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Evidence Guide: CUFDRT601A - Establish the creative vision 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

 

CUFDRT601A - Establish the creative vision for screen productions

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

Review and interpret scripts.

  1. Read available drafts of scripts and arrange meetings with appropriate creative personnel to discuss potential interpretations of the vision.
  2. Assess the intended creative aims of scripts, define proposed objectives and explore how they may be realised visually or through the use of sound.
  3. Generate and consider a range of ideas for visualising scripts until a clear narrative emerges.
  4. Identify research and reference materials to inform creative directions and to assist in providing the context for productions.
  5. Review script drafts in collaboration with writers, agree on the need for any rewrites and organise timetables for completions.
  6. Prepare clear development notes for script writers to produce script re-drafts as required.
  7. Document perceived visual and dramatic elements in scripts as the basis for shot plans.
Read available drafts of scripts and arrange meetings with appropriate creative personnel to discuss potential interpretations of the vision.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Assess the intended creative aims of scripts, define proposed objectives and explore how they may be realised visually or through the use of sound.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Generate and consider a range of ideas for visualising scripts until a clear narrative emerges.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Identify research and reference materials to inform creative directions and to assist in providing the context for productions.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Review script drafts in collaboration with writers, agree on the need for any rewrites and organise timetables for completions.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Prepare clear development notes for script writers to produce script re-drafts as required.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Document perceived visual and dramatic elements in scripts as the basis for shot plans.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Prepare shot plans to realise visual narrative.

  1. 1.1 Mark up working script into its component scenes and identify key dramatic elements and technical parameters within each scenic unit.
  2. Plot key dramatic elements within each scene and between scenes to realise the transformation of the written narrative into its visual representation.
  3. Consider the whole of the narrative and scenes to determine the location of characters and other elements for each individual shot.
  4. Assess the photographic qualities of proposed shots and how they may impact on interpreting the story overall and within each scene.
  5. Ensure overall shot plans allow both narrative and visual aspects to be controlled and carried forward to meet overall production requirements.
  6. Discuss shot plans with relevant production personnel prior to development of any storyboards.
1.1 Mark up working script into its component scenes and identify key dramatic elements and technical parameters within each scenic unit.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Plot key dramatic elements within each scene and between scenes to realise the transformation of the written narrative into its visual representation.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Consider the whole of the narrative and scenes to determine the location of characters and other elements for each individual shot.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Assess the photographic qualities of proposed shots and how they may impact on interpreting the story overall and within each scene.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Ensure overall shot plans allow both narrative and visual aspects to be controlled and carried forward to meet overall production requirements.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Discuss shot plans with relevant production personnel prior to development of any storyboards.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Review and communicate proposed shot plan.

  1. Identify and document areas of productions that may be affected by script versions and discuss changes with colleagues.
  2. Arrange sign-off for final script with producers if applicable and ensure it is distributed to relevant creative personnel.
  3. Maintain an ongoing review of script and shot plans and organise for any further rewrites while production is underway.
  4. Provide relevant production personnel with appropriate documentation, including latest version of script or script updates as applicable.
Identify and document areas of productions that may be affected by script versions and discuss changes with colleagues.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Arrange sign-off for final script with producers if applicable and ensure it is distributed to relevant creative personnel.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Maintain an ongoing review of script and shot plans and organise for any further rewrites while production is underway.

Completed
Date:

Teacher:		 Evidence:

 

 

 

 

 

 

 

Provide relevant production personnel with appropriate documentation, including latest version of script or script updates as applicable.

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:

script visualisations and associated shot plans that demonstrate:

well-developed understanding of visual story telling techniques

ability to generate original and fresh approaches to visualising scripts

ability to prepare performance outlines, scripts and shot plans in an appropriate format within agreed production deadlines

ability to analyse and interpret scripts to inform production planning

collaborative approach to work, including ability to work with writers and other members of a creative team.

