester 1)
Estimated total time commitment: 280 hrs (Semester 1 & 2)
Mode of Subject Delivery: 40hrs (Intensive & over 6 days) +
35hrs (Workshops/Lectures)

SUBJECT DESCRIPTION
Screen Language 2 teaches craft skills in master classes covering major aspects of direction.
This subject also includes discussion and analysis of the world created in the
short/television/new media and feature film formats and its effect on audience
engagement. This subject is delivered in practical based workshops, lectures, as well as
group tutorials and content is varied depending on the strand of study, Narrative or
Documentary.
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LEARNING OUTCOMES
At completion of this subject, a student should be able to: For Narrative and Documentary
demonstrate an understanding in practical terms of performance methodology or
performance/interview techniques for the screen;
create the construction of scenes for the screen;
demonstrate a directorial approach to new media and audience/s.
demonstrate directorial techniques for all aspects of filmmaking including
camera/sound/editing/art direction/performance or interview techniques/outcomes in
the students major production;
demonstrate an ability to articulate visual storytelling.

GENERIC SKILLS
On completing this subject students will be able to:
lead a team and work collaboratively in all fields of the film, television and allied
industries;
apply theoretical knowledge to practical problems and present alternatives;
develop positive self-critical and peer review skills.

BREAKDOWN OF ASSESSMENT ITEMS SEMESTER ONE

1. Related Industry Folio: Electronic Press Kit (EPK) Part A - Students
research and provide a comprehensive folio based on a short film intended for
marketing, including all short documents and photographs.
DUE DATE: 26th APRIL week 8

MARKING CRITERIA

Demonstrated consideration of online marketing & distribution opportunities for your
major production. 5%
Demonstrated understanding of both content and style of industry standard press kit. 5%

2. Visual Screen Language Exercise - (eqv 3000 words)
Please refer to the production/crewing particulars of this assignment in a
separate hand-out.
DUE DATE: 19th MAY week 11

3. Class/Workshop/lecture Participation;
Due Date: Ongoing (end of semester one) 10% of total mark.
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HANDOUT SHOW ME A STORY in a SCENE

VISUAL Screen Language Exercise 1

DUE DATE: 19th MAY 2017 5pm

Delivery on dvd or usb to Staff Office (Sandra)

STRUCTURE FOR THE WEEK
Directors direct and film using two actors and fellow students as crew.
Apply an expansive soundtrack including atmosphere, score and effects.
Dialogue is optional within the scene.
Students write their own scenes (from their upcoming script) for this assignment.
AIM:
We are looking for ways in which to show theme (and character back-story if need be) through
character and action within the scene. Wanting you to use sound (not music) as a major part of
your scene as well.
Working together in small groups, each student must then edit including sound on their
own.
Be as dramatically provocative as possible with the final cut if you choose.
How many different ways can you edit a scene to tell a story? Experiment in the edit rooms.
How do we use sound to alter or help us drive a scene?

During the course of 3 - 5 days students are expected to select a scene from
their upcoming major scripts and workshop, film (using only 3 fellow
students), edit including sound design Delivery will be on DVD or FILE.
These scenes MUST BE FILMED on school grounds, (Unless prior consent from me is
granted, like your house) and must require no safety or stunt supervisors, a full call sheet
must be given to me in advance to indicate; all the production particulars.

These scenes must be shot within a 4hour period; roughly broken down as you see it BUT
please do not extend beyond the timeframe or marks will be subtracted.

You may choose 1hr for set up and 3 hours to film or 3 hrs to set up and 1hr to film.

This is a guide only, but in the past students tend to think like this;
2HR for set up and
2HRS to film the scene.
There is no time limit restrictions for post production.
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Please realize the limited time frame in which this assignment can be captured do not
extend the parameters of the assignment, in other words, its more important for you to get a
short scene well executed than a large scene that meanders and has no real direction. A scene
for the sake of shooting something is not acceptable. Put in the effort, I want to see a director
working, this doesnt mean perfect images it means story, image and sound.

