Duration
2 Years (6 trimesters)
Locations
Sydney, Melbourne, Brisbane
Fees
Intake Dates

February, June, September

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International

CRICOS 081192E

JMC welcomes students from all over the world.
Find out more

Film + TV at JMC is a hands-on production-based course that will give you the knowledge and the creative, technical and managerial skills to create and produce leading content for film, TV, live broadcasts, documentaries, commercials and music videos.

At Bachelor level, work on a short film, a TV commercial, a music video and a large-scale outside broadcast to create your professional showreel and filmography. Develop your creative expression and technical skills whilst mastering screenwriting, directing, cinematography, motion graphics and post-production, to launch you into the heart of the industry.

Collaborate with JMC Academy’s Music Performance and Management students on a production piece, a music video for example, and study advanced production management, post-production and motion graphics.

Why Study Film & Television at JMC?

Use our huge range of cameras & equipment including RED EPICs and multi-cam studios
Intern with major production and post-production companies and broadcasters
Gain real-world experience working on major events, festivals, conferences, awards nights and more

Technology & Facilities

We take film and TV seriously at JMC, with studios full of the best tech in the trade. You’ll have access to highly sophisticated equipment and recording studios, including RED EPIC-W™ HELIUM™ 8K cameras, Sony FS 700s, green-screen studios, editing suites, colour grading equipment including powerful iMac Pros and Blackmagic Design DaVinci Resolve, classrooms fitted with 5.1 surround sound and full student loan facilities with lenses, cameras, lights and sound equipment available.

Duration

In only 2 years you can graduate with a Bachelor of Creative Arts (Film & Television) thanks to our accelerated full-time course. Part-time study is also available to domestic students. International students may choose to complete the course in 3 years [CRICOS 058461C] rather than the accelerated 2 year option.

LA Study Tour

For those after the US experience, take the 12-day trip to our partner film school in Los Angeles and immerse yourself in classes, theme park visits and private backlot and studio tours at the place RCA Records, Elvis and The Rolling Stones used to call home. This project-based experience will replace one-for-one credits in related units of study.

Fontys Academy for Creative Industries

JMC Academy offers the opportunity for students to spend one trimester abroad at Fontys University Academy for Creative Industries (ACI) in Tilburg, Netherlands. As part of the exchange, JMC Academy receives Fontys University ACI students in February each year.

The JMC exchange students study alongside others from around the world as they undertake subjects offered by the Fontys Academy for Creative Industries.Students receive subject credits that are the equivalent of one full trimester of study. All subjects are delivered in English at the Tilburg campus.

This opportunity is open to Entertainment Management, Animation, Game Design, Digital Design and Film and TV students who have completed at least two trimesters of study at JMC. Places are limited to three students per exchange. Study abroad grants may be available.

*Study Abroad programs will resume once international travel restrictions ease

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Core Units

The unit provides you with an insight into the role of the film and television producer. An effective producer must possess excellent management, research, writing and verbal communication skills, and should have a sound knowledge of industry protocols, organisations and legislation.

A combination of academic research and writing alongside production paperwork exercises will equip you to plan, schedule and effectively produce their JMC Academy student productions, and gain a solid understanding of the Australian film and television industry.

This unit is an introduction to the creative, technical, administrative and managerial aspects of film and television production. You will gain fundamental skills in the operation of cameras, lights, basic audio equipment and editing software, and engage with both single camera and multi-camera processes. This unit orientates you to the physical production environment (both studio and location) and develops their essential technical skills for all future production projects.

The purpose of this unit is to provide you with theoretical and practical knowledge of camera operation techniques. It will also examine lighting fixtures and lighting, enabling you to incorporate camera and lighting principles to a broad range of projects. The unit will also introduce and explore the relationship between lens and lighting as storytelling tools.

This unit provides you with both theoretical and practical knowledge of editing and a range of post-production practices. You will learn to engage with a range of software including AVID Media Composer 8 and Compression programs providing the fundamental skills required to edit and deliver most of your practical productions at JMC Academy.

Whether the production is a drama, documentary or music video, a solid understanding of editing theory, techniques and styles – including continuity style editing and montage theory - will help develop the student’s storytelling skills and creativity in the edit suite.

Provides you with a foundation in the craft of screenwriting. You will be expected to write a short screenplay for potential production in the following trimester. You will develop a fundamental understanding of story structure and learn to utilise the tools of a synopsis and treatment in the development of a short film or TV sitcom (situation comedy) script.

