course forms/eng… · production, focusing on the business skills necessary to do so. program...

MEDX 119 : The Business of Film and Media

Units: 4 Producing is the art of alchemy…creating something out of nothing.

“In the dizzying world of moviemaking, we must not be distracted from one fundamental concept: The idea

is king.” --Jeffrey Katzenberg.

Days: MWF Course No. 82276

Instructor: Dr. Patti McCarthy Hours: 2:00-3:15

Office Hours: TBD

Course Description

Film and media are both an art and a business—a multi-billion dollar business. To be successful in today’s

film and media industry students need to possess the business skills necessary to not only secure a hot

property, but also navigate the rapidly evolving marketplace. The aim of this class is to give students a

thorough overview of the business environment in which film and media productions are financed,

developed, produced and distributed. Students will learn the “creative” side of producing for film and

media, as well as the current business standards practiced in the industry in multiple formats and across a

variety of platforms. Students will have access to EP Partners Movie Magic Budgeting and Scheduling

software.

Course Objectives

This course allows students to gain the background business knowledge and practical business skills necessary for entering into the contemporary film and media industries in various capacities.

Students will learn how to develop a film and media property from development through post - production, focusing on the business skills necessary to do so.

Program learning objectives and university competencies addressed by this course:

1. Create Multilayered Content. Synthesize and apply knowledge from the liberal arts to produce culturally relevant, effective content. (Major Field Competence, Critical and Creative

Thinking, Communication Skills, Intercultural and Global Perspectives).

4. Adapt Across Platforms. Adapt and translate content across multiple media and performance platforms using historical, theoretical, and technical knowledge to make and defend creative decisions. (Major Field Competence, Critical and Creative Thinking).

5. Manage Creative Projects. Exercise self-initiative and project management techniques congruent with a field characterized by high levels of autonomy, independence, interdependence, and entrepreneurship. (Major Field Competence, Critical and Creative Thinking).

6. Practice Interprofessional Collaboration. Demonstrate knowledge of expected and alternative forms of collaboration in the professional media and performance industries when creating and executing collaborative projects. (Major Field Competence, Collaboration and Leadership).

7. Demonstrate Entrepreneurship and Professional Development. Formulate career options and demonstrate activities that connect with emerging opportunities and are congruent with the student’s career interests and strengths. (Major Field Competence, Critical and Creative Thinking, Ethical Reasoning).

Student Responsibilities:

1) Business Plan for Film/Media Property 3) Creative Project for a Film/Media property (pre-production

through exhibition) 3) Final Production “Bible” 4) Reading as Assigned 5) Attendance & Participation

Students will have access to and share Sony Cx 580 , Sony HVR-V1U, a n d S o n y E X 3 digital

cameras, tripods, Lowell lighting equipment, Sony sound kits, imovie, After Effects, and ADOBE

software. Students can also provide their own equipment or editing software, if desired.

Equipment & Stockroom

Equipment will be shared among students. Students will be required to sign a Equipment Loan Agreement

& Responsibility Form every time equipment is checked out and will be responsible for maintaining the

equipment in proper working order. If equipment is damaged beyond normal wear and tear, students will be

required to repair, or replace, either the equipment in kind, or in cash value. Students will not be allowed to

use any other class equipment until the damaged equipment is repaired, or replaced in kind or in cash value.

If payment is not made for damages at the end of the semester, fees will be forwarded to the financial

services office of the University for collection prior to any future registration. This policy will be strongly

enforced.

It is HIGHLY recommended that students invest in an external drive for editing purposes. Film video

files are large and information is more easily accessible on an external drive. You can borrow an eternal

drive in the library for use in the Media Lab (your editing and post-production home away from home),

but you will need to return it after each session. It is far easier to have your own drive.