MARKING CRITERIA
The work in progress will require evidence of scene completeness.
Contains a beginning, middle and end within the scene. 15%
Editing including an extensive sound tracklaying. 10%
Punctuality/Crewing/Attendance. 5%

BREAKDOWN OF ASSESSMENT ITEMS SEMESTER TWO

4. Related Industry Folio - (eqv to 2000 words)

Part B Students research and provide a comprehensive folio intended for
marketing and distributing their major production. Including all short
documents and photographs.
Due Date: 30th October

MARKING CRITERIA
- Demonstrated consideration of marketing & distribution opportunities for your major
production. 10%
- Presentation & Layout of Press Kit. 15%

5. Directors Paper - (Self Critical Paper) - (2500 words)
Students write a report about their working methodology, i.e., how they
evolved an approach to their film in terms of genre and the implications,
consequences and requirements of that approach for them as directors and
how they met these. Also personally evaluating the role and realisation of
their authorial voice.
Due Date: 30th October

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MARKING CRITERIA

Evidence of a clear understanding of the students major production in regard
to genre, style and approaches to these. (these may include use of examples
from other films/directors) 10%

Demonstrate a self-critical approach to ones working methodology. (this
often includes an understanding of their own authorial voice or
understanding of their lack of) 15%

SEMESTER TWO SUBJECT

NARRATIVE PROJECTS 2B FLTV70031
Subject Coordinator

Credit Points: 37.5
Contact/Time Commitment: 280 hrs (Semester 2);
Mode of Subject Delivery: Intensive Production Period and Tutorials

SUBJECT DESCRIPTION
In Narrative Projects 2B, each student will assume responsibility for writing
and directing his or her own major production. This narrative project will be
completed and technically to a professional level. Students will crew on other
student productions depending on their strand of study. Students may elect to
shoot components of their major production on or off campus depending on
the locations required. Students are also expected, when crewing on fellow
student productions, to work on or off campus.

LEARNING OUTCOMES
This subject will enable students to demonstrate advanced narrative skills;
writing and directing an innovative short narrative motion picture program at a high
professional standard;
applying practical filmmaking skills including the direction of actors and the use of
cinematography, sound recording, editing and other principles of filmmaking;
applying production techniques to express screen-based ideas;
leading and participating in a collaborative team at an advanced level.

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NARRATIVE PROJECTS 2B FLTV70031 Cont

GENERIC SKILL
On completing this subject students will;
demonstrate advanced creative and technical skills in area of narrative for film and
television;
confidently manage competing demands on time including self-directed production work;
communicate at an advanced level in oral and written form and through screen
production, for a wide variety of audience;
exhibit a developed knowledge of the film, television and allied industries;
exhibit a developed set of flexible and transferable skills for different types of
employment.


1. Crewing. Students are required to crew on fellow student major
productions in meaningful roles and in an industry professional manner.
Crewing on a minimum of ONE other master by coursework production in a
major capacity or TWO equivalent in a less responsible role, as approved by
Year Convener: six points required - see point allocations below.
Due Date: Ongoing throughout Production period.

Each Student Director must submit a formal report on crewing performance that may form the
basis for assessment of crewing by the Year Convener TWO DAYS AFTER THEIR OWN
PRODUCTION. Examined by Year Convener.

The following principal roles are worth SIX points
director of photography including camera operator
production manager
1st assistant director
Production designer or art director
editor
sound designer
The following major roles are worth THREE points
editing assistant
production assistant (inc some pre production)
2nd assistant director (inc some pre production)
red data wrangler
sound recordist
unit/or catering
camera assistant/best boy/girl/boom

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2. Production Folio. All industry standard pre-production, production and post production
paperwork to be handed in to supervising producer on due dates (in addition to those handed to
the VCA Production Coordinator) and are of VCA compliant standard.

Due Date: Ongoing through out Pre-Production, Production and Post Production.

MARKING CRITERIA

Demonstrate an understanding of all pre-production, production and post production
paperwork in regards to the production of the students major production. 5%

Timely hand in dates for all paperwork and mtgs with VCA Production Co-ordinator. 5%
_________________________________________________________________________________________________________

3. Major Production. All students will write, direct and edit a production of between 7 and 20
minutes in duration, see exercise guidelines for details. Examined by a panel of three
assessors, including external and internal industry professionals.
Due Date: End of 2nd day of Sound Mix
Assessment Date: Assessment week for Graduating students; November 10th 2017

PLEASE NOTE: Students must submit all assessment items in order to be eligible for a pass
in this subject. Students must attend 80% of workshops, classes and lectures in order to be
eligible for assessment.

