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Controlled Assessment Moving Image Arts Tasks - Unit 1: Acquisition of Skills in Moving Image Production

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Controlled Assessment Moving Image Arts Tasks - Unit 1: Acquisition of Skills in Moving Image Production REVISED GCSE Controlled Assessment Moving Image Arts Tasks - Unit 1: Acquisition of Skills in Moving Image Production General Certificate of Secondary Education 2010 Moving Image Arts Unit 1: Acquisition of Skills in Moving Image Production CONTROLLED ASSESSMENT TASKS 1 GCSE Moving Image Arts Unit 1: Controlled Assessment Tasks Candidates must complete two tasks for this unit Candidates should attempt the two tasks for this unit during the first year of the course, each task focusing on a different area of film language. There are seven tasks detailed overleaf to select from. In the 2009/2010 year it will be compulsory for teachers to select from this list of suggested tasks. From the following year, however, CCEA will consider task proposals directly from centres. Each of the Unit 1 tasks have been crafted to provide a learning experience which gives the student: 1 Knowledge of the contextual background to which the Controlled Assessment Task relates and relevance of the task. 2 The practical skills needed, developed within a team context, to realise their creative vision. 3 The guidance to develop, mature and carry out their personal Controlled Assessment Task. Each task must contain the following four key elements of work: THINKING PLANNING MAKING EVALUATING Contextual study Creating resources Filming Evaluating Personal goals to facilitate making Editing a Moving Image Project All work with the exception of filming must be carried out under the direct supervision of the teacher. Each of the two set tasks represents [20] marks or 10% of the total available marks for this GCSE specification. Each task should take the candidate 10 hours to complete. 1 Unit 1: Controlled Assessment Task (1) (Task Duration: 10 x hours) Film Language Area Sequence of Tasks Camera Technique This sequence can be tailored to the centre’s own requirements and resources but should follow this coherent teaching workflow. Task: Thinking Study of Key Study key scenes and sequences from Horror films with a special emphasis on those which use camera Camera Techniques for the Horror Contextual Sequences technique to establish mood or generate sudden scares. Students must write a 200 word statement Film Study from Horror detailing how they plan to draw from specific sequences or film-makers they’ve examined. Outcome Film A 40 to 60 second Horror film Planning Exploring Students should become familiar with the technical logistics of camera operation, camera movement, sequence which uses camera Techniques framing, selective focus, mounting a camera on tripod/dolly and basic camera settings including recording techniques to create suspense and set- modes, white balance, exposure, and auto-focus. up a sudden a shock or scare. The product can be either live action or animated. Pre- Students should produce 5 to 10 A4 pages of written pre-production materials which must include a shot- Production list and full storyboards, and may also include production notes, a written script, and preparatory sketches. Production Values Focus Documents Production values focus on shot size, Making camera movement, and framing. The Production Students should follow their storyboards and planning materials, shooting multiple takes of each planned sequence could also include POV shots shot and making informed on-set adjustment if necessary. from the perspective of a Monster or Post- The shots musts be edited into a finished sequence which may include music and sound effects where killer, and the use of shadows or selective focus. Production appropriate. Resources and Equipment Evaluation Evaluation Students must complete a 200 word evaluation of the task. This should focus on the technical successes and failures, stylistic merit and visual impact of the work. Digital Camcorders Editing Software Suggested Contextual Resources and General Preparation Health and Safety Computer Practitioners Due care should be taken with all electrical equipment with particular regard towards Tripod/Dolly (in the absence of a Garret Brown outdoor conditions (if appropriate), safe use of extension leads and adaptors and the professional dolly wheel chairs, Dean Cundey safe positioning of power cables. Safety gloves should be worn if handling studio Film lights and smaller torches may be more appropriate for most outdoor situations. shopping trolleys etc. can be used to ‘Jaws’ (Dir: Steven Spielberg 1975) achieve the same effect) ‘Psycho’ (Dir: Alfred Hitchcock 1960) Students should not be exposed to computer screens for prolonged periods without a ‘The Sixth Sense’ (Dir: M. Night Shyamalan 1999) break. Any construction of props or costume should follow normal safe use of scissors, ‘Bride of Frankenstein’ (Dir: James Whale 1935) etc. Props should be positioned securely and any film locations chosen with safety in ‘Young Frankenstein’ (Dir: Mel Brooks 1974) mind. ‘Drag Me to Hell’ (Dir: Sam Raimi 2009) Other Artists Care must be taken with headphones and students must refrain from listening to their