Monday, 10 December 2018

PRE-PRODUCTION: Project Evaluation

This unit was purely about the pre-production stage to a film. Initially, I was looking forward to this unit because I would rather plan everything than go out on location and actually film it. As a result of this I volunteered to be the producer for this project. I wanted to focus on the planning aspect of a production, getting everything organised and dealing with the problems that come with making a film.

I started the unit with every intention to complete my role as producer with a lot of detail. I was determined to get our production ready for the shooting period by the middle of December. To start this off, I first created a pre-production schedule. This was recommended by Simon as I hadn't heard of one before. The pre-production schedule was there for Katie, Alex and myself to follow in order to complete each aspect of pre-production by the deadline. In between the start and end of this project, I scheduled individual deadlines. For example, in the schedule I put in each script draft that I expected from Alex. To do this I liaised with him because I didn't want to create an unachievable goal. We decided when it was a good time to have the first script draft completed by, and then I scheduled the following drafts after this. Alex explained that once the first draft is complete the following drafts will be easier to do because they should just be tweaks rather than writing out a brand new script. As a result of this, I left a few weeks until scheduling script draft 1 and then I added in the following drafts each week after this. I also scheduled deadlines for Katie and myself. For Katie, I put in a storyboard and shot list deadline, however we had a slight delay in the script drafts due to having to change the first one more than expected so the storyboard and shot list had to be put back a couple of weeks. It also made sense to have Katie base her storyboard and shot list on one of the final scripts rather than an early draft. For myself, I scheduled casting, locations and the budget. These included deadlines of when the casting advert should be out and when the auditions will be. The location deadlines consisted of when I should have found our final locations by, and I put in what test shoots were happening on each week. For the budget, I scheduled when the GoFundMe should be completed and online and towards the end where the estimated budget total should have been completed by. 

Most of the different aspects of production stayed on target. I mainly had to add in extra things as I didn't think of these at the beginning of the project. In total I made four pre-production schedules, each had small changes made to create the next one but by the end everything was completed so having a schedule for this turned out to be very beneficial for us. 

The next job for me as producer was to start looking for locations. The story of VET-MAN consists of a man wanting to follow his dream as a vet but coming across difficulties in doing this. As our story is about a vet, he needed a realistic location so the film was believable to the audience. I had a creative overview of the project and this meant that it was my job to find suitable props, costumes and especially locations in order to bring Alex's vision across realistically from the script to the screen. For the main animal sanctuary, Alex already had an idea which he based the story on - The Kent Owl Academy. Before I agreed, I looked into alternative animal parks in case I found something more suited to our film. After looking into Monkton Nature Reserve and Wildwood, I found that Alex was right and The Kent Owl Academy was the best fit for VET-MAN. Researching and finding nothing better wasn't a waste of time because I could have easily found a better location which may have made our film better. From my research into The Thick Of It I found that it's always better to have an alternative location for filming in case circumstances change for our final location. While I was looking into the other two locations, I contacted them and found that we would be able film there if problems arose with The Kent Owl Academy. Therefore, my research ended up creating a couple of back-up options for our film.

The next locations I looked for where the two houses - Tess's and Sheila's. I had a couple of options for both locations but ended up going with the most accessible location. For Tess's house we needed a tidy and well-kept home and for Sheila's we needed somewhere with a big and open drive. I found both of these relatively easily and I gained back-ups for these as well. I ended up getting a house in New Ash Green with the back-up being a house in Gravesend for Tess's house and for Sheila's house I sourced a house in Margate which had a big drive. If circumstances changed with this one, I also have permission to film at a house in Broadstairs who also have a big drive at the front of the house. Again, looking around at other houses wasn't a waste of time because I gained back-ups instead. 

Alex wanted two external locations to add to the story. The first one is used when Tim meets Luke and the Vet Van and the second is where Tim hits the dog outside Sheila's house. I sourced a house with a drive in New Ash Green for where we first see the Vet Van. This area is secluded and is most suited for our film because Alex wanted somewhere quiet so we wouldn't be in the way of the public. The house that is connected to the drive can pose as Luke's house. By looking at it like this, it seems as if the house is Luke's and he has just finished doing up the van on his back drive. This makes more sense to the story than having Luke just standing on the side of the road waiting for Tim to appear. For the road outside Sheila's we were quite lucky because the house we are using for Sheila's has a quiet strip opposite the house which will be appropriate to film the scene on. It's a quiet road as well so we shouldn't get into other problems with pedestrians and other cars.

The final location Alex wanted was a pub, this is used at the end of the story when Tim and Luke reflect on the day. I looked around at different pubs, the first one being The Hungry Horse. Shortly after looking into the pub I realised that it didn't have the right aesthetic for what we wanted. This is more of a family restaurant than a small pub. As a result of this I didn't contact them because using them would have brought the quality of the locations used in the story down. After this, I looked into pubs in Canterbury because I have been to a couple and they have a better look than The Hungry Horse. The pubs I looked into were The Black Griffin, Lady Luck and The Cherry Tree as these had a better look to them. However, I soon realised that these do not have a car park near. As this was a requirement for the pub, I had to rule them out. We could film in one of these pubs and then go to a completely different car park as the two locations are in two different scenes. However, in terms of ease, we ideally wanted to find a pub with a car park near it. As a result of this, I decided I would keep looking to see if I can find the most suitable pub with a car park, if not we will film at one of the pubs in Canterbury and change locations for the car park. Shortly after I found The Bell Inn, a pub in Bearsted. This pub is small and more traditional looking rather than a restaurant pub. It also has a car park attached to the side. This seemed like the most appropriate pub location for our film so I got in contact with the landlord. He was more than happy to let us film at his pub as it's not the first time a film crew have visited them. After conducting a test shoot at the pub and keeping the landlord on board, I had found and secured our final location. 

As part of my organisational role of producer, I arranged the auditions. To start this I created the initial casting advert which I posted to Due to peoples opinions of the site I decided that this was the best website to post on. If it didn't work well for us, I would have also posted the ad on Spotlight in order to get more actors to see it. However, I found that most of the actors we saw in the end had profiles on Spotlight as well so I felt it wasn't essential to advertise the need for cast on more than one website because most of the same people would see it. We were very successful on Mandy as we ended up with 32 applications for VET-MAN. This was good as we were able to see a wide range of people rather than having not enough. Alex and I refined the candidates by location as we preferred to work with people who were closer to us to save money on the budget. Once we had done this, I had to email out to the successful candidates and invited them to the Studios for an audition. I had to rearrange a lot of audition times because understandably, some of the people were busy with their personal lives. Throughout this process, we had 2 people withdraw and about 7 people ask to send over self-tapes. In the end, out of 32 original applications, we had 3 people send over self-tapes and we personally met 7 people during the auditions. Even though we didn't see as many people as the amount that applied, we were very happy with the amount we saw and we casted 5 people who we felt were best suited for the part. They were all very friendly and we are looking forward to working with them in the new year. I have been updating them since the audition and will continue to do so over the Christmas break to keep them interested in the project. 

I initially arranged a call back however, not everyone could make it and we felt it wasn't worth it only getting 2 people in out of the 5, so this was cancelled and I've arranged a sit down rehearsal for January. Arranging it now means that I will be able to rearrange the date if someone cannot make it. 

Like I mentioned previously, as producer I had to find the most appropriate props and costumes for VET-MAN. To do this, I read through the first script draft and took a note of each prop that was used and each time a costume was mentioned. These lists changed after each script draft I received. In order to get the most suitable prop for our project, I looked online and searched for the one that fitted our film the most. For example, we see feathers come off the owl when it falls to the ground. I looked into basic crafting feathers and goose feathers to see which would look best coming from an Owl. Working with Alex, we decided that goose feathers would be the best match, but then all the feathers I could find were white. I found some natural coloured feather from HobbyCraft in the end, and we decided that the colour was more important that the shape of the feather. Therefore, after a bit of online shopping, I found the most suited feathers for our fake owl. This was the same as the screwdriver props. In the script Luke specifically states a Phillips or a flat-head so the screwdrivers I had source had to fit this description otherwise the quality of the film would have gone down.

The costumes were similar. Each character needed specific clothes which matches their purpose in the story. For example, Mollie is the owl expert so she needs to look like one. I took note of the clothes that the volunteers were wearing when we visited the academy for the test shoots in order to help me arrange the most suitable costume for Mollie. Similarly for Tim, as a vet he needs to wear some sort of scrubs and this is also stated in the script so it was essential that I sourced these for him to wear. Luckily, we have scrubs left over from the previous project so I didn't have to add these to the budget.

