Edexcel BTEC Level 3 Subsidiary Diploma in Creative Media Production. Unit 1: Pre-Production Techniques for the Creative Media Industries

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1 Television and Film Edexcel BTEC Level 3 Subsidiary Diploma in Creative Media Production Unit 1: Pre-Production Techniques for the Creative Media Industries Unit 2: Communication Skills for Creative Media Production Unit 3: Research Techniques for the Creative Media Industries Unit 16: Film and Video Editing Techniques Unit 22: Single Camera Techniques Unit 23: Multi-Camera Techniques Unit 28: Corporate and Promotional Programme Production Unit 32: Designing Idents for Television Unit 37: Presentation Techniques for Broadcasting Unit 1: Pre-Production Techniques for the Creative Media Industries Guided learning hours: 30 Pre-production, which mainly involves research and planning, is a vital ingredient of any successful media product. For example, the successful completion of a photographic fashion shoot for a magazine depends on locations, material and talent being available for the work to be undertaken. Successful location recording of video material depends on crew members and talent being in the right place at the right time. Good pre-production is vitally important where expenses are being incurred for people and materials and where budgets and deadlines are to be met. Pre-production is generally undertaken by producers and their teams. A team could consist of a number of staff from location managers to set designers. All of them have a vital part to play in the production of a media product. Their work will include drawing up outline budgets and funding strategies, finding factual information,

2 additional material and contributors, using archives, researching locations, undertaking risk assessments, and organising and coordinating logistics. Through following this unit learners will develop an awareness that any media production operates within limitations regarding time, facilities, personnel and budget. They will learn how to identify the requirements of a media production, and how to plan for the provision of those requirements. They will also learn that successful pre-production involves ensuring that all the various elements for production are in the right place at the right time. Additionally, the unit will enable learners to conduct production risk assessments and develop an awareness of the rights and responsibilities of producers and other media professionals. A Understand requirements for a specific media production A.1 Type of production A.2 Finance A.3 Time A.4 Facilities A.5 Materials A.6 Contributors A.7 Locations A.8 Codes of practice and regulation B Be able to prepare pre-production documentation for a specific media production B.1 Procedure B.2 Documentation C Be able to apply pre-production planning for a specific media production C.1 Elements of production C.2 Project management

3 Unit 2: Communication Skills for Creative Media Production Guided learning hours: 30 This unit aims to improve the functional communication skills of learners and should be taught in production contexts through other mandatory and optional units. The unit not only relates to wider communication skills as a whole, which are an essential part of everyday life, but also specifically targets skills that learners can expect to use on a regular basis within the creative media sector such as pitching ideas, writing proposals and constructing reports. They will therefore develop their ability to communicate their thoughts and ideas through pitches, proposals and reports to a range of audiences using appropriate modes of address and forms of technology. Learners will also develop skills in checking and proof-reading written materials. Through this unit they will learn how to select from and summarise information gained from sources when conducting research for assignments or productions. A Be able to extract information from written sources A.1 Written sources A.2 Reading A.3 Extract information B Be able to create a report in a media production context B.1 Create report B.2 Contexts B.3 Revision C Be able to pitch a media production proposal using appropriate technology. C.1 Proposal C.2 Technology C.3 Address

4 Unit 3: Research Techniques for the Creative Media Industries Research is fundamental to all aspects of creative media production and is the essential starting point for productions of any scale. It can be used to determine the financial viability of a future production, to gather a range of information relevant to the content of the production, or to assist with the planning of technical and logistical requirements. There are also media companies which conduct extensive research using a range of sophisticated methods to gather data about audience consumption of media products and services. This has become increasingly necessary in the highly mixed and competitive environment media industries operate in. Learners who are looking for a job which requires research skills might consider employment in a research agency, or in pre-preproduction for radio, television or film, whilst a knowledge and understanding of research techniques is vital in a number of roles in advertising and marketing. They are also, of course, important in journalism. However, some ability to undertake research is essential for anyone working in the media industries. A Understand the nature and purposes of research in the creative media industries A.1 Types of research A.2 Methods and sources of research A.3 Purposes of research B Be able to apply a range of research methods and techniques B.1 Secondary research B.2 Primary research B.3 Audience research B.4 Market research B.5 Production research