Ben Templesmith work with the volume at maximum. On-screen warning meters should not be allowed Bernie Wrightson to dip into the red. 2 Unit 1: Controlled Assessment Task (2) (Task Duration: 10 x hours) Film Language Area Sequence of Tasks Continuity Editing This sequence can be tailored to the centre’s own requirements and resources but should follow this coherent teaching workflow. Task: Thinking Study of Key Study key scenes and sequences from the Thriller and other genre films, with a special emphasis on those Continuity Editing Techniques for Contextual Continuity that use continuity editing to create tension, anticipation and mood. Emphasis should be made on studying Film Study Editing sequences that use basic continuity shot structure and a variety of shot sizes to communicate the narrative Outcome Sequences and mood. Students must write a 200 word statement detailing how they plan to draw from specific A 40 to 60 x second film sequence sequences or film-makers they’ve examined. which employs continuity editing to Planning Exploring Students should become familiar with the various craft and technical skills required for continuity editing convey narrative using the Thriller Techniques including camera shot coverage from multiple angles, cut-aways, cross cutting, shot reverse shot, genre to create a mood of tension, anticipation or foreboding for one of continuity of actions from actors, sound and lighting continuity, importing footage to computer, editing the following scenarios: software techniques and soundtrack assembly and mixing. The Arm Wrestle Pre- Students should produce 5 to 10 A4 pages of written and visual pre-production materials that must include Production a shot-list and full storyboards, and may also include production and editing notes, a written script, and Making a Pot of Tea Documents preparatory sketches. Climbing the Stairs Making Journey Through a building… Production Students should follow their storyboards and planning materials, shooting multiple takes from different angles of each planned shot and making informed on-set adjustment if necessary. Production Values Focus Post- Students must edit their footage into a continuous sequence following their storyboard and add appropriate Production values focus on the craft Production music and sound effects where needed. elements involved in continuity editing Evaluation Evaluation Students must complete a 200 word evaluation of the task. This should focus on the technical successes including a variety of shot sizes, POV and failures, stylistic merit and visual impact of the work. shots, where appropriate, timing of cuts, duration of shots, pace and the suitable Suggested Contextual Resources and General Preparation Health and Safety choice of music and sound effects to create mood and atmosphere. Practitioners Due care should be taken with all electrical equipment with particular regard towards George Tomasini, Walter Murch, Michael Kahn, Thelma Schoonmaker outdoor conditions (if appropriate), safe use of extension leads and adaptors and the Resources and Equipment Films safe positioning of power cables. Safety gloves should be worn if handling studio ‘Vertigo’ (Dir: Alfred Hitchcock1958) lights and smaller torches may be more appropriate for most outdoor situations. Digital Camcorders ‘The Godfather: Part III’ (Dir: Francis Ford Coppola 1990) Editing Software ‘Saving Private Ryan’ (Dir: Steven Spielberg 1998) Students should not be exposed to computer screens for prolonged periods without a break. Any construction of props or costume should follow normal safe use of scissors, Computer Other Artists etc. Props should be positioned securely and any film locations chosen with safety in Tripod/Dolly (in the absence of a Film editing is an art form unique to cinema. However, it may be useful for students to mind. look at the sequential art of graphic novels by artists such as Frank Whiteley, Will professional dolly wheel chairs, Eisner, Jack Kirby & Mike Mignola. shopping trolleys etc. can be used to Care must be taken with headphones and students must refrain from listening to their ‘Understanding Comics, The Invisible Art’ by Scott MacCloud (Kitchen Sink work with the volume at maximum. On-screen warning meters should not be allowed achieve the same effect) Press/Harper Perennial 1994) to dip into the red. 3 Unit 1: Controlled Assessment Task (3) (Task Duration: 10 x hours) Film Language Area(s) Sequence of Tasks Sound Design This sequence can be tailored to the centre’s own requirements and resources but should follow this coherent teaching workflow Task Thinking Study of Study key scenes from genre films with a special emphasis on those which use sound to generate specific Illustrating With Sound Contextual Sound in Film meanings or moods which are specific to the genre in question. Students must write a 200 word statement Outcome Study detailing how they plan to draw from specific sequences or film-makers and artists they’ve examined. A 40 to 60 second sound Planning Exploring Students should become familiar with the technical logistics of recording sound using the camera or a sequence which uses sound effects to create an emotional techniques separate recording device to gather sounds from the real world.
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