MARKING CRITERIA

The school values:
Excellence in filmmaking
The effective realisation of the production, creatively and technically
The student's original storytelling voice
Creative risk taking
Originality of treatment
Diversity of ideas and styles

STANDARDS (../100) Weighting

Strength of Concept / Audience Engagement 4

Use of Film Language 3

Direction of Actors Performance 2

Structure: effective storytelling use of
character goals and narrative development 1
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SUPERVISING PRODUCER or VCA Production Coordinator
The following list indicates essential contacts with either the Schools Production Coordinator
and or your Supervising Producer though out the pre, prod and post production process.

Masters by Coursework - Narrative
1 budget session
3 pre-production meetings
2 editing consultations
- rough cut
- final cut / picture lock-off
1 titles approval
1 final post-production session

Release items:
School retains Student provided with
1 x Digital Master 1 x Digital Submaster
Camera Originals and
Telecine Originals Film Print (if applicable)

Hand in Dates & Penalties:
If productions are submitted after the due date (Due date being: 9am morning after SOUND
MIX by Sound Operator) the Director of the production will not be eligible for any Awards and
will be ineligible for screening on Award night at end of year screenings. There will be no
exemptions for this due date unless approved in writing by the Supervising Producer in
conjunction with Head of School if necessary. There are usually no exemptions granted other
than genuine illness substantiated by a medical certificate.

Delivery items for Assessment of productions:
Digital Master including all titles, optical effects and final mix of soundtrack. Students may elect
to have their unfinished films (often either waiting for final sound mix or SFX shots to be inserted
after the official online) during Assessment week in order to be eligible for awards and prizes
even though at times these films might not be completed in time for ACMI screenings.

PLEASE NOTE: For graduating productions, screening at ACMI will be at risk if films are not
completed with an online and soundmix before Assessment Week in early November. A tight
turnaround between the end of Assessment week and ACMIS demand for the films weeks in
advance of screenings - make it impossible for us to screen any film that has not made it to
Assessment week. This is regardless of illness or special circumstances that have pushed the
films completion to after Assessment week.

Any external online or soundmix approved by the Supervising Producer must be completed
and delivered during Assessment week in order to be fitted into the ACMI screenings in
replacement of their VCA on-lined and sound mixed version, which will be the copy assessed.
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Major Production GUIDELINES
2017 MFTVN2 7-15 Minute Production

Aims
To facilitate learning, in both the creative and technical facets of film production.
To provide the opportunity to direct actors and crew.
To write, direct, edit and soundmix a production, of between 7 and 15 minutes duration, within
a given period.
To provide an opportunity to work with a professional cinematographer/ or with a student
cinematographer under guidance.
To learn the process of constructing and realising a soundtrack.

Guidelines

PRE-PRODUCTION
Students are expected to attend ALL meetings with the Production Coordinator and must hand
in pre-production paperwork on time.
Students are expected to attend ALL meetings with their Supervising Producer.
Students are expected to adhere to the production guidelines that are required in order for an
approved script to move into production. The Production Coordinator and or your Supervising
Producer will give these guidelines to you.
Scripts will not be approved for production if they do not have the potential for
completion within the guidelines, or present a safety risk.

PRODUCTION
A schedule for production and post-production is posted outside the staff offices.
The shoot must take place within the allocated time slotted to that student. Variations must
have the approval of your supervising producer and in some cases the head of school.
Permission for a shoot to be moved is rarely given, only extreme cases are approved.
Equipment is to be picked up on the scheduled day and returned on the scheduled day after the
shoot, unless arrangements have been made with your Supervising Producer.
Rushes should be sent to the lab on a daily basis if shooting on film.
If you are going to view Rushes daily then you need to have telecine time booked and
arrangements in place for the neg to be taken to telecine and then the tape to be brought to the
VCA for syncing, or synced at telecine.
Students MUST adhere to a SIX day (over a seven day period) shooting schedule. There will be
NO shooting outside these days. A rest day is encouraged after the 4th day, scheduling a straight
6 day shoot is only granted under circumstances, and should not be assumed.
YOU face the legal consequences if you go beyond the scheduled call-sheet and shooting days
that have been approved. This is a breach of OHS and will make the production ineligible for
awards, prizes and possibly any public screenings.

