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Film: 21st Century Literacy

A strategy for film education across the UK

I N GSUI L MF

I NH O OCS L S

A PRACTICAL GUIDE

Using Film In Schools: a Practical Guide

Introduction 2

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Using Film In Schools: A Practical Guide ©2010 Film: 21st Century Literacy

1 Using film 4

An overview of film education and its role and value

n Manageablefilmmaking

n Opportunitiesforfilmeducationinthecurriculum

n Film and other outcomes

n Informal learning

n Principlesoffilmeducation

n Continuing professional development

n Workingwithpartners

n Work-relatedlearningandprogressiontothecreativeindustries

2 Spaces and equipment 13

Advice on technology and spaces for film viewing and filmmaking

n Learning contexts

n Accesstofilmeducation

n General advice for procurement

n Filmviewingequipmentandspaces

n Filmmakingequipmentandspaces

3 Partners, resources and funding 38

Directory of partner organisations, sources of support and funding, and resources

n Partners

n UK-wideorganisations

n Nations and regions

n Local partners

n Resources

4 The law and film education 44

n Copyright

n Filmclassification

n Privacy

n Defamation

n Security

n Disclaimer

Acknowledgements 50

Introduction

This is a guide for schools who want to deliver film activities in and out of the classroom. Using Film In Schools: A Practical Guide will help teachers and headteachers integrate filmmaking, watching and critical analysis across the curriculum.

The guide is part of Film: 21st Century Literacy, a 3-year Strategy to recognise the value of film in education. Film: 21st Century Literacy is funded by the UK Film Council and delivered by the British Film Institute, Skillset, Film Education, First Light and FILMCLUB.

Over the past year, schools have asked us a number of questions, for example, what of equipment should we be buying? What’s the best school environment for watching or making films? How do we ensure we don’t breach copyright? What other partners can we work with? Are there any other resources?

Film can be delivered in schools easily and relatively cheaply. This guide will show you how.

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Raising standards with filmFilm is increasingly being recognised by teachers as a valuable tool that can be used to re-engage young people with the curriculum and increase their overall motivation for learning.

Film is very popular with young people. They are not afraid to use it in lessons, and enjoy doing so. Film is a tool you can use to motivate and engage pupils in the classroom, and contextualise difficult areas of the curriculum.

Film can help children to be more positive about the whole school experience, and showing films to children that go beyond Hollywood is recognised by teachers as helping to broaden their pupils’ minds.

Media Education Wales’ Ffilmschool 2 transition project, in a South Wales cluster, has shown that teaching with film can make the majority of students more interested in writing. The project made the students’ writing more descriptive and enhanced their range of expressions. In another project funded by the BFI, the percentage of children writing at their expected class level rose from 29% to 75%.

“The video workshops have helped my writing because I am forced to focus on one thing at a time and think about it in-depth.” (Ffilmschool 2 pupil)

The Projector world cinema project run by the Cornerhouse Cinema in association with Manchester Metropolitan University and Routes Into Languages used world cinema to teach foreign languages. Following the project, the numbers of young people who said they now wanted to go on to study languages at A Level rose by 20%.

“Learning Arabic in a creative environment like the cinema and gallery spaces was very stimulating and motivating...I’ve seen improvements in my students’ confidence and in using Arabic.” (Teacher)


Introduction /3

Going beyond HollywoodWeknowthatyoungpeopleareeagertowatchnewkindsoffilms.Theyarenotputoffbysubtitles,andevenveryyoungchildrenarekeentoexperimentwithnewgenres.

Thereisahugerangeoffilmsavailableforyoungpeople:archive,animation,Europeanandworldcinema,shortfilmsanddocumentaries.FilmeducationplugsagapbytakingthembeyondHollywood.Itbroadensthemindsofyoungpeopleandprovidesthemwithamorediverserangeofculturalexperiences.

For example:

n FILMCLUBsarebroadeningtherangeoffilmsyoungpeoplecanwatchfromaroundtheworld

n BFIresourcesintroduceyoungpeopletothewealthofclassicBritishcinemafromthelast100years

n NationalSchoolsFilmWeekofferedanincreasedfocusonEuropeancinemalastyear,tappingintoarichanddiverserangeoffilms

AprojectintheEast Midlands offered teachers in schools across eight local authorities the chance to use filmforayear.Manyhadneverdonesobefore.Bytheendofthefirstyear,twothirdswerereportingthattheprojecthadmadethemmoreenthusiasticaboutteaching,andhadchangedtheirpedagogy.100%ofteachersfeltthatfilmcouldreachdifficultorchallengingpupils(80%strongly).

Bringing the elements togetherThebesteducationalexperienceforyoungpeoplebringstogetherfilmmaking,watchingandcriticalanalysis.

Thisisprobablyeasiertodoinprimaryschools,whereasinglefilmprojectcanweavetogetherdifferentareasofthecurriculumwithothercreativeactivitiessuchasmusicanddrama.

AtallKeyStages,bybringingtheseelementstogether,teacherscancreatearicherfilmlearningexperience.Youngpeoplecanlearnthelanguageoffilm,whilstdevelopingnewliteracyskillsoftheirown.

Using this guideUsing Film in Schools: A Practical Guide will help you to:

n Identifywherefilmcancontributetodeliveringthecurriculum

n Choosetherightkittomake,watchanddisplayfilmsinschool

n Makethebestuseofspacesandtheschoolenvironment

n Navigate copyright and other legal issues

n Sourceoutsidepartnerstoworkwith

n Accessusefulfilmresources

Otherusefulinformationsourcesexisttosupportteachersworkingacrossthecurriculum.ThesearelistedinChapter4.Wewillbecontinuallyupdatingthisguidetomakeitcontinuallyrelevant.

If you have any comments or can suggest additional areas you think we should cover please email Adam Cooper at [email protected]


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Youcanusefilmtoenhancelearningacrossthecurriculum,whateveryourlevelofexpertise.TeachinginsubjectsfromEnglishandModernForeignLanguagestoScienceandPEcanbenefit fromusingsimplecamerasforrecording,note-takingorreviewing,orfromshowingshortclipstoenhancechildren’sunderstandingofatopic.

Usingfilmdoesn’thavetobecomplicated,andyoudon’thavetorestrictittoseparatefilmmakingprojectsorto screening complete feature films.Youprobably already have suitable cameras in your school, andmostcomputersaresuitableforviewingoreditingfilmclips.

Thissectionlooksathowyoucanusefilmindifferentsubjectandtopicareasandinformaleducation,andhowitcancontributetobroaderoutcomes.

InarecentprojectinEastMidlandsprimaryschools,nearly70%ofteacherssaidthatfilmeducationdidn’t take a long time to plancomparedwithothercreativeactivities,andthatthetechnologywaseasytouse:and100%saidthatusingfilmeducationwasworththeeffort.

Manageable filmmakingIfyoudecidetomovefrombasicvideorecordingtostructuredfilmmakingprojects,startbykeepingthefilmsshortandsimple.Makingfilmsmorethanafewminuteslongwillinvolverepetitiveandtime-consumingwork.Fiveminutesislongforaschoolfilm:twentyorthirtysecondsmaybeallyouneed.

Lookforwaysoffilmmakingthatgivechildrenplentyofopportunityforcreativelearningandavoidactivitiesthatareunnecessarilydifficult.TryingtoimitatetelevisiondramaorHollywoodfilmrequiresgoodacting,planning,andahigh levelof technicalskillandattention todetail.Would itbeeasier touseanadvertisement,a titlesequence,orapublicinformationfilmasamodel?

Choose equipment that’s easy to learn anduse. Do you need bulky camcorders andprofessional editing software? Some veryimaginative films have beenmadewith verysimplecamerasandsoftware.Canyouuseaphonecamera,orastill camera that recordsmovies?

Do you need to record live sound? This is hardtodowell.Canyoumanagewithoutitbyrecordingavoiceover,orcreatingasoundtrack,on a computer?

Animationmayappeartobetime-consuming,butashortclayanimationfilmcantakelesstimethandoingaliveactionsequenceproperly.Itoffersmuchmorescopetobeimaginativewithsets,locationsandcostumesinanordinaryclassroom.

Therearemanydifferentwaystoplanafilmmakingproject,andyouneedtochooseonewhichissuitableforyourstudents.Detailedscriptsandstoryboardsaren’talwaysnecessary:youcantryusingmindmapsorsimpleshotlistsasanalternative.Discussion,collaborationandgroupworkaresomeofthemostvaluableaspectsoffilmeducation,sotrytocreateplentyofopportunitiesforthese.


1. Using film

Theseareafewofthewaysthatfilmeducationcancontributetolearningacrossthecurriculum.

Opportunities for film education in the curriculum

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Primary SecondaryKS1+ KS2+ KS3+ KS4+ 16+

EnglishUsemovingimagesasastimulusforspeakingandlisteningUseshortfilmstodevelopunderstandingofnarrativeandpointofview

Usemovingimagesasastimulusforwriting,e.g.letters,newsitems,filmreviewsViewtheopeningscenefromanadaptationbeforereadingthebook,andconsiderwhatittellsthevieweraboutgenre,narrativeandcharacterTranslateashortfilmexcerptintoawrittenstory,poem,newsreportorletterMakeafilmadaptationofastoryorascenefromabookUsefilmmakingtoexploretheimageryinapoem

Exploreandcomparethetechniquesusedinprintandmovingimage textsExplorehowfilmlanguagetechniquesareusedforeffectandpersuasioninpropagandaanddocumentaryfilmsAnalyseorcomparefilmversionsofliterarytexts,consideringfeaturessuchasdepictionofcharacters,narrativestructureandtheuseoffilmlanguageWritefilmscripts

HistoryViewarchivefilmtodevelopunderstandingofanhistoricalperiod

Use clay animation to depict an historical eventMakefilmdocumentariesincorporatingarchivefootageMakefictionfilmsbasedonanhistoricalperiodorevent,perhapsoneinthelocalarea

Compare,analyseanddiscussdifferent(fictionalordocumentary)filmrepresentationsofanhistoricalperiod,eventor characterExplorethetechniquesusedinpropagandafilms

GeographyUsefilmtorecordandpresentinformationaboutanarea,e.g.thelocalarea,oranareavisitedonafieldtrip

Useclayanimationtorepresentgeographicalprocesses,e.g.glaciationortheformationofoxbowlakes

View,discussandconsiderfictionordocumentaryrepresentationsofplaces,naturalphenomenaorenvironmentalissuesViewcontrastingfictionfilmsaboutacountryandconsiderhowthey represent it


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Modern Foreign LanguagesWatchafilmexcerptinthetargetlanguage,listeningforspecificwordsorphrasesViewfilmstodevelopcountry-specificknowledgeMakefilms(usingeitherliveactionoranimation)offictionalstories,orreal-lifescenarios such as visiting a shop or going to the dentistScriptandperformavoiceoverinthetargetlanguageforafilmsequence

CreateafilmadvertisementinthetargetlanguageViewfilmextractsinthetargetlanguagetodevelopcomprehensionskills;usevisualandaudioclues–e.g.lighting,performance,music,soundeffects–toaidunderstanding

ScienceUsefilmtorecordexperiments

Usefilmtechniques,e.g.close-ups,timelapseandslowmotion,toanalyseanddemonstrate processes and principles

Usefictionandfactualfilmstostimulatediscussionandwritingaboutaspectsofascientificdebate,e.g.globalwarming,overfishing,geneticengineering

Design and TechnologyUsevideotorecordproducttestinganddisassembly,e.g.usingslow-motion,timelapseUsefilmaspartofthedesignresearchprocess

DesigncharactersandsetstomakeananimatedfilmMakefilmstoexplainthefunctionofcomponentsinaproduct,e.g.throughadisassemblywithexplanatoryvoiceover

MathematicsUsevideocamerastocollectexamplesofshapes,numbers,patterns,angles

WatchfilmsthatfeaturesimplenumbersandshapesMakeanimationstoexplainmathematicalorgeometricprinciples

Usevideocamerastorecordandplotmovement,e.g.toshowthatthetrajectoryofathrownballisaparabola

CitizenshipUseshortfilms,children’sfilmsandfeaturefilmstostimulatediscussionandwritingaboutissuesofcitizenship.Usingfilmcanprovideawayforchildrentoaddresspersonalissuesatoneremove

Explorethetechniqueswhichfilmsusetopresentissues,groups,institutionsoreventsinpositiveornegativewaysExploreissuesoffilmcensorshipandregulationConsiderhowrepresentationscanchangeovertime,byviewingmodernandolderfilmsCreatecampaigningvideosonspecificissuesMakefictionordocumentaryfilmsabouttheirownlivesorlocalproblems.Usetechniquessuchasanimation,montageandfilmpoemstoexploredifficultorchallenging issues


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PE, DanceUsevideoasawaytoimmediatelyreviewperformanceandcorrecttechnique

Createfilmswhichuseslow-motion,freeze-frame,close-upandvoiceovertoexplaintechniqueindetail

DramaUsevideotoreviewandimproveperformance

ViewfilmextractstoexploreaspectsofperformanceMakeafilmversionofadramaperformance

MusicUseashortfilmsequenceasstimulusforasimplecomposition

CreateasoundtrackforashortfilmsequenceCreateafilminterpretationofapieceofmusicAnalysethetechniquesusedinthescoreforafilmsequence

Createseveraldifferentsoundtracksforthesamesequencetochange the genre or moodCreate a piece of music to use as the basis for a montage or title sequenceUse a cue sheet to plan a score

ArtUsevideotocollectexamplesofshapes,coloursorpatternsLookforexamplesofshapes,colours,patternsinfilmextracts

UsevideotorecordmakingprocessesUse video to record observationsCreate animations including sets and modelsCreatecostumeandsetdesignsforfilms

Investigateartistandnon-narrativefilmmakersCreateabstract/montagefilmsExploretheuseoflightinginfilmExploreanimationtechniquesusedintitlesequencesCreatetitlesequencesusingthesetechniques


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Film and other outcomes

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Filmcancontributetootheroutcomesatawhole-schoolandlocalarealevel.Youcanhighlight itsrole inschool improvementplans,andwhenpreparingforinspection.Forexample,watching,viewingandmaking films can impact positively on achievement and helppupils to enjoy their learning, and it can provide opportunities forpupilstocontributetoschoolandthewidercommunity.Behaviourandattendancecanalsobeimproved.

Many teachers have reported that film education activities haveencouraged isolated or disaffected pupils to participate and has increasedtheirconfidence.Italsoprovidesopportunitiesforpupilsto developworkplace skills, technical skills and the ‘soft skills’ ofgroupworkanddiscussion.

Film can also contribute towider objectives in the local area, forexample by reducing antisocial behaviour and encouraging cultural understanding.

Fast-Forward is aprogrammeatCinemaCity inNorwich,whichprovides filmeducationactivities for14-16yearoldstudentswhoareatriskofexclusion.Theprojectenablesthemtocreatetheirownfilms,learningscriptwritingandtechnicalskills,andtodeveloptheircriticalunderstandingthroughfilmviewingandreviewing.

“I have noticed a change in the girls who come on the course...they’ve improved their attendance at school...behaviour’s been a lot better and grades have gone up.” (Teacher)

Teachers on the East Midlands Cine Hubs project,whichintegratesfilmeducationintolearningacrossthecurriculum,reportedthatthechildrenhavebenefitedimmenselyfromtheexperience.Theyhadseenariseinwriting,languageandcommunicationskillsandahugeimpactuponemotionalliteracyandwellbeing,withtheprojectenablingsomechildrentodiscovernewtalentsandovercomeshyness.

GlebeSchoolinBromley,amixedspecialfoundationschool,hadanOFSTEDreportinMay2010whichdescribedcommunitycohesionas‘outstanding’andsaidthat‘...thehugelysuccessfulFILMCLUB has had amajorimpactonhelpingstudentstodevelopandsharetheirbeliefs,cultures,andinformationabouttheirreligionsandexperiences’.


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Principles of film educationFilmeducationincludesthreeelements:critical(understandingandanalysingfilms);cultural(wideninglearners’experienceoffilm)andcreative(learnersmakefilmsthemselves).Thereareopportunities foreachof theseacrossthecurriculum,anditcanbevaluabletocombineallthreeapproaches.

Critical YoucanusethisapproachinEnglish,e.g.bystudentsanalysinghowcamera,soundandeditingareusedinanadaptation,adocumentaryorapersuasivetextsuchasanadvertisement.YoucanalsousethesetechniquestoanalysemovingimagesourcesandinterpretationsinHistory.

Cultural You can use unfamiliar films, and films fromdifferent countries and periods, in a range of subjects. ‘WorldCinema’canbeusedtoexploreCitizenshipandissuessuchasglobalisation.Olderfilmscanhelpstudentstolearnaboutlifeinthepast,andexperimentalfilmscanbeusedforstimulusinArtandMusic.

CreativeFilmmakingcanbeusedasawayofrecording,analysingand depicting processes from Science experiments to Danceperformances;topresentinformationinsubjectsfromMathematicstoHistory:andforcreativeexpressioninEnglish,Drama,ArtandMusic.

The Rural Media Company’s Young Shoots projecthasworkedwithHerefordLibraryServicetodevelopacollectionoffilmssuitableforruralyouthclubs,wheretheyhaveprovidedscreenings.Theyranfilmmakingsessionsfor13-19yearoldsincollaborationwiththeCourtyardCentrefortheArts,andscreeningsandpracticalfilmworkshopsinvillages,linkedtoFlicksintheSticksandtheBorderlinesFilmFestival.

“I have been able to develop relationships with pupils who are ‘hard to reach’. Pupils with behavioural/ emotional/social difficulties have been able to settle down, focus and relax.”(Teacher)

Informal learning Filmeducationcanbeaneffectiveandpopularelementof informaleducationactivities,bothasafter-schoolprovision(suchasfilmclubs)andaspartofextendedservicesincludingsummercamps,Saturdayschoolsandafter-schoolfilmmakingclubs.

Many arts venues and other cultural organisations offer informal film education activities. These includefilmmaking,editingandanimationworkshopsandscreenings.Formoredetailonorganisationswhocanprovidetheseactivities,seethesectiononpartners.


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Continuing professional development Trainingforfilmeducationdoesn’thavetobeexpensiveordemanding.However,teachersandsupportstaffwillbeabletointegratefilmintotheirteachingmoreeasilyiftheyarefamiliarwithbasicconceptsandteachingtechniquesandconfidentwiththeequipmenttheywillbeusing.

ThereareanumberofdifferentkindsoforganisationsandindividualsaroundtheUKwhoprovidefilmeducationtraining.Theyincludecinemavenues,CityLearningCentresandindependentfilmmakers.Insomeareas,‘leadpractitioners’orexperienced‘leadschools’canprovidetrainingandmentoringtolocalschools.

Awidevarietyoftrainingisavailable.Itcaninclude:

n basicintroductionstofilmlanguageandfilmmaking

n usingfilminspecificsubjectsortoaddressspecifictopics

n individualfilmsandhowtousethem

n technicalskillsincludingcamera,editingandsoundrecording

n scriptwritingandstorydevelopment

Trainingdoesn’thavetobe‘top-down’:somechildrenandyoungpeoplehavetechnicalskillsorfilmknowledgewhichtheycansharewithothers.Theirownskillsshouldbeusedandacknowledgedwherepossible;insomecases,disaffectedstudentshavetakenaleadroleinfilmmaking,gainingtherespectofteachersandtheirpeers.Peertutoringcanbeaveryeffectivewayforchildrentolearntechnicalfilmmakingskills.

Working with partners (see section 3)Outsidepartners,includingfilmprofessionals,canmakeavaluablecontributiontofilmeducation.Theirinputcanincludegivingadviceonprovisionaspartofschools’capitalprogrammes,providingtrainingtostaff,andworkingdirectlywithyoungpeople.Youmaybeabletofindinformationaboutpotentialpartnersfromexistinglocalpartnerships.

Professionalscangiveyoungpeopleaninsightintodifferentaspectsofthefilmmakingprocess,fromdirectingandediting toscriptwritingandsound.Youngpeopleoftenvalue the inputof ‘real’filmmakers.Youcanuseprofessionalsasmentorsforlarge-scalefilmmakingprojects(suchasthosefundedbyFirstLight)ortoprovidemasterclassesintegratedintoordinarylessons.

Somecinemavenuesprovideeducationprogrammes.Thosethatdon’tareoftenopentoapproachesfromlocalschools.Theywillsometimesprovidedaytimeschoolsscreenings,specialscreenings,orcinemavisitswherechildrengettoseehowacinemaworks.Youcouldalsoapproachlocalfilmsocieties.

Someindependentfilmmakersareexperiencedinworkingwithchildrenoryoungpeople.InsomepartsoftheUK,screenagencieshaveprovidedtraininginfilmeducationprinciplesandtechniquesforfilmmakerswantingtoworkwithyoungpeople.

Therelationshipbetweenteachersandfilmprofessionalsshouldbeanequalpartnership.Filmprofessionalshaveexperienceandtechnicalskillsbuttheyarenotexpertsineducation.Insomecases,theycanbeover-ambitiousaboutafilm’sscaleandleveloftechnicalsophistication.It’simportanttoplanandagreeprojectsindetailinadvancetoensurethattheyoungpeoplehave‘ownership’andopportunitiesforcreativeexpression,ratherthanjust‘shadowing’theprofessionals.


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Other partners include local higher education institutions,whichoftenhaveoutreachprogrammesaimedatwideningparticipation.

Youcouldalsocontactwriterswithexperienceorknowledgeoffilm,suchaslocalscriptwritersorauthorswhoseworkhasbeenadaptedforthescreenandfilmreviewersfromthelocalnewspaper.

Obviouslywhenworkingwithpartnersitisimportanttocomplywithgoodpracticeinchildprotection,includingseekingenhancedCRBdisclosureswherenecessary.

Work-related learning and

First Light ranaprojectfor6-13yearoldsonaFarnhamhousingestatewithverylimitedyouthfacilities.Childrenmadeafilmlinkingsocialproblemstolocalhistoryandfolklore.ProfessionalfilmmakerIanLewisactedasmentor,supportingthestudentsduringtheirfilmmakingandtrainingtheminindustry-standardpractice.

“Our mentor...helped source professional equipment, encouraged support from the broadcast industry, acted as an impartial sounding board for ideas and introduced us to contacts we may have struggled to gain.”

Filmorganisations,suchaslocalproductioncompanies,larger film organisations and cinema venues, canprovide opportunities for work-related learning, frombasicworkexperiencetolonger-termapprenticeships.

‘Young apprenticeships’, two-day aweek placementsover two years, are available to 14-16 year olds inEngland.

The 14-19Creative andMediaDiploma (available inEngland, and as part of the Welsh Baccalaureateframework in Wales) has a substantial work-relatedelement: half of the Principal Learning within theDiplomamustbewithanemployer.

The Dukeries CollegeusedfilmtodeliverthefirstyearoftheCreativeandMediaDiploma,workingwithNottinghamBroadwayMediaCentre.TheyintegratedfilmproductionrightacrosstheirDiplomaprogramme,examplesincludingproductionbudgetingforFunctionalMathsandcrewrolesforCreativeTeamwork.

progression to the creative industries


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NorwichUniversityCollegeoftheArts(HE),MediaProjectsEast(productioncompany)andCinemaCity(venue)haveteameduptoofferfilm and animation workshopstolearnersacrossNorfolk’sHighSchoolsandSixthFormColleges.These1-2daycoursesfor13-19yearoldsofferhands-onexperience,careersadviceandguidance,andadviceongeneratingaportfolioofworkforapplyingtoHigherEducation.

Ealing Institute of Media istheonlyFurtherEducationcollegetobepartoftheSkillsetScreenAcademynetwork.Theybring inprofessionalstorunmasterclassesandworkshopsthroughout theyear, leadingto anannual ‘35mmproject’where studentsworkwith the support of industrymentors tomakeaTVcommercial,a5-minutedramaandamusicpromo(usingprofessionalequipment)onasoundstageatSheppertonStudios.


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Filmeducationcantakeplaceinmanydifferentcontexts.Thissectionwillsuggesthowtouseandadaptexistingspacesandequipmentforfilmeducationandthethingsyouneedtoconsiderwhenestablishingnewspacesandfacilities.

Film education should provide opportunities for children to view,discuss and explorefilms,andtoactivelyengagein filmmaking.Theseactivitiescanalltakeplacewithinanormalclassroom,buttherearesomeadvantagesinusingdedicatedspaces,particularlyforspecialistcourses.

Learning contexts Whenyouareplanningforfilmviewingandfilmmaking,thefocusshouldbeonthelearningexperience.Whatwillchildrenlearnfromtheseactivitiesandwhatotherlearningactivitieswillbelinkedtothem?

Wherewilltheactivitiestakeplace–intheclassroom,atapartnerorganisation,alocalcinema,amediatheque,oranotherschool?Willchildrenbeworkingingroupsorindividually?Ingeneral,filmeducationwillfocusmoreongroupworkwithyoungerchildren,andtherewillbemoreemphasisonindividualworkastheygetolder.

Film viewingThiscan involvegrouporwhole-classdiscussion and debate; individualorgroupresearchexploringafilm’scontextandsubject;andindividualwriting,fromreviewsandanalysistocreativewritingandpoetry.

Clips or extracts are short and manageable: they can be studiedindetail,eitherasawholeclassactivityorbygroupsandindividuals.Completeshort films can be very useful in literacyorlanguagework:unlikeanextract,theywillcontainacompletenarrative,buttheyareshortenoughtobeusedinanormal lesson.Whenworkingwith clips/extractsandshortfilms,it’susefultobeabletopauseandreplaythem,play image and sound separately and perhaps annotate them.Studentsshouldbeabletoworkingroupsandtakenoteswhileviewing.

Childrenshouldalsohaveopportunitiestoviewcompletefeature films,wheretheycanimmersethemselvesintheworldofthefilm.Here,amore‘cinematic’experienceisimportant.Theidealschoolsetupincludesalargescreen,comfortableseating,agoodsoundsystem,apowerfulprojector,blackoutornear-blackout,andgoodsoundinsulation.Buttherearesomerelativelycheapwaysofimprovingtheviewingexperienceinanordinaryclassroomorhall.

FilmmakingLearning activities can include creative writing, (e.g. synopsis, treatment and scripts); transactional writing,(creatinga‘shootingschedule’,evaluatingthefinishedfilm);planning,organisation and working in teams;critical viewing and reflection,e.g.whenwatching‘rushes’(rawfilmedfootage)beforeediting,andwhenviewingthefinishedfilm.

Youshouldconsiderhowthetechnicalskillsoffilmmakingwillbetaught.Willyoubedemonstratingtechniquesto thewhole class for them toemulate,orwill yoube teaching theseskills separately to smallergroupsorindividuals?Willstudentsteachskillstoeachotherandworkinteams,orwilltheyworklargelyasindividuals?


http://www.bfi.org.uk/whatson/bfi_around_the_uk/mediatheques


Access to film education Youshouldconsideraccesswhenyouareplanningspaces,choosingequipment,andplanningactivities.Itcanbedifficulttodesigninprovisiontomeeteveryone’saccessrequirements.Youwillneedtobepro-activebutalsotoconsultandmakeadaptationsforindividualusers.