STOCKROOM HOURS:

As needed or by appointment

Attendance Policy

Attendance is extremely important. As discussed prior to registration, this will be a very time

demanding course and you need to participate fully in all the exercises and projects. Film is a

collaborative art. You will team up with other students who will need your help to complete

pr odu c i ng a nd filmmaking assignments. You will be allowed three unexcused absences during the

semester. After three unexcused absences, your final grade for the course will be lowered by one grade

(i.e., from a “B+” to a “C+”) for each day that you are absent from class without a valid excuse. This

means that if you miss three days of class without a valid excuse, your final grade for the course will be

lowered by three grades (i.e., from a “B+” to a “D+”). A valid excuse for missing class will require

written documentation from a person who can certify the seriousness of your illness or other

misfortune.

NOTE: If you do not show up for a weekend shoot, editing session, etc., that you have agreed to

participate in (and people are depending upon your help), this outside class activity will qualify as

two unexcused absences. You can’t get away with this type of behavior on a professional shoot and

you can’t get away with it here either. If this behavior occurs twice with out an excuse you will be

given a failing grade for the class—period, end of story.

Participation

You are required to work in producing crews thoughout the semester and show up for class and be ready to

discuss and participate in the class discussion.

Teamwork/Collaboration/Crew Collaboration and teamwork are the foundation of any successful film production. It can be done, but it is very rare in

the film industry, for a film to be made entirely by one individual. In this class you will work in crews of up to 5, but

no less than 3 individuals. There is only so much equipment to go around. You will also be encouraged to audition and

cast Pacific acting students in your film, if applicable.

Honor Code

Plagerism will not be tolerated. Every student must observe the University’s Honor Code. In this course, it

is a violation of the Honor Code to submit all or part of someone else’s work or ideas as your own.

Violations of the Honor Code are serious. They damage the integrity of academic life at the University and

threaten the trust on which the learning community is built. Alleged violations will be referred to the Office

of Judicial Affairs. If found guilty, a student might receive a range of penalties, including failure of an

assignment, failure of the course, or suspension from the University. If you have questions about plagiarism

and other departures from the right way of conducting yourself in academic situations, speak with your

professor. For more information about Pacific’s academic dishonesty policy, consult Tiger Lore.

Student Services and Accommodations

Any student who, because of a disability, may require special arrangements in order to meet course

requirements should notify the instructor as soon as possible. It is the responsibility of the student to

request necessary accommodations for individual learning needs. Information to determine your eligibility

for services requires that you obtain an Accommodations Request Form from the Office of Services for

Students with Disabilities, Bannister Hall, Room 101. Contact information: Mr. Daniel Nuss, Coordinator

of the Office of Services for Students with Disabilities in Bannister Hall, Room 101; [email protected] or

(209) 946-2879.

Highly Recommended Reading:

The texts below are highly recommended for purchase, but not required at this time. Excerpts as noted in

the following course outline will be posted on Canvas. Please note that “suggested readings”

appear each day during the semester to help students better understand the material covered on any

particular day. These readings may or may not be referenced during the class period. Abbreviations for

each book appears after the book reference.

Erickson, Gunnar, Harris Tulchin, and Mark Halloran. Independent Film Producer’s Survival Guide

(New York: Schirmer Trade Books, 2010). (IFPSG)

Field, Syd. Screenplay (New York: Delta, 2015). (SP)

Hurbis-Cherrier, Mick. Voice and Vision (New York: Focal Press, 2007) (VV)

Honthaner, Eve. The Complete Film Production Handbook (New York: Focal Press, 2010) (CFPH)

Levison, Louise. Filmmakers and Financing (New York: Focal Press, 2013). (FF)

Simon, Deke and Michael Weise. Film & Video Budgets (Studio City: Michael Weise Productions, 2006)

(F&VB)

Additional Reading and Assorted Hand Outs (may be assigned during the semester and, if so, they will be

posted on Canvas):

Artis, Anthony. Shut Up and Shoot! (SS)

Levy, Frederick. Hollywood 101: The Film Industry (New York: St. Martin’s Griffin, 2000). (H101)

Stevens, Andrew. Producing for Profit (New York, Routledge, 2016) (PfP)

Cowgill, Linda. Writing Short Films (New York: Watson-Guptil Publications, 2005) (WSF)

Rabinger, Michael. Directing (New York: Focal Press, 2008) (DIR)

Schreibman, Myrl. Creative Producing from A-Z (New York: Lone Eagle, 2001). (CP-AZ)

Patz, Deborah. Film Production Management 101 (Studio City: Michael Weise Productions, 2010).

