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

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.

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.

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.

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. Students should also experiment with Soundscape inspired by a poem sequencers such as SoundForge or Garage Band and should try matching their sound effects to different or a passage from a book or visuals for expressive effect. For example, the swoosh of a ruler slicing through the air might be re-applied play. This should draw on the to an actor making a sudden dramatic hand movement. conventions of a relevant film genre. Pre-Production Students should produce 5 to 10 A4 pages of written pre-production materials including notes on their The product may have visuals in the form of animation, found documents experimentation and notes on the intended impact of the piece. Pre-recorded sound effects should also be footage or still images but there included. should be clear evidence of self- Making Production Any essential location sound such as dialogue must be carefully recorded at this stage. created sound editing/design work. Post- The material must be edited into a finished sequence with sound effects and music mixed adequately (the Production Values Focus Production sound meters included on the editing package should not be peaking into the red). Production values in this context Evaluation will be based around the student’s Evaluation Students must complete a 200 word evaluation of the task. This should focus on the technical successes and level of creativity in their failures, stylistic merit and visual impact of the work. approach to sound and their ability to demonstrate an Suggested Contextual Resources and General Preparation Health and Safety awareness of the creative Practioners Due care should be taken with all electrical equipment with particular interplay between sound and Walther Murch regard towards outdoor conditions (if appropriate), safe use of editing. Ben Burtt extension leads and adaptors and the safe positioning of power cables. Skip Lievsay Resources and Equipment Safety gloves should be worn if handling studio lights and smaller Feature Films torches may be more appropriate for most outdoor situations.  Digital camcorders / sound Raising Arizona (Dir: Joel Coen 1987) recorders THX 1138 (Dir: George Lucas 1970) Students should not be exposed to computer screens for prolonged  Microphones (shotgun and M. Hulot’s Holiday (Dir: Jacques Tati 1952) periods without a break. Any construction of props or costume should omni directional if possible) Star Wars (Dir: George Lucas 1977) follow normal safe use of scissors, etc. Props should be positioned The Thin Red Line (Dir: Terence Malick 1999) securely and any film locations chosen with safety in mind.  Sound editing software Wall-e (Dir: Andrew Stanton 2008)  Video Editing software Dancer in the Dark (Dir: Lars von Trier 2000) Care must be taken with headphones and students must refrain from Other Artists listening to their work with the volume at maximum. On-screen Delia Derbyshire warning meters should not be allowed to dip into the red. Brian Eno

Unit 1: Controlled Assessment Task (4) (Task Duration: 10 x hours) Film Language Area(s) Sequence of Tasks Lighting and This sequence can be tailored to the centre’s own requirements and resources but should follow this coherent teaching workflow Cinematography Thinking Study of the Study key scenes from films with a special emphasis on those that use lighting to create a creepy or Task Contextual Lighting in unsettling mood. The study of paintings and photography will also be beneficial in generating ideas. Lighting for Horror Study Classic Horror Students must write a 200 word statement detailing how they plan to draw from specific sequences or film- Outcome Films makers and artists they’ve examined.

A 40 to 60 second sequence Planning Exploring Students should become familiar with the technical logistics of setting up lights, gels, diffusers etc. and which uses lighting effects to techniques adjusting camera exposure. create an eerie, spooky or scary atmosphere. The product should have a Pre-Production Students should produce 5 to 10 A4 pages of written and visual pre-production materials including a shot list, minimum of 3 distinct lighting Documents storyboards, notes on their experimentation and diagrams of lighting set-ups. setups. Making Production Students should follow their storyboards and planning materials, paying particular attention to the visual Production Values Focus quality of each shot. Production values in this context will be based around the student’s Post- The material must be edited into a finished sequence and any visual effects, sound effects and music added

level of creativity and skill in Production where appropriate. their approach to lighting their Evaluation Evaluation Students must complete a 200 word evaluation of the task. This should focus on the technical successes and ability to demonstrate an understanding of traditional failures, stylistic merit and visual impact of the work. Horror lighting techniques. We would expect to see creative use Suggested Contextual Resources and General Preparation Health and Safety of shadows and extreme high Practitioners Due care should be taken with all electrical equipment with particular contrast lighting. Seamus McGarvey regard towards outdoor conditions (if appropriate), safe use of John Mescall Resources and Equipment extension leads and adaptors and the safe positioning of power cables. Feature Films Safety gloves should be worn if handling studio lights and smaller  Digital camcorders ‘Bride of Frankenstein’ (Dir: James Whale 1935) torches may be more appropriate for most outdoor situations.  A range of lights/lamps ‘Psycho’ (Dir. Alfred Hitchcock 1960)  Coloured gels ‘The Sixth Sense’ (Dir: M. Night Shyamalan 1999) Students should not be exposed to computer screens for prolonged Other Artists periods without a break. Any construction of props or costume should  Tripods/stands pegs/tape etc. Rembrandt follow normal safe use of scissors, etc. Props should be positioned  Editing software Caravaggio securely and any film locations chosen with safety in mind. Francis Bacon Ben Templesmith Care must be taken with headphones and students must refrain from listening to their work with the volume at maximum. On-screen warning meters should not be allowed to dip into the red.

Unit 1: Controlled Assessment Task (5) (Task Duration: 10 x hours) Film Language Area(s) Sequence of Tasks Mise-en-Scène 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 Western films with a special emphasis on those which have particularly strong Production Design Contextual Western Genre iconographic features of the Western genre. Students must write a 200 word statement detailing how they Outcome Study Film Examples are planning to draw from specific sequences or film-makers and artists they’ve examined. A 40 to 60 second sequence that Planning Exploring Students should become familiar with the role of a Production Designer. Students should also experiment uses the iconography of the Western genre to give the Techniques with the most effective way to convey information to the audience about the location/setting of the film and viewer information about the the nature of its characters. This may be through the use of sets/locations, costumes or props. For example, a setting and characters in the classic trait of the Western is to use locations that dwarf the main characters showing how hostile the story. environment is. The product can be either live action or animated. Pre-Production Students should produce 5 to 10 A4 pages of written and visual pre-production materials which must include Production Values Focus Documents a shot list and full storyboards and may also include notes on their experimentation, designs/photographs for Production values in this context sets, costumes or props and notes on the intended impact of the piece. will be based around the student Making Production Students should follow their storyboards and planning materials, paying particular attention to the visual demonstrating creativity in their quality of each shot. approach to mise-en-scène and an awareness of the importance of Post- The material must be edited into a finished sequence and any visual effects, sound effects and music added good production design. Production where appropriate. Resources and Equipment Evaluation Evaluation Students must complete a 200 word evaluation of the task. This should focus on the technical successes and  Digital Camcorders failures, stylistic merit and visual impact of the work.  Editing Software  Computer Suggested Contextual Resources and General Preparation Health and Safety  Tripod/Dolly (in the absence Practitioners Due care should be taken with all electrical equipment with particular of a professional dolly wheel Catherine Martin, Lilly Kilvet, Bo Welch, Alex McDowell, Carlo Simi, Henry Bumsted regard towards outdoor conditions (if appropriate), safe use of chairs, shopping trolleys etc Feature Films extension leads and adaptors and the safe positioning of power cables. ‘Australia’ (Dir: Baz Luhrmann 2008) Safety gloves should be worn if handling studio lights and smaller can be used to achieve the ‘Open Range’ (Dir: Kevin Costner 2003) torches may be more appropriate for most outdoor situations. same effect) ‘A Fistful of Dollars’ (Dir: Sergio Leone 1967)  Art materials to create sets, ‘The Searchers’ (Dir: John Ford 1956) Students should not be exposed to computer screens for prolonged costumes, props etc. Other Artists periods without a break. Any construction of props or costume should  Lighting Edward S. Curtis (Photographer) follow normal safe use of scissors, etc. Props should be positioned William R. Leigh (Painter) securely and any film locations chosen with safety in mind.

Care must be taken with headphones and students must refrain from listening to their work with the volume at maximum. On-screen warning meters should not be allowed to dip into the red.