Film viewingForfilmviewing,youshouldprovidespacesforwheelchairusers(andtheirpersonalassistants). Ifpossible,provideachoiceofpositions:userswithvisualorhearing impairmentsmayprefer tobe locatedat the front(makesurethefrontrowisn’ttooclosetothescreen)butothersmaybemorecomfortableinthemiddlerowsorattherear.Providingextraspacebetweenseatrowswillmakeaccesseasier.

ManyDVDshavesubtitlesinEnglish,whichcanbeusefulforthosewithhearingimpairmentsorchildrenwhosefirst language isnotEnglish.Check thatsubtitlesarevisible toallviewerswhomightneed them: ina roomwithno rake theymaynotbevisible from theback.ManyDVDshaveaudiodescriptions: theRNIBhaveadownloadablelistontheirwebsite.

WhenbuyingaDVDplayer, considerwhether ithas easy-to-use controls (including a dedicatedbuttonforaudiodescription).‘Talkingmenus’arealsouseful.

Viewers should be given information about thevenueorviewingspace,and thecontentofanyfilmswhichmight causeproblems: for example,strobe lighting or flash photography can triggerfitsormigraines.UseplainEnglishandeasyreadinformation.A useful guide can be downloadedfromtheEHRC.

Childrenontheautisticspectrummayfindatraditionalcinemaexperience,withfullblackout,disturbing:considerreducingthesoundlevels,maintaininglightingatreducedlevelsandenablingfreedomofmovement.Theymayalsofindthesubjectmatterornarrativestyleofsomefilmsunpleasant.

Youshouldconsideradditionalsignageandlighting,whichcanbehelpfulforviewerswithvisualimpairments.Stewardsorhelperscouldwearhigh-visibilityclothingsothattheycanbeidentifiedwhenthelightsarelow.

Someviewerswillfinditdifficulttositthroughalongfilm,andwillneedbreaksand/oraccesstoaquietspaceduringscreenings.

FilmmakingDisabledusersshouldbesupportedtoparticipatefullyinfilmmaking.Theirimpairmentsshouldnotbeareasontolimittherolestheyplay:studentswithvisualimpairmentscanusecamerasandthosewithhearingimpairmentscanworkwithsound.

Anumberofdifferentsolutionscanhelptofacilitateaccess.Somearecommerciallyavailable,thoughinsomecasesDIY improvisationmaybenecessary.Anyadaptationsshouldbemade inconsultationwith individualusers.


http://www.rnib.org.uk/livingwithsightloss/tvradiofilm/film/Pages/dvd.aspx


CamerasWhenbuying cameras, evaluate howeasy the controls are to use.Push-buttons and leversmaybebetterthanjoysticksordialsforuserswithmotorimpairments.Touchscreenscanbefiddly,andsomemenuscanbecomplicatedandconfusing(thoughthecameramayhaveasimpler‘basic’setting).

Some cameras come with remote controls, which can be very useful for students with motor or mobilityimpairments.Theycansometimesbemodifiedforindividualneeds:ifyouneedtodothisit’sworthapproachingthemanufacturer,assomehavemadefreemodificationsfordisabledusers.

Foruserswithvisualimpairments,thesizeofthecamerascreenisimportant.Youmayalsobeabletoconnectthecameratoanexternalmonitororlaptoptoprovideabiggerimage.

Other equipmentWheelchairscanbeequippedwithcameramounts,eitherpurpose-builtonesormonopods(one-leggedtripods)securelyattachedbygaffertape;youcanalsoattachamonopodtoawalkingstickorcrutch.

A‘FigRig’(alargeringoftubing,withacameramountinthecentre)canmakeiteasierforuserswithmotorimpairmentstoholdcameras.

You can colour-code cables (using labels or insulating tape) for users with visual impairments or learningdifficulties.

EditingYoushouldensurethatdoors,roomlayoutandtheheightsofworkingsurfacesfacilitateaccessforwheelchairusersandstudentswithotherimpairments.

Editing programmesSome basic editing programmes offer simple drag-and-drop editing, making them relatively easy to use.Unfortunately,professionalprogrammesarecomplexandscreenreaderscurrentlydonotworkwiththem.

Toimproveaccess,youcan:

n Usealargescreen,orpreferablytwoscreens

n Setupkeyboardshortcutsorvoicecommandsforeditingoperations

n Considerusingaspecialcolour-codedkeyboardoroverlay

n Usespeakersratherthanheadphonessothatdeafuserscanfeelsoundvibrations

n Changeprogrammesettings,e.g.bymakingtrackandiconsizeslargeranddisplayingaudiowaveforms



General advice for procurementFilmmakingtechnologyisevolvingrapidly,buttheprinciplesoffilmeducation–andhowtoplanforit–remainbroadlythesame.

Points to considern Don’t‘overspecify’:makesuretheequipmentissuitableforyourneeds.

n Allowforthecostofconsumables(e.g.batteries,bulbsforprojectorsandlighting,modellingclayforanimation),repairsandreplacements.

n Includecostsforlicensingifyouwillbeshowingfilmstothepublic.

n Include costs for staff training. Compare the relative training cost implications of different hardware andsoftwaresolutions.

n Don’tspendallthebudgetatthestart:allowforupgradinghardwareandsoftwareinsubsequentyears.

n Consultyournetworkmanager/ICTsupplierearlyintheplanningprocesstodiscusshardwareandsoftwarecompatibility,bandwidthandstorage.

n Consider where you need specialist professionaladvice:e.g.ifyouaresettingupspecialistspacessuchas studios or cinema auditoriums, you will probablyneed to employ a professional; but some equipmentsupplierswillprovideadviceforfree.

n Try to get free independent advice, e.g. from localfilmmakersorculturalorganisations,ratherthanrelyingexclusivelyonprofessionalsandequipmentsuppliers.

n Contactotherschoolswhohavesetupfilmeducationprovision:findoutwhatequipmenttheyuse,whattheythinkofit,andanyproblemsorissuestheyhaveencountered.

n Ensurethatallequipmentiscompatible,e.g.willtheeditingsoftwareworkwiththevideothatthecamerasrecord?Doyouneedextraconversionsoftware?

n Forarefurbishmentornewbuildproject,ringfencethefundingforhardwareandsoftware,butbuyitaslateaspossibletoavoiditbeingobsolete.

n Ensurethatyourprovisionmeetsaccessrequirementsforallpotentialusers.

n Undertakeahealthandsafetyaudit/riskassessment.

n Consultwiththelocalcommunityandlookforopportunitiesforcommunitylinksanduses.

n Consider‘joiningup’funding–e.g.canyougetfundingfromothersourcesifyouprovidecommunityaccessto some of the facilities?

Where to buy equipmentTheremaybeadvantages tousingcentralisedprocurement,managedservices,orpurchasingasacluster.Somehardwareandsoftwaremanufacturerssell throughspecialisteducationsuppliers.Online retailerscanbecheaperforsomeequipment,butyoushouldcheckthattheyaregenuinesupplierssellingUKstock(somesell‘greyimports’–foreignmodelswithoutUKguarantees).Ifyouaren’tfamiliarwiththeretailer,researchtheirreputationforcustomerserviceonlineandcheckthattheyhaveaUKpostaladdress.



Film viewing equipment and spacesThereareseveralcontextsinwhichfilmviewingcanbeusedinschool,forexample:

n Youcanshowshortfilms,orexcerptsfromfilms,forawholeclass

n Pupilscanviewthemoncomputers,eitherasindividualsorgroups

n Youcanscreenfull-lengthfilms,perhapsaspartofanafter-schoolfilmclub

SeethetableonPage23forasummaryofequipmentandspaceoptions.

Basic requirementsYouneedaroomwithsomecontroloverlightlevels;adataprojector,screenandspeakers;andaplayer,eitherastandaloneDVDplayeroracomputer.YoucanalsouseanLCDscreenasareplacementfor,orcomplementto,adataprojector.

Using a data projector and whiteboardYoucanshowfilmsusingastandardclassroomdataprojector,acomputerwithaDVDdriveandawhiteboard.Thismakesiteasytointegratefilmviewingintonormalteaching,butimagesizeandsoundqualitymaybecompromised.

Player YoucanuseastandaloneDVDplayer,oracomputerwithaDVDdrive.

Usingacomputermakesitpossibletoscreenfilmsfromvideo-sharingsites,showclipswhicharestoredonyourharddriveor intranet,and(with interactivewhiteboardsoftware)annotateclipsandstills. (Beawareofcopyright).SomeDVD-playingsoftware,andsomestandaloneplayers,allowyouto‘bookmark’sectionsofadiscsoyoucangostraighttothem.

CurrentlythereislittleadvantageinusingthehighdefinitionBlu-Rayformat:playersandprojectorsareexpensiveandmanyusefulfilmsareonlyavailableonstandarddefinitionDVD.Butit’sworthconsideringhighdefinitionto‘futureproof’anewinstallation.

Projector Ifyouuseadataprojector,youneedittobebrightenoughfortheroomsizeandthelightingconditions.Ifyoucan’tblackouttheroomyouwillneedamorepowerfulprojector.

Projectorbrightnessismeasuredin‘lumens’.Asageneralguide,foraclassroomyouneedaminimumof2000lumens,andforahallorauditoriumwitha4mby3mscreenyouneedaround7000lumens.Youcangethigher-poweredprojectorsbuttheyareveryexpensive,asarereplacementbulbs.‘Short-throw’projectors,whichhavespecialwide-anglelenses,areusefuliftherearelimitationsonprojectorpositionorspace.



Checkthattheprojectoriseasytouseandadjust.Ifitistobeusedindifferentspaces,makesurethatit’snottooheavytomove.Forafixedinstallation,makesurethattheprojectorcanbeaccessedforfocusing,adjustment and maintenance. Make sure that theremotecontroliskeptinasafeplace.

YoumayneedtomakeadjustmentsonyourDVDplayerorcomputertogetsatisfactoryimagequalityfromaprojectororLCDdisplay:followinstructionsfor‘calibratingthedisplay’.

ScreenThelargerthescreen,themorecinematictheexperiencewillbeforthestudents.Pull-downprojectionscreensarenormallybetterthanwhiteboardsandsilverscreenswillprovidebettercontrastthanwhitescreens.4mx3m(12’x9’)willprovideagoodviewingexperienceinmosthalls.

Alternatives to projectorsYoucanusewall-orceiling-mountedLCDscreensasanalternativeorcomplementforprojectors.Thesewillprovideawatchablepictureinnormalclassroomlighting,sostudentscanviewthemwhiletalkingtoeachotherandwriting.Theyarealsousefulforcameratraining:youcanconnectthevideooutputfromyourcameratothescreen,sostudentscanpractisesettingupshotswhiletheclassviewstheimage.

SoundMost films have complex soundtracks. Some parts are very loud and some parts are very quiet (a widedynamic range).Ifyoursoundsystemisn’tgoodenough,studentscanmissdetailswhichareimportanttotheirunderstandingandenjoyment.

Youmaynotneedtobuynewspeakers.Mostschoolshavegoodspeakerssomewhere,perhapsinthemusicdepartmentorthehall:canyouborrowthem?

Themoststraightforwardwaytoimprovethesoundinaclassroomistoreplacebasiccomputerspeakers.An8inch‘dynamic’speakersystemwillprovideamuchbetterexperience.(Dynamicmeanstheyhavetheirownbuilt-inamplifier).Forahall,aPAsystemwithanamplifierand12inchspeakersshouldbeenough.(Speakersizeisabettermeasurethanmanufacturers’statedpoweroutput,whichisoftenmisleading.)

For occasional film viewing, youprobably don’t need surround-soundas it needsexpert settingup.Unlessyouhavethetechnicalexpertise(andasoundmeter)youarelikelytogetbetterresultswithastereosoundsystem.

Ifyouareplayingyourfilmfromacomputer,youmayneedtobuyleadsoradaptors,asPAsystemstendtouse‘RCAphono’leadsorfull-sizejacksockets,ratherthantheminijacksusedbymostcomputers.Awiderangeofadaptorsisavailablefromelectronicssuppliers.

Speaker positioningSpeakersshouldbepositionedclosetothescreen.Theyshouldn’tbemountedhighonthewall,asthiswillcausesomeofthehighfrequenciestobelost.Iftheyaremountedhighup,theyshouldbeangleddowntowardsthestudents.



Wall surfacesCurtains can cut down sound from outside andprevent reflected sound frommuddying the soundfromspeakers.

Sound levelsSound levels should be set in a full room. If youset levels in an empty room, the sound will benoticeablyquieterwhen thepupilscome in.Soundis sometimes not loud enough because teachers are worriedaboutdamagingstudents’hearing,butthisisnotaproblemwhenplayingafeaturefilmatcinemavolume.Hearingdamageiscausedbysustainedexposuretoloudsound,andnormallyinafilmonlypartofthesoundtrackisreallyloud.Arecentresearchstudyfoundnoevidencethatnormalcinemavolumelevelscausehearingdamage.

Positioning the chairsIfyouhaveachoiceofpositioningthechairs,itisbesttomovethefrontrowfurtherawayfromthescreensothatthesoundlevelsdon’tvarytoomuchbetweenfrontandbackrows.Youcanalsocurvetheseatingsothatchairsineachrowareatroughlyequaldistancesfromthespeakers.

Comfortisimportantforviewingfeaturefilms.Newchairsshouldhavepaddedseats;youcouldbuycushionsifyouareusingstandardhardchairs.Beanbagsaremoreinformal(buttakeupalotofstoragespace).