Context of and specific resources for assessment

Assessment must ensure:

practical demonstration of skills through visualisation of at least two scripts to the stage where detailed shot plans have been prepared

access to suitable production opportunities for script development

availability of suitable script material and writers

access to appropriate learning and assessment support when required

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

Method of assessment

The following assessment method is appropriate for this unit:

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

evaluation of a selection of shot plans and script documentation prepared by the candidate to determine candidate's understanding of the script development and directing process

written or oral 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:

CUFDRT602A Audition and select performers

CUFDRT604A Devise camera coverage

CUFDRT605A Collaborate with editors during post-production.

Required Skills and Knowledge

Required skills

communication skills sufficient to:

convey concepts and visions to production and cast members

conduct effective negotiations with members of a creative team, e.g. writers, producers and directors of photography (DOP)

work closely with team members

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

using and organising visual narrative elements in original and innovative ways

demonstrating originality and innovative approaches in the creative directing process

being open to a wide range of ideas and approaches to visualising scripts

generating original and fresh approaches to visualising scripts

determining how a story can be carried forward from one scene to the next and throughout an entire production

planning, organising and literacy skills in the context of:

analysing complex outlines/scripts to inform decision making and planning

interpreting script materials and formulating a cohesive visual representation of content

undertaking background research to enhance understanding and appreciation of production contexts

self-management and learning skills sufficient to:

show strong leadership qualities

locate and use resources to broaden own creative experience

experiment with narrative conventions and elements to develop and extend one's own directing practice

work under pressure to tight deadlines

technical skills sufficient to use standard word processing and spreadsheet applications in the context of preparing documentation in relation to the directing process.

Required knowledge

appreciation and understanding of the key elements of screen productions, such as:

screen writing

screen acting

cinematography

editing

sound design

production design

formats and structures of performance outlines and scripts relevant to area of work, e.g. plays, concert outlines and corporate event outlines

OHS standards as they apply to directing screen productions

industry knowledge, including:

roles and responsibilities of personnel in the screen and media production industry

impact of technology on production and post-production operations

issues and challenges that arise in directing screen productions

conventions and practices of directing for the screen

broad historical and cultural context for types of productions relevant to area of work

techniques used to realise visual narrative from written narrative

visual story-telling techniques

documentation formats required for information extracted from performance outlines and scripts.

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.

Creative personnel may include:

• directors

• directors of photography

• eyewitnesses

• performers

• performers

• producers

• script editors

• writers

• other technical/specialist staff.

Research and reference materials may include:

• actual events

• audience analysis in location for production

• characters

• environment

• historical and cultural context

• imagination and inspiration

• life experience

• locations

• newspapers and magazines

• notes

• paintings, photographs and sketches

• period

• review of corporate objectives

• review of other productions

• settings

• social analysis (current or historical).

Productions may include:

• advertisements/commercials

• animations

• documentaries

• features

• interactive media products

• live-on stage performances

• promotions and presentations

• short films

• television series and serials

• training videos.

Dramatic elements may include:

• action points

• beats or action change

• character:

• goals

• transformation

• sub-text

• objectives

• actions

• history

• turning points

• arcs

• climax

• conflict

• content

• environments within the story

• events

• first impressions

• interview questions

• location

• narration

• place

• plots

• production genre

• purpose

• resolution

• scenes

• set up

• story

• story turning point

• structure

• themes

• three act structures or other structures

• time

• style:

• method

• approach

• fashion

• mode

• way of presenting things

• manner of exhibiting characteristics.

Shot plan issues may include:

• camera angle

• choice of lighting

• choice of the lens

• context of each scene within the whole narrative

• size of the shot

• special effects

• staging of the action

• whole narrative.

Technical parameters may include:

• audio

• climate

• costume

• design issues

• general staging

• interior or exterior

• lighting

• location

• seasons

• set, props and scenic art

• time of day.

Scenic unit may be defined as:

• acts

• dramatic sequences

• episodes

• scenes.

Production requirements may include:

• art direction

• budget

• codes of practice

• confidentiality

• content

• contractual

• copyright

• deadlines

• duration

• intellectual property

• location

• production design

• purpose

• schedule

• sound design.

Documentation may include:

• cast list

• cast, character, costume and props matrix

• doubling list

• extract list

• lighting plot

• notated score

• quick change list

• rehearsal notes

• rehearsal scene breakdown

• scene by scene principals and extras list

• script versions

• technical notes.