Module Details

Module Code: PROD H3601
Module Title: TV Studio Production III
Title: TV Studio Production III
Module Level:: 7
Credits:: 5
Module Coordinator: Cathal Nolan
Module Author:: Brendan Connolly
Domains:  
Module Description: As the television production process is generally standard, students learn and advance knowledge by progressively doing. The aim of this module is to enhance, strengthen and improve the students’ skills and ability to work competently and coherently as part of a production team and to build on the skills developed in TV Studio Production I & II.
 
Learning Outcomes
On successful completion of this module the learner will be able to:
# Learning Outcome Description
LO1 Demonstrate enhanced technical know-how and skills in operating studio equipment, exploring differing genres and production subject matter.
LO2 Apply a wider understanding of the administrative side of production through comprehensive, accurate production paperwork.
LO3 Employ enhanced production planning, management and scheduling skills.
LO4 Research, source, prepare and manage appropriate talent/actors to perform in varying recordings.
Dependencies
Module Recommendations

This is prior learning (or a practical skill) that is recommended before enrolment in this module.
No recommendations listed
Co-requisite Modules
No Co-requisite modules listed
Additional Requisite Information
No Co Requisites listed
 
Indicative Content
Module Content & Assessment
This module differs from that of TV Studio Production I & II in the standard of programme produced. The quality of all elements of production, both editorial and technical, is expected to be more elevated with particular emphasis and attention on programme content. The productions will be of longer duration – therefore more difficult to develop, prepare and record ‘As Live’. Other restraints will also be put on production to enhance the students’ editorial and technical abilities. Throughout this module, the student can expect to: • Advance existing editorial, production and technical skills. • Further develop conceptual understanding of the production processes and wider production contexts. • Record ‘As Live’ varying television content of specified durations for clearly identified audiences. • Concepts: Must be ambitious for level of expertise. • Sourcing of talent and contributors from outside the institute is encouraged and expected. • Scripts / Screenplays / Storyboards / Running Orders / Camera Cards / Shot Decision Lists: How closely they’re followed. • Serious emphasis on timing. • Quality of VT's within production. • Standard and quality of set design and build. • Number and speed of camera cuts.
Practical studio workshops, demonstrations and recordings
Advanced practical applications - both editorial and technical.
Content for production
Enhanced preparation of production documentation and technical execution of live recordings.
Target audience
Enhanced understanding of intended / target audience and viewing platforms.
Talent and contributors
Sourcing of talent and contributors from outside the institute is expected. This gears the student toward sourcing, preparing and working with actors and credible contributors in production.
Preassembled inserts
Advanced production values of prerecorded material (filmed, audio or graphics)
Module Content & Assessment
Assessment Breakdown%
Practical100.00%

Assessments

Full Time

No Continuous Assessment
No Project
Practical
Assessment Type Practical/Skills Evaluation % of Total Mark 25
Timing n/a Learning Outcomes 1,2,3,4
Non-marked No
Assessment Description
Live Recording
Assessment Type Practical/Skills Evaluation % of Total Mark 25
Timing n/a Learning Outcomes 1,2,3,4
Non-marked No
Assessment Description
Live Recording
Assessment Type Practical/Skills Evaluation % of Total Mark 25
Timing n/a Learning Outcomes 1,2,3,4
Non-marked No
Assessment Description
Live Recording
Assessment Type Practical/Skills Evaluation % of Total Mark 25
Timing n/a Learning Outcomes 1,2,3,4
Non-marked No
Assessment Description
Live Recording
No End of Module Formal Examination
Reassessment Requirement
Repeat the module
The assessment of this module is inextricably linked to the delivery. The student must reattend the module in its entirety in order to be reassessed.
Reassessment Description
Learners that fail but achieve a minimal final percentage of 30% in the module will be eligible for one or more of the following; Submit assignment, Re-submit components, practical examination, interview or presentation.

SETU Carlow Campus reserves the right to alter the nature and timings of assessment

 

Module Workload

Workload: Full Time
Workload Type Workload Category Contact Type Workload Description Frequency Average Weekly Learner Workload Hours
Studio Based Learning Contact Practical Every Week 4.00 4
Independent Learning Non Contact Research & Preparation Every Week 4.00 4
Total Weekly Contact Hours 4.00
 
Module Resources
Recommended Book Resources
  • Box, H. (2003), Set Lighting Technician’s Handbook, Focal Press, London.
  • Creeber, G. (2004), Fifty Key Television Programmes, Arnold, London.
  • Cury, I. (2006), Directing & Producing for Television: A Format Approach,, Focal Press, London.
  • Glebas, F. (2009), Directing The Story: Professional Storytelling & Storyboarding Techniques for Live Action & Animation, Focal Press, London.
  • Hart, C. (2005), Television Programme Making, Focal Press, Oxford.
  • Hartwig, R. (2005), Basic TV Technology, Focal Press, London.
  • Holman, T. (2002), Sound for Film & Television, Focal Press, London.
  • Jackman, J. (2010), Lighting for Digital Video & Television, 3rd. Focal Press, Oxford.
  • Livingstone, S. (1998), Making Sense of Television: The Psychology of Audience Interpretation, Routledge, London.
  • Millerson, G. (1991), Lighting for Television & Film, 3rd. Focal Press, London.
  • Millerson, G. (2012), Television Production, 15th. Focal Press, London.
  • Nisbett, A. (1993), The Use of Microphones, Focal Press, London.
  • Oren, T & Shahaf, S. (2012), Global Television Formats, Routledge, Oxford.
  • Rumsey, F & McCormick, T. (2010), Sound and Recording: Applications & Theory, 7th. Focal Press, Oxford.
  • Singleton-Turner, R. (2011), Cue & Cut: A Practical Approach to Working in Multi-Camera Studios, Manchester University Press, Manchester.
  • Sonnenschein, D. (2001), Sound Design, Michael Wiese Productions, California.
  • Theme-Ament, V. (2009), The Foley Grail: The Art of Performing Sound for Film, Games & Animation, Focal Press, London.
  • Thirkell, R. (2010), C.O.N.F.L.I.C.T. An Insiders Guide to Storytelling in Factual/Reality TV & Film, Methuen Drama, London.
  • Todorovic, A. (2006), Television Technology Demystified: A Non Technical Guide, Focal Press, London.
  • Viers, R. (2012), The Location Sound Bible, Michael Wiese Productions, California.
  • Viers, R. (2008), The Sound Effects Bible, Michael Wiese Productions, California.
This module does not have any article/paper resources
This module does not have any other resources
Discussion Note: