Storyboards

I want to spend a few moments discussing the concept of storyboards.  For “real” film-makers, these are an important part of the pre-production process as they allow directors to plan out their shots and essentially visualize what they are trying to capture.  In many ways, these may be reminiscent of  old-school paneled comic strips or comic books.  In our context, planning films created by grade 8 students, I recognize that even with a storyboard in place, the final product will look considerably different from what they actually shoot.  So why do I suggest doing it?

I believe this could be another point of engagement for those students who aren’t as technologically inclined (and thus feel left out of the filming and editing process), but may have artistic talent.  I also believe this sort of activity allows the group to demonstrate their grasp of the different filming concepts you will have discussed earlier in the process.  While they may not be aware of le plan Américain or le gros plan during their in-the-moment filming, these concepts can be demonstrated and explained through the use of storyboards.

Here’s an example of a fairly simple storyboard via The Redhill Academy:

Notice how they’ve opted to describe the action taking place in each of the shots.  There’s your writing task right there.  You should also see from the sample that different types of plan are used.  You could ask some probing questions like, «Pourquoi avez-vous choisi ce plan?  Qu’est-ce que vous indiquez à vos spectateurs?»  For those who may have trouble writing it out, you could try to draw it out of them orally, which gives you oral production.  You’re asking them to interact with French to tell you about what they’re creating.

When should storyboards be introduced?  To me, they should be introduced shortly after the script writing process.  You could conceivably have one part of the group working on the script itself, while another part works on the storyboard.  It doesn’t have to be perfect (or even well-drawn), though you could potentially use this as a part of the Visual Arts program, as well.

An alternative to drawing it out would be to use something like Bitstrips for Schools.  Many school boards use this already, so there should be no problem using it for a storyboard.  Additionally, since many classes have the students design their own avatars, they could use those when planning the shots to demonstrate who (specifically) is doing what in the scenes.

As with the Stop Motion activity, the storyboard activity will hit multiple Subject outcomes in the French Immersion, Visual Arts, and Media Literacy documents.  I’ll leave it to you, the classroom teacher, to decide which expectations are applicable for your class.

Stop Motion Activity

I was thinking back to one of the atelier sessions I had done while in Trois-Pistoles and it occurred to me that one of the film-related activities could be used to help students become familiar with Windows Movie Maker.  This activity could be used as a formative assessment piece or one of the smaller summative assessment pieces over the course of the unit.

Materials

• digital cameras
• tripods
• miscellaneous props

Activity

Using digital cameras, students (in groups of 4) will take hundreds (and hundreds) of pictures to tell some sort of story.  Rather than capturing the story using the typical video camera feature found on their cameras, they will essentially capture it frame by frame.  The end result will create a somewhat robotic and choppy feel, that nonetheless looks pretty neat.  They will take these pictures and upload them into Windows Movie Maker, compile them, add effects, music, voice-over… pretty much whatever they want to achieve their desired effects.  Here’s an example of the product we created back in the summer of 2009.  My group did the animation of les 4 saisons in the middle of the video:

If you’d like, you can show this video as an example to your classes.  It’s on Youtube, after all, so it is public domain at this point.  Since this may be the first time that your students have used Windows Movie Maker, I suggest you show them a quick video on how to do Stop Motion animation using the program.  A simple search will bring up an example like the following:

This particular video was done by a teenager, so your students may be more able to relate to her instructions.  There are numerous examples out there, so they should have no problem hunting down “How To…” tutorials when it comes time to do their editing.  This also removes a certain responsibility for the technical know-how from your shoulders.

In order to add the French language content, I would suggest either a French voice-over narration, or perhaps the use of French pop songs.  If you go the voice-over route, students would be required to submit a copy of the narration, and to describe the planning, shooting, and editing process they went through to make the videos.  If they choose to use a pop song, then they should submit a copy of the lyrics they found, and to describe how their video relates to the song.

Time Requirements

This activity should take 3-5 class sessions from start to finish.  In the Grade 8 French Immersion setting, I would introduce this activity at the end of the day so they can brainstorm what they would like to do.  I recommend against using drawings for the animation, if only because it could be potentially very time consuming.  Plasticine, natural everyday items, or even the students themselves, could act as props, as demonstrated above.  The brainstorming itself should take 15-20 minutes, and the two videos above add another 10 minutes, so set aside a half hour to 40 minutes to allow the groups to plan.