POST-PRODUCTION

You will have twenty edit shifts OF HALF-DAY DURATION for logging, digitising and editing.
Sometimes a double shift is necessary in the schedule and these will be regarded as two shifts
over the one long day.
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Major Production GUIDELINES Cont

To be eligible for scheduled post-production, an on-line edit and/or a sound-mix, students must
complete their fine cut on time and have their material ready for the post-production.
Fourteen hours On-line time (The school does not provide this resource beyond this time limit.
Students should arrange their edit to finish within this time. Online operators MUST not be
engaged privately and outside of the students allocated hours.
The sound-mix is a two (7 hour/full day) and one (3.5 hour half day) Track-lay and mix session.
The school does not provide this resource beyond this time limit. Students should arrange their
mix to finish within this time. To achieve this you should go to the mix with sound charts and
your sounds that have not been put in the time-line, ordered, in sequence, preferably on a DAT
tape) Soundmix operators MUST not be engaged privately and outside of the students allocated
hours.

ASSESSMENT
The production is assessed in the light of being a Masters production that demonstrates
research and experimentation with film form and/or process.
It will be assessed on the basis of its creative and technical realisation.
As students are encouraged to explore their personal film vocabulary, due consideration will be
given for such endeavour.
The film will be assessed by one lecturer (from a different stream) and two external assessors
unless being assessed after assessment week.
Students will receive written feedback from the assessors within 4 weeks of final assessment
week.

PICK UP SHOTS are sometimes permissible, depending on the production. At no sooner than
rough-cut, a Supervising Producer may approve a pick-up shoot to film material that :
Has become clear during the edit, will add to story clarity or efficacy (but was not originally
scripted)
Could not be filmed during the principal shoot due to unavoidable mishap
Needs re-filming for technical correction.

A pick-up shoot is not designed to film material that could not be fitted in to the principal shoot
schedule, nor is it to re-film sequences that originally were shot in defiance of the production
parameters (eg in overtime, in breach of OH&S, on non-approved equipment, or in un-cleared
locations).

Due to equipment and facility availability, pick-up shoots can never be guaranteed, and students are
advised not to go into the principal shoot, taking it for granted that more time and facilities and
crew will be available to them later, for a pick-up shoot.

A pick-up shoot may cut into editing or other post-production facility schedule, in which case the
school cannot re-schedule that lost post-production time, due to the pick-up shoot.

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Major Production GUIDELINES Cont

Please Note: It is a requirement that the production is not in excess of fifteen minutes
duration. It is important that you understand early in the year what is expected from you.
PLEASE refer to the Assessment policy in regard to over-length productions, breeches of
Occupational Health & Safety in both pre-production and production, productions
produced using unapproved equipment or in unapproved external facilities and delays in
assessment due to illness or special consideration this is clearly articulated in the BLUE
BOOK.

PLEASE NOTE: Your time with the VCA Production Co-ordinator will guide you through all
the production preparation in detail weeks before your shoot. Once again: please re-read
all the production guidelines regarding the crediting of Producers on your shoots.

Also play particular attention to the detail regarding any changes to your films after the
online or soundmix sessions. There are strict guidelines that you need to follow and are
not up to me to remind you of them as you head towards your shoots. If you are fully aware
in advance, it truly takes the pressure off yourself as you move forward.

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EXAMPLE: This is what is handed to an assessor both internally and externally when
assessing the major script for production.

FTV SCRIPT ASSESSMENT COVER SHEET

CRITERIA WEIGHTING MARK (1-10) TOTAL
Character authenticity/
memorability 2
Narrative integrity 2
Enacting theme through

cinematic elements 1
Professional presentation
(incl: spell and format) 1
Audience engagement
and overall impact 4
TOTAL %
FEEDBACK (on this current draft)
SUGGESTIONS (in priority order for next draft)
1.
2.
3.

ASSESSORS NAME SIGNATURE

____________________ ________________

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University of Melbourne
VCA FILM AND TELEVISION

Notes on Script Feedback:
Aims of script feedback are:
To provide stimulating and sensitive feedback to assist in the development of the
students ideas
To recognize achievement and identify areas for improvement
To stimulate, provoke and extend the student scriptwriter beyond where they are
currently

The school values:
The students original voice
Risk taking in story telling
Originality
Diversity of ideas
Ideas that are well crafted

Typical format for script notes:
Interpretation summary, recapping and paraphrasing
Analysis The critique, insights, new perspectives, strengths, weakness
Recommendations Questions, speculation, suggestions to extend the script beyond
where it is

Script comment:
Accentuate what is working. Be specific about what isnt working. Give clear
reasons why you are making criticism and suggestions.