Other factorsSoundandpicturesometimesgoslightlyoutofsynchronisation,becausedigitalimagestakelongertoprocessthansound.Manyadultswon’tnotice thisdifferencebutchildrenaremoresensitive to it.Youcansolve theproblembyusinga‘digitalaudiodelay’devicecostinglessthan£100(thoughyoumayneedtoemployatrainedspecialisttosetitup).

Ifyouhaveachoiceofwhereyoulocatethefilmviewingspace,youshouldkeepitawayfromoutsidesourcesofsoundwhichcandisrupttheviewingexperience.

BlindsBlackoutcanbearealproblem.Lowwintersun,inaroomwithnoblinds,canmakeanimageonawhiteboardimpossibletosee.Improvingtheblackoutisoftencheaperthanupgradingtheprojector.

Youdon’thavetobuyexpensiveblindsthatproduceafullblackout.Youmaybeabletousedomesticblackoutrollerblindswhicharewidelyavailable(theymustbeproperlyinstalledwithcordretainerstoavoidastrangulationhazard).Theyarenotparticularlydurable,soiftheyaretobeusedregularlyyoumaybebetteroffbuyinghigher-qualityblinds.Ifyouareusingstandardverticalblindsinanordinaryclassroom,swivelthemsothatthelightispointingawayfromthestudents.

Access to online filmsOnlinefilmsareavaluableresource,anditisimportantthat staff and students can access them wherenecessary.Manyschoolsareconcernedaboutsomeof the material shown on video-sharing sites, andabout thebandwidth they require,but infrastructureandpolicyshouldallowthemtobeusedforlegitimateteaching and learning purposes. Some schoolsmaintaincontrolbyallowingvideo-sharingsitestobeaccessedonlywithinspecificteachingspacesorbyspecificusers.

You need to be aware of copyright when showingonline films, as many clips on video sharing sitesbreachcopyright.



Film viewing in newbuild or refurbished spacesLarge-scale film viewing can take place in adedicatedcinemaspace,inatheatrespace,orinamultipurposespacesuchasahall.

SeatingSightlines are important: can all audience members see the screen comfortably? A dedicated cinema or theatrespaceshouldhavearake(slopingrowsofseats)toensurethis.Inamulti-usespaceyoucouldconsiderretractablepadded‘bleacher’seating.

Sound and acousticsIfpossible,theroomshouldbelocatedawayfromexternalsourcesofnoise(e.g.playingfields,roads,plant)anditshouldbeisolatedbyusinghighmasswallconstruction,soundlobbies,dampedpipeworkandairtightservicejunctions.Thiswillalsopreventcinemanoisefromdisturbingotheractivities.Aprojectionboothneedstobeacousticallyisolatedfromtheauditorium.

Withintheroomthepriorityistolimitsoundreflectionswhichcanmakeithardtoheardetails.Youcanavoidthisthroughdamping(theuseofcurtains,drapesandsoundpanels).Inamulti-purposespaceit’sbestiftheacousticpropertiesoftheroomareadjustable,ascinemascreeningsrequiredifferentcharacteristicstomusicortheatreperformance.

Unevenwallfinishes,shelvingorspecialpanelscanbeusefulforprovidingdiffusion,whichensuresthatthesoundisevenlyspreadaroundtheroomratherthanconcentratedinonespace.

ServicesHeating,lightingandventilationneedtobeadequateforthesizeofthespace.Inmulti-usespacestheyshouldbeadaptablefordifferentrequirements(e.g.warmerbutwithlowerlightingforcinemause).Theidealcinema‘house lighting’ can be adjusted smoothly to blackout levels (which requires tungsten lighting), while otheractivitiessuchassportrequiremuchbrighterfluorescentlighting.Separatelightingsytemsfordifferentactivitiesmaybebest.

WindowsWherewindows are required, these are best positioned at high level, at the sides of the room,with easilycontrolledmanualorautomaticblackoutblinds.Rooflightsarebestavoidedastheyaredifficulttoblackout.

StorageStoragespacewillberequiredforfilms/DVDSandmayberequiredformovableseating.

Projection boothTheprojectionboothmayneedtobelargerthaninatraditionalcinemasothatseveralstudentscanworkinit,togetherwithateacher.



Public accessSomeschoolshavehalls,orpurpose-builtauditoriums,whichtheyuseaspublicaccesscinemaandtheatrespaces.Providinganoccasionalpublicscreeningcanberelativelystraightforward:ifyoudon’talreadyhaveanappropriatepremiseslicense,youmustnotifythelocalauthorityinadvance(inEnglandandWalesyouuseaTemporaryEventsNotice;ScotlandandNorthernIrelandhaveslightlydifferentrequirements).

Ifyouwanttosetupanduseaspaceforregularpublicscreenings,youwillneedtoensurethatpublicaccessdoes not conflict with the school’s everyday activities.Youwill require a Premises Licence from your localauthority ifyouregularlychargefor ‘regulatedentertainment’(whichincludesfilmscreenings),soyoushouldconsultthemearlyintheprocess.

Spaces used regularly as public access cinemas may need:

n aclearlyidentifiable,attractivepublicentrance

n sufficientcirculation/queuingspace

n separationfromtherestoftheschool(forsecurity)

n additionalsecuritylightingandcarparkspaces

n separateboxoffice,storageandManager’sOffice

n services(e.g.electricity,heating,telephone,internet)providedandchargedseparately

n additionaltoiletfacilities,adequateforaninfluxofusersbeforeandafterscreenings

n additionalfireandsafetyfacilities

Cinemasaremorelikelytobeeconomicallyviableiftheyalsoincludeprovisionforthesaleofsweets/refreshmentsandabar.

Filmbank’sSingle Title Screening Licenceisawaytogetrecentfilms(someaslittleas10-12weeksaftertheircinemarelease)beforetheyareavailableonDVD.

Saffron ScreenisapubliccinemaatCountyHighSchool,SaffronWalden.Thedistrictcouncilprovidedfundingso that theschool’snewauditoriumcouldbedevelopedasacinema. In theeveningsandatweekendsthecinemarunsapopularprogrammeofeveningandpublicscreeningsandfilmeducationactivities for adults and youngpeople, andprovidedNationalSchoolsFilmWeek screenings for localPrimaryschools.TheschoolnowoffersFilmStudiesandrunsaFILMCLUB.


http://www.filmbank.co.uk/default.asp?page=article&id=45215&section=single&subsection=home


Film viewing summary

Basic Intermediate High spec Cinema spec

Space Classroom Classroom Hall Purpose-builtspacewithcontrolled lighting,separateprojectionbooth,sound isolation

Player ComputerwithDVDdrive,orDVD player

ComputerwithDVD drive and bookmarkingsoftware,orDVDplayerwithbookmarkfeature

Computer/player withBlu-Rayandbookmarkingfeature

Blu-ray/DVDplayer

Screen Whiteboard Pull-downwhitescreen

4x3msilverscreen

Built-incinemascreenwithcurtains/adjustablemasking

Projector Standard classroom projector

2000 lumen projector

7000lumenprojector

10000 lumen orbetterhigh-definitionprojectorPossibly16mmor35mmfilmprojector

Sound Computer speakers

8inchdynamicspeakers

PAwith12inchspeakers

Dedicated surround sound system

Seating Standard classroom chairs

Chairswithcushions,orbeanbags

Padded chairs Rakedcinemaseating

Blinds Standard classroom blinds

Blackoutrollerblinds from DIY store/furniture superstore

Purpose-madeblackoutblinds

Windowlessroom



Filmmaking equipment and spacesAswithfilmviewing,thelearningcontextshoulddeterminethechoiceofequipmentandhowspacesaresetupandused.Youngerchildrenaremostlikelytobeworkingingroups,makingfilmsasteams;asstudentsprogressthroughtheschooltherewillbeanincreasingemphasisonindividualworkandhighertechnicalquality.

Seethetableonpage35forasummaryofequipmentandspaceoptions.

Basic requirementsYouneedavideocameraofsomekind.Itcouldbeacamcorder,astillcameraoramobilephone.Youcanmakefilmswithoutacomputer,using‘in-cameraediting’:planningtheshotscarefully,thenshootingthemintherightorder.

Toedityourfilm,youneedacomputerwitheditingsoftware.Youneedtocheckthatyourcamerasandcomputerswillworktogether(seebelow).Youmayalsoneedtripods,microphonesandheadphones.

Group sizeGroupsizewilldeterminethenumberofcamerasandcomputersyouneed.Asageneralrule,3-5studentscanworkeffectivelyasafilmingteam.Ifgroupsarelargerthanthisitishardforallmemberstoparticipateeffectively.

LocationsManyschoolsuselocationswithintheschool,suchascorridorsorplayingfields,forfilming.Thiscanbelimitingasitwilloftenbeobviousthatthescenesareshotinaschool.Ifspacepermits,youcouldhavearoomsetupwithstandardpropswhichcouldbeusedinanumberofstudentfilms.Youcoulduseadramaspacewithfilmmakingpropsstoredinanadjacentstoragespace.

HazelwoodCollegeinBelfasthasadaptedanordinaryclassroomasabasicstudiosetforfilmmakingaspart of CCEA’s Moving Image Artsspecification.Theroomhasahospitalbedatoneend,a‘livingroom’sofaandchairsattheotherend,andagreen‘chromakey’screen.



CamerasThereareseveraldifferentcameratypesandrecordingformats.Imagequality,reliabilityandeaseofusevariesbetweenmakesandmodels.Consumerguidemagazinesandwebsitesareusefulforassessingimagequalityandreliability,butmaynotcoverothercriteriawhichareimportantforeducation.

Camera prices range from under £100 to severalthousands.Itmaybebettertobuyanumberofcheap,simplecamerasratherthanoneortwomoreexpensiveones:theyareusuallyeasiertouse,awholeclasscanbe working with them at once, and because of theircheapnessit’snotadisasterifoneisdamagedorstolen.Another strategy is to have a set of cheaper cameras which can be used by all classes, and a few better-qualitycamerasforproductionworkbyolderstudents.

Youshouldcheckthatthecamerarecordsinaformatwhichyourvideoeditingsoftwarecanhandle,orwhichcanbeeasilyconverted(seebelow).Lookonthesoftwaremanufacturer’swebsiteforalistofcompatiblecameras.Somecamerascomewiththeirownconversionsoftware.

ThomasHardyeSchoolinDorsethasboughtbasic video cameras costingunder£100each.Becausetheyarecheapandsimple, theschoolcanaffordmorecameras.Staffaremoreconfidentaboutusingthem,sofilmgetsusedacrossawiderrangeofagesandsubjectareas.

Basic cameras (up to £100)Mostnewcamerasinthispricerangehaveanuprightshape,afixedscreenandsimplecontrols.Theyrecordontobuilt-inmemoryorremovablememorycards.Theyareeasytouse,makingthemidealforyoungerchildren,orforstudentstotakeoutofschoolfordocumentaryprojectsorvideodiaries.Somedon’thaveimagestabilisationormicrophonesockets.

Recharging is important:somemodelshavebuilt-inbatterieswhichyouhavetorechargebyconnectingthecameratothecomputeroraspecialUSBcharger.Thisisveryinconvenientifthebatterygoesflatwhenyou’reinthemiddleoffilming.It’sbettertohaveinterchangeablebatteries(preferablystandardAAorAAAbatteries)soyoucancarryspares.

Mid-range cameras (£100-£500)Whenyouspendover£100youhaveawidechoice,includinghigher-specificationversionsofthebasiccamerasmentionedabove,andcameraswithastandardcamcordershapeandfold-outscreen.Cameraswithfold-outscreensarebetterforgroupuse.Mostcamerasinthispricerangeeitherrecordontomemorycards,aninternalharddrive,orboth(seebelow).

Medium to high-end cameras (over £500)Onceyoupayover£500 for a camera you shouldget verygood imagequality anda full rangeofmanualcontrols.Sizeandshape is important.Largersemi-professionalcamerasareheavierandcanbeunsuitableforsomeprojects,buttheywillnormallygivebetterimagequality(particularlyinpoorlight)andsound,andthecontrolswillbebiggerandeasiertouse.Theyshouldalsobemoredurable.



Other camerasHandheld devicesSomehandhelddevices(suchasmobilephonesanddigitalaudioplayers)includevideocameras,andsomeevenhavebuilt-ineditingsoftware.

Still cameras Manydigitalstillcamerascanrecordvideo.Youcangetcompactstillcameraswhichrecordbasic‘VGA’videoforunder£60,andcompactswhichrecord inhighdefinition for less than£200.Theyareoftensmaller thanequivalentvideocameras,andmayhaveawiderzoomrange.Buttheycanbeawkwardtoholdsteadily,andtheyusuallyhavelimitedsoundrecordingcapabilities.

Afewsingle-lensreflex(SLR)andsystemcameras,startingataround£500,canrecordhighdefinitionvideo.Becausetheyhavelargeimagesensorsandcanusehighquality interchangeablelenses,theyrecordmuchbettervideoinlowlightandit’seasiertoachieve‘shallowfocus’effects.Buttheyareawkwardtohandholdandfocus,andsoundrecordingcanbepoor:manySLRfilmmakersuseseparatedigitalaudiorecorders,matchingsoundandimageintheeditingprocess.

Thesedisadvantagesmeanthatitmaybebettertowaitbeforeconsideringthisoption.Twomanufacturershavealreadyannouncedlarge-sensorvideocameraswhichshouldcombinetheimagequalityofSLRswiththeease-of-useandaudiofeaturesofcamcorders.Theyareexpensivebutitislikelythatmoreaffordableversionswillsoonbecomeavailable.