Continuing with the budget, I created this by writing down everything that was going to cost us money, adding it up and then dividing it by three. If I was to create a final amount first I would be less likely to go over it. By doing this I would be limiting us from getting crucial props and costumes that add to the authenticity of the film. Once I had the total amount for the budget, I then looked into aspects which I could make cheaper that didn't have an impact on the look of the film. For example, I asked if the actor for Tim could get the train rather than drive as this was cheaper for us. This alternative also had its advantages because he may have been stuck in traffic if he drove causing us to delay filming but at least we know that he's got a better chance of getting to the shoots on time by train. Another part of the budget that I was able to make cheaper was the van insurance. As long as we are covered for the period of time that we need the van for, and the insurance is fully comprehensive to cover us for anything that may happen then the cheapest price I can find, the better. I created an amount for our fuel reimbursement rate after finding a couple of different amounts and then making an average of them. In the end our rate was 0.37 pence per mile which Alex, Katie and myself were happy with. After we printed our Pre-Production Package the budget was still changing so I finally came to a final amount of £1426.01. 

In order to help the budget, I researched into the best crowdfunding site to raise money on. After deciding that GoFundMe was the most suited for our project, I created one shared it on social media. From my research I found it best to share on Facebook, Instagram and YouTube. I also found out that I should be sharing it once a day if I could. I tried my best throughout the project to stick to this advice. After many posts and many shares, we only received £18.92, but this is better than receiving nothing so we are very grateful. 

Advertising and marketing were the hardest I felt out of my jobs towards this project. As I completed my market research and found that our target audience from the start was 16-30 years old, I decided that advertising on social media was the best idea to engage to this age range. However, I knew this wasn't enough. I next looked into the age demographics for posters and print ads and didn't get much further with this. While I was looking into this, I realised that biggest age group to get public transport was younger people. To back this up I found a statistic on As a result of this, I decided advertising inside buses and tubes were the best way to engage with our target audience. However, our budget wouldn't allow me to put posters inside this modes of transport, so I had to plan it as a hypothetical situation. I designed the poster for the buses and tubes and made sure it was in a rectangle so it would fit at the top of the windows. I experimented with different colours in order to find the best one which stands out the most. The whole point in advertising is so people see it and are engaged by it. As our target audience are made up of the younger generation, I felt it wasn't worth advertising normal print ads like leaflets because they wouldn't interest the younger generation. The only way I used leaflets was to fundraise but to combat the age issue, I posted the leaflet in different locations where young people may go, for example the UCA campus and my place of work.

By organising and sourcing all these aspects of the film, we are now ready to move into the production stage of VET-MAN. My aim from the beginning was to have everything sorted by the end of this project and I believe that I have done this well. 

I have organised crew members ready for the production stage. They are all experienced within their job roles. This was a requirement for my creative side to the production. I couldn't get just anyone as they wouldn't add any value to the production. As a result of this, I sent out an email to the first and second years on the TVP course with the hopes of finding someone interested and experienced in sound and camera. By doing this I managed to source our sound assistant. She has experienced being on sound before and she has a general interest in the role as well. However, due to not many people responding to the email, I had to contact a couple of people directly. This is how we found out camera assistant. She had a little amount of experience on the camera but she was passionate about it and is very interested in the role which is what we wanted. As a result of having both the sound and camera assistants interested in the role, means that I can rely on them and expect them to stay on board throughout the production stage of the project. Our last crew member I felt needed to be a make-up artist. This was because we will be using a lot of fake blood and we'll need a couple of black eyes, and I felt that we needed someone experienced in theatre make-up to help us out. This thought also came from our previous project when we struggled to make the blood splatter onto the actors face. After contacting someone I know, I was introduced to someone else who was experienced in fake blood and prosthetics. By talking to her, she was able to give me tips on how to create the blood splatter and what tools I would need to do this. As she was free on our filming dates, we were more than happy to have her on board. By having someone experienced with make-up, it should be able to bring the authenticity of the film together by having realistic blood splatters and black eyes. 

I created schedules for all the stages of production, a pre-production schedule, production schedule, shooting schedule and a post-production schedule. Out of these the post-production schedule was the hardest one for me to make. I researched into how to make one but every schedule I looked at focused on pre-production over any other stage. On the editing stage it simply said editing and distribution. As a result of this, I made my own by taking inspiration on the layout from the ones I researched into. I listed down the different stages within editing, such as the offline edit and audio, sound effects and colour grading which make up the online editing. I scheduled these to happen in the first month of our post-production time in March. The second month consists mainly of the fine cut and perfecting the look of the film, before completing it in May ready for the degree screening and distribution on YouTube.  