(FPM101)

Koster, The On Production Budget Book (New York: Focal Press, 1997) (OPB)

Johnson, Claudia Hunter. Crafting Short Screenplays That Connect (New York: Focal Press, 2010). (CSS)

Lee, John j. and Anne Marie Gillen. The Producer’s Business Handbook (New York: Focal Press, 2011).

(PBH)

Edwards, Rona and Monika Skerbelis. I Liked It, Didn’t Love It (Studio City: Michael Weise Productions,

2016) (LIDLI)

Bernstein, Gregory. Understanding the Business of Entertainment (New York: Focal Press, 2015) (UBE)

Leipzig, Adam. Inside Track (New York: Bedford/St. Martin’s, 2015) (IT)

Squire, Jason. The Movie Business Book (New York: Routledge, 2017) (MBB)

Kirschner, Carole. Hollywood Game Plan (Studio City: Michael Weise Productions, 2012). (HGP)

Muchnik, Federico. The Strategic Producer (New York: Routledge, 2017) (TSP)

Bucher, John and Jeremy Casper. Master of the Cinematic Universe (Studio City: Michael Weise

Productions, 2016) (MCU)

Miller, Carolyn. Digital Storytelling (New York: Focal Press, 2014) (DS)

Zeiser, Anne. Transmedia Marketing (New York: Focal Press, 2014) (TM)

Venis, Linda. Inside the Room (New York: Gotham Books, 2013) (ItR)

mailto:oftheOfficeofServicesforStudentswithDisabilitiesinBannisterHall%2CRoom101%[email protected]

Edwards, Rona and Monika Skerbelis. Film Festivals (Studio City: Michael Weise Productions, 2012) (FF)

Catliff, Suzy and Jennifer Granville. The Casting Handbook (New York: Routledge, 2013) (CH)

Trigonis, John. Crowdfunding for Filmmakers (Studio City: Michael Weise Productions, 2015). (CfF)

Friedman, Anthony. Writing for Visual Media (New York: Focal Press, 2006). (WFVM)

Grade Breakdown 1000 points

Development 280

Log lines (10)

Coverage (30)

Le Menu (10)

Artistic Identity (10)

Personal vs Business Goals (20)

The Business Plan (200)*

Pre-production 170

Script breakdown (20)

Production Design Questionnaire

(10)

Schedule (50)

Budget (50)

Cast Breakdown (10)

Character Description

(10) On-campus audition

(10)

Production 70

Clearances (20)

Permissions (20)

Releases (20)

Location stills (10)

Film 200

Post-Production 230

One Sheet &

Marketing Plan

(30)

Project Bible

(200)**

Participation 50

Special Notes:

Copies of student work may be retained to assess how the learning objectives of the course are being met.

COURSE OUTLINE

Please note this course outline is an approximation only and may be changed at any time during the

semester depending on guest speaker availability or class needs.

Brief History Overview: The Studio System

M Aug 29

Intro/Syllabus/Schedule

Discuss:

Film History, Studio System, Stages of Filmmaking, What is a producer?

Types of producers: Film vs TV (Producer, Exec.

Producer, Creative vs UPM); Weekend Read, The Biz Plan

Handouts: -Hollywood English Writer’s Dictionary (Hollywood Game

Plan, Appendix A)

-Short Scripts (“weekend read” on Canvas)

Assigned Readings posted on Canvas

Assignment: --Choose two (2) scripts from “weekend

read” that you like the best (print and bring

in next Wednesday)

--Write about a time in your life when: a)

you’d like to forget, b) want to relive

--consider most intense moment in a film

Development: Defining Roles; Coverage; Acquisition of Content and Intellectual Property

W Sept 7 Find material you want to produce. Find your producing “core.”

Discuss: Which two screenplays did you like? Didn’t? Why? Themes,

ideation, log-lines. Personal goals vs Business goals.