The groups will shoot their photos the following day.  Since they require a great number of photos to make the stop motion animation work properly, I would set aside 60-70 minutes of one of the 100 minute blocks.  Depending on how focused and prepared the groups are, they could come up with something pretty unique and interesting during that time.  Allow extra time as you see fit, but don’t let it go overboard.

On the third day, they go to the computer labs to do the editing.  If you have classroom computers, then perhaps students could use those for the editing when they’re done other work.  Most elementary schools will have the same operating system on each of the school computers, so they should all have the same version of Movie Maker installed.  There shouldn’t be any compatibility issues.  However, if your students are on Individualized Education Plans (IEPs) and have personal laptops, they could have different versions, which could cause problems.  The editing of the videos will likely take more than one session in the lab, so don’t be alarmed if they haven’t finished them in one sitting.  Emphasize that this is an opportunity to get accustomed to the program, so that future programs will go more quickly and smoothly.

Expectations

Here are some potential Overall expectations that could be met from an activity like this:

Grade 8 French Immersion:
Overall Expectations
B1, C1, D1, D2

Grade 8 Media Literacy
Overall Expectations
3. create a variety of media texts for different purposes and audiences, using appropriate forms, conventions, and techniques

Grade 8 Arts
Overall Expectations
Drama
B1 – Creating and Presenting: apply the creative process to process drama and the development of drama works, using the elements and conventions of drama to communicate feelings, ideas, and multiple perspectives;

Visual Arts
D1 – Creating and Presenting: apply the creative process (see pages 19–22) to produce art works in a variety of traditional two- and three-dimensional forms, as well as multimedia art works, that communicate feelings, ideas, and understandings, using elements, principles, and techniques of visual arts as well as current media technologies

***

There are a number of Specific Expectations that could apply within each Overall Expectation.  I’ll leave it up to you,  the classroom teacher, to decide which is most applicable, based on what sort of projects your students submit.

For reference sake, the Ontario Curriculum Documents can be found here:

Arts

Language (Including Media Literacy)

French as a Second Language (Including French Immersion)

A Quick Aside

I wanted to take a moment or two to discuss why I’ve been approaching this unit planning concept in the way I have.  I’ve introduced a skeleton outline of how teachers can approach planning a unit, taking into account the time allotments and whatnot, but you’ll notice I have avoided scripting too much at this point in the process.  There’s a reason for this.

I’ve had the opportunity to work in classroom environments that work with scripted programs. There are some, like Nelson Literacy, that are wonderful.  However, I believe that only you can properly address the needs of your class.  I could try and come up with something universal, but the reality is that you would most likely adapt it to your needs anyway, so scripting it out would be pretty pointless in the grand scheme of things.  Who am I to try and dictate how to teach your class?  You have your own style. You know your students. Use these resources as a starting point to make the unit your own.

I will continue to reference the different Overall and Specific Expectations for each proposed activity, but only for your own information.  I recall one of my school boards asking teachers to post the expectations being covered whenever they displayed student work.  Should you choose to use these activities, and you happen to be in Ontario, you’ll have the expectations ready to go.

An Important Link

After posting my Vocabulary list yesterday, I got in touch with the animatrice who had run my atelier on Québécois cinema back in 2009.  She was nice enough to send me a link that would be helpful for anyone trying to put together a Film unit.  It’s a blog site called Devenir-Realisateur.com.  The more I look through the site, the more impressed I am.  It has sections on Vocabulary (Lexique),  and a number of technical aspects that, quite frankly, are beyond my current experience and skill set.

Activity Overview
Here’s a potential activity to do with an immersion class:  During one of the computer lab classes, have your students research different technical aspects of shooting a film.  It could be the importance of lighting, or perhaps  the use of angles to create certain effects.  There is enough on the site to occupy students for quite some time.  Assign particular topics to groups of 2-3 students.  Any more than that and you could end up with a lot of unproductive time.  Ask the students to take jot notes to summarize sections you’ve assigned and then have them present (in French) what they’ve learned to the class.  If possible, make sure each group is assigned a different topic.