Miniature video camerasYoucangetcheapvideocameraswhicharespeciallydesignedfor‘spy’orsportsuse.Theyrangeinpricefromaround£60tounder£10.Thesecamerashavelimitedfeatures(theydon’thavescreensorzoomlenses),buttheyareusefulinsituationswhereaverysmallcameraisneededorthecameramightbebrokenorstolen.Thecheapestversionsarefiddlytouseandareunlikelytobeverydurable.

Recording formatsMostnewcamerasrecordontomemorycardsorharddrives.Theyimportfasterthantapecamerasandyoucaneasilychoosetoimportonlytheclipsyouwant.However,manyschoolsarestillusingvideooranimationsoftwarewhichisdesignedtoworkwithdigitaltapecameras.

Card and disc-based cameras normally connect to the computer using standardUSB cables.You can buyUSBcardreaders,soyoucanimportfootagefromacardwithoutusingthecamera.Tape-basedcamerasusedifferentFirewire(IIEE1392)cables.

Memory cardThis isbecoming themostpopular recordingmedium.Somecamerascomewithbuilt-inmemory,butmostrequireyoutobuyyourowncards.SD(‘SecureDigital’)isthestandardformat.Whenbuyingcards,checkthattheyarecompatiblewithyourcameraandhaveafastenough‘speedclass’(checkthecameramanual),andthattheyhaveabigenoughcapacity:video(particularlyhighdefinitionvideo)canrapidlyfillupasmallmemorycard.



Hard discSomecamerascomewithbuilt-inharddiscs.Theyaremoreexpensivethanequivalentcard-basedcameras,butharddiscsarecheaperperunitofmemory.Despitethis,inschoolsitmaybemoremanageabletouseaseparatememorycardforeachprojectorgroup.

Hybrid camerasSomecameraswithharddrivesoffertheoptionofusingmemorycardsaswell.

Digital video tapeminiDV digital video tape used to be the most common format for video cameras used in schools. It’s nowbecomingrare,andcheapminiDVcamerasarenolongermade.miniDVcanonlybeimportedin‘realtime’(so10minutesofvideowilltake10minutestoimport).

Manyschoolsarestillusingvideoeditingsoftwarewhichwill onlyworkdirectlywithminiDVcameras connectedusinga‘Firewire’(IIEE1392)cable.Butyoumaybeableto use separate software to import video from a USBcameraandthenconvertit.

Not all computers haveFirewire, so youmayneed to buy aFirewire card to useaminiDV camera.Somelaptopscan’tbefittedwithFirewirecards,andFirewiretoUSBconvertersdon’tseemtoworkwithvideoeditingsoftware.

SomeanimationsoftwareisdesignedtoworkwithFirewirecameras,butifyoudon’thavethese,youmaybeabletouseUSBwebcamsinstead.

DefinitionMostcamerasrecordinVGA,standarddefinition(SD)orhighdefinitionformat.ForreasonableimagequalityyoushouldavoidanycamerathatrecordsatlessthanVGA(640x480)resolution.Someeditingsoftwarecanonlyhandlestandarddefinition(SD).

High-definitionfootageusuallylooksbetterthanSD,butyoushouldconsiderwhetheryouactuallyneedit.Ittakesupmuchmorediscspacethanstandarddefinitionandrequiresmorecomputerprocessingpower.Thereareseveraldifferenthigh-definition formatsandyoushouldcheck thatyoureditingsoftwarecanhandle thespecificformatthatyourcamerarecords.



Cameras: points to consider

n Howbigistheinternalharddriveorbuilt-inmemory?

n Doesthecamerahaveagoodbuilt-inmicrophone?

n Doesithaveamicrophonesocket?

n Can you plug in headphones?

n Does it have good image stabilisation?

n Howgoodaretheimagesinlowlight?

n Howwidecanthecamerazoomout?Canyougetwide-angleadaptorstofitit?

n Howeasyisittouse–arethecontrolsfiddly?Isthescreenbigenough?

n Can you connect it to an external monitor?

n Doesitletyousetwhitebalance,exposureandfocusmanually?

Other equipment for filming

Camera supportUsingatripodwillusuallymakeabigdifferencetoimagequality.Withatripod,shotswillbesteadier,studentswill takemoretimeplanningtheirshots,andtheywillfinditeasiertoworkingroups.

Awide rangeof tripods isavailable.Forvideoyouneeda tripodwitha‘panandtilt’head;moreexpensivetripodshave‘fluidheads’forsmoothermovement.

Ifchildrenaresufficientlydisciplinedtoframetheirpicturescarefullyandholdthecamerasteady,working‘handheld’canallowthemtoexperimentwith unusual shots and camera positions.But using handheld cameraswithouthavingpractisedframingwillusuallyresultinunwatchable,shakyandchaoticfilms.

Supporting moving camerasTogetsmooth ‘tracking’and ‘crane’shotsyouneedsuitablecamerasupports.Youcanfilmsimple trackingshotsbymountingthecameraonawheelchairorskateboard.AFigRig(aringoftubingwithacameramountinthemiddle)canmakehandheldcameraworkmorefluid,andeasierforstudentswithmotorimpairments.Forindustry-focusedcoursesyoumaywanttoconsidergettingaprofessional‘dolly’anda‘jib’forcraneshots.

Sound Soundisveryimportantinfilm,andafilmsoundtrackcanconsistofmanyseparateelementsandaudiotracks.Forseriousfilmmakingyouneedequipmentthatwillletyoumakefilmswithgoodsoundquality,whetheryourecorditliveoradditlater.

It’shardtorecordlivesoundwellunlessyouhaveseparatemicrophonesandarepreparedtotakesometimetogetthesoundright.Formanyfilmmakingprojects,youmaynotneedtouselivesoundatall.

Youwilloftengetbetterresultsifyourstudentsconcentratejustontheimageswhiletheyarefilming,andcreatethesoundtrackonthecomputer,usingsoundeffects,musicloopsandvoiceover.Youwillneedsoundeditingormusiccreationsoftwareforthis(seepage29).



MicrophonesMostcheapercamerashavepoorbuilt-inmicrophones.Toimprovelivesoundrecording,youcanuseaseparatemicrophone.Thereareseveraldifferentkinds:

n A camera-mounted video microphone may givebetter sound quality than the built-in microphone,and it will be more ‘directional’ (picking up moreof thesound from thedirection it’spointedat,andcuttingoutothersound).

n Handheldmicrophonescanbeusedforinterviews,orheldjustoutofshotforcloseups.

n Lavalier or ‘tieclip’ mics are good for interviews,and are the cheapest way to improve the qualityof recorded speech. They can also be useful forrecording livemusic.Makesure theonesyoubuycantakebatteries:somewillonlyworkiftheyarepluggedintoasocketwhichprovidespower.

n Boom-mounteddirectionalmicrophonesare thestandardsolution forprofessionaldramaproduction.Onestudentwillneedtoholdtheboomandpointthemicrophoneatthesoundsource,makingsurethatitdoesn’tdipintotheshot.Thesecanprovideverygoodsoundqualitybutarequitecomplicatedtousewell.

Better-quality professional microphones use ‘balanced’ three-pin XLR plugs. Only expensive professionalcamerashaveXLRsockets,thoughyoucanbuyXLRtominijackadaptors.

Windshieldsareessentialforoutdoorfilming.Manymicrophonescomewithsimplefoamwindshields,butthemosteffectiveonesarefurry.

Fewschoolsuseradiomicrophones,whichareexpensiveandcomplicatedtouse.Digitalaudiorecorders(seebelow)canbeusedinstead.

Digital audio recordersDigitalaudiorecorders,costingfrom£100upwards,aresmallportabledeviceswhichrecordhigh-qualityaudio.(Theyshouldnotbeconfusedwithbasicdigitalmemorecorders.)MostrecordontoSDmemorycardsorbuilt-inmemory.Theycanbeusefulforrecordinglivesoundwhilefilming.

Theycangivebettersoundquality thanrecording intoavideocamera.Because theyaren’tattached to thecamera,theyallowmorechoiceofmicrophoneposition:forexample,youcouldputoneinanactor’spocketattached to a tieclip microphone. Synchronising image and sound is fiddly and is only practical with fairlysophisticatedvideoeditingprogrammes.You’llneedtouseaclapperboardwhilefilming.

Theserecorderscanalsobeused to recordmusic,voiceandothersounds forcreatingsoundtrackson thecomputer.

HeadphonesWhenrecordinglivesound,youshoulduseheadphonestomonitorthesoundwhileyoufilm.Thisisparticularlyimportant if youareusinganexternalmicrophone,asoften thesound level is too low, thereareunwantedbackgroundsounds,orthemicrophonehasnotbeenturnedon.Youshouldconsiderheadphoneswhichallowyoutolimitthevolume(toprotectstudents’hearing)thoughthesearemoreexpensive.



Green screenGreenscreen,or ‘chromakey’, ispopular inmanyschools.Thesubject is filmedagainstaspecialgreenbackground.Theeditingsoftwarereplacesthegreenwithanotherimage,so students can appear to be acting in front of any kindof background or flying through the air. Green screen isparticularlyusefulforanimationbackdrops,whereanimatedcharacters can appear to be interacting with ‘live action’footage,e.g.walkingaroundtheschoolorinthetownhighstreet.

Forfilming,youneedabackdropofthecorrectgreencolour.Youcanbuychromakeygreenpaint,greenmaterial,andelasticatedpanels.Ifyouaresettingupadedicatedspaceforfilming,youcouldconsiderpaintingawallchromakeygreen.Youneeddedicated,directional lightingforgoodquality images:normally thebackgroundneedstobemorebrightlylitthanthemainsubject.

LightingMostschoolsdon’tneedprofessionalfilmlighting.Forhigher-levelandvocationalcoursesitmaybeimportant,butitiscomplexanddifficulttouseandcanbedangerous.Itmaybebettertobuymoreexpensivecameras,whichcanproducebetterimagesinlowlight,instead.

Youcanusebasicequipmentliketorchesordesklampstoexperimentwithlighting.Ifyouneedmorelight,youcanusebuilders/DIYlights(thesearecheaperthanfilmlights,butposehealthandsafetyissuesastheygetveryhot).Ifyouhavearoomwithordinarybulbs,youcanprovidemorelightbytemporarilyreplacingthemwithhigher-poweredenergy-savingbulbs.SomefilmmakersusethesebulbswithChinese-stylepaperlampshades.Thesearesaferthanfilmlightsbecausetheyaremuchcooler,butwithanykindofmains-poweredlightingyouneedtobeawareoftriphazards.

Reflectorsareuseful forfilling inheavyshadows.Youcanbuy foldingelasticatedreflectors,oryoucanusesheetsofwhiteinsulationboard,orhardboardpanelswithaluminiumfoilgluedtothem.

Traditionalfilmlightingusesthreelights:amainor‘key’light,a‘fill’lighttoprovidesomelightintheshadows,andabacklight(or‘rimlight’)toilluminatetheedgeofthesubjectsothatitstandsoutfromthebackground.YoucanimitatetheeffectofsomeoftheselightsbyusingtheDIYsuggestionsabove.Forexample,atorchorbuilders’light–positionedwelltothesideofthesubject–canprovide‘low-key’lightingforathrillerscene,andareflectorcansubstitutefora‘filllight’.

Youcanbuyprofessionallightinginsets,eitherastungstenlights(‘redheads’)orascoldLEDlights.LEDlightsaremoreexpensiveandcooler;LED‘arrays’aregoodforproducingeven,softlighting.Youcanget‘softboxes’toproducethiskindoflightingwithtungstenlights.

Therearemajorhealthandsafetyissueswithlighting:

n Tungstenlightsrunveryhotandcanburnfingersandcausefires

n Bulbscanshatter,solightsshouldneverbeusedwithoutsafetyglass

n LEDlightscancausepermanenteyedamageandshouldalwaysbeusedwithdiffusers

n Studentscantripoverstandsandcables,andlightscanfalloverontothem



EditingMostcomputerscanbeusedforbasicvideoediting,butprofessionalvideoeditingsoftwarerequirescomputerswithquiteahighspecification:checkthesystemrequirements.

Laptop or desktopDesktopcomputersarebestforvocationalcoursesandhigher-endvideoediting,astheycanoftenbeupgradedwithadditionalvideocardsandharddrives,andmaybeabletousebiggerscreenswhichwillmakeiteasiertousecomplexsoftware.

Laptopsallowformoreflexibleuseofspaces,andtheycanbetakenonfieldtrips.It’salsoeasierforgroupstoworkaroundthem(theyshouldbeprovidedwithmice).Ifyouareplanningtousesetsoflaptopsyoushouldconsiderbuyingspecialisedcases.Youcangettrolleycases,suitableformovingsetsoflaptopstoasecurestorageareaorbetweenteachingspaces.Youcanalsogetmuchmoreruggedcasesdesignedfortransportingsetsoflaptopsinvehicles.

Computer displaysYoucanusemostcomputermonitors forbasicvideoediting.Whenbuyingmonitors,youshouldcheckyoureditingprogramme’sminimumrequirements.Mostprogrammesrequireaminimumresolutionof1024x768butwillbeeasiertousewithabiggerscreen.

Ifyou’rebuyingdisplaysforprofessionaleditingprogrammes,yourmonitorsizeshouldbeatleast17inches.You canalso consider colour depth (howmany colours themonitor candisplay: the greater the depth, themorerealistic thecolourshouldbe).Professionalvideoeditingstationsnormallyusetwodisplays.However,higherresolutions,greatercolourdepthandusingtwomonitorsrequiresmorecomputerpower:checkthatyourcomputercanhandlethemorcanbeupgraded.