I will be co-editing the film with Katie. We have decided that I will be doing the offline editing and she will be doing the online edit because she will be involved with the colour grading so it made sense for her to be a part of the entirety of the online edit. I researched into the difference between both types of editing and found that offline editing isn't as common now due to advanced technology but as we are sharing the editing role, we felt it was best to keep the roles separate. I will be putting the initial footage down onto the timeline in the correct order and then Katie will be refining it with cuts, sound effects and colour correcting.

What went well?
- I believe that keeping to the pre-production schedule went well. Apart from a few set backs and rescheduling, we met the majority of the deadlines on the schedule and this meant that we completed the unit well and are ready to start the production process.

- Casting went really well. Apart from only seeing under half of the people we were expecting, I felt as if we saw enough because we have gained a very impressive cast from the auditions and people who are eager to help us make a successful sitcom.

- Keeping in contact with the locations went well. Alex had the contact for the owl academy and we got the permission to film here as he knew the owner of it and the homeowners of the houses were easier to keep in contact with, but as the pub was a running business, out of all of them, this would be the hardest to keep in contact with. However, I have kept in contact with them and the landlord is still happy with us filming there in February.

- Creating the schedules went well. I believe I made professional schedules which were easy to understand for everyone. I enjoyed making these as well as it felt like the production was coming together, especially when I was creating the production and shooting schedule.

- Finding the crew ended up going well. I didn't realise at the start I had to give reasons as to why I chose the crew I did. I found out that this is part of my creative side to producing the film. In the end I managed to get a couple of people who were experienced within their role and I am very excited to start work with them. 

What didn't go so well?
- Understandably, the script was changing very often. However, sometimes I struggled to keep up with the changes. I gave feedback to each script draft but on some parts I didn't think to change my own work. For example, I knew that Tess was taken out of the last two script drafts but I didn't think to change the budget until our pre-production package was printed. This isn't a big issue because I have corrected it within this unit but it's not corrected in the book.

- Sometimes the communication within my group wasn't great. At the beginning, I didn't know every single aspect of the story which meant I became stuck on my own work. However, this improved throughout the unit when I understood the story better and what Alex expected from me, in terms of locations, costumes etc. Then I was able to work towards getting the most appropriate things for our film.

- I think I could have done more with advertising. I wanted to create a short film but this was difficult on my own as Alex and Katie had their own work to complete. I had a couple of ideas for a small animated film which simply advertised the idea of the film. Below was my main idea:

The words VET-MAN travel across the screen and stop briefly in the middle before travelling off the screen. The titles fade and we see Tim in front of the camera. Tim and Luke are trying to make a promotional video for their new vet business. They’re using Luke’s living room and have stuck handmade posters and signs up behind them for the backdrop of the video. Tim starts on the camera while Luke is holding it. Tim gets distracted by Luke being unable to hold the camera straight. 
Tim: “We love animals- Luke hold it straight- small or large. From cats to cock- LUKE-erels. We care!”. 
Then Luke accidentally drops the camera and the screen cuts to a grey screen as we've lost the connection.

I felt that this gave away the comedic aspect to the film, and shows how stupid Tim and Luke can be as they can't even shoot a short film together. The audience would also be able to understand the link to animals in this video as well. Advertising will be easier over the next unit because we will see our cast during the rehearsal and then we could do something with Tim, even some promotional photos. As we only saw the cast at the auditions before we decided the final people, it was difficult to think of a way to advertise the show without creating a video with the cast or taking photos of them.

What did I learn?
- I've learnt that I have always have something on my mind about the project. Throughout this unit I was always thinking of some thing I needed to do, like reply to emails or note down a change in the production. I thought I did a lot during the As Live production, but now I realise I've done a lot more for this project. 

- I've learnt how to communicate with people outside of the University. In the As Live unit, I had the production manager who was in constant contact with our contributors and I only met them on the rehearsals for the show. However, as we are a small crew, I had the job of keeping in contact with the cast, arranging auditions and call backs. 

- I've learnt how much a budget can build up. I didn't expect the budget to end up being so much. We are all happy to pay our part towards it to create a successful film, but none of us realised how much everything was going to add up to. This made me see how important fundraising is because if we gained a lot of donations then it would bring our individual prices down. 

What would I do to improve next time?
- I will get on board with the story quicker next time as it took me a while to find out exactly what the story consisted of.

- I felt I was organised with this project but I still managed to forget some things as I had so many different parts of the production on my mind. I felt a bit overwhelmed about the project at times because of this. I'm sure I can be even more organised next time, in order to feel calmer with the project.

- I would start thinking of advertising at the beginning of the project rather than half way through, giving myself more time to think of a good advertising strategy. 