You will develop your screenwriting ability through the examination of other writers’ works and existing screen content, and by dedicating their time to the required writing and rewriting processes. You will also be asked to consider the production values and costs associated with your ideas, and encouraged to come up with short film or TV sitcom ideas that are achievable.

This unit equips you with the skills and knowledge required to pitch and produce your own short documentary. There will be a range of in-class activities to train you in story development and research techniques, interviewing techniques, sound recording skills, documentary shooting and lighting techniques and green-screen compositing. Many of these skills and techniques will be utilised and then assessed in the final productions. Research, planning and communication skills are crucial to documentary production and you will need to be prepared to crew on each other’s productions and interact with individuals and organisations outside of JMC Academy as your subjects.

There will be a series of assessments throughout the trimester including an initial pitch, production paperwork and the final documentary film, which will be screened in week 13. Reflective practice is an important part of the process, and you will be required to submit an honest appraisal of each production they worked on in this unit.

The purpose of this unit is to explore sound, its properties, how it is captured and manipulated, and its relationship to the screen. You will be introduced to the fundamental principles of sound, investigate the techniques necessary to record sound in the field or in the studio, and edit and mix sound for a range of film and television productions.

Sound is an important tool for conveying ideas, story and/or emotion and the skills and knowledge gained in this unit will prepare you for your screen productions at JMC Academy and beyond.

The purpose of this unit is to provide you with an in-depth understanding of directing drama. These skills can be used in a number of mediums including; short films, feature films, scripted tv shows, TVCs and music videos.

You will be introduced to the creative elements of directing such as script analysis, visualisation of the story, casting, directing performances and camera coverage.

The practicalities of being a working director will also be covered, such as how to ‘pitch’ for a directing job, storyboarding, shotlisting, communication with actors and crew while on set and the post-production process.

Some class time will be dedicated to the analysis of acclaimed directors and encouraging you to develop your own distinct directorial voice.

This research unit seeks to give students a broad appreciation and knowledge of Australian and New Zealand screen content (feature film, documentary, TV drama series, web series etc).  Students will gain a foundation from which to create new material or to help secure future production work by introducing them to filmmakers and TV programme-makers working within that region.

Short films are artistic products in their own right that can find festival and online audiences all over the world. However they are also seen as a training ground for aspiring feature film or television drama producers, directors and crew. In this unit you will work in specific drama crew roles on the production of a short film. You will fulfil one key creative and one secondary role on productions to refine their understanding of drama production techniques, and will also be given the opportunity to produce a drama scene in both a single camera and multicamera studio context.

Understanding and responding to the continually transforming digital landscape is a fundamental qualification for any contemporary media content Producer. The role of a Digital Producer can vary considerably depending on the available technology platforms and whether you are working as a start-up, in-house, in a digital agency, as a freelance, or for a SME or larger company.  Either way, the Digital Producer could find themselves producing video blogs, pop-up ads, social campaigns, podcasts, commercials, VR programs, and beyond.  This subject prepares you to embrace all facets of Digital Producing – from the new technical jargon to engaging with other technical crew to create content for digital websites, social media, mobile applications, games, and interactive media.  Students will learn how to supervise a digital project through conception, pitching, creative and technical development, scheduling, roll-out, media buy, analytics and beta-testing through to completion and delivery.

An awareness of the history of film and television gives new screen practitioners the contextual knowledge to help them understand current technologies and protocols, and predict future trends. In this research unit, students will be given a broad overview of the major technological and cultural developments in the screen industry since the early days of cinema. There is a focus on both Hollywood as a dominant influence on cinema internationally and a study of major developments in the history of cinema. Films will be analysed formally in terms of narrative, editing, mise-en-scene, shots, lighting, and sound – and stylistically in terms of genre and authorship. Different theoretical approaches to screen studies including aestheticism, discourse analysis, and semiotics will be explored. The overall aim is to broaden awareness of the artistic, cultural, political and economic contexts within which the local and international screen industries have developed and operated,

This unit follows on from Major Project: Development, providing students with the opportunity to collaborate on several major projects. This unit sees the culmination of a creative vision come to fruition following pitches held at the end of the previous trimester. The focus is on pre-production and a range of meetings and productions scheduled across this trimester. All students will crew on each other’s productions – and contribute the appropriate preproduction planning, preparation, and paperwork. Each student will have a different trajectory of roles over the slate of productions – with a minimum of one major and one minor role; or three minor roles. Production on each project is slated for up to 5 days.