Other hardwareMicrophones and audio interfaces are useful for recording voiceovers and connectingmusical instruments.Portableharddrivesareusefulfortransferringmediabetweencomputers,andcollectingstudents’completedfilms.USBmusickeyboardscanbeusedforcreatingsoundtracks.

SoftwareMostcomputerscomewithbasicvideoeditingsoftwarepre-installedoravailableasafreedownload.Themostrecentversionsofthesesoftwarepackageswillworkwithawiderangeofvideoformatsanddefinitions.Youshouldcheckthatthesoftwareiscompatiblewithanycamerayouareplanningtobuy.

Ifyouarebuyinga largenumberofcopies,themajormanufacturers offer substantially reduced ‘volumelicensing’pricesforeducationalinstitutions.

Included (‘free’) editing softwareBoth main computer operating systems have an editing packageaimedatconsumers.Theseuseasinglemainwindow forviewing the imageandare relativelyeasytouse.



Intermediate editing softwareFor£50-£60(cheaperforvolumelicenses)thereareseveraldifferentprogrammeswhicharemoresophisticatedthanthefreepackages.Mostuseatwo-windowlayout(whereyouviewyouroriginalsourcematerial inonewindowandthefilmyouarecreatinginanotherwindow)anda‘timeline’(whereyoucanviewyourfilmasaseriesofclipsandsoundfiles).Complexprojectsareusuallyeasiertomanagewithoneoftheseprogrammes.Theyvaryinfeatures,ease-of-useandreliability.

Professional editing softwareProfessionaleditingsoftwarepackages(around£400upwards)alluseatimeline-basedinterfaceandarethebest solution for vocational coursesand complexprojects.They canusually accept awider rangeof videoformatsthanbasicor intermediatesoftware.Theywill takelongerto learn,aremoreexpensive,andarenotsuitablefortheyoungestpupils.

Other software for filmmakingYoucanalsobuysoftwareapplicationswhichallowyoutoaddeffects,titlesandmotiontoyourvideos.Professional‘grading’softwareallowsdetailedcolourmatchingandeffects.

Themajorprofessionaleditingpackagesalreadyincludesomeofthesefeatures,socheckthefeaturesofyoureditingpackagebeforeyoubuyanyextraapplications.

Audio editing and soundtrack creationAudioeditingandsoundtrackcreationsoftwareisveryuseful.Somecomputerscomewithbundled(included)audiosoftware,andtherearealsosomefreeopen-sourceaudioeditingtools.Someprovideoeditingpackagesalsoincludeaudiosoftware.

Soundsoftwarecanincludesomeorallofthesefeatures:

n Basicaudioediting,e.g.adjustingvolumelevels,splicingtogetherdifferentsectionsofarecording

n Musiccreation,usingloopsandsoundeffectsincludedwiththesoftware,orusingMIDIinstrumentsand/orreal instruments and vocals

n Theabilitytoimportavideotracksoyoucanmatchyoursoundtrackexactlytoyourfilm

Network setup and media managementAmediadepartmentwillneedastrategyformanagingandbackingupstudents’videoworkwhiletheyaremakingtheirfilms,andarchivingtheirworkanddeletingtheworkingfileswhenthefilmsarecompleted.Uncompressedvideofilesare toobig toeditoveranetwork,soyourcomputersmustbesetupsoyoucansavetoa localdrive.Youwillneedalotofdiscspacewhileediting,asvideofilesareverylarge.Normallythefinishedfilm(theexportedendproduct,whichcanbeviewedanddistributed)willtakeupmuchlessspace.

Points to consider:

n Where will users’ video files be saved? Thiscouldbeonthemainsystemdrive,aseparatepartitiononthemaindrive,oranexternalharddrive.Set

upalogicalsystemfornamingandsavingfilesandensurethatstudentssticktoit. Manyvideoprogrammescreatea‘projectfile’whichdoesn’tcontaintheoriginalmedia–itjust‘refers’toit.

Thiscancauseproblemsiftheprojectormediafilesaremoved.It’ssimpleriftheprojectandmediafilesarekeptinonedirectoryandcanbemovedtogetherifnecessary.Someprogrammesstorethemindifferentlocationsbydefault:youmaybeabletochangethisusingtheapplicationpreferences.



n How will users’ work be backed-up? Obviouslyit’simportanttoback-upcoursework.Youcoulddothisbybackingupfilestoanetworkdriveat

theendofeachday.Youcanalsogetstudentstokeepback-upcopiesoftheirworkontheirownharddriveormemorystick.Thisisnotagoodstrategyastheprimaryback-up,asfilesmaybecomelostorcorrupted.(Memorysticksarenotveryreliable).

n When will users’ work be deleted? Atsomepointyouwillneedtodeletestudents’workfromyourcomputers.Someschoolsdothisonceaterm,

orattheendofeachproject.Beforeyoudothisyouneedtoensurethatthefinishedfilmhasbeenexportedatthequalityrequired,andthatyouknowwhereyourcopyislocated.YoucouldarchivecompletedfilmsonDVD-ROM.

Bandwidth and storageYouneedsufficientbandwidthtomovelargefilesacrossthenetwork(e.g.forbackingupstudents’videofilestoanetworkdrive)andforviewingfilms.Youwillalsoneedenoughstoragespaceforback-upandforkeepingvideofiles.ThisisparticularlyimportantforcoursessuchastheCreativeandMediaDiploma,wherestudentsneedaspacetokeepvideo‘logs’oftheiractivity.Iffilmandmediaactivityisconcentratedinonearea,youcouldconsiderprovidingahigher-bandwidthnetworkjustinthatpartoftheschool.

Mixing operating systemsSomeschoolsuseoneoperatingsystemforfilmmakingorcreativeactivitywhiletherestoftheschoolusesadifferentOS.Properlysetupmixednetworksshouldnotcauseproblems,butifyouareselectinganICTproviderandyouwanttouseadifferentOSforfilmmakingyoushouldcheckwhethertheproviderhasexperienceofsupportingthismixedenvironment.

Inthissituationsomeschoolsprefertohaveaseparatenetworkforthefilmmakingcomputers.Thishassomeadvantages if themain school network isn’t set up formixed operating systems, but it’s important that thefilmmakingcomputerscanaccesstheInternet,bothtoaccessonlineresourcesandforsoftwareupdates.

Classroom organisationSchoolsusedifferentapproachesforsettingupsetsofcomputersforvideoeditinginaclassroom,dependingonthelearningcontext.

Some teachersprefer tohave thecomputersaround theperipheryof the room.Thismakes it easy for theteachertoseewhateachstudentisdoingandtomovebetweenstudents.It’salsotheeasiestplacetolocatepowersuppliesandnetworkconnections.It’slesssuitableforsituationswherethestudentsimitateaprocessthattheteacherisdemonstratingonthewhiteboard(e.g.showingthembasiceditingoperationsandwheretosavetheirwork).Itleavesalargeopenspaceinthecentreoftheroomwhichcanbeusedfordemonstratingandpractisingfilmingtechniques.

Otherspreferatraditionalclassroomsetupwithcomputersinrows,andtheteachereitheratthefrontoftheclass,oratthebackoftheclasswheretheycanseewhatstudentsaredoingontheirowncomputers.

Ifstudentsaretoworkingroups,itmaybeeasiertouselaptopswiththestudentsworkingaroundlargertables.Usingmicemakesiteasierforallgroupmemberstoparticipate(e.g.witharulethattheytakeitinturnsonthemouse)andletsthempositionthelaptopwheretheycanallseeit.

ForextendedschoolactivitiesorinPrimaryschools,alessformalarrangementmaybedesirable,e.g.usinglaptopsandbeanbags.



Managing sound while editingIfseveralstudentsareworkingindividuallyinoneroom,they can use headphones. These should be on-earheadphones(withpadswhichcanbecleaned):studentsshould not share in-ear headphones. An alternativeis to ask them to bring their ownheadphones,whichcanminimisetheriskoftransmittingearinfections.Youshould be able to regulate the volume level, or givestudentsclearinstructionsaboutlimitingthevolume.

For pair and group work, students need to be abletohear thesoundtrackand talk toeachother.This iseasiest if theyusespeakers rather thanheadphones,butifthereareseveralgroupsworkingintheroomtheymaynotbeabletohearthesoundtrackovercompetingsoundfromothergroups.

Pairsofstudentscanusetwo-into-oneheadphonesplitters,andyoucanbuysplitterswithfiveormoresockets,butusingheadphonesmakesitharderforthestudentstointeractwitheachother.

Withlaptops,ifgroupsareabletoworkwithoutsupervision,theycouldgoofftoworkinseparatequietlocations(e.g.thelibrary,orgrouprooms).Musicpracticeroomscanmakeidealspacesforsoundediting.



Filmmaking summary

Basic Intermediate High spec

Camera Compactcamcorder,phone or still camera withvideomode(£60-£120)each

Midrange camcorder(£200-£500)

Proorsemi-pro,SD,miniDVorHDDl

Spaces for filming Classroom,spacesintheschool,locationsaroundthetown

ClassroomequippedasstudioChromakeyscreen(£60upwards)

Studio

Sound recording Don’t record live soundUsethebuilt-inmicrophone

Basic mics/tieclip mics plugged into camera (£30upwards)Headphones(£20upwards)Digital sound recorder (£100upwards)

Professional video mics,includingdirectionalboommics,headphones

Camera support Basictripodwithpanand tilt head(£30)

Midrangetripodwithpan and tilt head(£50-£100)Wheelchair,Skateboard

ProfessionaltripodwithfluidheadDollyJib

Lighting Available light TorchesDesklampsDIYbuilders’lamps,homemadereflectors(£0-£50)

Set of tungsten ‘redheads’,elasticreflectors(£400+)

Tungsten or LED lightsReflectors

Editing hardware Standard school computers

Computerswithextramemory,fasterprocessorsMicrophonesHarddrives

Standalone computers withtwoexternaldisplaysMicrophonesHarddrives

Editing FreesoftwareincludedwithOS

Semi-professionalsoftware(£40-£50)

Professional editing software

Additional software

Free sound editing software

File conversionBasic sound editing and creationsoftware(£60)

EffectsTitlingSound editingMotion graphicsGrading



Newbuild or refurbished spaces for filmmakingInaprimaryschool,asingleflexiblespaceisprobablythemostsuitablespaceforfilmmaking.

Inasecondarysetting,particularly for specialist courses, youmaywantdedicatedspaces:perhapsa largestudiospaceforgroupteachingandfilming,plus‘breakout’roomsforsmall-grouporindividualactivitiessuchasediting.

IfyouareaimingtoemulateaTVstudioyoumaywantaseparatecontrolbooth.Thesizeofthecontrolroomshouldbedeterminedbytheamountofequipmentitwillcontain,andthenumberofstudents(plusteacher)whoarelikelytobeworkinginitatanyonetime.

Thebestshapeforthemainroomisasimple,flexiblerectangularoralmostsquareshape.Alargeroomwithahighceilingwilloffermorechoiceofcamerapositions.

Iftheroomistohavewindows,theyshouldbeattheside of the room and fitted with blackout blinds. Asmoothfloorsurfaceisimportantforusingtripodsanddollies.Carpet isbestavoided(particularly inspacesusedforanimationasmodellingclaygetseverywhere)butyoumaywantitaspartofthesetinonepartoftheroom.

Acousticseparationisimportantforfilming.Thiscanbeachievedbyusingthesametechniquesasmentionedinthefilmviewingsection,andby‘boxwithinbox’constructionwherethewalls,floorandceilingarephysicallyseparate from the structure of the building. It’s also important to avoid buzzing and noise from lights orservices.

Thebreakouteditingroomsshouldbelocatedoff,orcloseto,themainroomandwithgoodacousticseparationfrom themain roomandeachother.All these roomswill require adequate provision of network points andelectricalsockets.Cableswillneedtoberunbetweenacontrolboothandastudiospace.



AnimationStop-frameanimationcan includeclayanimation,drawnorcutoutanimation,sandanimation,celanimation(drawnanimationusingseverallayers)and‘pixilation’(whererealobjectsorpeopleareanimated).Clayanimationisprobablythemostpopularkindofanimationinschools.Youcanalsodo‘computeranimation’.

Basic requirements for stop-frame animationYou need a camera,animation software,atripodorothercamerasupport,andaspaceorsurfaceonwhichtosetupyourmodels,objectsordrawings.

Youmayalsowantlights,a flatbed scanner (forscanningdrawingsorotherimages),agraphics tablet (easier todrawwiththanamouse)andachromakey background.

CameraMoststop-frameanimationsoftwarerequirestheuseofaUSBwebcamoraminiDVcamera(seebelow)andmaynotworkwithdigitalstillcamerasordisc/card-basedcameras.

Webcamsarecheapandeasytohandlebutyoushouldcheckthatthespecificmodeliscompatiblewithyourstop-framesoftware.Somewebcamshaveflexiblestandswhichmeanthatyoudon’tneedatripod.

IfyourschoolhasminiDVcameras(andyourcomputershaveFirewire/IIEE1394sockets)youcanprobablyusetheseinstead.

Stop-frame animation softwareStop-frameanimationsoftwareisrelativelycheapandit’smucheasierthantryingtoanimatewithstandardvideoeditingsoftware(thoughtherearewaysofdoingthis).

Important features include ‘onion-skinning’ (whichallowsyoutoviewseveral framesoverlaidoneachother)andtheabilitytodeleteframes.Chromakey(greenscreen)isalsouseful.Youshouldbeabletoexportyouranimatedsequences inaformatwhichyourvideoeditingsoftwarecanuse,sothatyoucaneditsequencestogetherandaddsoundandeffects.

Spaces for animationClayanimationcangetmessysoacarpetedroomisnotsuitable.

