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Evidence Guide: CUFCAM601A - Direct cinematography for screen productions

Student: __________________________________________________

Signature: _________________________________________________

Tips for gathering evidence to demonstrate your skills

The important thing to remember when gathering evidence is that the more evidence the better - that is, the more evidence you gather to demonstrate your skills, the more confident an assessor can be that you have learned the skills not just at one point in time, but are continuing to apply and develop those skills (as opposed to just learning for the test!). Furthermore, one piece of evidence that you collect will not usualy demonstrate all the required criteria for a unit of competency, whereas multiple overlapping pieces of evidence will usually do the trick!

From the Wiki University

 

CUFCAM601A - Direct cinematography for screen productions

What evidence can you provide to prove your understanding of each of the following citeria?

Prepare for shoots

  1. Participate in pre-production conferences with relevant production personnel to establish overall production requirements for shoots
  2. Undertake comprehensive review of scripts or screenplays to understand fully the required artistic and visual outcomes
  3. Conduct appropriate research relevant to needs of productions and contribute creative and technical solutions and ideas as required
  4. Develop or refine existing camera plans according to production requirements
  5. Negotiate amendments to camera plans and circulate final camera specifications to relevant production personnel
  6. Prepare lists of required equipment and accessories, including supplies of stock, and arrange for acquisition in collaboration with relevant production personnel
  7. Block shots for use during rehearsals and actual productions in collaboration with relevant production personnel, taking into account impact on overall production requirements
  8. Assemble and brief relevant production personnel on production requirements, including equipment and accessories required for shoots
  9. Follow OHS requirements as they apply to the preparation and implementation of shoots
Participate in pre-production conferences with relevant production personnel to establish overall production requirements for shoots

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Undertake comprehensive review of scripts or screenplays to understand fully the required artistic and visual outcomes

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Conduct appropriate research relevant to needs of productions and contribute creative and technical solutions and ideas as required

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Develop or refine existing camera plans according to production requirements

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Negotiate amendments to camera plans and circulate final camera specifications to relevant production personnel

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Prepare lists of required equipment and accessories, including supplies of stock, and arrange for acquisition in collaboration with relevant production personnel

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Block shots for use during rehearsals and actual productions in collaboration with relevant production personnel, taking into account impact on overall production requirements

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Assemble and brief relevant production personnel on production requirements, including equipment and accessories required for shoots

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Follow OHS requirements as they apply to the preparation and implementation of shoots

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Set up for shoots

  1. Manage selection and set-up of equipment and accessories to meet planned shots, ensuring safety of relevant production personnel and other participants
  2. Ensure cameras are matched correctly and check lighting is appropriate for intended shots and scenes
  3. View proposed shots and set-ups through viewfinder or on monitors and make creative and technical adjustments as required
  4. Participate in rehearsals, noting required changes and instruct camera and lighting crews accordingly
  5. Ensure shots and lighting requirements are marked up and established to reflect artistic and style needs of the shoot
  6. Maintain ongoing supervision and collaboration with relevant production personnel to maximise creative outcomes
Manage selection and set-up of equipment and accessories to meet planned shots, ensuring safety of relevant production personnel and other participants

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Ensure cameras are matched correctly and check lighting is appropriate for intended shots and scenes

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

View proposed shots and set-ups through viewfinder or on monitors and make creative and technical adjustments as required

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Participate in rehearsals, noting required changes and instruct camera and lighting crews accordingly

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Ensure shots and lighting requirements are marked up and established to reflect artistic and style needs of the shoot

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Maintain ongoing supervision and collaboration with relevant production personnel to maximise creative outcomes

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Shoot content

  1. Supervise technical and creative operations of camera shoots during productions consistent with actions devised during rehearsals
  2. Monitor output of camera operations to ensure cuts and dissolves between shots produce required technical and creative outcomes
  3. Operate camera where applicable while maintaining overview of creative and technical criteria
  4. Ensure camera movements are planned to avoid interference with other camera operators, technical personnel or performers
  5. Respond to cues received from relevant production personnel in a timely manner
  6. Communicate clearly to relevant production personnel unavoidable variations from predetermined plans
  7. Attend daily viewings of rushes to assess quality and relevance of recorded material and schedule reshoots where necessary
Supervise technical and creative operations of camera shoots during productions consistent with actions devised during rehearsals

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Monitor output of camera operations to ensure cuts and dissolves between shots produce required technical and creative outcomes

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Operate camera where applicable while maintaining overview of creative and technical criteria

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Ensure camera movements are planned to avoid interference with other camera operators, technical personnel or performers

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Respond to cues received from relevant production personnel in a timely manner

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Communicate clearly to relevant production personnel unavoidable variations from predetermined plans

