Hammer and Tong Productions Ltd

Transcription

1 Hammer and Tong Productions Ltd Transforming Rehabilitation Music Drama Filmmaking Programme Module Guide Code: ES

2 Contents 1. Key Information 2 2. Introduction to the Module.3 3. Intended Learning Intended Learning Outcomes 5 5. Attendance Requirements.6 2

3 1. Key Information Module/Unit Title: Music Dram Filmmaking Project Module Leader: Name: Edward Shevlin Mobile: Module Tutors Name: Fiyinfoluwa Oladimeji Mobile: Introduction to the Module This module represents a culmination of a six month programme. You will be expected to make significant contributions to a limited number of these productions by taking on particular roles. Just how you balance your roles will be agreed upon and managed through a series of individual tutorials with your allocated tutor. The production will evolve through weekly production meetings, managed by an allocated tutor and with all key contributors in attendance. This module guide includes all of the documentation to support this and should be relied upon as an on-going reference tool. 3

4 3. Intended Learning Outcomes Hammer and Tong Productions modules are taught on the basis of intended learning outcomes so that on successful completion of the module, you will be expected to be able to demonstrate that you have met those outcomes. The learning outcomes are: Knowledge and understanding On successful completion of this module the client will be expected to be able to: 1. Employ the specialised media of discipline with the skill and imagination expected of clients in the final stage of the course. 2. Exhibit a familiarity with the artistic contextual debates associated with the project. 3. Present the work in a way that demonstrates an acute understanding of the requirements. Practical, effective transferable skills and 4. Work independently or collectively on a time-limited project, setting goals and achieving deadlines. 5. React to the changing demands of autonomous research, making creative use of unanticipated discoveries to achieve unexpected outcomes. 6. Show a complex awareness of any ethical issues, which the project raises. 4

5 4. Outline Delivery INTRODUCTION The Production The project represents an opportunity for the clients to tell a story and contribute to a substantial film made to a high standard and through an industrial model. We strongly encourage a sense of ownership and identity amongst key players within the production. The Project module will comprise a two-part, 10 minute short film, showing scenes of a crime and the consequences. These could be documentary, docudrama, drama, music video or something more experimental The production will be allocated a supervising tutor. The production will evolve through weekly production meetings, it is vital that all clients holding key roles attend the weekly production meetings, along with the tutor supervising that production. Your Contribution to the Production We expect utmost commitment and responsibility from you throughout this module. You must pitch an idea for the production by week two. The group will discuss and vote on the different projects and the winning idea will be scripted. You will have a combination of roles to fulfil in the module from producer to runner which will provide you with the opportunity to gain the widest range of skills and experience possible over the next six months. Other Potential Contributors Music and sound design for your film. You are encouraged to develop your own lyrics and sound track. 5

6 Once the script has been developed and finalised, roles are allocated in two basic sections; the cast and the crew who work with the director and the qualified practitioners. The cast will then rehearse the script and block the scenes. This is done in smaller groups and is intended to build confidence and communication skills and to encourage working as part of a team. You will learn many skills including camera angles, focusing, framing and different movements for a camera shot. You will also learn about lighting and the importance of lighting a set correctly to capture the emotional content of a scene as well as learning about recording and how to capture and relate a story using sound and sound design. Editing is the final discipline and will show you how to log and transfer footage, build the footage scene by scene to tell the story and how to add sound effects and music to build tension, atmosphere and emotion into each scene. You will develop a delivery plan working closely with the production team. The purpose of the delivery plan is to ensure that the timescales and outcomes are achieved. It is a useful guidance tool to keep the timescales on track. The importance of this discipline is to enable you to experience and learn time and management skills. As the process gets under way, you will have on-going production meetings, discussions and your performance and progress will be kept under constant review against your delivery plan. After the pre-production phase, we move into the actual production of the film. Each member of the group will work alongside our own crewmembers. At this point, all the learning and skills developed over the previous months come together both individually and within the group. You will also be filming and editing your own footage of a behind the scenes documentary to demonstrate what you have learned, how you have progressed and how you have engaged with the whole process. The post-production stage is broken down into two main sections, the editing of the footage and the composing of the music. One of the sections in your groups will rehearse and develop the sound track. You will then go into the recording studio to record your songs and will also learn the technical side of producing a sound track. An initial assessment and evaluation is carried out for each participant and after four weeks, each person will complete their own feedback form and again at four weekly intervals until the final feedback is submitted at the 6