Handouts: Fill in the Blanks Assignment (end of syllabus)/logline

beginnings


Assignment: Rabiger, 2:1, 2:2 (Self-Inventory & Alter Egos), Create Le

Menu; List personal and business goals (craft brief mission

statement); most intense moment in a film, fill in blanks.

Write log lines for your two favorite scripts.

DUE: 2 script choices; “Relive/Forget” experience write up

F Sept 9 Discuss: Log-lines, themes, business vs personal goals (mission

statements). From idea to Screenplay (log lines, treatments, scripts).

DUE: Rabiger, 2:1, 2:2 (Self-Inventory & Alter Egos), Create Le

Menu; List personal and business goals (craft brief mission

statement); Most intense moment in a film, fill in blanks;

log lines.

M Sept 12 Screenplay structure and character. Form and format. (McCarthy Powerpoint)


W Sept 14 Development. It all begins with an idea: finding the Property you want to

acquire, develop, promote and produce. Screenplay

analysis/treatments/coverage. Do I really want it? Coverage of your screenplay.

Making the decision.

Assignment: Write coverage on your two favorite screenplays


F Sept 16 Work on Coverage for two chosen screenplays, consider “favorite” script

M Sept 19 Working with Writers: Selling the Property & the Pitch

Handouts: The Art of the Pitch


DUE: Coverage assignment

Assignment: Create up to 5 minute pitch for film

W Sept 21 Writing for Film vs TV (3 Act vs 4 or 5 Acts, etc.),

WGA, The Markets (genre, themes, demographics, production costs, comps,

etc.). TEAM UP

Due: Pitch “Battle” (Refine log lines, use coverage)

Narrow down to top 4-5 Screenplays to produce in class.

One screenplay chosen for each team/crew.

Assignment: The Markets (genre, themes, demos, comps)

Create Writer “wish list”

Define your company (refine company mission statement)

Rewrite screenplay?

Handouts: TV Series Bible


F Sept 23 Writing Across Platforms. Film, TV, internet, games, etc. Does

your creative content (story idea) lend itself to other forms of digital

storytelling? Consider later as option re: marketing and sales tools.

DUE: Writer Wish List

Guest Speakers: John Bucher & Jeremy Casper, Authors

MEET IN DUC 211/212 (upstairs)

Assigned Readings posted on Canvas.

M Sept 26 Love it, Gotta Have it! Acquisitions: Buying & the Players

Discuss: Where to find properties, how to acquire, options, copyright

law, players involved (business affairs, entertainment

attorneys, agents, managers, etc.). The “Markets” (structure,

character bios, hook, genre, inciting incident—change

story/characters for markets??)

Acquisition of material: screenplay, teleplay, novel, play,

short story, etc. Copyright law. Options. Attorneys,

Managers, Agents.

WGA.

Handouts: Writer/Producer Agreements (TV, film, new media)

Option Agreement

Copyright Law


W Sept 28 Financing Your Project/ Packaging your Project

Submitting to established film producers and TV show runners: companies that

have overall deals with studios and networks—first look deals, Submitting to

foreign sales companies (presales), Debt financing—the banks role, Alternative

financing a) domestic and International “soft dollars” (subsidies, tax incentives,

etc.,), b) corporate sponsorships and product placement; c) Internet, new media,

technology (crowd funding), Acquisition divisions at the studios, “Creating a

false sense of urgency,” Bond Companies and Insurance

Assignment: Package your film (Attachments: Director, Writers, Actors,

create wish lists, etc.)

Hand out: Financing Agreement

Studio 1st Look deals List

State Tax credit Financing Agreement


F Sept 30 The Business Plan

Filmmaker and Financing, Levison. The Producers Business Handbook,

Developing a Business Plan, p. 171-183

Guest Speaker: Louise Levison (author of Finance and Filmmaking)

MEET IN DUC 211/212 (upstairs)

PRE-PRODUCTION

M Oct 3 Preproduction: What is it?