The purpose of this unit is to give students essential knowledge towards understanding broadcast processes; the complexity of the digital video signal and emerging formats. Students will gain a deeper insight into live production protocols using industry-standard broadcasting equipment. In addition, students will experience the technical necessities of managing equipment operation and set-up procedures including testing and measurement procedures. Students will also gain an insight into the new and emerging digital production technologies.

This unit examines a range of non-Hollywood national cinemas & indie filmmaking from a global and transnational perspective. Key theoretical approaches to national and international cinemas are examined, along with significant historical, textual, representational, and ideological issues. Students will also explore the significant differences between Hollywood mainstream productions and the critical challenges posed by local production, distribution, and exhibition models, along with those faced by filmmakers within these different cultures.

Survivor, Big Brother, My Kitchen Rules, I’m a Celebrity Get Me Out of Here, The Voice, Bondi Vet, Who Wants to be a Millionaire, Married At First Sight, Outback House, Gogglebox Australia… in recent times, there has been some 200 different reality TV series produced in Australia (and at one stage some 20 crime/police series produced in NZ – in the one year!) This research and practical unit seeks to give students a broad appreciation of Australian and New Zealand reality TV production and the role of local and international formats – ensuring students have a foundation from which to create new material or to help secure future production work by equipping them with knowledge of, and networking opportunities from, local productions.

Elective Units

This unit expands on the knowledge and skills developed in Screenwriting I, and introduces a more sophisticated range of writing tools. The unit explores various avenues of work for screenwriters, from short to long form, and one off films to series television. In the current screen production environment, developing original ideas that have a clearly identified target audience is part of the game. Market potential has a direct relationship to budget, but even writers for the HBO network need to consider the feasibility of their ideas.

You will learn to analyse the marketplace and audience for your own work, and balance the production requirements accordingly by keeping locations, cast, art department, wardrobe and VFX elements to a minimum.

In this unit, you will develop a synopsis and treatment for a short animated or live action film, TV series pilot or web series, then go on to develop the screenplay. You are actively encouraged to bring all of your work-in-progress to class for peer engagement and for lecturer comment and guidance throughout the trimester.

In this unit you are introduced to the concept of mise-en-scène through the eyes of a director from both a practical and theoretical point of view. Image design and analysis is the focus, so the unit combines fundamental screen studies principles with an in-depth analysis of the creative production skills required from a director.

There are many varying definitions for mise-en-scène, but broadly it encompasses everything within the frame. You will gain insight into how directors view lighting, palette, camera selection, camera movement, lens choice, framing, set design, sound design, blocking and editing in the telling of a dramatic story. As an emerging screen story teller, you will be expected to develop an active visual interpretive perspective and use acquired insights for helping to discover your own directorial style.

In this unit you are introduced to the concept of mise-en-scène through the eyes of a director from both a practical and theoretical point of view. Image design and analysis is the focus, so the unit combines fundamental screen studies principles with an in-depth analysis of the creative production skills required from a director.

There are many varying definitions for mise-en-scène, but broadly it encompasses everything within the frame. You will gain insight into how directors view lighting, palette, camera selection, camera movement, lens choice, framing, set design, sound design, blocking and editing in the telling of a dramatic story. As an emerging screen story teller, you will be expected to develop an active visual interpretive perspective and use acquired insights for helping to discover your own directorial style.

This unit offers students the opportunity to understand the collaborative nature of creating and producing broadcast and film title designs, station identities, social media advertising elements and graphics for the screen. During this unit, students develop skills and knowledge in the process involved in responding to return briefs & creating projects from pre-visualisation to effective realisation. Students also gain hands-on experience with colour grading & correction, and develop and finalise motion graphic sequences for inclusion into their own major projects, helping build a professional portfolio and showreel for prospective employers.

In this unit, you move beyond merely lighting a scene, to using lighting as a means to express what the scene is about. This requires an investigation into the aesthetics of image design, and a more in-depth technical understanding of the camera, lenses and lighting and the relationships between these.

The unit enables you to creatively analyse a script and use the camera and lighting to convey emotion, style and narrative. This unit also provides you with the practical skills and theoretical knowledge of camera and lighting in order to approach a broad range of projects. This unit covers the aesthetics of image design, investigating the relationships between lenses, light, framing, composition, movement and depth of field. Colour theory and the emotional qualities of light and images are also discussed during the course of this unit.