Friday, 7 December 2018

PRE-PRODUCTION: Updates Since Final Pre-Production Package

The final Pre-Production Package:

After we printed the Pre-Production Package some aspects of the production were updated. These included:

- Tess being removed from the final scene outside the pub
I didn't account for the fact that Tess had been removed from the scene outside the pub. As a result of Tess being removed from the last scene means that our budget has decreased slightly. It now stands at £1408.59. I came to this amount after subtracting her travel cost to Bearsted of £22.20 and her food costs of £17. 

- Diploma added as an extra prop
The diploma was in the first script draft and it had been removed. Once it was put back in I had completed my prop work so it wasn't included. This wasn't a problem as I had already created the diploma from when it was in the script first, so we can use this print out:

I created the University logo from scratch so we will not come across any copyright issues. I looked at different diplomas online and from people who I knew who have already graduated and found a font that was similar to theirs. As the props need to be believable in order to create a successful film, I made the diploma look as realistic as I could. In the first script, Tim created the diploma himself and we knew this because his name was spelt wrong, however, as it doesn't state this anywhere in the most recent script draft, I have changed the spelling mistake and spelt his name correctly. 

- Piece of paper with suspended written on it
In the most recent script draft there were a couple of new props added, one of these is a piece of paper with the word suspended on it. This will be easy to source as similarly to the diploma, I can create one and print it out ready for the shoot days. I will create one similar to the example below:

- Photograph in Tess's house
The photograph of a man holding an owl is another new prop added in during the latest script draft. The man is Tim's dad before he died. He was a vet and Tim is trying to follow in his footsteps. The idea of showing this is so the audience can get a bit of background information on Tim and they will be able to put his plea for his dad's tools together with the man in the photo holding the owl. I can source the photo frame myself and I can arrange a photo shoot at the Owl Academy before filming with a middle-aged man, holding an owl. This will work as we aren't at Tess's house until the end of the shooting period. As we know Tim's dad as being passionate about his job and having such a big love towards his animals, the photo should show a close relationship between the owl and the dad, rather than him having the owl at arms length. An example of the sort of photo I think will be most appropriate is below. We may not be able to get the owl to be on the mans shoulder but it's the closeness and relationship between the owl and dad that we'll need to see.

- Sheila's tissues have been removed
When Luke explains to Sheila about Sooty he hands her some tissues as she starts crying. However, this has been removed from the latest script. Nevertheless, we need tissues later in the story when Tim gets punched in the face by Mark. During this scene, Tess also mentions running out of Kleenexes, this will also be removed by the fact that Tess is no longer in this scene. Removing the Kleenex box means taking £1.50 off the budget, which leaves the budget at £1407.09. 

- I withdrew the money from the GoFundMe with a total of £18.92. This will go towards our budget. Between the three of us we'll now need to pay £469.03 and adding on the £18.92 from the GoFundMe, this makes the final budget £1426.01. 

Although these updates aren't in the pre-production package, I have accounted for them and changed the schedules and budget accordingly. The cast and crew have also been informed. This means we are up-to-date and are ready to enter the production stage of VET-MAN.

PRE-PRODUCTION: Risk Assessments for February Shoot Days

As the producer of VET-MAN, I am in charge of filling out each risk assessment for every location. In order to be prepared to film the final shoot for VET-MAN now, I need the risk assessments filled out ready to book out equipment. To fill out the risk assessments I looked back on each location recce. I took note of every hazard that I could think of at each location, and then wrote the control methods that came with them. In order to fill out the equipment loaned box I related back to my shooting schedule as I listed down the exact equipment we will need for each scene. 

Location 1: Tess's house (New Ash Green)

Location 2: Road and a drive (New Ash Green)

Location 3: A road (Margate)

Although this location is the same as Sheila's house (next risk assessment on Location 4), we will be filming on the road opposite, this poses different risks than filming outside therefore, it needed a separate risk assessment. 

Location 4: Sheila's house (Margate)

Location 5: The Kent Owl Academy (Maidstone)

Location 6: The Kent Owl Academy car park (Maidstone)

Although the car park is on the same site as The Kent Owl Academy, being near moving cars poses different risks to being around the animals. As a result of this, I had to complete a separate risk assessment for the car park scenes. 

Location 7: The Bell Inn (Bearsted)

Location 8: The Bell Inn car park (Bearsted)

Similarly to the car park at the academy, even though the car park at the pub is on the same site as the pub, they both pose different risks. As a result of this, they require separate risk assessments.