The Director. The Director’s role. Selecting a director. Creatinga wish list,

director in development process, Film vs TV, DGA. Planning Coverage. Chp 6

exercise…(Umbrella Killer)

Due: Defining your company, “The Markets”

Assignment: Create Director “wish list”

Handout: Director Agreement (Film/TV)

Umbrella Killer/Rabinger Chp 6


W Oct 5 Script Breakdown into 1/8s (Breakdown Forms for each scene) & Scheduling &

Storyboarding (for Biz Plan). Previsualization Techniques. Hiring the AD,

UPM, Production Coordinator (The Production Office)/Use for Biz Plan!


Assignment: Script Breakdown, Breakdown Forms, P Design

Questionnaire, Storyboard

Handouts: Honthaner (Sakai), Script Breakdown Sheet, Storyboards,

Hurbis: Appendix: 4-3,4-4, 4-5

F Oct 7 Fall Holiday! No Classes!

M Oct 10 Continue Discussion.

W Oct 12 Budgeting (Use for Biz Plan)


Assignment: Budget

Handouts: Honthaner (Sakai), Short Film Budget and Breakdown,

Hurbis, Appendix 4-1, 4-2

Due: Schedule/Script Breakdowns

F Oct 14 Working With Actors

Assignment: Create Actor “wish list”

Guest: Gary Armagnac: Actor/Professor

M Oct 17 Casting: Attaching Talent: Making offers, Contracts; The Package;

creating a cast wish list and valuing talent attachments; Casting Directors; The

Screen Actors Guild (SAG)

Guest Speaker: SAG Representative: Casting Director: TBD


Assignment: Cast Breakdown & Character Description

Handout: Actor Agreement (TV/Film)

Auditions/Working with Actors

Forms: Talent Release Form, Hurbis, Appendix 5

W Oct 19 Hiring a Crew


Due: Cast Breakdown & Character Description

Assignment: Get your clearances, permissions, & releases

Guest: UPM: TBD?

F Oct 21 Locations: LOCATION MANAGER


Assignment: In-class/on-campus “Find a Location,” begin to lock

locations on Project.

Forms: Location Contract, Hurbis, Appendix 5-2

Due: Budget

Guest: Location Scout/City Film Permit Office?

Sa/Sun Oct 22/23 Lock your locations, shoot stills (location photos) & hold auditions on -campus

M Oct 24 Music (Deal Memos, licensing, etc.)

Guest: Keith Hatschek and Michelle Manghise

Suggested Read: TBD

W Oct 26 Cameras & Equipment CINEMATOGRAPHER (Grips)

Suggested Read: Sony HVR-V1U, Sony CX580, Sony EX 3 manual

Sound

Guest: Sound Design/Production Sound: TBD

Lighting


Guest: Lighting Design: TBD

F Oct 28 Getting Ready to Shoot: Action!


DUE: Location Permits, location stills, Preproduction Work:

Screenplay, Script Breakdown, Budget, Schedule,

Storyboards, Cast Breakdown, Character Description,

Talent Release Forms, Releases, Permissions, Clearances,

Deal Memos, Contracts, etc.

Post-Production Workflow

Lynda.comn (imovie, ADOBE)

F Oct 28 MEET AFTER CLASS: 3:30-4:30 pm

Stockroom

Loan equipment

PRODUCTION

Putting It All Together: Shoot! (All Teams)

MWF Oct 31-Nov 4 Shoot! (ADOBE workshop?)

Finding the Right Codec

MWF Nov 7-11 Shoot!

POST PRODUCTION

M Nov 14 Editing (ADOBE workshop)

W Nov 16 Edit: Library: Open Lab

F Nov 18 Marketing

Marketing Guest: TBD

Suggested Read: TBD

Edit: Library: Open Lab

MWF Nov 21-25 Thanksgiving Vacation (Edit/pickups)

M Nov 28 Distribution: Festivals

Guest: TBD

Suggested Read: TBD

W Nov 30 Distribution & Exhibition/Options

Guest: TBD

Suggested Read: TBD

F Dec 2 DUE: First Cut Due/Screen Films (Previews)

Screen Short Films

M Dec 5 Recut Films

Integrate professor/peer/sneak preview “Studio Notes”

Recut film for story, character, pace, market, etc.

DUE: Marketing (One Sheet Due) w/ tag lines; Marketing Plan ideas

(ancillary markets, spin-offs, transmedia platforms, etc.)

W Dec 7 Fine tune your films (if necessary)

F Dec 9 DUE: Final Cut/Screen Films for Class

(.mov or .mp4 file)

December 13 7-9 pm Screen Films/Janet Leigh Theatre

Dec 16 DUE: Project “Bible,” Final Business Plan, One Sheet

Happy Holidays!!!

APPENDIX

A. Fill in Blanks Assignment

1. This is a story about a hero who wants something, takes action, meets with conflict that leads to a climax

and a resolution.

goes to and discovers . He/She/It/They

decide(s) to . This decision is made based on and it causes

to . This leads to (and if relevant),

. The film is resolved when (decides, does, learns)

.

B. The Business Plan Content Outline (200)*

Film is both an art and a business. It’s not enough to want to make a film, you need to produce one, that is,

have the wherewithal and the money to make it happen. To do this, you need to develop a business plan.

Each student will develop a business plan based on a student screenplay (that will be chosen by the student

amongst several provided in class). The business plan will consist of several sections outlined below:

1. Executive Summary (30)

2. The Company (20)

3. The Film (20)

4. The Industry (20)

5. The Markets (30)

6. Distribution (20)

7. Risk Factors (10)

8. Financial Plan (20)

10. The Financials (30)

C. Project “Bible”- Content Outline (200)**

The final Class Project will be turned in on December 16, 2015 and will synthesize the entire course

material into a single project typically referred to as a “Project Bible”. I will discuss the Class Project

further during the course of the class and answer all pertinent questions when necessary. The concept

behind the Class Project is to provide the student with a working model of a motion picture, television,

internet, or other, project bible, professionally prepared, which he/she can, i f willing, introduce to the

marketplace.

A typical Project Bible will include most, if not all, of the following:

1. THE PROPERTY (10)

2. OPTION AGREEMENT (20)

3. SYNOPSIS (20)

4. BUSINESS PLAN (50)– (see: A above)

5. SUGGESTED DIRECTOR LIST (100

6. SUGGESTED ACTOR LIST (100

7. CHARACTER BREAKDOWN (20)

8. BUDGET & SCHEDULE (40).

9. PROMOTIONAL MATERIAL & ONE SHEET (10)

10. SUBMISSION LIST (10)

D. Grading Rubric

Application of Skills: Pre-Production. Demonstrated observable performance of production and

research skills such as script development, scheduling and planning,

A B C D

Script Character Character Character Character development is development is good. development is development is basic. excellent. The plot is The plot is mostly adequate. The plot is It is difficult to unified. An unified. A good linear somewhat unified. understand the appropriate linear / / non linear structure Conflict is sometimes motivation of the non linear structure is is attempted. unclear and limited in characters. The plot effectively employed. Credibility is devices used. An lacks unity. Conflict is Credibility is well established. Interest attempt at linear / unclear and devices established. Interest is maintained through non linear structure is limited. A basic is maintained through good use of secrets, made. Credibility is attempt at linear / effective use of twists and surprises. established, but non linear structure is secrets, twists and Emotional material is sometimes tested. made. Credibility is surprises. Emotional mostly handled with Interest is sometimes frequently tested. material is handled restraint. lost, the story Interest is frequently with restraint. becoming predictable lost – predictability is in parts. Emotional high. Emotional material is handled material is handled

with some restraint. with little restraint.

Storyboard The storyboard The storyboard The storyboard The storyboard is provides a clear and provides a good provides a somewhat unclear and a poor creative visual guide visual guide to how clear visual guide to visual guide to how to how the camera the camera will tell how the camera will the camera will tell will tell the story. the story. Proposed tell the story. the story. Proposed Proposed cinematography is Proposed cinematography is cinematography is mostly creative and cinematography is lacks creativity and creative and original. original. sometimes creative originality.

and original.

Shot List The shot list provides The shot list provides The shot list provides The shot list provides full coverage and adequate coverage some coverage and minimal coverage but includes master and includes most of includes some of the includes few of the shots, follow-up the following: master following: master following: master shots, cross-cutting, shots, follow-up shots, follow-up shots, follow-up match cuts, cut-ins, shots, cross-cutting, shots, cross-cutting, shots, cross-cutting, POV sequences and match cuts, cut-ins, match cuts, cut-ins, match cuts, cut-ins,

cutaways. There is a clear description of

each shot, the action

it will include and how it is to be edited.

POV sequences and cutaways. There is a

good description of

each shot, the action it will include and

how it is to be edited.

POV sequences and cutaways. There is

some description of



POV sequences and cutaways. There is an

unclear description of



Shooting Schedule The shooting The shooting The shooting The shooting schedule is schedule is well schedule is somewhat schedule lacks meticulously prepared. A good prepared. Some preparation. Little or prepared. A clear indication of what will indication of what will no indication of what indication of what will be shot, when it will be shot, when it will will be shot, when it be shot, when it will be shot, where it will be shot, where it will will be shot, where it be shot, where it will be shot and what will be shot and what will will be shot and what be shot and what will be needed is be needed is will be needed is be needed is provided. provided. provided.

provided.

Application of Skills: Production. Demonstrated observable performance of production skills

including use of lighting, sound, and camera equipment, as well as the use of editing software.

A B C D

Lighting Creative and Demonstrates good There is an adequate There is limited innovative lighting understanding of understanding of understanding of demonstrates strong lighting techniques. lighting techniques lighting techniques. understanding of Most scenes are well and most scenes are The lighting generally lighting techniques. lit and a lot of well lit. Soundtrack distracts from the All scenes are well lit thought was put into enhances the story story. and care was taken in lighting characters but lacks attention to

lighting the and backgrounds. detail.

characters and

backgrounds of each

scene.

Sound Sound between cuts Sound track enhances There are definite Sound is often and scenes flows the story but lacks changes in sound difficult to hear. smoothly. Foley is attention to detail. levels between cuts There is no foley. used to enhance Foley is sometimes and scenes. Foley is

sound. Sound track is employed. rarely employed.

innovative and

enhances the story.

Cinematography Creative and Camera work There is an adequate The camera work is innovative camera demonstrates good understanding of basic with limited work demonstrates understanding camera techniques variety in shot sizes strong understanding cinematic techniques with some variety in and angles. cinematic techniques. with variety in shot shot sizes and angles.

Wide variety of shot sizes and angles.

sizes and angles.

Editing The film flows as a The film flows as a

result of good editing

techniques. Lengths

of cuts were varied to show rising action

and tension.

In most scenes the

film flows as a result

of good editing

techniques. Length of cuts was often varied

to show rising action and tension.

The editing was

adequate in some

parts of the film but a

lot of scenes are not well edited.

result of excellent editing techniques. Lengths of cuts were varied to show rising

action and tension.

Titles & Credits Studio and copyright Studio and copyright Studio and copyright Production company information is present information is present information is present name is not at the end. at the end. at the end. interesting. Credits Production company Production company Production company and titles are basic name is creative and name is interesting. name is interesting. and sometimes interesting. Credits Credits and titles are Credits and titles are distracting or missing and titles are good and do not good and not altogether. Credits excellent and not distract. Credits use distracting. Credits sometimes use

distracting. Credits proper film terms and use proper film terms proper film terms and

use proper film terms can be read. Title and can be read. Title can be difficult to

and can be read. Title design suggests design suggests read. Title design

design fits perfectly genre. genre. provides only a hint

with genre. as to genre.

Personal Engagement and Group Work: Formal and informal assessment of ensemble skills,

use of class time, effort and focus, level of responsibility to group, conflict resolution etc.

A B C D

Engagement The student shows

consistent

enthusiasm for the

subject.

The student shows

frequent

enthusiasm for the

subject.

The student shows

some enthusiasm

for the subject.

The student

displays little or no

enthusiasm for the

subject.