Examples of specific feedback are:
Concept/theme
Storyline/Action
Style/Genre
Environment/Location
Characters
Dialogue
Structure
Engaging and audience

Receipt of Script notes:
External script assessors should provide a paragraph describing their backgrounds
so that the student can contextualise their comments
Year Lecturers should distribute all script feedback directly to the student so that it
ca be handled in a constructive developmental context. They can then assist the
student to be open and to consider all feedback which will develop the students
script.
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Cont.

Marks
Marks are to be expressed out of 100
Student swill be given a grade which will be the average of the assessors marks.
Students will not be given individual assessor/s marks.

Marking grades are as follows:

H1 80+
H2A 75-79
H2B 70-74
H3 65-69
P 50-64
N <50

In instances where a mark of less than 50 is given critical comments should be relatively
detailed.

Marks and written comments should be returned to the School Administrator two weeks
after receipt of the scripts.

Revised 17/2/2017 21
GRADUATE PRODUCTIONS ASSESSMENT AND
FEEDBACK - 2017
Information for Students

You will find enclosed a copy of the marking sheet derived from assessors scores for your
graduating production this year, and written feedback from each assessor.

Firstly there is a copy of the blank marking sheet given to each assessor, explaining in detail
the 4 criteria they have applied in the assessment of your production.

Secondly, there is a copy showing you which standard they judged to be applicable for each
of the 4 criteria. These standards are represented by black rectangles.

You will notice that the criteria are weighted differently, and therefore your final grade is
not a direct average of the 4 individual grades.

This sheet should aid you in interpreting the written feedback, which should relate to the 4
criteria. Written feedback is given back to the student within 4 weeks of screening.

Lastly, the written feedback received from each assessor, and in the case of external
assessors, a brief biography will be given to the student.

If you have any difficulty interpreting the sheets please contact your supervising lecturer.

Revised 17/2/2017 22

CREWING ASESSMENT FORM

DIRECTOR/Course:

PRODUCTION TITLE:

CREW ROLE DAYS STUDENT NAME MARK
WORK

Please give each student crew member a mark out of ten. Do not take into account the weighting for the role,
that will be calculated later on. This document is an official record and will be used in determining the
crewing scores for those students who participated in your production.

This is intended as a guide for the final score given by the year lecturer.

The lecturer retains the right to adjust scores in accordance with his/her assessment of the crew.

THE FOLLOWING MAY ASSIST IN SCORING:

EXCELENT = 9-10, GOOD = 7-8, SUITABLE = 6,7, POOR = 3-4
FAILED TO CARRY OUT THE TASK = 1,2

PLEASE MAKE SURE THAT YOU SIGN AND DATE THIS FORM

SIGNED: DATE: /2017

Revised 17/2/2017 23
VCA SCHOOL OF FILM AND TELEVISION

2017 - NOTES FOR ASSESSORS MAJOR PRODUCTIONS

So that each assessors marks and written feedback express individual points of view, it is appreciated
if assessors and VCA staff present do not seek to influence one another, or comment on programs while
assessment is in progress or subsequently, until such time as the assessors have noted their marks and
critical comments.

The school values:

Excellence in filmmaking
The effective realisation of the production, creatively and technically
The student's original storytelling voice
Creative risk taking
Originality of treatment
Diversity of ideas and styles

Notes on Marking

Marks are finalised at the completion of the assessment screenings on the score sheet provided. The
assessor signs it and hands it in to the Year Lecturer. This is the official record of marks.

Marks are to be expressed out of 100.

Marking grades are as follows:

H1 80+
H2A 75 - 79
H2B 70-74
H3 65 - 69
P 50 - 64
N < 50

The marking sheet you are provided with breaks marking down into four separate criteria. Each
criteria is weighted according to the different academic expectations for different learning levels.

Assessors are asked to judge the work by these four criteria and place a mark accordingly, from 1
100, in the correct column for each criteria. Supervising Lecturers will make the weighting
calculation and arrive with a total percentage. Assessors do not need to make the calculations.