The producer is the driving force for film and television productions, setting the goals and steering both the creative and administrative processes. The role starts well before preproduction begins, and continues after the final product is delivered.

This unit is designed to further develop your producing skills by covering the current industry protocols from project inception through to distribution for a wide range of screen products. Production management paperwork will be covered including scheduling and budgeting, contracts, music clearances and licences, as well as the more creative endeavours of a producer – pitching, casting, compiling applications, financing, marketing and distribution.

by application only

We are surrounded by popular culture. Advertising, television, films, sport, DVDs, music, social media; the list goes on. The productions that students will be involved in producing will most likely be vying for a spot on the stage of popular culture. It is therefore important that you understand what popular culture is, why it is important and how it functions economically, politically and socially. Only by understanding the mechanisms that drive popular culture can you develop from being an audience member into a participant.

This unit gives you the opportunity to broaden your creative perspective with the study of popular culture through observation, reflection, description and critical thinking in order to gain a deeper understanding of the artistic, cultural and political context of national cinemas and television productions around the world.

This unit follows on from Major Project: Production as the students’ films enter their final phase. A student’s ability to apply conceptual knowledge and creative and technical skills will be tested through the post production processes of a major production project or slate. Processes will include the rough cut edit, fine cut, music composition, sound editing, sound design, colour grade sound mix, incorporation of credits and online delivery. Throughout the trimester, there will be some directed classes, but most weeks, students will attend scheduled post production meetings with their fellow post crew and lecturer. It is expected that this class will appeal primarily to the producer, director, editor and possibly sound designer of a Major Project Production.

Our Lecturers

Samantha Laidlaw

Film & Television Lecturer

Samantha Laidlaw

Film & Television Lecturer

Peter George

Head of Film & Television (Melbourne) | Chair - Teaching & Learning Committee

As a Producer, Director, Writer, Interviewer and Script Editor, Peter brings a resume of credit and awards to JMC Academy. As a filmmaker, major credits include the award winning documentaries Original Schtick, Schtick Happens, The Dream of Love, Not So Straight and The Triangle Wars, and fiction films Absence and William. Original Schtick won 2 AFI awards and the prestigious Rouben Mamoulian Award at the Sydney Film Festival. Almost all of Peter's films have travelled widely around the globe, including Original Schtick and William, which were invited to premiere at the Sundance Film Festival.

The Triangle War premiered at the Melbourne International Film Festival as part of the MIFF Premiere Fund, and recently won Best Australian Documentary at the inaugural Antenna International Documentary Festival.

In addition to filmmaking, Peter has also worked as a copywriter, a book editor, an industry consultant, an Advertising Account Executive and was the former Editor of If Magazine.

Peter George

Head of Film & Television (Melbourne) | Chair - Teaching & Learning Committee

As a Producer, Director, Writer, Interviewer and Script Editor, Peter brings a resume of credit and awards to JMC Academy. As a filmmaker, major credits include the award winning documentaries Original Schtick, Schtick Happens, The Dream of Love, Not So Straight and The Triangle Wars, and fiction films Absence and William. Original Schtick won 2 AFI awards and the prestigious Rouben Mamoulian Award at the Sydney Film Festival. Almost all of Peter's films have travelled widely around the globe, including Original Schtick and William, which were invited to premiere at the Sundance Film Festival.

The Triangle War premiered at the Melbourne International Film Festival as part of the MIFF Premiere Fund, and recently won Best Australian Documentary at the inaugural Antenna International Documentary Festival.

In addition to filmmaking, Peter has also worked as a copywriter, a book editor, an industry consultant, an Advertising Account Executive and was the former Editor of If Magazine.

Mark Overett

Head of Film & Television (Brisbane)

Mark Overett is a writer/producer and founding partner of Australia/New Zealand production company New Holland Pictures Two. Mark’s films include 6 x AFI Award winning drama “Unfinished Sky” (2007, dir. Peter Duncan); NZ comedy “Separation City” (2009, dir Paul Middleditch), Danish/Australian action/comedy “At World’s End” (2009, dir Tomas Villum Jensen), and Finnish/German/Australian sci-fi comedy “Iron Sky” (2011, dir. Timo Vuorensola), thriller “The Fear of Darkness” (2014, dir. Chris Fitchett). Recently, Mark's film AZZURO, starring Olivia Simone and Grey's Anatomy's Giacomo Gianniotti, won Best International Short Film at the 2018 Santa Monica International Film Festvial.