Foreachanimationstation,youneedspace foryourcomputer,connected toacameraona tripodorstand(whichyoushouldbeabletomove).Youmayalsoneedspaceforlighting.Youcanuseordinarydesklampstolightanimationsets(thoughbewareofheatandtriphazards).Fortabletopanimationamini-tripodcanbeuseful(unlessyourcamerahasabuilt-instand).

Fordrawnanimation,youcanuseanordinarytripodwiththecamerapointingstraightdown,acopystand(whichpositionsthecameraverticallyandhaslights)oraprofessionalanimationstand,whichhaspegsforaccuratepositioningofanimation‘cels’.


3. Partners, resources and funding /38

This section looks at where to find partners, resources andfundingforfilmeducation:online,fromUK-wideorganisations,andfromregionalandlocalbodies.

Several different kinds of partner organisation can provideuseful support for schools and teachers. This support canrange fromtheoreticalandpracticalactivitywithchildrenandyoungpeople,toadviceandtrainingforteachers.Partnerscanalsoprovideusefuladviceonsettingupandequippingforfilmeducation,sometimesaspartofaCulturalStakeholderGroup.

A number of cinema and multi-arts venues and film festivalshavefilmeducationprogrammes,whichcanincludeworkshopsandstudydaysforstudentsandtrainingforteachers.

Resource centres such as City Learning Centres(inEngland)andCreative Learning Centres (in Northern Ireland)canprovidepracticalsupportandtrainingforfilmeducation.

Film education organisationswithaUK-wideorregional/nationalremitalsoprovidearangeoftrainingandsupport.Someparticipatory media and community arts organisationsprovideworkshopsand trainingonfilmand filmmaking.Anumberof independentfilmmakers and film production organisations also provide educationalactivityortraining,particularlysupportforfilmmakingprojects.

Partners

n BFI Education PromotesunderstandingandappreciationofBritain’stelevisionheritageandculture.Theireducationactivities

includepublications,eventsandtraining.

www.bfi.org.uk/education

n FILMCLUB Providesfilmsandsupportforafter-schoolfilmclubs.It’sfreetostate-fundedschoolsinEnglandandisbeing

pilotedinWales,NorthernIrelandandScotland.

www.filmclub.org

n Film Education Produces free resources, organises events and screenings including National Schools FilmWeek, and

providestrainingandsupportforteachers.

www.filmeducation.org

n First Light Providesfundingandsupportforfilmmakingbychildrenandyoungpeople.

www.firstlightonline.co.uk

n Skillset TheindustrybodywhichsupportsskillsandtrainingfortheUKcreativeindustries.

www.skillset.org

UK-wide organisations



Your local screen agency may be able to help you find suitable partners.

In England, the screen agencies are:

n EM Media (East Midlands) www.em-media.org.uk

n Film London http://filmlondon.org.uk

n Northern Film & Media (North-east England) www.northernmedia.org

n ScreenSouthwww.screensouth.org

n Screen WM (West Midlands) www.screenwm.co.uk

n Screen Yorkshire www.screenyorkshire.co.uk

n SouthWestScreenwww.swscreen.co.uk

n Vision and Media (North-west England) www.visionandmedia.co.uk

In the Nations, the screen agencies are:

n Creative Scotland www.creativescotland.com

n Film Agency for Wales www.filmagencywales.com

n Northern Ireland Screen www.northernirelandscreen.co.uk

The Film Agency for Wales and Creative Scotland keep registers of providers in their area.

Other organisations who may be able to help you identify partners include:

n Arts Council of England www.artscouncil.org.uk

n Arts Council for Wales www.artswales.org.uk

Nations and regions

Local partners

The interactive map will help you to locate potential partners in your area.

www.mediaed.org.uk (link from organisations section)

Please note that we have not screened these organisations for child protection purposes or evaluated the quality of their provision.

Resources

There are a lot of resources available to support teaching and learning about film and filmmaking.

Online resources include introductory guides to teaching film and filmmaking; downloadable study guides on individual themes or topics; films to view or edit online, and films to download and edit yourselves.

DVD resources include selections of short films addressing specific ages, topics or curriculum requirements, as well as resources including clips to edit.

A wide range of resources on film education and filmmaking are available to buy online from the BFI Filmstore http://filmstore.bfi.org.uk



Introducing film educationSeveral sites offer ‘how-to’ information on using film in theclassroom,coveringbothfilmandfilmmaking.Theyinclude:

n MediaEd

n the Scottish site Moving Image Education

n Films for Learning

BFI Education also produces two substantial, downloadablePDFguidestousingfilmacrossthecurriculum:

n LookAgainforPrimaryschoolswww.bfi.org.uk/education/teaching/lookagain

n Moving Images in the Classroom for Secondary schools www.bfi.org.uk/education/teaching/miic

TheFilmStreetwebsiteincludesseparatesectionsforchildrenandteacherswww.filmstreet.co.uk

Using film in specific subjectsn BFIEducationproducesseveralfreedownloadableresources,includingteachingnotestoaccompanytheir

MitchellandKenyonarchivefilmDVD;TheWorldintheMovies,aguidetousingfilmtoexplorecitizenship;andanonlineguidetousingtheirDisablingImageryDVDwhichexploresrepresentationsofdisabilityinthemovies.


n Film Education provides awide range of free resources on specific topics, including LocalHistory andSound(Primary)andShakespeareonFilm,TheHolocaustandDocumentary(Secondary).TheyalsoselltwoDVDsonfilminterpretationsofShakespeare:ShakespeareonScreenandRomeoandJuliet.


n FILMCLUB’s site includes ‘themes’ which group films that can be used to address specific topics, e.g.Colonialism,Childhood.

www.filmclub.org

n SBBFCtheBritishBoardofFilmClassification’sstudentsite,hasusefulresourcesandcasestudiesexploringissuesofcensorshipandclassification(e.g.forCitizenship).CBBFCistheirsiteforPrimaryschoolchildren.

www.sbbfc.co.uk www.cbbfc.co.uk

Using individual filmsFree resourcesSeveralsitesofferfreedownloadablestudyguidesandteachers’notes.

n Film Educationoffersresourcesbasedoncontemporaryfilmandrecentreleases,withmaterialavailableacrossthecurriculumandforPrimaryandSecondarylevel.


n CornerhousefocusesmainlyonModernForeignLanguagesatSecondarylevel,coveringfilmsinSpanish,French,Italian,Arabic,MandarinandUrdu.

www.cornerhouse.org



Films to view online or downloadn BFI ScreenonlineprovidesaccesstoalargerangeofBritishshortfilms,andclipsfromfeaturefilms,from

the1890stothepresentday.Thefilmsonthesitecanonlybeaccessedinschools,colleges,universitiesandlibrariesandyouhavetoregister.

www.screenonline.org.uk

n Moving Image Educationalsohasasmallnumberofshortfilmsandclipsavailabletoviewordownload. www.movingimageeducation.org

n The Yorkshire Film Archivehasalargenumberofarchivefilmclipsorganisedbytheme,decadeandarea.Youhavetoregistertoaccessthefilms.

www.yorkshirefilmarchive.com

n Internationally,theInternet Archivehasahugerangeoffilms,manyofwhicharedownloadableinavarietyofformats.

www.archive.org

Therearemanyothersiteswhereyoucanviewordownloadfilms(notallofwhichwillbesuitableforeducation).There’s a useful summary on the BBC Film Network site www.bbc.co.uk/filmnetwork

Collections of films to buyn BFI Educationproducesseveralusefulselectionsofshortfilmswithsupportingmaterial,whicharespecially

selectedforeachKeyStage–StartingStoriesandStoryShortsforPrimaryschools,andScreeningShorts,MovingShortsandRealShortsforSecondaryschools.


n The English and Media CentrepublishestheDVDDoubleTakeandotherstories,containing90minutesofshortfilmsandsupportingmaterialsaimedat11-16yearolds.

www.englishandmedia.co.uk

Filmmaking and editingOnline or downloadable films to edit Thereareseveral sourcesofonlinefilmclipswhichyoucan incorporate intoyourownfilms.The Creative Archive Licenceprovidesfreeaccesstoclipsonarangeofthemes,fornonprofit,non-promotional,‘share-alike’useintheUK.Filmsareavailablefromtwomajorsources:

n Open University www.open2.net/creativearchive

n British Film Institute www.bfi.org.uk/creativearchive

Other sourcesn The Wellcome Foundationhasover100hoursofCreativeCommonsfilmsonhealthcareandmedicinein

the20thCentury.

http://library.wellcome.ac.uk/wellcomefilm.htm

n Many schools in the UK have free access to the British PathéarchiveunderagreementswithRegionalBroadbandConsortiaorlocalauthorities.

www.britishpathe.com



n YoucanalsosearchforpublicdomainfilmsontheInternet Archive. www.archive.org

n Scotland on Screen hasover200filmswhichcanbedownloadedforuseinScottishschools. http://scotlandonscreen.org.uk

n National Archives Focus on Filmincludesclipsorganisedintothemes,whichyoucandownloadandedit.

www.nationalarchives.gov.uk/education/focuson/film

n BFI Screenonline includes the Cutting Room,anonlineeditingtoolwhereyoucanpractiseeditingwithclipsfromarchivefilmorrushesfrommodernfilms.

www.screenonline.org.uk/education/thecuttingroom

n Weveeisanonlineeditingtoolwhichenablesyoutoeditarchivefilmclipsandcontemporarymusictrackstogetherandsharetheresultsonline.

www.wevee.co.uk

Editing resources to buyn Film EducationproducestwointeractiveCD-ROMs,MoPixandTheRedShoes,ineachofwhichstudents

edittheirownversionsofafilmsequenceusingthebuilt-ineditingtool.


n The English and Media CentrepublishesMoviePower,asetofmovingimagesequencesandactivitieswithabuilt-ineditor.


n Media Education WalesproducesEditsense,asetoffilmsequencestobeeditedusingstandardeditingsoftwareonMacsorPCs.

mediaedwales.org.uk

Films made by children and young peopleSeveralsitesallowyoutoviewfilmsmadebychildrenandyoungpeople.

n Films for Learningisasiterunbyteachers,allowsyoutosearchforfilmsbycurriculumarea. www.filmsforlearning.org

n Planet Scicastfeaturesshortsciencefilms,andhasauseful‘how-to’guide. www.planet-scicast.com

n YoucanviewfilmsmadeonFirst Lightprojects. www.firstlightonline.co.uk

n MediaBoxfilmsaremadebydisadvantaged13-19yearolds. www.media-box.co.uk

n The English and Media Centre sells Mediamagazine Student Films,acompilationoffilmsmadebysixth-formstudents.



http://www.mediaedwales.org.uk


FundingThereareanumberofsourcesoffundingforfilmmakingactivitiesatbothUK-wideandregional/nationallevel.Manyoftheserequireaproportionofmatchfunding,soyoushouldlookto‘joinup’fundingstreamsearlyintheprojectplanningprocess.

ThemajorUK-widefundingforfilmmakingisprovidedbyFirst Light.Thissupportsfilmmakingbychildrenandyoungpeoplebutisonlyavailableforactivitieswhicharenotrelatedtothecurriculum.

www.firstlightonline.co.uk

SomeScreenAgencies(seepage39)providefundingforeducationprojects.

Otherfundingstreamswhichyoucouldconsiderforsupportingfilmeducationandfilmmaking(dependingonyourlocation)include:

n 14-19Diplomadelivery

n Creative Partnerships

n CommunitiesFirst(inWales)

n Disadvantage subsidy

n Extended Schools

n Local charitable trusts

n London Gifted & Talented

n Pupil Premium

n Widening participation


To be safe about copyright:

n onlyshowfilmsyouhaveacquiredlegitimately(e.g.commercialDVDs,notdownloadsfrom‘torrent’orvideosharingsites)andonlyinaclassroom teaching context

n getstudentstocreatealltheirownoriginalmaterial(includingmusic)whenmakingfilms

n getalicenceifyouwanttoshowfilmsforentertainment or to the public

n getpermissionifyouwanttouseanybodyelse’scopyright material

n don’tcopyfilms(oranyothercopyrightmaterial)orput them online

What copyright is Copyrightlawprovidesaframeworkunderwhich,ifsomebodycreatessomething–likeapicture,afilm,apieceofmusicorabook–theynormallyhavetherighttocontrolhowitisused.Youhavetogettheirpermissiontoshoworcopyaworkortoincludeitinyourownwork.Youmayhavetomakeapaymentandincludeawrittenacknowledgementthatitistheircopyright.

Sometimescopyrightisownedbysomeoneelse,forexampleifthecreatorhassoldtherightstoacompany.

Normallythecreatorautomaticallyhascopyrightassoonastheyrecordtheworkinsomeway.Itexpires70yearsafterthedeathofthecreatorinmostcases(50yearsinthecaseofsoundrecordingsandbroadcasts).Copyrightlawisdifferentinsomeothercountries,thoughit’sharmonisedtosomeextentacrosstheEuropeanUnion.

Itisveryeasytobreakcopyrightrulesandrightsaccidentally.Inmostcases,youneedpermissionoralicensetouseanybodyelse’sstillimages,movingimages,wordsormusic.Thereareafewexceptionsforeducationbutthesearemorelimitedthanmanypeoplethink.MostmaterialontheInternetissubjecttocopyright.Ifyoubreakcopyrightyoucanbesuedbytheownerforcopyrightinfringementandinsomecasesyoumaybecommittingacriminaloffence.

4. The law and film education /44

Manyteachersareunclearabouthowthelawaffectsfilmeducation.Thissectionisintendedtoclarifythelaw.Pleasenotethatitisnotwrittenbyalawyerandisnotintendedtobeasubstituteforindependentlegaladvice(seedisclaimeronpage49).