Unit 1: Controlled Assessment Task (6) (Task Duration: 10 x hours) Film Language Area Sequence of Tasks Animation This sequence can be tailored to the centre’s own requirements and resources but should follow this coherent teaching workflow. Unit Title Thinking Study of Key Study key scenes and sequences from animated films with a special emphasis on those that make use of the Animation Techniques for Contextual Sequences conventions of the Crime genre. Emphasis should be made on studying sequences that cover primary animation the Crime Genre Study from techniques including drawn animation, 2D papercut animation, 3D claymation and computer generated animation. Outcome Animation Students must write a 200 word statement detailing how they plan to draw from specific sequences or film-makers and Crime they’ve examined. A 30 second (minimum) Genre Films animated film sequence using

characters and backgrounds Planning Exploring Students should become familiar with the various craft and technical skills required in the application of primary combining a variety of Techniques animation techniques including; drawn animation, 2D papercut, claymation and computer animation using a animation techniques to make a digital video camera, stills camera, rostrum style camera, scanner and appropriate animation, stop-motion and heist or chase sequence from image manipulation software. the Crime genre, drama or comedy. (Animation can be 30+ Pre- Students should produce 5 to 10 A4 pages of written pre-production materials that must include a shot-list and full seconds provided each frame has Production storyboards, and may also include production notes, a written script, and preparatory sketches. been individually keyed. If using Documents vector animation software such as Flash, a 40 to 60 second Making timeframe should be adhered to.) Production Students should follow their storyboards and planning materials, shooting frames for each planned shot and making informed adjustment if necessary. Production Values Focus Post- Students must edit their footage into a continuous sequence following their storyboard and add appropriate music

Production Values focus on the craft Production and sound effects. elements involved including the creation of backgrounds, sets and Evaluation Evaluation Students must complete a 200 word evaluation of the task. This should focus on the technical successes and characters, drawn elements, colour failures, stylistic merit and visual impact of the work. themes, smoothness of animation, the variety of shot sizes used, scaling and Suggested Contextual Resources and General Preparation Health and Safety camera focus. Resources and Equipment Practitioners Due care should be taken with all electrical equipment with particular regard towards Nick Park, Jiri Trnka, Terry Gilliam, Lotte Reiniger, Chuck Jones outdoor conditions (if appropriate), safe use of extension leads and adaptors and the safe  Video editing software Animated Films positioning of power cables. Safety gloves should be worn if handling studio lights and  2D Vector or stop motion ‘The Wrong Trousers’ (Dir: Nick Park 1993) smaller torches may be more appropriate for most outdoor situations. animation software ‘The Little Chimney Sweep’ (Dir: Lotte Reiniger 1954)  Digital Camcorders or digital ‘The Miracle of Flight’ (Dir: Terry Gilliam 1974) Students should not be exposed to computer screens for prolonged periods without a stills cameras ‘Father and Daughter’ (Dir: Michael Dudok De Wit 1997) break. Any construction of props or costume should follow normal safe use of scissors, ‘Street of Crocodiles’ (Dir: The Quay Brothers 1986) etc. Props should be positioned securely and any film locations chosen with safety in  Scanner mind.  Image manipulation software Other Artists (such as Photoshop) Edward Hopper, print work of Windsor McKay, Will Eisner Care must be taken with headphones and students must refrain from listening to their  General Art room materials work with the volume at maximum. On-screen warning meters should not be allowed to dip into the red. (paper, paint, ink, collage)

Unit 1: Controlled Assessment Task (7) (Task Duration: 10 x hours) Film Language Area(s) Sequence of Tasks Post Production 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 films with a special emphasis on those which use visual trickery such as matte shots Compositing Contextual Compositing or green screen to generate specific meanings or moods. Students must write a 200 word statement detailing Outcome Study in Film how they plan to draw from specific sequences or film-makers and artists they’ve examined A 40 to 60 second sequence Planning Exploring Students should become familiar with the technical logistics of at least two of the following: using green