Mark also likes to keep his toes in documentary production and is currently producing a definitive documentary and concert film of legendary punk band The Saints. He was also Writer/Post Production Supervisor on “ABBA – Bang-A-Boomerang”; and Executive Producer on “Shadow Play – The Making of Anton Corbijn”. He also wrote the UK documentary “Albatross” produced by the Royal Society for the Protection of Birds”; and “Running Away” documentary (Ch 9). In 2018

As Script Editor/Script Supervisor, Mark’s credits include some 12 short films including the multi-international award-winning “The Landing” (2013, dir Josh Tanner ); “Maiden” (2013, dir Stephen Kanaris); “The Streak” (2013, dir Michael Gillett) and “Jacob Fights Giants” (2012, dir Janelle Rayner & Simon Toy)

Mark Overett

Head of Film & Television (Brisbane)

Mark Overett is a writer/producer and founding partner of Australia/New Zealand production company New Holland Pictures Two. Mark’s films include 6 x AFI Award winning drama “Unfinished Sky” (2007, dir. Peter Duncan); NZ comedy “Separation City” (2009, dir Paul Middleditch), Danish/Australian action/comedy “At World’s End” (2009, dir Tomas Villum Jensen), and Finnish/German/Australian sci-fi comedy “Iron Sky” (2011, dir. Timo Vuorensola), thriller “The Fear of Darkness” (2014, dir. Chris Fitchett). Recently, Mark's film AZZURO, starring Olivia Simone and Grey's Anatomy's Giacomo Gianniotti, won Best International Short Film at the 2018 Santa Monica International Film Festvial.

Mark also likes to keep his toes in documentary production and is currently producing a definitive documentary and concert film of legendary punk band The Saints. He was also Writer/Post Production Supervisor on “ABBA – Bang-A-Boomerang”; and Executive Producer on “Shadow Play – The Making of Anton Corbijn”. He also wrote the UK documentary “Albatross” produced by the Royal Society for the Protection of Birds”; and “Running Away” documentary (Ch 9). In 2018

As Script Editor/Script Supervisor, Mark’s credits include some 12 short films including the multi-international award-winning “The Landing” (2013, dir Josh Tanner ); “Maiden” (2013, dir Stephen Kanaris); “The Streak” (2013, dir Michael Gillett) and “Jacob Fights Giants” (2012, dir Janelle Rayner & Simon Toy)

David Opitz

Head of Film & Television (Sydney)

David has been in the screen and media industry for over twenty years working on multiple award-winning projects.

Among those that stand out are two tours of Iraq six months apart, first under the last few weeks of the Saddam regime, then in the final stages of the American invasion. As the Co-Producer, camera and sound recorder in a two-person video journalism team, David produced an exclusive for the SBS Dateline program featuring Saddam’s only female minister, whom the American’s named Dr. Germ, and who was accused of being in charge of biological weapons production. During David’s second tour he also shot, sound recorded and co-field produced around 17 sequences for the Michael Moore feature length documentary “Fahrenheit 911”.

David Opitz

Head of Film & Television (Sydney)

David has been in the screen and media industry for over twenty years working on multiple award-winning projects.

Among those that stand out are two tours of Iraq six months apart, first under the last few weeks of the Saddam regime, then in the final stages of the American invasion. As the Co-Producer, camera and sound recorder in a two-person video journalism team, David produced an exclusive for the SBS Dateline program featuring Saddam’s only female minister, whom the American’s named Dr. Germ, and who was accused of being in charge of biological weapons production. During David’s second tour he also shot, sound recorded and co-field produced around 17 sequences for the Michael Moore feature length documentary “Fahrenheit 911”.

Ben Hackworth

Film & Television Lecturer

Ben graduated with a Bachelor of Film from Victorian College of the Arts in 2000, where he was awarded the highest mark for a graduating student. His graduating film “Martin Four” (Susan Lyons and Todd MacDonald) was official selection at 2001 Cannes Film Festival and went on to screen at over 20 international festivals. His Screen Australia funded short film “Violet Lives Upstairs” (Rebecca Frith) won the 2004 Australian Film Critics Circle Award for Best Short Film and screened at various major international festivals including Montreal, Sao Paulo, Mill Valley, Vladivostok, Palm Springs, and Melbourne. He was one of six directors selected for MIFF's inaugural accelerator programme.

With his screenplay for "The Serpent", he completed his Masters of Film in 2006 and went on to teach directing and screenwriting at VCA.