Related Curriculum Expectations
Overall Expectations
Grade 8 French Immersion
B1. Speaking to Communicate: communicate information and ideas orally in French, using a variety of speaking strategies and age- and grade-appropriate language suited to the purpose and audience

C1. Reading Comprehension: determine meaning in a variety of French texts, using a range of reading comprehension strategies

D1. Purpose, Audience, and Form: write in French in a variety of forms and for a variety of purposes and audiences, using knowledge of vocabulary, language conventions, and stylistic elements to communicate clearly and effectively

Grade 8 Media Literacy

2. identify some media forms and explain how the conventions and techniques associated with them are used to create meaning

French Immersion Specific Expectations

B1.1 Using Oral Communication Strategies: identify a range of speaking strategies and use them appropriately to express themselves clearly and coherently in French for various purposes and to a variety of audiences (e.g., alter volume and tone to engage audience; use dramatic pauses to create suspense; use terminology and vocabulary specific to the subject and audience)

This expectation comes into play with the presentation aspect of the activity.  It’s connected with how they present.  Are they just reading from their notes?  Are they looking at the audience? The purpose, in this case, is to convey information.  The audience is their peers and the teacher.

B1.2 Producing Oral Communications: produce planned, rehearsed, and spontaneous messages in French containing information and ideas about academic topics and matters of personal interest, with contextual, auditory, and visual support (e.g., deliver a monologue in the role of a prominent historical figure; present a slideshow on immigration trends; give instructions to lead the class during daily physical activity; communicate their thoughts and feelings on a social or environmental issue through a rap or song lyrics)

This expectation is tied to the content of the presentation and the language used.  The topic will be a technical aspect of film-making, such as visual effects created by camera angles.

B1.3 Speaking with Fluency: speak with a smooth pace, appropriate intonation, and accurate pronunciation in planned, rehearsed, and spontaneous communications about a variety of academic and personally relevant topics, using familiar words and expressions (e.g., use appropriate pauses and emphasis to clarify important ideas; vary intonation and tone of voice when asking questions)

This expectation is looking for flow and fluidity. Are the students stumbling through the presentation? How’s their pronunciation? Are they using appropriate word choices and tenses?

B1.4 Creating Media Texts: create a variety of increasingly complex oral media texts using forms, conventions, and techniques appropriate to the purpose and audience (e.g., create a multimedia presentation about a social or environmental issue; record a radio advertisement promoting healthy schools; create a video on the importance of healthy living for young adults; create a public service announcement about the benefits of buying locally produced food)

In the event the students wish to create some sort of Powerpoint or Prezi presentation to help them teach the class, then this expectation could potentially be brought into the mix, as well.

C1.2 Reading for Meaning: demonstrate an understanding of the intent and meaning of a variety of French texts about familiar, academic, and personally relevant topics, with support as appropriate (e.g., identify and discuss story elements in a mock interview with the author; following a read-aloud, create an animation summarizing a segment of the text; following shared reading of song lyrics, compose an additional verse; identify interesting jobs on employment websites and explain what skills are relevant to the responsibilities posted; identify the details that make a story believable; skim and scan to extract important information from a non-fiction text using titles, subtitles, headers, and margin references)

This expectation is satisfied by students having to understand the information being conveyed about their particular topic.

C1.4 Developing Vocabulary: identify and use a variety of different strategies to expand vocabulary through reading (e.g., analyse word parts and look for familiar words and mots apparentés that are similar to words in their first language; create a personal word list of mathematical terminology; use symbol-sound relationships between the letters of the alphabet and the sounds they represent to recognize words they have only heard before)

As the Devenir-Realisateur.com site was written with French-speakers in mind, there will certainly be room to expand students’ vocabulary as they read through the explanations.  Strategies, along with dictionary use, should satisfy this expectation.

D1.2 Writing in a Variety of Forms: write a variety of French texts to convey information, ideas, and opinions about academic and personally relevant topics, following models appropriate to the purpose and applying their knowledge of the basic structural and stylistic elements of each form (e.g., write a memoir or an article from the perspective of a newcomer to Canada or someone affected by a social issue; write a narrative poem about the importance of Remembrance Day, the Day of Pink, or the International Day for the Elimination of Racial Discrimination; write a report on an environmental issue to persuade their peers to take action in their community; write a dialogue or script for a short play about a historical character such as Louis Riel or George-Étienne Cartier)

Admittedly, this is a bit of a stretch here, but learning to write jot notes or summaries is an acquired skill.  After the presentation, you could collect their jot notes to check their progress.  This is more of a formative piece here, as it would be difficult to assign grades to something like this.