As stated in each risk assessment, the hazards are easily controlled and therefore, each location is low risk and we will be able to carry out filming as long as we follow the control methods I've listed on each form.

Thursday, 6 December 2018

PRE-PRODUCTION: Feedback to Script Draft 6

Below is script draft 6:

Script 6 [DIRECT LINK]

Feedback to script draft 6:

Page 1 - I like the idea of seeing the piece of paper saying 'suspended'. This builds on the idea of Tim being suspended from University and just adds to the story for the audience's benefit. The way it falls on the floor and he quickly picks it up and puts it back in his pocket also shows the idea that he doesn't want anyone to know about his failure. This continues when he tries to persuade Tess that the vet business is a good idea.

Page 1 - We see the dad and his relationship with animals by having a photo of him with an owl on his arm. Having it so early on in the story means that the audience are informed about the dad from the beginning. Then when Tess says "an owl? Even after what happened to dad", the audience will realise who the man in the photo is. This automatically gives the audience background information on a character who isn't physically in the script but is very important within the storyline. 

Scene 12 - This scene is slightly longer now but it has become more interesting. It's funny to see him think it's Sheila behind him and to then find out it's Mark. 

Page 17 - Tess has been removed from the final scene, I think this makes more sense as she isn't in the scene just before at the same location. 

Page 18 - In terms of the risk assessment, we'll have to work out a way of making it look like Tim speeds off in the car without him actually speeding due to safety issues.

Monday, 3 December 2018

PRE-PRODUCTION: Pre-production Schedule 4

From pre-production schedule 3, the only thing that changed in terms of scripting was the amount of drafts. Alex managed to complete 6 script drafts but they the last one was completed a week later than I scheduled before, therefore, the script draft 6/7 had to be moved to the week before the deadline. 

The only thing that changed for locations was the place we carried out test shoot 3. In the previous schedule I had established that we were going to have a third test shoot but it was only in the lecture room. This changed after I got in contact with the pub and asked to conduct a test shoot there. This gives us an opportunity to see how the lighting is in the pub as from my research into The Bell Inn I found that it was dimly lit. As a result of this, we knew we needed lighting for this shoot. 

I had arranged a call back for the final cast however 3 out of the 5 cast members weren't able to make the date we had arranged. I couldn't rearrange the call back because we were getting closer to the end of the project. Nevertheless, I have emailed the cast for a rehearsal in January. I sorted it now so I had time to rearrange the date if cast members couldn't make it.

The remaining aspects of production stayed the same. This was good for the final schedule because if they were still changing then I don't think we would have got everything completed. We ended up sticking with 3 test shoots and I feel like this was enough. We experimented with a few different pieces of equipment and tested a prop during these so they were worthwhile. The budget also stayed the same in terms of putting out the fundraiser and creating a rough amount. However, the actual budget changed every time the script changed as there were more props added and some taken away, clothing changed and the amount of cast changed in some of the scenes as well.

Pre-production schedule 4:

Sunday, 2 December 2018

PRE-PRODUCTION: Feedback to Script Draft 5

Below is script draft 5:

Script 5 [DIRECT LINK]

Feedback for script draft 5:

Page 4 - The end of the first scene finishes better. It cuts at the point when he finds his fathers bag, rather than following him right up until he leaves the house. It's punchier.

Page 5 - When Tim and Luke drive away maybe the dialogue should stop at "Cockerels, Luke, really?" keeping in mind, the punchier the better. Rather than having Luke respond as the response doesn't add much to the story. 

Scene 4 - Luke's innocent character shows well here. From his character profile we know that he look's up to Tim and wants to impress him. This is shown when he is described as embarrassed when Tim shouts at him for getting screwdrivers confused with vet tools. He felt like he was being helpful and doing well but then Tim ruins this and Luke becomes embarrassed. 

Scene 8 - Maybe the script focuses slightly too much on Luke's dry heaving to the thought of the dead chicks? Every other line we are reminded about Luke's reaction. This will be more apparent in the edit as we can see if it's too much back and forth but from reading the script it feels like we are constantly seeing Luke dry heave and that's not what the scene is about.

Page 9 - We find out about what happened to Tim's dad at this point. I think it's good that it's included but maybe it should be said towards the beginning of the story because the audience have wondered about his father at the start and then don't get an answer until half way through the film. The audience may have forgotten that part and then it's brought up again. I think it's fine to have it here but maybe we need some sort of explanation towards the beginning as well.

Page 9 - Continuing from the dad story, I like the ferret line. It adds the comedic element into the sad story about his dad. Similarly to Ghost Family, they don't dwell on the sad parts for long before something funny happens. 