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Attend daily viewings of rushes to assess quality and relevance of recorded material and schedule reshoots where necessary

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Wrap up shoot

  1. Supervise dismantling, packing and storing of equipment and accessories and complete necessary documentation
  2. Ensure locations are left in original or improved state
  3. Participate in post-production editing activities as required, including providing additional materials, such as pick-ups
  4. Participate in post-production debriefings and reflect on own performance and that of production crews, noting areas for future improvement
Supervise dismantling, packing and storing of equipment and accessories and complete necessary documentation

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Ensure locations are left in original or improved state

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Participate in post-production editing activities as required, including providing additional materials, such as pick-ups

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Participate in post-production debriefings and reflect on own performance and that of production crews, noting areas for future improvement

Completed
Date:

Teacher:
Evidence:

 

 

 

 

 

 

 

Assessed

Teacher: ___________________________________ Date: _________

Signature: ________________________________________________

Comments:

 

 

 

 

 

 

 

 

Instructions to Assessors

Evidence Guide

The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.

Overview of assessment

Critical aspects for assessment and evidence required to demonstrate competency in this unit

Evidence of the following is essential:

effective direction of cinematography for productions that demonstrates an ability to:

realise the desired visual style and atmosphere of productions

plan and organise shot lists for multi-camera shoots

collaborate with and direct camera and lighting crews

work under direction

meet production deadlines

take account of production and resource constraints

sound knowledge of:

properties of different cameras

lighting techniques

photographic principles.

Context of and specific resources for assessment

Assessment must ensure:

practical demonstration of skills through planning and directing cinematography for at least two different types of productions

access to a range of professional equipment currently used in the film and television industry based on items listed in the range statement

opportunities to work on single-camera and multi-camera shoots

access to appropriate learning and assessment support when required

use of culturally appropriate processes and techniques appropriate to the language and literacy capacity of learners and the work being performed.

Method of assessment

A range of assessment methods should be used to assess practical skills and knowledge. The following examples are appropriate for this unit:

direct questioning combined with review of portfolios of evidence and third-party workplace reports of on-the-job performance

observation of the candidate directing cinematography to assess candidate's ability to achieve desired effects and to work effectively with production crews and/or directors

evaluation of sequences filmed by the candidate to determine candidate's ability to meet creative production requirements

written or verbal questioning to test knowledge as listed in the required skills and knowledge section of this unit.

Guidance information for assessment

Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended, for example:

CUFDRT604A Devise camera coverage.

Required Skills and Knowledge

Required skills

communication and teamwork skills sufficient to:

interpret creative information, scripts and images

provide creative input to production planning

work collaboratively with a wide range of production staff and others during shoots, including demonstrating leadership qualities

work effectively and cooperatively under direction, e.g. of director or producer

deliver clear briefings to production staff

respond appropriately to feedback about shoots from others

negotiate solutions to problems and conflicts that arise during the process of directing camera operations

high levels of initiative, enterprise and creativity in the context of:

demonstrating originality and innovative approaches to realising the desired visual style and atmosphere of productions

experimenting with cinematographic and narrative conventions and styles to achieve creative outcomes

being able to balance creative and technical requirements

being flexible enough to make last-minute adjustments to planned shots if unforeseen circumstances arise during shoots

planning, organising and literacy skills in the context of:

analysing complex outlines/scripts to inform decision making and planning

undertaking background research to enhance understanding and appreciation of production contexts

achieving required outcomes in the most efficient way, including taking account of budgetary and resource constraints

planning and organising shooting lists and activities

documenting camera plans and other work requirements

technical skills sufficient to:

operate a range of professional camera and lighting equipment in a single-camera or multi-camera environment

shoot program materials at a high level using a range of film or video equipment

shoot and supervise shooting for a range of program styles

ensure correct exposures and colour balances of recorded content

use the internet for research

use standard word processing and spreadsheet applications in the context of preparing documentation in relation to devising camera coverage

self-management and problem solving skills sufficient to:

evaluate own contribution to creative solutions

work under pressure to tight deadlines

self-management and learning skills sufficient to:

locate and use resources to broaden own creative experience

work under pressure to tight deadlines

solve problems and challenges during shoots in a timely and collaborative manner

evaluate own contribution to creative solutions

Required knowledge

industry knowledge, including:

roles and responsibilities of personnel in the screen production industry

sound understanding of artistic and technical elements associated with productions, e.g. staging, lighting, sound

issues and challenges that arise in the context of directing cinematography

features of a range of cameras and accessories

attributes of a range of film and video formats and stock

cinematographic language

preparation of shot cards and shot descriptions

production scheduling process

ways of documenting camera plans

techniques for handling cables, including compatibility with other equipment

well-developed understanding of photographic principles, such as:

exposure

tonal relationships

focus

light sources

sensitivity and balancing

camera's interpretation of colour

characteristics of lenses

colour correction techniques

colour temperature and compensation

camera to subject practice/framing and composition, including:

lens to eyeline

jump cuts

crossing the line

matching shots

thorough understanding of:

lighting techniques and equipment

editing and post-production procedures and requirements

duty of care to colleagues and general public, especially on location

occupational and public health and safety procedures, particularly as they relate to lifting, climbing rigs and using electrical equipment

detailed knowledge of the Recommended Safety Code for Film and Television

Range Statement

The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.

Production personnel may include:

camera operators, e.g. first assistant camera, second unit

costume designer

director/producer

floor manager

floor manager

gaffer

grip

heads of department

lighting director

location manager

other specialist staff

other technical staff

production manager

set designer

technical director.

Production requirements may include:

budgets

film or digital production

locations

period, e.g. historical

post-production requirements, e.g. editing style

production genre

style

timelines/deadlines.

Shoots may include:

combined video and audio function

daytime

external

fixed/supported

hand-held operation

interior

location

night time

separate video and audio record functions

single-camera

studio.

Research may include:

actual events

audience analysis in location for production

characters

cultural/historical context

environment

imagination/inspiration

life experience

locations

newspapers/magazines

notes

paintings/photographs/sketches

period

review of enterprise objectives

review of other productions, e.g. movies

settings

social analysis (current or historical).

Productions may include:

advertisements/commercials

animations

documentaries

features

interactive media

live on-stage performances

promotions/presentations

short films

television series/serials, e.g. drama

training videos.

Camera plans may include discussion of:

budget implications

camera movements

camera set-up

how creative production requirements will be met

lighting requirements

number of cameras required

OHS considerations.

personnel required

positioning of sets or other physical elements

shooting material under special conditions, e.g.:

underwater

from moving vehicles

studio and/or location constraints

timelines.

Equipment and accessories may include:

autocue monitor

batteries

cables

cameras, e.g.:

digital - digital Betacam, DVC Pro

film - Arriflex

camera supports, e.g.:

pedestal

mounts

cranes

dollies

track

tripods

spreaders

fluid heads

hotheads

microphones - fixed, pole, lapel

change bags

cue card holders

headphones

filters, e.g.:

colour correction

colour

graduated: hard-edge, soft-edge, attenuated coloured, neutral density

correction filters

ultraviolet

polarising

chromatic

non-specific colour

enhancers

lens hood

lenses, e.g.:

fixed

zoom

wide-angle

macro

micro

magazines

mobile phones

special effects equipment

talkback facility

tape recorder

two-way intercom.

Stock may include:

analogue format, e.g. Beta SP

digital tape, e.g.:

Beta

DVC Pro

mini-DV

film, e.g.:

16 mm

35 mm

HDTV

SDTV

video disks.

Shots may include:

close-up

cutaway shot

establishing or master shot

extreme close-up

eye-level shot

high-angle

long shot

low-angle

mid shot

overhead shot

point-of-view shot

wide shot

zoom.

Other participants may include:

actors

ambulance and medical staff

council staff

fire brigade

general public, e.g. studio audiences, spectators

interviewees

interviewers

journalists/reporters

performers

police

presenters.

Lighting requirements may include:

types of luminaires

architectural fixtures

digital moving (intelligent) lights

key light

fill light

back light

bounced light

effect light, e.g. on backgrounds

HMI (hydrargyrum medium arc-length iodide)

light meters.

lights and accessories, e.g.:

luminaires

floods

moving lights

gobos

interior lights

spot light

flood light

special effects units, e.g.:

electrical/electronic props

strobes, mirror balls and motors, smoke machines, fog machines,

ultraviolet light, oil and water crackers, effects projectors

theatre-based units

studio and location units

tungsten

Artistic and style needs may include:

aesthetics

camera height and distance from subject

camera position

composition

continuity

duration

framing

movement

shot type

timing.

Camera movements may include:

crab

crane rigs

dolly

pan

physical relocations/movement

tilt

track in/out

zoom in/zoom out.

Documentation may include:

camera plans

computer generated/manually written

emails/SMS

equipment and accessories lists

lighting plans

production schedules

running sheets

screenplay

scripts

shot lists.

Editing activities may include:

aspect ratios

camera videotapes

colour grading

computer disks

frame ratio and rates

retakes

rushes

script and script changes

sound effects libraries

sound tracks

tempo - duration of shots and segments

uncut film footage, e.g.:

work prints

negative prints

A and B rolls.