D1.5 Creating Media Texts: using words and expressions suited to the context, create a variety of media texts in French for specific purposes and audiences, using a range of media forms and the conventions and techniques appropriate to the chosen form (e.g., adapt a short story for a comic book or multimedia presentation; design a web page that promotes informed financial decisions; create an ad campaign to raise awareness about a social, environmental, or health-related topic; create a slideshow explaining the threats to endangered animals in Canada and describing possible solutions)

This expectation is satisfied if the students opt to create a powerpoint presentation to help them present.

Grade 8 Media Literacy Specific Expectations

Conventions and Techniques
2.2 identify the conventions and techniques used in a variety of media forms and explain how they help convey meaning and influence or engage the audience (e.g., website conventions: home pages provide users with a convenient preview of the types of information available; website techniques: “sidebars” with inviting audio/video elements entice viewers to browse and explore new topics that might not have been their first priority)

By asking the students to teach their peers about different technical aspects of film-making, they will analyse, interpret, and assess different filming techniques, thus making them aware of how they can be used to create emotional or visual effects.

Curriculum Documents

For reference purposes, here is the current Language document.

Here is the FSL, Extended and French Immersion document.

New Vocabulary – Part 1

As with any new unit of study, there’s going to be new vocabulary.  This is particularly true in French as a Second Language (FSL) classes, given that most students will not run into French vocabulary on a daily basis.  There is topic-specific vocabulary in the realm of film, so today’s post will cover some of the words I’ve used with my classes.  I anticipate adding to this over the course of my postings, so keep an eye on the blog for new word lists.

How you choose to introduce the vocabulary is up to you.  I’ve been to workshops where they’ve suggested embedding the vocabulary in context to give students an idea how they’re really used. I’ve been to others where they recommend front-loading new vocabulary for second language learners so they’ll recognize them when they read them in context.  I lean towards front-loading, myself, but that’s a personal preference.  For this list, I will be dividing them up into their particular parts of speech (noun, adjective, verb, etc.) and by gender. A more complete list can be found here.

Masculine Nouns

un acteur – actor
un appareil photo – (still) camera
un caméraman – camera man
un cinéma – movie theatre
un comédien – actor
un découpage – story board
un documentaire – documentary
un drame – drama (film)
un film d’action – action film
un film d’épouvante
un film muet – silent film
le montage – editing
un monteur – editor
un scénario – screenplay
un scénariste – screenwriter
un réalisateur – director
le truquage – special effects

Feminine Nouns

une actrice – actress
une bande sonore – sound track
une caméra – video camera
une coiffeuse – hair stylist
une comédienne – actress
une équipe de tournage – film crew
une monteuse – editor
une réalisatrice – director
une vedette – movie star

Adjective

numérique – digital

Verbs

couper – to cut
diriger – to direct
monter – to edit (in other contexts, it means “to climb”)
produire – to produce
tourner – to film (in other contexts, it means “to turn”)

There are specific terms dealing with the more technical aspects of film-making, but I’ll leave those for another day. This list should provide a good start, at the very least.

Initial Framework

For the purposes of this project, I will be writing this from the perspective of a Grade 8 French Immersion class taught using a Balanced Day schedule in the province of Ontario.  Please note, the same ideas can be used for lower grades, as well as for Core and Extended French programs; however, I feel it is best to use French Immersion for this example because it provides the greatest potential for cross-curricular application.  Before I get started, let’s do a quick recap.  You will need access to the following:

Materials

• Digital video cameras
• Mini DV tapes (if applicable to your camera)
• Firewire cables
• Computers with firewire ports installed (either laptops or preferably the school lab)
• Video Editing Software

A quick note about Video Editing Software:  Most elementary schools are running a version of the Windows operating system.  The precise versions will vary, depending on how up-to-date your particular school board happens to be; however, Windows XP seems to be one of the more common versions used right now.  The Windows platforms typically come with Windows Movie Maker already installed as part of the operating system, but I advise double checking if you have it anyway.  If not, it’s free to download, though you may have to get your System Administrator to do it for you.