which uses compositing and image manipulation to alter Techniques screen to key in a new background, using colour correction tools to change the colour of an everyday object reality and create an (e.g. turning grass orange), using Photoshop to create a digital matte shot, using split-screen effects. incongruous effect. The product may have visuals Pre-Production Students should produce 5 to 10 A4 pages of written and visual pre-production materials including notes on in the form of found footage or Documents their experimentation, a shot list, storyboards, designs and notes on the intended impact of the piece. still images but there should be clear evidence of self-created Making Production Any self-created footage must be carefully filmed. Retakes should be filmed if necessary. work. Production Values Focus Post- The material must be edited into a finished sequence with a narration from the pupil showing how they Production values in this context Production created the illusion. will be based around the student’s Evaluation level of creativity and skill in Evaluation Students must complete a 200 word evaluation of the task. This should focus on the technical successes and manipulating visuals. failures, stylistic merit and visual impact of the work. Resources and Equipment Suggested Contextual Resources and General Preparation Health and Safety  Digital camcorders Practitioners Due care should be taken with all electrical equipment with particular  Digital Stills Cameras Phil Tippett, Dennis Muren, Harrison Ellenshaw, Georges Méliès regard towards outdoor conditions (if appropriate), safe use of  Image manipulation software Feature Films extension leads and adaptors and the safe positioning of power cables. (such as photoshop) ‘The Wizard of Oz’ (Dir: Victor Fleming 1939) Safety gloves should be worn if handling studio lights and smaller  Editing Software ‘Star Wars’ (Dir: George Lucas 1977) torches may be more appropriate for most outdoor situations.  Compositing Software (e.g. ‘Army of Darkness’ (Dir: Sam Raimi 1992) Motion, After Effects) ‘Who Framed Roger Rabbit?’ (Dir: Robert Zemeckis 1988) Students should not be exposed to computer screens for prolonged Other Artists periods without a break. Any construction of props or costume should Marc Chagall, Rene Magritte, MC Escher, Salvador Dali follow normal safe use of scissors, etc. Props should be positioned Online Resources securely and any film locations chosen with safety in mind. www.archive.org contains a wealth of public domain films. Footage from here can be used for the purposes of experimentation. Care must be taken with headphones and students must refrain from listening to their work with the volume at maximum. On-screen warning meters should not be allowed to dip into the red.

Unit 1 : Controlled Assessment Task Marking Grid Unit Total: 40 Marks

Assessment Criteria Total Marks 0 Marks Level 1 Level 2 Level 3 Level 4

AO1 5 No work has been Shows a basic but Shows developing Shows consistent Shows confident use Demonstrate personal submitted or the work uneven ability to understanding understanding of film and understanding of creative goals within a is not worthy of credit develop personal language and film language moving image context creative goals and filmmaking techniques and make connections make connections with with the work of others the work of others Stated goals are Personal goals are Personal creative goals (Thinking) coherent and informed coherent and informed are carefully by obvious links with by subtle links to the considered and show the work of other work of others well informed connections with the work of others

QWC Written Written Written Written communication is communication is communication is communication is limited and uneven basic with some satisfactory good with a high proportion inaccuracies of inaccuracies Film language terms Film language is used are used accurately confidently and appropriately

0 1–2 3 4 5

AO2 10 No work has been Shows a basic and Uneven but sustained Competent Confident and Demonstrate the submitted or the work uneven ability to plan organisation of development of ideas, competent organisation ability to organise a is not worthy of credit for and organise their ideas/processes and with sound of ideas/processes and range of resources to production management of organisation and management of facilitate the resources management of resources realisation of a moving resources image product (Planning)

0 1–3 4–6 7–8 9–10

Assessment Criteria Total Marks 0 Marks Level 1 Level 2 Level 3 Level 4

AO3 20 No work has been Displays a basic Shows a developing Production shows Production shows Use creative and submitted or the work understanding of film understanding of competent technical confident technical technical skills to is not worthy of credit making techniques technique control control construct a moving image product Creative purpose is Production values are Reasonably high There is clear evidence (Making) unclear uneven showing production values are of high production adequate technical evident and the values and creative control creative purpose is purpose is clear clear throughout There is a sense of creative purpose

0 1–5 6–10 11–15 16–20

AO4 5 No work has been Demonstrates a basic Evaluation is uneven, Evaluation is sustained Evaluation is confident Analyse and evaluate submitted or the work but uneven ability to some attempt has been and issues are and insightful moving image products is not worthy of credit reflect on own practice made to analyse own discussed in a well- reflecting on degrees (Evaluating) practice informed manner. of success in the technical and creative outcome of their product

0 1–2 3 4 5