Page 17 - I am glad the "Can I help you?" line has gone from Tim to Mark because it wasn't needed. Taking it out leaves the action to tell the story, rather than telling the audience about it (having Mark towering over Tim shows the audience that he's about to be beaten up).

Page 18 - The final scene outside the pub is a lot quicker. I also like the new ending with the van. I think it's a good way to conclude the story and by the end the audience realise that Tim didn't managed to succeed in his vet business. 

The script has got more detail in it (the story about the dad and the owl) without adding on more pages. The script is still at 18 pages, similarly to script draft 2. This proves that the scenes have become quicker and punchier and we've managed to include a little background information as well. Alex has done really well in trying to include as much story but keeping the scenes short and sweet allowing the comedy to show through.

Saturday, 1 December 2018

PRE-PRODUCTION: Call Sheets & Schedules

As the producer for this project, I need to plan ahead to the production stage and schedule the days for when we want to shoot. This will be beneficial for us to plan when to get the props and costumes by. This schedule will also be send off to our cast, then they will be able to inform me whether or not they can do these dates. According to their audition forms they filled out at the auditions, they should all be able to make it.

I worked out a rough idea of dates as to when we could film, then I passed this onto Katie and Alex to get their opinions on it, and for them to tell me if they couldn't do any of the days. I thought it would be best to schedule most of the shoots during the February study week so we would have more chance of the first years helping us as they won't have any lectures or tutorials that week

January - rehearsals in studios
Friday 18th Jan

February - filming starts
Kent Owl Academy - Wednesday 6th Feb & Thursday 7th Feb
Sheila's house and road in Margate - Monday 18th Feb
The Bell Inn - Tuesday 19th Feb
Extra shots - Wednesday 20th Feb

Tess's house - Thursday 21st Feb
Road in New Ash Green - Friday 22nd Feb

March - reshoots
Wednesday 13th March

Thursday 14th March
Friday 15th March

Katie and Alex were fine with these dates, so I created a schedule including dates, times and locations to send to the cast. This mean that I could work on the shooting schedule while they had the provisional information sent over to them. I left one day in the middle of shooting for extra shots, incase we know by then if we need to reshoot anymore scenes. This means we will hopefully be able to get all the shooting done in one time period rather than waiting until March reshoot. 

Production schedule:

After I created this, I realised that we needed to do an evening shoot and I had scheduled to wrap before each sunset. Luckily the sun sets early in February so we don't have to wait around long for the dark evenings. As a result of this, on the first shoot day I added on a couple of hours to film after the time for sunset. This will be the perfect time to film our night shoots.

While I was researching into schedules and how important they are, I came across a new schedule to me - the shooting schedule. This is essentially a longer and more in-depth version of the production schedule. Where the production schedule notes down the locations, times and what scenes are being shot. The shooting schedule does this but also goes into more detail on the scenes, it gives a description rather than just the scene number. It states which characters are needed for what scene. Lastly, the shooting schedule notes down the equipment and props that are needed for each scene. This will be helpful for me because I didn't have a document which includes the equipment involved for the different scenes. Before I made a shooting schedule I had no idea about what equipment Katie had chose to use, but I can refresh myself by looking at this schedule.

Shooting schedule:

Before I made the post-production schedule, I was very unsure on what one was. Most of the schedules I have looked at mainly focus on the pre-production and production, and when it comes to after shooting it simply says 'editing' or 'post-production', as a result of this I had to look harder for a schedule that mainly focused on post-production.

I still couldn't find one based on editing and the stages after that so I made my own. I noted down each part of editing and what happens after - offline edit, online edit, audio, sound effects, colour grading, then the fine cut and distribution. I started by putting all the initial edit stages down in March, we want to start editing as soon as possible after filming. I am doing the offline editing and Katie is doing the online editing as it would be her job to colour grade it anyway. I’ve allowed around a week each for the offline edit, sound effects and colour grading because we have quite a long time to edit. Audio will run alongside the offline and online edit as this will constantly be changing. 

I also noted down the scheduled timetable tutorials that we need to attend, and I added in viewings with Alex. As he is the director we need to make sure that Katie and I are bringing his vision to the screen appropriately. To do this, I scheduled regular viewings with him after each stage of the edit.