Students will be given a single mark, which will be the average of the 3 assessors' marks.

Assessors criteria marks on the score sheets will be replaced with a symbolic indication for
students of where their work was judged to sit according to the standards (expressed as five
columns).

Assessors score sheets: -

Revised 17/2/2017 24

will be given to students as: -

After viewing each production, each assessor will write their four marks on the Marking Sheet, and
write short notes to aid them in providing written feedback later concerning its merits and de-
merits. Completed written feedback is to be delivered by assessors to the School within 4 weeks of
the screening day.

Revised 17/2/2017 25
Notes on Written Comments

All students have written, directed and in most cases edited their production. Accordingly, your
feedback should focus on these areas, while also relating to the four criteria on which the work was
marked.

The following are guidelines which we hope assist you with your feedback to students.

Aims of feedback are:
To provide stimulating and constructive feedback to encourage the student's development as a
filmmaker
To recognise achievement
To identify any areas which you believe could have been improved

Assessor's comments should:
Address the production on its own terms; recognising the student's achievements within the
parameters of the production's own genre, style, etc.
Accentuate what is working
Be specific about what isn't working and why
Give clear reasons for your comments
In instances where a mark of less than 50% is given critical comments should be relatively
detailed

Revised 17/2/2017 26
OFF CAMPUS FRIDAY 31ST MARCH 8.50 5pm
MIKE ALFREDS WORKSHOP ATTENDING THE FIRST DAY OF THIS

MASTERCLASS - This is a compulsory class. Payment has been made on your behalf.
24hrs notice MUST be given if you are not going to attend so that a replacement for your
spot can be allocated.
Schedule of the day;

Start time 8:50 am (promptly please or you may not be allowed in till the next break)
Finish time 5.00 pm (in the past, this masterclass will often finish beyond the scheduled end
time optional of course, but I have no idea if this will be the case with this class, but I suspect
there could be some gateway into the evening)
There are breaks (if you get locked out and then need to re-enter) after each actor team goes up
and does their scene and he has given feedback these breaks can be anywhere between 1.5hr
3hrs apart. Believe me you wont want to leave early.
If you have any questions please contact 16th Street Office:

admin@16thstreet.com.au or 03 9533 0216
http://www.16thstreet.com.au/classes/mike-alfreds-masterclass/
MIKE ALFREDS
Different Every Night The Rehearsal Process

A rare and precious opportunity to work with British theatre legend, Mike Alfreds;
described by Mark Rylance (one of the greatest actors of our generation) as a theatrical
genius.

In this 12-day Genre/Scene Study Masterclass actors and directors will delve into Mikes in-
depth and meticulously detailed process of preparation, rehearsal and performance, which
liberates and ignites a powerful, spontaneous creativity in the actor. Making theatre what it
can be, alive and different every night.

Theatre is predominantly the domain of actors. We speak tautologically of live theatre; we
proclaim live-ness as its greatest attraction. Rightly so, for without any life theres no
theatre, at lease not theatre that honours its true nature.

And no one brings the theatre to life or to be more accurate, brings life to the theatre but
actors. Before actors come on stage, everything about theatre is abstract, theoretical,
potential. Actors are the ones who make theatre happen, who turn ideas into
experienceActors are the sine qua non of theatre. Mike Alfreds

Revised 17/2/2017 27
In this 12-day Genre/Scene Study Masterclass Mike will be taking actors and auditors through
his revolutionary and in-depth rehearsal process, outlined in his book Different Every Night,
regarded as the most complete rehearsal methodology in print since Konstantin Stanislavski.

Actors will be cast in 2 scenes asked to prepare from a wide range of texts including but not
limited to the plays of Chekhov, Coward and Lorca. This Masterclass is designed for both
Actors and Directors.

I make the actors forge the work on the floor. They have to discover by doing. Get them free
with the text so they never do it the same way twice. Mike Alfreds

Auditors have the opportunity to develop their knowledge of acting and directing
to gain a deeper insight into their craft.
Auditing is not simply an act of watching but rather an active process in which you
experience and learn through dynamic observation and analysis.

