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Media Unit 4

 

 

Outcome 1: Media production

The official part:

'The production, post-production and distribution stages of a media product are a natural progression from the pre-production stage of the media production process. Students move from production into post-production where the manipulation, arrangement or layering of the ideas and material generated in pre-production and production leads to the realisation of their production design. Media creators and producers reflect on and work with others to gain insight into whether their products communicate their planned intent, refining their products in the production and post-production stages. Students undertake personal reflection and seek feedback on their work, developing, refining and resolving their product as a result. They document iterations of their production after considering the factors that have influenced the development, refinement of materials, technologies and processes, the resolution of ideas and the effect they have had on the final product. The creation and production of the media product is an individual undertaking. In some cases the implementation of the production design may require the student to work with others. Throughout both the production and postproduction stages, the student should be the key principal in the production process. All work undertaken by any cast or crew or external assistance must be under the direction of the student and documented in the media production design plan.

' (VCAA, Media Study Design, p25 https://www.vcaa.vic.edu.au/Documents/vce/media/MediaSD_2018.pdf).

 

Outcome 1:

On completion of this unit the student should be able to produce, refine and resolve a media product designed in Unit 3. To achieve this outcome the student will draw on key knowledge and key skills outlined in Area of Study 1.

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Key knowledge:

• production and post-production processes used to realise a media production design

• the operation of equipment, materials and technologies used in the creation of media products

• media codes and conventions relevant to the selected form, product and audience

• reflection and feedback processes to refine and resolve media products

• methods for documenting development, refinement and realisation of media products

• media language appropriate to the construction and evaluation of media representations.

 

Key skills:

• realise a media production design through production and post-production processes

• operate equipment, materials and technologies in the production of a media product

• apply media codes and conventions relevant to the selected media form, product and audience

• use reflection and feedback to refine and resolve a media product

• document the development, refinement and resolution of a media product

• use media language relevant to the construction and evaluation of media representations.

Helpful stuff:

Media%20fires%20you%20up%20advice_edited

Tell us about your journey with animation as a medium.

I animate in the most unorthodox way; on an iPad, using a free app called 'You Doodle'. No stylus, just my fingers. It really was a happy accident, realising I could make my drawings move by adjusting their movements frame by frame. Although I wouldn’t recommend this process to any serious animator, it's an important lesson to students to make use of the resources readily available to them. You don't need fancy equipment to make a good film, just a lot of patience and confidence to trust in your own abilities. 

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Do you have any advice for students about to undertake VCE Media in Year 12?

It is a long process, so make sure your narrative is something you are passionate about. This will give you the drive to keep going when it all gets a bit overwhelming. You'll notice most of the filmmakers in Top Screen 2020 chose narratives with personal meaning and beliefs, from climate change to gender equality. If you have something that fires you up, use it! 

Kate Keenan

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Crowd favourite, Wing Man, is a humorous take on a father’s embarrassment when asked to complete a personal errand for his daughter. Keenan’s punchy 2-minute animation pokes fun at irrational taboos with relatable humour and charm.

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What inspired you to make a comedy film?

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I think comedy is one of the most important tools that filmmakers can use to critique and diffuse social problems. Taika Waititi is a storyteller I love because he does this so well. Through laughter we can show how irrational, ignorant and silly us humans can be over topics as natural as menstruation. It keeps these important conversations light, inclusive and meaningful to audiences. 

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A still from Kate Keenan's Wing Man

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Podcast

The following podcast explores the work of VCE Media Print student Isaac Gammon featured in Top Designs 2017.

Isaac Gammon, Top Designs 2017
Methodist Ladies’ College
Gone
Episode 18: Gone by Isaac Gammon
Duration: 6 minutes 47 seconds

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Willem Kingma, Top Screen 2017
Kardinia International College
Not Quite Right
Episode 16: Not Quite Right by Willem Kingma
Duration: 12 minutes 53 seconds

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Tom Hughes, Top Screen 2017
Northcote High School
Proof or (The Tale of the Legendary Big Shrimp)
Episode 15: Proof by Tom Hughes
Duration: 10 minutes 28 seconds

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Film:

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Ben Head, Top Screen 2017
Kardinia International College
Quiet
Making 'Quiet'
Duration: 9 minutes 39 seconds

"3 British Soldiers find themselves cut off and surrounded in a forest in Normandy, 1944, and dig in until they can link up with the other men of their company. They find themselves not just hiding from the threat of the German Army, but the sinister and concealing nature of the pines as well.

In memory of the men of the Suffolk Regiment, who served from 1939-45. Based on the war experience of my grandfather, Sergeant Bill Woodcock, who served with the 1st Suffolks." - Ben Head

'Serotonin' Music Video

Siena Bonnici

Song: Serotonin by Lafferty Daniel

All music credits go to Lafferty Daniel

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The Hitchhiker | VCE Media Short Film 2020 - Top Screen 2020

Angus Molden

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Jeremy Njegac

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Surrounded by the consequences of climate change and environmental negligence, a young man living in 2031 observes and comments on the declining world around him.

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Print
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Media - Print Layout

Evette Jemal, Kardinia International College

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YOU’RE KILLING THE FREAKING PLANET!

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LASER PRINT AND ACETATE

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My intention was to create a politically charged art zine that encourages the efforts of those who support the anti-climate change movement. Drawing inspiration from publications such as Eardrummi, the audience is encouraged to interact with the content by rotating it or lifting acetate inserts off the page to fully immerse themselves in the zine. The intention is for people who are passionate about these issues to feel that their efforts and values are heard.

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Castle Quest

GRAPHIC NOVEL

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A girl and her friend escape into a fantasy world only to realise that in the real world all their dreams simultaneously come true. My intention with the creation of Castle Quest was to draw inspiration from stories such as Harry Potter, which merge the fantasy genre with the values of normal high school life. I wanted the audience to be entertained and fascinated with each turn of the page, and feel satisfied with the friendship my characters developed by the end of the novel.

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Photography
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Silas Harris

Viewbank College, Rosanna

Depictions of Emotionalism

LASER PRINT

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My intention was to create a series of photographs that explored four major emotions: love, sadness, happiness and anger. These emotions are brought to life and displayed through the use of mise-en-scène, including set design, props and costuming, as well as colour and acting. I intended to include the symmetric framing style of director Wes Anderson, with a similar focus on colour and mise-enscène. Furthermore, I wanted to include elements of music in each photograph; for example, the inclusion of a violin to symbolise sadness.

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Upani Mapala-Gamage

Lyndale Secondary College, Dandenong North

Afraid.

COTTON RAG PAPER (FINE ART PRINT)

This conceptual photography series is a fictional representation of the psychological fears that a person may have. It uses a combination of influences, from dramatic black-and-white fine art imagery to Hitchcock’s classic psychological thriller Psycho. The use of low-key directional lighting, together with the post-production process of shadow manipulation, forms a progressive fictional narrative that attempts to spark personal reflection among audience members.

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