Once it gets to April, we will be in the fine cut stage of the edit for the first two weeks, until the Easter break. During this time, we have timetabled tutorials for our work. By then, our edit would have been seen by Alex and one of the tutors, and it’ll hopefully be going in the right direction. After the Easter break, we will be onto the May schedule. Here the edit should be nearly finished, we will have an opportunity to review our work so far on the big screen to see how it’s going. This will be beneficial for seeing what the quality is like on a bigger screen. We will also have two days scheduled for grading. During this time, we will be able to get help and advice on the grading of the film, in order to get it to its best before submission. The final edit review is the week following this. Here the edit should be completed, before the project submission on the 10th May. The weeks leading up until the degree screening will consist of the transmission prep. This will be the period of time in which we get the film ready to be transmitted at the screening. Once it has been premiered, it will be ours to put out onto YouTube and Facebook if we wish. It will also be time to distribute it back to the cast members for their show reel work.

Post-production schedule:

Call sheets, one-liners & the DOOD

Standardised production documents are an effective way of communicating essential logistics across projects and departments. If everyone is given the appropriate production document then they all have the same information and they all know what they are doing. The three main documents are the DOOD, one liner and the call sheet. I will be creating a DOOD and a call sheet for VET-MAN. Once you are sufficient in reading each of these documents, it's easy to glance at them and take the relevant information away. 

Day out of Days report (DOOD) 
The DOOD is a chart. One one axis it has the actors names. Each character is numbered and they are usually listed in order of importance to the story. Their individual numbers correspond to other documents as well. Codes are written in the boxes of a DOOD which indicate different things. The main codes are below:
- SW: 'Start Work' which indicates an actor's first day on set
- W: 'Work' which means that the actor is working that day. Actors get paid for 'Hold' days
- H: 'Hold' which means the actor is not scheduled to work that day but they haven't finished shooting yet, and the production team still need them
- WF: 'Work finish' which indicates an actor's last day on set
- SWF: 'Start-Work-Finish' meaning that an actor has started work, worked, and finished the work all in one day. This can also be described as PWF which means Pickup-Work-Finish. 

As we are not paying the actors, I can't use the letter H. Therefore, I will be using the letter I, this means 'Idle' and means the same thing as hold but they don't get paid for it. 

I thought it would be helpful to create a DOOD for our film, because I have no document that tells me what day the actors are filming or not. I usually look at the shooting schedule at the date and location and then remember who is filming at the location. By making a DOOD I will be able to glance at the actual dates and see who's filming with us. Also, if anyone asks me about any dates then I can answer them by looking at the DOOD. 

My DOOD is below:


As a result of creating this, I can easily see when we're filming and when the actors are needed. 

The one-liner
The one-liner is the second important production document. It is essentially an abbreviated shooting schedule. Most productions create a shooting schedule that breaks down each day by scene and includes the equipment, location, talent and other relevant information, but this doesn't aways get widely distributed. The one-liner, however, is a scheduling document that will be distributed to most people involved with the production. 

Not everyone gets a more detailed schedule because not everyone needs them, and they use a massive amount of paper. The one-liner includes information that the crew need, whereas the shooting schedule includes everything. The crew doesn't need this information, just the head of the departments do. The crew just need to know when to show up and what needs to be done.

I don't feel that it is necessary to create a one-liner document because we don't have a huge cast or crew, therefore everyone will need the same information. If this was a big production with more people then a one-liner would be most appropriate. 

Call sheets 
Call sheets are the most detailed, day-to-day document on a professional film shoot. The call sheet exists for each and every day of a film or television shoot and is distributed to the cast and crew at least twelve hours before the day is scheduled to begin. The main feature of the call sheet is the call time: The crew call time, which applies to most of the people who work on the film who are not actors, is featured front and centre on the call sheet. The call sheet includes individual call times for each actor along with a breakdown of the scenes to be shot that day, and additional information about equipment, personnel and props. 

Because of its detail the call sheet is often though as the biggest and most important production scheduling document. The call sheet is the master plan for each day of shooting - every person working on the production receives a call sheet, meaning every detail is see and obeyed. 

I have created the call sheets for the different locations in VET-MAN. They are show below:

Location 1: Tess's house

Location 2: Drive and road in New Ash Green

Location 3: Road in Margate

Location 4: Sheila's house

Location 5: The Kent Owl Academy

We're filming at The Kent Owl Academy for two days, therefore we needed two call sheets because even though our call times are the same, in some cases they may not be. 

Day 1

Day 2

Location 6: The Bell Inn

Similarly to the risk assessments, even though we will be filming on site at The Bell Inn, ones inside and one is outside therefore they require two call sheets. This would be helpful if we had one character for just the outside shoot, then on that specific call sheet their call time would be different.





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