About Mike Alfreds
Hailed by Sir Ian McKellen as one of the top three directors in the UK, Mike Alfreds has
directed over 200 plays in the last 60 years, working at some of the greatest theatres and with
some of the finest actors of our time. In the 1970s he founded Shared Experience, one of the
most successful theatre companies in the UK. He has directed for Shakespeares Globe, the
Royal Shakespeare Company and the National Theatre where he was an associate director for 8
years. He was the artistic director of Theatre West, Tucson and then the Cincinnati Playhouse-in-
the-Park, USA as well as Cambridge Theatre Company, later renamed Method & Madness.
Mike has directed and taught extensively worldwide and is widely respected within the
industry.

Revised 17/2/2017 28
BREAKDOWN OF OVERALL CLASSES

SCRIPTWRITING 2 SCRIPT TUTORIAL GUIDELINES
These SCW 2 classes based on character/story and world will be coordinated and run by
me.

WEDNESDAYS, TUESDAY AFTERNOONS, and MONDAY MORNINGS will be our SCRIPT
TUTORIAL sessions to be scheduled from week 3. Each student is allocated time to see me
one on one over the semester and before the final script hand in date

Obviously there is only so much time in these week days to fit everyone in for more than 2
or 3 sessions before the script hand in date in May as we try and schedule around your
other classes so to maximise the time together, I dont have drop in and un-scheduled
sessions with no structure unless theyre crisis ones (theyll be many of these no doubt
when youre in pre-production period on your films where this is almost expected, and I
am available four days a week) HOWEVER for script tutorials; there needs to be a more
rigorous timeframe to get the most out of those sessions.

I have less script tute times with you but when we are together we should have more time
to re-work ideas and scripts.

I want to work with treatments, charts or scripts not ideas floating around be
constructive and prepared when youre coming to see me.

Please be advised in advanced; I will not read a script the night before or the morning
before our session as Ill probably be with another student or in a mtg Ill read it in the
session with you and go through each scene as I do.

These tutes are workshop based I bring along butchers paper, crayons and highlighters
you come along with an open, healthy, happy mindset and all shall be okay. If you have to
cancel I cant necessarily make up another time as all the other time slots will be taken up,
but well try and swap you or you swap yourself.

CAMERA/DIRECTOR MASTERCLASSES
There are three x 4 hour classes with DOP Philip Cross. Philip will hold some workshops for
you as a group, getting you back into the swing of working together, and experience the
fine line again between technical and creative knowledge.

ACTOR/DIRECTOR MASTERCLASSES
These are actor/director masterclasses the director who is holding this will be
announced closer to the date. These classes are about observing a director work with
actors on scenes, overall character and script work. TBA

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RED CAMERA WORKSHOP and DATA WRANGLING (with Bftv 3 students)
Over two days: With guest cinematographer and Gordon.
Youre expected to attend and learn as much as you can about the red camera and the VCA
workflow during these days.

PRODUCTION DESIGN WORKSHOP (with the Production Designers from the production
department) More detail about this class will be announced but normally a guest
Production designer attends the class and asks the directors to present their ideas for their
films. Sometimes, directors bring in images and material to support their vision and then
production designers enhance or create their own versions. Great relationships have come
from this workshop, so its always great to come open minded and ready for input from
others.

PITCHING AND NIGHT
Youve all done this before the rehearsal will help you fine-tune your pitches for the night
if you still need crew. This is optional for you all.

All students in PRE-PRODUCTION FOR THEIR PRODUCTIONS

END OF FORMAL CLASSES FOR THE SEMESTER ONE.

SEMESTER TWO

NO CLASSES OTHER THAN A FEEDBACK (REVIEW) OF YOUR FILM IS ALLOCATED FOR
SEMESTER TWO.

STUDENTS EMBARK ON A VERY HEAVY PERIOD OF PRE, PRODUCTION AND POST
PRODUCTION.

CREWING ON TWO MAJOR FILMS IS CONSIDERABLE, PLEASE BE AWARE OF YOUR
TIME ALLOCATION FOR THESE AROUND YOUR OWN PRODUCTIONS.

S.Sciberras Feb 2017
Revised 17/2/2017 30

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2017

Master of Film & Television (Narrative)

STRUCTURE FOR THE WEEK

Enacting theme through

FEEDBACK (on this current draft)

SUGGESTIONS (in priority order for next draft)

MIKE ALFREDS WORKSHOP ATTENDING THE FIRST DAY OF THIS

Schedule of the day;

If you have any questions please contact 16th Street Office:

Different Every Night The Rehearsal Process

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