Response to Student receives Student mostly Student sometimes Student rarely

Advice and acts upon receives and acts receives and acts receives and acts advice positively. upon advice upon advice upon advice There is a desire to positively. There is positively. There is positively. The take learning usually a desire to some desire to student has little or further. take learning take learning no interest in further. further. taking learning

further.

Participation Student Student Student sometimes Student only participates participates in participates in participates in willingly in discussions. There discussions. There discussions when discussions. There is good evidence of is some evidence called upon. There is obvious active listening of active listening is little or no evidence of active during class during class evidence of active listening during discussion and film discussion and film listening during class discussion viewing. viewing. class discussion

and film viewing. and film viewing.

Group Work Student takes on Student assists The student The student leadership and and provides good participates most contributes very support roles as support and of the time but is little to class. necessary in class. assistance to occasionally She/he often Student provides peers. Film unproductive. undermines the significant support protocols are She/he provides work of his/her and assistance to mostly used in some support and peers. Film peers. Film order to enhance assistance to protocols are not protocols are the work of others. peers. Film employed and this always used in A general level of protocols are has a detrimental order to enhance respect is shown sometimes used in affect on the work the work of others. for other students order to enhance of others. Little Respect is shown and little is done to the work of others. respect is shown for other students stop them from Adequate respect for other students and nothing is learning. is shown for other and frequently done to stop them students, but some behavior stops from learning. behavior stops others from others from learning.

learning.

Personal Management: Student's ability to manage deadlines and organization of learning

material.

A B C D

Punctuality Student is punctual

for class.

Student is mostly

on time for class.

Student is

sometimes on time

for class.

Student is often

late for class.

Attendance There has been

little or no time lost

due to absences.

There has been

some time lost due

to absences.

There has been a

good deal of time

lost due to

absences.

There has been

significant time lost

due to absences.

Use of materials Student is always Student is mostly Student is mostly Student is prepared for class prepared for class prepared for class frequently with appropriate with most with most unprepared for materials at the appropriate appropriate class without ready. Film materials at the materials at the appropriate equipment is ready. Film ready. Film materials at the treated with the equipment is equipment is ready. Film utmost care and treated with a good treated with some equipment is always returned on level of care and care and treated carelessly time. mostly returned on sometimes and is often

time. returned on time. brought back late

Initiative Student is a self- Student starts, With prompting Student frequently starter, works hard works hard and work is started, requires teacher and attempts to attempts to solve and some direction to begin, solve problems problems with reminders are stay on task and before seeking occasional needed to stay on solve problems help. prompting. task. Student that arise. sometimes seeks

help before

attempting to solve

the problem

his/herself.

Internet Resources

Variety (www.variety.com)

http://pages.email.variety.com/signup (Variety headlines and New Alerts)

Internet Movie Database: www.imdb.com

Screenplay samples: www.script-o-

rama.com Screenplay samples:

www.simplyscripts.com Writers Guild of

America: www.wga.org Directors Guild of

America: www.dga.org

(Free & Downloadable) Screenwriting Software: www.celtx.com

Data Sources

Baseline Studio Systems (http://www.baselineintel.com)

Box Office: The Business Of Movies (http://www.boxoffice.com)

http://pages.email.variety.com/signup

http://www.imdb.com/

http://www.simplyscripts.com/

http://www.wga.org/

http://www.dga.org/

http://www.celtx.com/

Box Office Mojo (http://www.boxofficemojo.com)

DEG: Digital Entertainment Group (http://www.degonline.org)

Edgar Database (http://www.sec.gov)

Global Entertainment and Media Outlook (http://www.pwc.com)

Internet Movie Database (http://www.proimdb.com)

Lee’s Movie Info (http://www.leesmovieinfo.net)

Motion Picture Association of America (http://www.mpaa.org)

Screen Digest (http://www.screendigest.com)

Deadline (www.deadline.com)

The Wrap (www.thewrap.com)

Screen Daily (www.screendaily.com)

The Hollywood Reporter (www.hollywoodreporter.com)

Baseline (www.baselineresearch.com)

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