5 B.6 Interpreting results C Be able to present results of research C.1 Format C.2 Content C.3 Quotation and reference Unit 16: Film and Video Editing Techniques Editing of film or video material is an essential part of any audio-visual production. Without the process of removing, adding and manipulating source material, all film and video would have to be shot in sequence and without mistakes. The process of editing involves making creative decisions about source material. It provides an opportunity for the creativity of the filming stage to be continued through to the finished product. Through study of the development and principles of editing, learners will develop an insight into the language of editing and the technical conventions used by editors to communicate with audiences. Skills will be practised through editing video material or, where facilities permit, film. Learners will also develop an understanding of how their work can affect the final outcome of a production. Learners will be able to experiment with editing processes and use their skills in the production of their own film and video products. They should learn that editing is not merely a technical process, but also an aesthetic one and they should be able to demonstrate this understanding through both their practice and the articulation of principles.

6 A Understand the development and principles of editing A.1 Development A.2 Purpose A.3 Conventions and techniques B Be able to prepare moving image material for editing B.1 Preparation techniques B.2 Preparing to edit C Be able to edit moving image material C.1 Editing technology C.2 Editing process C.3 Post-production tools Unit 22: Single Camera Techniques With the introduction of more television channels, some specifically dedicated to drama, the single camera drama production has become very popular with broadcasters and audiences. This means that there should be more opportunities for people with skills in single camera techniques to gain employment in this sector. This might be in terms of technical skills in production or creative skills in developing ideas into production. This unit aims to give learners an opportunity to use production skills, already gained from previous units, and develop them further to create a production using single camera techniques. The unit gives learners the opportunity to explore existing single camera productions. This will help them to think about, plan and produce their own productions. As part of

7 this exploration learners will investigate the use of camera scripts and storyboards as tools of storytelling. Learners will develop the organisational skills required for the planning and implementation of a single camera drama production. They will identify key production roles and take on one or more of these roles during their own production. Set design, cinematography, lighting, use of sound and editing techniques will all be part of the skills learners develop through following this unit. Health and safety issues will also be addressed in both location and studio shoots, with learners producing risk assessments prior to any production work. A Understand the features of single camera production A.1 Formats A.2 Narrative structures A.3 Technical B Be able to plan a single camera production B.1 Devising B.2 Resources B.3 Planning B.4 Health and safety C Be able to apply single camera techniques in a production C.1 Production process C.2Post-production process

8 Unit 23: Multi-Camera Techniques The term multi-camera production covers a wide range of specialisms and skills in the moving image industry. It is applied in situations as diverse as live broadcasts of sports events and concerts, TV productions such as game and chat shows, and the provision of screen displays for corporate conferences. This unit enables learners to develop the knowledge and skills fundamental to this sector of the industry by undertaking the study of professional productions and applying that knowledge in practical multi-camera productions. The unit introduces advanced technical skills in the use of sound and vision equipment and the essential working practices and conventions of successfully working in a production team. A good grasp of these skills provides the foundation for working in specific technical and production roles in the industry, from studio producer to sports camera, and on programmes as diverse as soap operas, comedy game shows, music festival broadcasts, local news magazines or Premier League football matches. The technical and team-working skills developed can complement and develop those from other units in preproduction, video production and production management as well as providing learners with opportunities to gain new specialist skills such as vision mixing and floor management. The unit mirrors professional practice in providing the opportunity to practise production skills in a tightly time-constrained environment requiring commitment to working at the highest possible standards. A Understand programme formats that use multi-camera production A.1 Programme formats A.2 Reasons for multi-camera use

9 B Be able to plan a multi-camera production B.1 Multi-camera production roles B.2 Develop programme ideas B.3 Planning processes B.4 Production documentation C Be able to perform an operational role in a multi-camera production C.1 Perform a practical role C.2 Operational methods Unit 28: Corporate and Promotional Programme Production Corporate and promotional programme production accounts for a large part of moving image production and covers corporate information productions, music promotions and training programmes. People see corporate and promotional programmes every day and they are a major influence on buying habits. Supermarkets are now installing large screens across shopping aisles to entice shoppers to buy products. Many large companies produce an annual corporate programme for investors and staff. Production companies produce programmes for a wide variety of purposes: conferences and seminars, DVDs for staff induction and training, talking head interviews with chief executives and celebrities, sales pitch and debrief videos for public relations presentations, and even pub quizzes. Production companies might also create testimonial videos for companies who want to show off their delighted clients online, viral Mpegs for online marketing and MMS video messages for mobile phones. In this unit learners will investigate current practices and examine the diverse nature of the sector. They will experiment with techniques and technology to produce a finished corporate or promotional programme. They will practise professional production techniques and produce material that meets a specified brief and the requirements of a client.