Copyright



Limited exceptions to copyrightThereareafewkindsofcopyingwhicharecountedas‘fairdealing’andareallowedwithoutpayment.

Private study and researchYoucancopyasmallamountofcopyrightmaterialforthepurposesofprivatestudyandresearch.Usingmaterialforteachinginaschooldoesnotcomeunderthisprovision.

Instruction or examinationYouareallowedtocopypartsofasoundrecording,filmorbroadcast(andsomeotherworks)forthepurposesof‘instructionorexamination’,butnotifyouusea‘reprographicprocess’(‘anyappliancewhichmakesmultiplecopies’).Ineffectthismeansthatyoucanwriteoutextractsfromascript(oryourstudentscantranscribeit),andtheycanmaketheirownversionofafilmsequence,butyoucan’tphotocopyormakeDVDcopiesoftheoriginal.Thecopyingmustbedonebythestudentortheteacher,thesourcemustbeacknowledged,andtheinstructionmustbenon-commercial.

Incidental useIfanitemsuchasaposter,apicture,oraTVprogrammejusthappenstoappearinthebackgroundofashot,itmaybeclassifiedas‘incidentaluse’whichisn’tregardedascopyrightinfringement.Becarefulaboutthis:ifitformsasubstantialpartoftheshotitmaynotbeconsideredincidental.

Royalty-freeBecarefulwhenusingcollectionsof‘royalty-free’images,soundandvideowhichareavailableontheInternetandondisc.Thematerialiscopyright,butonceyouhaveboughtityoucanusuallyuseitwhereveryouwantwithoutmakinganyfurtherpayment.Checkthetermsandconditionscarefullybeforeyouusethematerial.Youshouldalsocheckthatthepublisherreallydoesownthecopyright.

Public domainIfthecopyrighthasexpired,oriftheownerhasdecidedtomakeitavailablewithoutcopyright,theworkisinthe‘publicdomain’andcanbeusedfreely.Checkthatitreallyisinthepublicdomain:forexample,ifanoldfilmhasbeenrestoredorhasanewsoundtrackitmaybesubjecttocopyright.

Creative CommonsThisisaformoflicensingwheretheownersofworkschoosetomaketheirworkavailableforotherpeopletouse.TherearedifferentkindsofCreativeCommons licences,someofwhich limitwhatyoucandowith thework.Youmayhavetoacknowledgetheoriginalcreator;youmaynotbeabletochangeoraddtotheoriginalwork,oryoumayonlybeallowedtouseitifyouagreetoshareyourworkinthesameway.ReadthetermsandconditionscarefullybeforeusingCreativeCommonsmaterial.

http://creativecommons.org

Asking for permissionWhenyouasksomebodyforpermissiontousetheirwork,alwaysexplainexactlyhowyouwanttouseit.Tellthem if you are using it in education and not for commercial purposes: they may let you use it free or for a reducedfee.Alwaysgetpermissioninwritingandkeepacopy.



How copyright affects film education

Showing and studying filmsYoucanshowfilmsatschool–inwholeorinpart–butitmustbefor‘instruction’ratherthanentertainment.Youcan only show them to your studentswithin the schoolandnottothegeneralpublic.

If you want to show films for entertainment (e.g. at anafter-schoolfilmcluborat theendof term)youneedaPublic Video Screening Licence from CEFM/FilmBank,whocoverthevastmajorityoffilms.Yourlocalauthorityorschoolmayalreadyhavea licence. Ifyoucharge forviewing films you will need a specific licence for eachscreening,normallyfromFilmBank.www.filmbank.co.uk

Youarebreakingcopyrightifyoucopyfilms,e.g.‘ripping’extractsfromDVDsforuseinteaching.Someteachersdothistomakeiteasiertoaccessindividualscenesintheclassroom.ThelegalalternativeistouseDVD-playingsoftware,orastandaloneDVDplayer,whichwillallowyouto‘bookmark’thesectionsyouwantwithoutcopyingthedisc.

The terms and conditions of some video sharing sites (e.g. YouTube www.youtube.com) prohibit you fromdownloadingandstoringfilmsfromtheirsite.

IfyourinstitutionhasanERAlicenceyoucanrecord,copyanduseterrestrialUKtelevisionprogrammes,subjecttocertainrestrictions.Youcanmakeextractsfromthembutyoucan’tmodifythem(e.g.byaddingadifferentsoundtrack).

Youcanalsousecableorsatelliteprogrammes(whicharen’tcoveredby theERAwww.era.org.uk)withinaschoolforeducationalpurposes,aslongastheyaren’taccessiblefromoutsidethepremises(e.g.onaVLEorIntranetwhichstudentscanaccessathome).

Making and disseminating filmsBecarefulwhenmakinganddisseminatingstudentfilms.Youalmostalwaysneedtoseekpermissiontoincludeanycopyrightmaterial,evenifit’sasmallamount,andevenifit’smadebyotherstudents.

It’smorecreative forstudents toshoot theirown images,make theirownmusic,andwrite theirownwordsratherthanusingotherpeople’smaterial.However,therearesomesourcesofcopyright-freecontemporaryandarchivematerialwhichyoucanusewithcertainrestrictions.VideosourcesarelistedinthePartners,resourcesandfundingsection.

Hereishowcopyrightappliestodifferentkindsofmaterialyoumightwanttouseinyourfilm:

Film and videoIfyouincludepartsofotherpeople’sfilmsinyourfilms,youhavetocontactthemforpermission.ThisappliestofilmsonDVDortape,andtofilmsontheInternet.Alotofmaterialonvideo-sharingsitesbreakscopyright:ifyouuseityouwillbebreakingcopyrightaswell.Manyvideo-sharingsitesdon’tallowyoutodownloadandusethefilmsfromtheirsite.



Still imagesBe very careful with still images. Many rights-holders charge large amounts for unauthorised use of theirimages.Thisapplieswhereveryougetthemfrom:itisnotacceptabletofilmaposterontheclassroomwall,forexample(thoughitmaycountaspermitted‘incidentaluse’ifitjusthappenstobeinthebackgroundofashotofsomethingelse).Brandlogosmayalsobeprotectedbycopyright,andusingalogomayalsobeatrademarkinfringement.

Spoken wordThereareusuallytwocopyrightholdersforspokenwordmaterialsuchasinterviews:thepersonwhosaidthewords,andthepersonororganisationwhorecordedthem.Youwillneedtogetpermissionfrombothofthem,unlessthespeakeragreedtopasstherightstotheorganisationmakingtheinterview.Ifyourecordyourowninterviews,it’sagoodideatogettheintervieweetosignareleaseformallowingyoutousetheirwordsfreely.

Quotations and adaptationsIfyouuseaquotationfrom,oradapt,abookorotherprintedmaterialwhichisstillincopyright,youneedtoseekpermissionfromtheauthorandpublisher.

BooksFilmingpagesfrombooksisonlyacceptableifthebookitselfisoutofcopyright.Withamoderneditionofanovelthat’soutofcopyright, the ‘typographicalarrangement’willstillbesubjecttocopyright.

WebsitesMostmaterialonthewebiscopyrightandyoumustseekpermissionevenifyouonlyuseasmallpartofit.

Music Youneedpermissiontouseanycopyrightmusic.Youneedtogettwoseparatepermissions,forthepublishingandtherecording.MusicpublishingisdealtwithbyPRSwww.prsformusic.com and music recordings are dealt withbyPPLwww.ppluk.com,whowillgiveyoucontactdetailsoftherecordcompanysoyoucandealwiththemdirectly.

Ifyouperformyourownversionofsomeoneelse’ssongyoustillhavetodealwithpublishingrights(throughPRS)ifthemusic,wordsorarrangementarestillincopyright.

If youusea recordingofapieceofmusicwrittenbyBeethovenyoustill have todealwith recording rights(throughPPL)iftherecordingorperformers’rightsarestillincopyright.

Youmayneedtospecifyexactlyhowthemusicwillbeused(‘syncrights’)andtoseekpermissionagainifyouchangethis(e.g.usingitwithdifferentimages).

Ifyoucreateyourownmusicusingloop-basedsoftwareyouarenormallyallowedtouseitwithoutrestriction,butcheckthetermsandconditions.

The Open Music Archivehasdownloadablemusicrecordingswhichareoutofcopyright.www.openmusicarchive.org



YoucanalsolookforCreative Commons music http://creativecommons.org/legalmusicforvideos

Musopen.comhasdownloadableperformancesofout-of-copyrightclassicalmusic,undertheCreativeCommonsCC0license(whichdoesn’tplaceanyrestrictiononhowyouusethem).

MapsMapsthatarelessthan70yearsoldarestillincopyright.TouseOrdnanceSurveymapsyoumustgetpermissionfromthem.Theirmedialicencewillnormallyallowyoutouseuptofiveminutesinanyfilmwithoutcharge,aslongasyouaskpermissionfirstandprovideacknowledgement.

DisseminationYouwillneedtogetpermissionforthespecificwayinwhichyouareplanningtodisseminateorreproduceyourfilm.Inmostcasesyouhavetocontacttherightsholderdirectly,thoughPRSoffertwousefullicensestocovermusic publishing:

n Limited Online Music Licence allowswebsiteowners to cover thepublishing rightsonanymusic theyupload.

n Limited Manufacture Licenceallowsyoutomakeupto1000DVDcopiesofyourfilm.

Copyright in student workBydefault,studentsown thecopyright inanywork theycreateandcould in theoryprevent theschool fromshowingordistributingit.Toavoidpotentialproblemsyoumaywishtorequirestudentstosignaformassigningcopyrightintheirworktotheschoolorgrantingtheschoolpermissiontouseit.

Youcanlegallyshowfilmstoyourstudentsevenif theyarebelowtheagespecified in theBBFCclassification. It is advisable to get permissionfromparents,explainingwhyyouareshowingthefilmandtheexactnatureoftheclassification(yougetdetailsofthisfromtheBBFCsite–searchforthefilm,selectthevideoversionandlookunder‘consumeradvice’).

www.bbfc.co.uk

Film classification

Peopleinapublicplacedonotnormallyhavearighttoprivacy,sotheycan’tlegallypreventyoufromfilming:thoughit’sadvisablenottofilmanyonewhoclearlydoesn’twanttobefilmed.

Theexceptioniswherepeoplecouldreasonablyexpectprivacy,forexampleiftheyarebeingtreatedafteranaccident.

Youshouldalsobeverycarefulaboutfilmingchildrenandvulnerableadults:it’snottechnicallyillegalinapublicplace,butyoumaybechallengedandyourmotivesmaybequestioned.

Privacy


http://www.musopen.com


If you include children and young people in your film (e.g. pupils) you should only use their first names, and not include any other information which might help people identify or locate them. You should get parental permission before distributing or disseminating the film. It’s best to get this before you start filming. Many schools ask parents to sign a blanket permission form which may be adequate, but you should check that this covers all the children in the film (and be aware of any students who should not be filmed for child protection reasons).

In a private place (which includes most shopping malls) there is no right to film without permission and you are likely to be stopped by security guards. It is also illegal to film on railway stations, in airports and in some other locations.

If you show or distribute a film which includes untrue statements (or statements which you can’t prove are true) which could harm the reputation of an individual or organisation, you can be sued for defamation. It’s not just the individual filmmakers who are at risk: legal action could be taken against the school as publisher or distributor.

Defamation

You are legally allowed to film buildings, so long as you are on public property when you do so and you aren’t causing an obstruction. In some cases, photographers have been challenged by the police or security guards for doing this. It’s best to explain why you are filming: if police officers are challenging you under anti-terrorism legislation, you are legally obliged to let them see what you have filmed (but they can’t stop you filming or make you delete it).

Security

This document is provided as a guide only. Film Education do not guarantee the accuracy of its contents or information contained in its pages and any person using information contained in them does so entirely at their own risk. To the extent permitted by law, Film Education excludes all representations and warranties (whether express or implied by law), including all implied warranties as to satisfactory quality, fitness for a particular purpose, non-infringement, compatibility, security and accuracy. While we try to ensure that all content provided by Film: 21st Century Literacy is correct at the time of publication no responsibility is accepted by or on behalf of Film Education for any errors, omissions or inaccurate content in this guide.

Disclaimer


5. Acknowledgements /50

WrittenbyTomBarrance,MediaEducationWalesIntroductionbyAdamCooper,Film:21stCenturyLiteracy

Author credits

NikkiChristie,UKFilmCouncilAdamCooper,Film:21stCenturyLiteracyElizabethCrump,PartnershipsforSchoolsMarkHigham,FILMCLUB

Commissioning/editorial group

Manypeoplehavehelpedorprovidedadviceforthisguide.Thanksareparticularlydueto

DavidAllison,SilesianSchoolKenArmstrong,StudioOnSabrinaBroadbent,FILMCLUBVivienneClark,LangleyParkSchoolforBoysMattClegg,PartnershipsforSchoolsJamesDurran,ParksideFederationAdamFahey,EalingInstituteofMediaFoteiniGalanopoulou,ShapeMartinGrund,LeedsYoungFilmJoeHalloran,LambethCLCAngelaHughes,FirstLightAnthonyHughes,EMMediaJenniferJohnston,HazelwoodCollegeCaglarKimyoncu,FilmproBernardMcCloskey,NorthernIrelandScreenBillMalyszko,LangleyParkSchoolforBoysDeborahParker,Vision+MediaBrittaPollmuller,MediaProjectsEastStepanRaichi,FILMCLUBMarkRichardson,ThomasHardyeSchoolEleanorTomsett,CineclubRebeccadelTufo,SaffronScreenIanWall,FilmEducation

Thanks


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