In 2008, his debut independent feature film “Corroboree” screened in official selection at Toronto, Berlin and Melbourne International Film Festival and gained much critical acclaim. Cannes Selector Laurent Jacob called it “enigmatic, playful like some sensual and modern Mankiewicz movie, beautifully directed, fragile…”
He is one of two Australians who have been selected for the prestigious Cannes Film Festival Residence to develop the screenplay for "Ruins of Love", which was later selected as one of 10 international projects for the Cannes Atelier Financing programme. The film is currently financing with producer Lizzette Atkins - Unicorn Films.

Ben Hackworth

Film & Television Lecturer

Ben graduated with a Bachelor of Film from Victorian College of the Arts in 2000, where he was awarded the highest mark for a graduating student. His graduating film “Martin Four” (Susan Lyons and Todd MacDonald) was official selection at 2001 Cannes Film Festival and went on to screen at over 20 international festivals. His Screen Australia funded short film “Violet Lives Upstairs” (Rebecca Frith) won the 2004 Australian Film Critics Circle Award for Best Short Film and screened at various major international festivals including Montreal, Sao Paulo, Mill Valley, Vladivostok, Palm Springs, and Melbourne. He was one of six directors selected for MIFF's inaugural accelerator programme.

With his screenplay for "The Serpent", he completed his Masters of Film in 2006 and went on to teach directing and screenwriting at VCA.

In 2008, his debut independent feature film “Corroboree” screened in official selection at Toronto, Berlin and Melbourne International Film Festival and gained much critical acclaim. Cannes Selector Laurent Jacob called it “enigmatic, playful like some sensual and modern Mankiewicz movie, beautifully directed, fragile…”
He is one of two Australians who have been selected for the prestigious Cannes Film Festival Residence to develop the screenplay for "Ruins of Love", which was later selected as one of 10 international projects for the Cannes Atelier Financing programme. The film is currently financing with producer Lizzette Atkins - Unicorn Films.

JMC really kicked the door open for me. With solid skills training and industry networking opportunities, JMC really does hold the key to success in this industry.
Charles Duncombe - Head of Creative, SoHO & Showcase Channels - Foxtel Network, 2014 Alumni Award Recipient and Promax and Astra Award Winner
Film & Television Alumni
The foundation I gained at JMC made me feel competent from my first role. Now I drive to work through Hollywood, where I work on amazing projects every day. I have reached my life goal!
Brett Morris - Creative Director, Ranger & Fox
Film & Television Alumni
In two years at JMC, I worked on over 15 projects, most of which I was in a major role. I've learnt how to do so many roles I never even knew about, and been pushed to my creative limits many times.
Rebekah Evans - Film & Television Studio Manager
Film & Television Alumni

Are you ready to take the next step toward your career in Film & Television?

FAQs

No, you do not need to provide any samples of work to be eligible. However, you are welcome to provide samples of work. Any scripts you’ve written, youtube clips, short films, story boards you’ve drawn, visual and written ideas for films or tv shows, and any technical experience you may have had either in school, via extracurricular activities, work experience or volunteer work.

Absolutely. You do not need to have had any experience with film equipment as we cater to all levels of experience.

Our courses are hands on and practical. Students are required to attend classes to receive ongoing mentorship, learn new skills and work with the equipment provided. We do encourage our students to use online study resources, however our courses would not be as immersive as they are without the practical component.

Yes. The JMC Academy is registered and regulated by the Tertiary Education Quality and Standards Agency (TEQSA) which is Australia’s independent national regulator of the higher education sector, both public and private.

You will not need to purchase your own computer or any film gear as we have fully equipped editing suites and an equipment loan service with quality mics, lighting, cameras and a myriad of accessories available for student use.

Although you may want to be a film maker, it is important to have a wide range of skills when entering the industry. You will still learn about film making in great detail, however this course will provide you with a greater range of career options upon graduation. The skills learnt may be applied to film as well as television production.

You will do a range of assessments that will demonstrate your understanding, including short film making, documentaries, television commercials, music videos, live broadcasts and multi-cam, pitches and presentations, sound recording, film analysis and screenplays. At the end of the Bachelor there is project based work where you'll be able to choose your main assessment, which could be any of the above.

You'll start learning the proper way to handle the film gear in your first Trimester. Students are then assessed on their competency for handling the equipment. Once this is undertaken, students are able to loan cameras and equipment suitable for their on campus or on location shoots, projects and assessments.