10 This unit offers a real opportunity to develop pre-production and production skills and to produce finished work. A Understand codes, conventions and current practice in corporate and promotional programming A.1 Codes and conventions relating to style, content and form A.2 Current practice relating to equipment, formats and techniques A.3 Legal issues A.4 Ethical issues A.5 Production practices B Be able to plan corporate or promotional programmes to a brief B.1 Production requirements B.2 Planning B.3 Resources C Be able to produce corporate or promotional programmes to a brief C.1 Production C.2 Post-production

11 Unit 32: Designing Idents for Television Recently the nature of television production and broadcasting has evolved at a rapid pace. The expansion of cable, satellite and digital television broadcasting has led to a growth in the number of television channels as well as the amount of televisual content required by the new multi-channel industry. In this ever-expanding market, the corporate identity of television production and broadcasting companies is perhaps more important than ever. With viewers being offered such a vast choice, it is of vital to ensure that the look and tone of all onscreen content is instantly recognisable and appealing to a target audience. Within the industry, there is a great demand for individuals with both the imaginative understanding to work with a company s image and the technical ability to realise their needs. The power of a unified onscreen image is well recognised and opportunities for specialist freelance and in-house designers are wide ranging. Whilst idents usually contain audio and visual content, this unit, in order to hone learner understanding, deals solely with the visual aspect of such creations. This unit introduces learners to the professional techniques for the creative design and effective production of onscreen graphics and idents for television. It includes aesthetic and technical challenges in television, the needs of the viewer, the creative negotiation of a brief, team roles and related skills. In addition, the unit provides an opportunity to research the potential of the relevant technologies of image manipulation and production. A Understand the design and purpose of television idents A.1 Design A.2 Purpose

12 B Understand the opportunities and limitations of onscreen graphic representation B.1 Opportunities B.2 Limitations B.3 Creative communication C Be able to originate and plan television idents to a brief C.1 Planning C.2 Design development D Be able to produce a television ident to a brief D.1 Concepts and applications D.2 Digital editing D.3 Production management D.4 Professionalism Unit 37: Presentation Techniques for Broadcasting The purpose of many media products is to communicate information to an audience, but the way in which information is presented will affect the way the audience understands, or even wants to receive, that information. Depending on the context of the presentation, the same presentational technique might well have different effects. If a Radio 4 newsreader used slang during a news bulletin, it might well offend some of the audience. If the bulletin reader on Radio 1 did not use slang occasionally, the audience might be equally confused. Similarly, if a television news presenter wore a t-shirt and jeans, the audience would respond differently than if that presenter wore a formal suit, even though the information being delivered was the same. The media is heavily reliant on presenters to communicate information whether on television, radio, video, online, through voice-overs or in person. Presenters are needed for a wide range of programmes, including news and current affairs, magazine and consumer programmes, documentaries, quiz shows, chat shows and, of course, for reading announcements in between programmes. They come from an

13 equally wide range of backgrounds. Many are trained and experienced journalists, some previously actors or comedians, whilst others became experts in a particular field before becoming programme presenters. This is, therefore, not a job that new entrants to the industry are likely to find themselves doing and, though there are notable exceptions, for most it is a job to work towards and prepare for throughout the early years of a career. There are, however, numerous online agencies offering occasional work to would-be voiceover artists with little or no previous experience. Presentation skills are also, of course, often an essential part of gaining employment in this very competitive industry. The skills developed through following this unit are, therefore, highly transferable, being important in, for example, pitching an idea to a client or giving a presentation as a candidate for a job in the media industry. A Understand presentation roles and techniques A.1 Roles A.2 Verbal techniques A.3 Visual techniques A.4 Context B Be able to research proposals for presentations B.1 Research B.2 Proposals C Be able to present in a specified role for a specified purpose C.1 Planning C.2 Presentation D Be able to reflect upon own presentation D.1 Sources of information D.2 Process D.3 Own work