7 end of the project. In this way, those with the responsibility for effective delivery of the programme are immediately aware of any issues as they arise and can address them with you and make any adjustments necessary to ensure that the project remains on course and that you are given the best opportunity to make the most of the programme. Pre Production Pack The pre-production pack includes a range of documents that, when combined, will comprise a bible for your production. Each and every section is essential. The structure of the PPP has been very carefully thought out and it is essential that each stage is completed before you proceed to the next stage. Not only will this fully prepare you for production the PPP also enables those outside of your production team to assess your readiness for production and advise accordingly, in consultation with the supervising tutor. The PPP main elements: 1) Production Schedule 2) Shooting Schedule 3) Call Sheets 4) Risk Assessment 5) Permission and disclaimer Your Production will not be green-lit until you have submitted all of the above. 7

8 PRODUCTION SCHEDULE Drawn from the Production Planner, the production schedule will allow you to see the specific dates of your shoot and deadlines, book your resources (camera, tripod, microphone etc) and your editing time. Sample Production Schedule Dates (examples only) Pre-production 22/01-04/02 04/02 04/02-14/02 Description Research, script, casting, locking down locations. Put production schedule together. Production meetings. Aim for a green light for filming from tutor. Prepare call sheets, confirm actors and locations, final location recce and production meeting. Production 15/02-19/02 Filming Day 1 locations Day 2 locations Day 3 cut-away, establishing shots, inserts Post- Production 22/02 01/03 02/03 03/03-05/03 Editing Day 1 log and load rushes, rough cut Day 2 6 director s cut Screening with tutor Fine cut Delivery 08/03 Delivery of film, production paperwork. 8

9 SHOOTING SCHEDULE SHOOTING DAY 1 Tues 28 th August Cherry Hinton Road, Cambridge Scene Pages Time Int./Ext Day/Night 4 1 D/1 Ext/Day Description Location Characters Oliver climbs into fruit & veg van Petrol station Oliver Art Dept./Special Requirements Fruit van Market Square, Cambridge Scene Pages Time Int./Ext. Day/Night 5 1 D2 Ext./Day 6a 1 D2 Ext./Day 6b 1 D2 Int./Day 17 3 D4 Ext./Day Description Location Characters Oliver meets Dodger, steals phone Oliver and Dodger steal a bike Police in car, watching crowd. Fagin walks across foreground Monks arguing with Oliver Market square King parade King parade side street City Street Oliver, Dodger Oliver, Dodger Policemen, Fagin Monks, Oliver Art Dept./Special Requirements Phone Bikes Police car Oliver change of clothes 9

10 CALL SHEET Hospital Fire Station Police TA Centre Parkside Station Coldhams Lane Cambridge Cambridge CB1 1JG CB13HS Tel Addenbrookes Hills Road Cambridge CB2 OQQ Tel Music Video CALL SHEET 1 Producer: Edward Shevlin Date: 3 rd June 2013 Director: Edward Shevlin Tel 101 Ref 103/12/03/12 Crew call time: (Coslett 115) Shoot Day: 1 of 5 Sunrise 05:03 Sunset 07:58 Total screen minutes: TBC Location: Baron of Beef pub, Cambridge Scenes to be shot at location: Main Contact: Roy Knight (1 ST AD) Tel: Crew Role Name Start Wrap Contact Tel Number Producer Edward Shevlin Director Edward Shevlin DoP Reece Walker st AD Roy Knight Sound Recordist Karl Laeufer Boom Operator st AC/Focus puller Lucy Moore Actors Character Contact Tel No Make Up On Set Wrap George Trump Oliver Charlie O Connor Dodger Cian Sweeney Monks Lihi Shefer Gang member Riana White Gang member