Time Allotment

How long do you want to spend on these films?  When I first tried this unit, I used it as a year-end summative assessment.  Looking back, I see this was a mistake.  Having never worked through the unit, I had no way of knowing exactly how much time the students would require to get through each stage of the project.  I also had to take into account how long I would have to borrow the video cameras.  I ended up miscalculating and causing the final products to be rushed, when they were finished at all!  My recommendation is to put aside approximately six weeks, perhaps starting around April, so there’s plenty of time in the event something goes wrong (and something always will).

When planning out the projects, take a look at the instructional minutes allotted to each subject area you’re incorporating. This will give you an idea of how much time you have to play with.  Remember: This is the maximum you’ll have available, though you won’t use all of it.  You’ll have to switch things up a bit so that students remain engaged in what you’re doing.

For demonstration purposes, I’ll be using a version of the Avon Maitland District School Board’s subject area instructional time allotment matrix and playing around with the percentages a bit to imagine a French Immersion school that conducts 70% of its instructional time in French.  In a balanced day schedule, there are three 100-minute instructional blocks in Balanced Day schools.  That makes 300 minutes per day, or 1500 minutes per week total.  Of that 1500 minutes, 500 minutes per week are dedicated to language.  You can certainly use English and French activities during the language blocks, so we’ll definitely be using all of those.  The Arts are given 120 minutes per week, though that includes Music, Drama, and Visual Arts.  For estimation purposes, I’ll presume that 60 minutes per week is spent in Music class, leaving us with 60 minutes worth of Drama and Visual Arts per week.  If necessary, you could borrow some time from the Technology part of the Science and Technology allotment to raise your time a bit higher.  For now, we’ll leave the total at 560 minutes per week.

Over the course of 6 weeks, you have access to 3360 minutes of instructional time, provided there are no PD days or assemblies to throw off your schedule.  Of that time, 3000 minutes will come during your Language blocks, 2100 minutes in French, and 900 minutes in English.  The remainder is comprised of Drama and Visual Arts periods.  Transition times between subject activities will decrease the time you have, but that comes with teaching, right?

Initial Framework

• Week 1 – This is where you introduce the unit, relevant vocabulary and terminology, and perhaps allow students to begin brainstorming their film concepts.
• Week 2 – Examine film clips, encouraging students to think critically about what they view. Point out film techniques. Students begin working on scripts.
• Week 3 – Introduce the concept of storyboards. Students continue working on scripts and begin their storyboards.
• Week 4 – Students begin “blocking” out their filming, rehearsing their scenes, and memorizing their scripts. Preliminary filming may begin, as well.
• Week 5 – Students will continue to film and edit their projects.
• Week 6 – Any last minute re-shoots and editing should take place during this week. The final Friday could be used as a mini “film festival.”

None of this is set in stone, by any means. If there are particular learning goals your school is working toward this year, then they can be incorporated as you see fit.  In future posts, I will be going into more detail about specific lesson plans.

Assessment

I’m going to take a slight detour from the specifics of the unit plan to reflect on the notion of Assessment when using multimodal texts.  Make no mistake; this unit is inspired by the Pedagogy of Multiliteracies (New London Group, 1996), and as such requires a different take on assessment than one would use with typical paper assignments.  The changes from the old Ontario FSL curriculum to the new Ontario FSL curriculum necessitate a change in approach, as well.  Given the nature of the unit, using assessment criteria tailored to a purely written text would be incomplete and would not reflect the competencies demonstrated by the students (Bearne, 2009).

Because of its multimodal nature, a film-making unit is ideally suited to cross-curricular planning and assessment.  If done well, teachers can use this unit to assess expectations in Art and Multimedia Literacy, as well as the Speaking and Writing strands of the FSL curriculum.  There may be others that haven’t occurred to me yet. The point is that the unit can engage students in a number of different ways and provide teachers with a lot of “bang for their buck.”

Typical core FSL teachers rotate from class to class, and only focus on their own subject, which means a great deal of potential could be squandered if the unit isn’t used properly.  I recommend a partnership between the core FSL teacher and the homeroom teacher that allows both teachers to use different aspects of the unit as an assessment tool.  Considering this can be a very time intensive exercise, having another teacher on board could give the students additional time beyond the typical 45 minute French class.  Naturally, if this project were undertaken in French Immersion, these concerns are lessened as the teacher can use time allotments from other subject areas to work on the project.