11 Catering: Food will be provided on set throughout the day Parking/Loading and Unloading: Lion yard car park, Cambridge. Equipment Required Canon 6D Lens Kit Battery Pack (+charger) Tripod DAT Recorder SDHC cards x4 Lighting Kit University Details Anglia Ruskin University East Road Cambridge CB1 1BD Equipment Location Details Media Services Details Media Services Team East Road Cambridge CB1 1BD Tel Cambridge- Equipment Pick up Details Equipment Type Pick Up Return Lighting N/A N/A DAT Recorder N/A N/A Rushes/Continuity notes on wrap to: Edward Shevlin Producer Art Dept./Props Prop List Pint glass / own clothes / Wardrobe: Wardrobe is to be supplied by the actor(s Travel Arrangements 8.30 am Picked up by from outside(a) the University, to be driven to (B) Baron of Beef pub Bridge Street Cambridge 11

12 RISK ASSESSMENT This form is an important part of planning any production activity. It is important for you to learn how to identify potential risks and discuss them any with your tutor. Production Details Production Title: Celia s Story Pathway: Film and TV Production Scheduled Shooting Dates List All Crew, Cast & Participants Involved Name Your Name: Tutor: 23 rd February Name Ensure that this risk assessment is communicated to all those listed above. If your film involves persons under the age of 16, they need to be accompanied by a parent or a chaperone. Local Authority Child Licensing Dept should also be informed. Your contact, who is normally responsible for managing the location This information is also required for filming in public places such as stations, parks, streets, cemeteries, car parks, etc. For campus locations you must notify security If you are filming on the street you must notify the relevant Local Authority. You are also legally required to notify the relevant local police station Contact s Name, Job Title or Status Producer Edward Shevlin Contact s Address 67 Chalmers Road Contact s Phone No Police Station Notified for Street Filming? Local Authority Notified for Street Filming? Phone No: Phone No: 12

13 State whether Low, Med or High Transport / Traffic N/A Low Low I will not be filming near traffic or use transport. Weather / Temperature N/A Low Low I have looked at the long range forecast and it is good for that day Terrain N/A Low Low The terrain is flat. Working at N/A Low Low We will be filming inside height Working near N/A Low Low Not working near water. water Poor visibility / N/A Low Low Will be filming in good daylight Night Entrance / Exit N/A Low Low Will make everyone aware of fire Exit before shoot Weapons N/A Low Low No weapons used on this shoot. Glass / Sharp N/A Low Low No sharp object used on this objects shoot. Fire N/A Low Low No fire used on this shoot. Wildlife / Pets N/A Low Low No wildlife or pets in the shot. Children / N/A Low Low No children or public in the shot. Public Falling objects N/A Low Low No falling objects in the shot. Personal N/A Low Low attack Chemicals / Gasses N/A Low Low No use of chemicals or gasses on the shoot Hazardous substances N/A Low Low No hazardous substances used on the shoot. Cables / N/A Low Low Cables will be taped to the floor. Electricity Equipment / N/A Low Low No lighting equipment on set. Lighting Ladders / Steps / N/A Low Low Will be filming on the landing of the stairwell. Scaffolding Explosives / Pyrotechnics N/A Low Low No explosive or pyrotechnics on set. Beach / Sand N/A Low Low No beach or sand on set Caves / Tunnels / N/A Low Low No caves or tunnels on set. 13

14 PERMISSION TO FILM AND TO USE THE RESULTING RECORDING DATE: I (name): of (Address): give permission for Hammer and Tong Productions to use the video and audio recordings made by (name of Director): EDWARD SHEVLIN Of me and my performance in this film project. I agree that Hammer and Tong Productions have the privilege of final cut over the film and the use of all recordings, and I do not have claims to the final commercial rights of the project, unless explicitly negotiated with Hammer and Tong Productions/ Edward Shevlin. I agree that the information I have provided is accurate to the best of my knowledge. Signature: Signature of parent/guardian if applicant is under 18: Hammer and Tong Productions Ltd. info@hammerandtong.org.uk 14

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