There will be a number of opportunities for formative assessment over the course of this project, as students brainstorm, draft, and edit their scripts, storyboards, and finally their films.  The easiest form of assessment to do will be connected with the written portions of the projects.  The more difficult ones will come when assessing the composition of the film.  The choice of music (if any), the quality of the editing, and the choice of camera angles all contribute to the impact of the films. Students should be encouraged to examine their choices critically throughout the process and be given opportunities to re-edit their films several times during the unit.

Bearne (2009) suggests a framework that takes “all modes into account and cover[s] both paper-based and screen-based compositions” (p. 22).  The categories include decisions on modes and content for specific purposes and audiences, how the text is structured, the use of technical features for effect, and the students reflections on what they produce.  Each of these categories is sufficiently broad to allow us to flesh out finer details for both formative and summative assessments.  Technical features, for instance, could include use of “line, colour, perspective, sound, camera angles, movement, gesture, facial expression, and language” (p. 22).  Right there I can see potential expectations from the Arts and FSL curricula.

Rather than attempt to tackle the assessment criteria all at once, I will discuss some more specific rubrics for the intermediate tasks as they are introduced, but it is important to keep these things in mind as you prepare to launch the project.

References

Bearne, E. (2009). Assessing multimodal texts. In A. Burke & R. F. Hammett (Eds.), Assessing new literacies: Perspectives from the classroom (pp. 15-34). New York: Peter Lang.

New London Group. (1996). A pedagogy of multiliteracies: Designing social futures. Harvard Educational Review, 66(1).

New Begininnings

Background

In the spring of 2010, I was looking for ways to engage my rather unmotivated FSL classes.  I had played around with a few different topics so far that year, including the standard “Meeting New People” and “Ordering From a Restaurant.”  I introduced the classes to authentic French popular music, including French hip hop and rock. I also managed to work a viewing of The Rocket into a couple of the classes.  I felt like I had made good progress with the classes overall, so I wanted to reward them with a project idea that they wouldn’t have likely tried before.  The idea: Create their own short films.

In my mind, I envisioned students coming up with scripts, and plotting out their filming using storyboards.  I imagined them editing their films, and adding visual effects– generally doing all the neat things they might associate with film-making.  The only problem was I didn’t know much of anything about making my own film, let alone how to do so in French.  Truth be told, I still don’t know much about film-making, but I do know the sorts of challenges I encountered when I first piloted this unit.  This blog will hopefully provide FSL teachers, particularly those in Ontario, a framework for how to facilitate a similar unit in their own classes.  I will endeavour to make specific references to the Ontario Curriculum expectations wherever possible to assist with teachers’ long and short range plans.

Where to Begin?

When I first tried this unit, I was flying by the seat of my pants.  As a result, it was pretty poorly planned and executed.  I aim to remedy that with this project.  The idea occurred to me when I was reflecting upon my most recent immersion experience in Trois-Pistoles, Quebec.  I had chosen le cinéma québécois as an atelier because I had an interest in Quebecois films.  However, it turned out this wasn’t a film appreciation  workshop at all.  Instead, this was a workshop wherein students would learn to make their own films.  This 5 week workshop was the extent of my film-making experience.  Perhaps those reading this blog will be similarly inexperienced.  So, where do we begin?

I suggest investigating what sort of equipment resources are available for loan in your school or your school board.  There’s no point in introducing a film-making project if you have no access to video cameras.  I also recommend checking out your school computer lab to see if they have firewire ports installed in the computers.  Depending on the age of the computers, they may or may not have them.  These are NOT USB ports.  These ports are VERY important as they allow you to transfer your videos from the cameras to the computers for editing.  If your school computer labs do not have these installed, you’ll need to find an alternative means of transferring the videos. 

When I first tried this project, my board had a number of video cameras available for loan, each of which came with a firewire cable.  However, none of the computers in the school (Yes, I checked every single one in the building.) had a firewire port.  This meant it was impossible to transfer the videos to the school computers directly from the cameras.  I had to buy and install a firewire port on my home computer, take a camera home, transfer each of the student films on to a flash drive, and then come back the next day to transfer the files to the school computers.  This can be a time intensive process, particularly since I could only transfer one film at a time.  Ideally, the students would have been able to do the transfer themselves at school once they were done filming.

Once you’ve determined what sort of equipment you have, you can move on to the planning stages of the unit.  That will be covered in another entry.

Image obtained via: Icon Archive.