1. Lingfield College BTEC Media
Ollie Haines 1
Ollie
Haines
UNIT 4:
Pre-Production
Portfolio
2. Lingfield College BTEC Media
Ollie Haines 2
Contents Page
CONTENT PAGE
1 Finance. 3
2 Sources of finance: private, public, joint financing. 4
3
Requirements of finance: for equipment, crew, transport, materials, clearances,
talent, facility hire.
5-6
4 Logistics. 7
5 Time: deadlines, availability of equipment, availability of personnel, timescales. 8
6
Facilities: production equipment, post-production equipment, facility houses, prop
houses, sourcing and costs of facilities.
9
7
Locations: identification; recces; limitations and risks, e.g. distance, access, cost,
weather.
10
8 Personnel: technical crew, actors, extras, contributors, e.g. experts, specialists. 11
9
Materials: type, e.g. original materials, archive and library materials, photo-library
materials, sound library materials, internet, assets, audio, script, animatics, graphics,
interviews, costumes, properties, recorded music, sources; costs; clearances.
12
10 Adherence to codes of practice and regulation. 13
11 Clearances, e.g. Mechanical-Copyright Protection Society (MCPS). 13
12 Legal, e.g. copyright, health and safety. 13
13
Regulations, e.g. Ofcom, Independent Press Standards Organization (IPSO),
Advertising Standards Authority (ASA).
13
14
Trade unions and professional bodies, e.g. Producers Alliance for Cinema and
Television (Pact), National Union of Journalists (NUJ).
14
15 Storyboards in pre-production 15
16 Storylines in pre-production 16
17 Page Mock-ups 17
18 Scripts 18
19 Effectiveness of pre-production 19
20 Importance of pre-production 20
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FINANCE
Media in today’s world has a huge focus on budgeting and the financesideof the campaign.Whether itbe in
filmor radio,each type has to set asidetargets for the campaign to hit, with financebeing one of the first
aspects to consider. The media planners haveto agree with the objectives set for the campaign,making sure
that the overall costwon’t affect it or ruin the procedure. They then have to consider how each component
provides a cost-effective contribution to reachingthe objectives and whether it’s a ‘top-down approach’or a
‘bottom-up approach’.Overall,the more money a company has to spend on their advertisingor campaign as a
whole, the more likely they are goingto succeed with the response.
Film
Budgeting for films has the largest preparation and time management across
all types of media. They normally havea unitproducer which has the job of
creatinga longlistof all the things they arebuying, renting, borrowingor just
usingfor the duration of the filmproduction. A budget is normally splitinto
four sections:‘above the line’(creative talent), ‘below the line’(direct
production costs),‘post-production’(editing, visual effects,etc.), and other
(insurance,completion bond, etc.).
TV
TV budgeting is similarto filmin the sense that it needs to be the main priority for the company to think about,
consideringhowbig of a project producinga TV show is.One way of breakingit down is usingthe ‘below the
line’method. This includes the physical elements such has props,equipment, make-up, set, wardrobe and
graphics.Then there is the other section to this;focusingon the technical personnel likethe cast,engineers
and video-recordingoperators. One example is Countdown, being Britain’s mostwatched TV show of all time,
the company constantly haveto keep updatingtheir budget to make it better and better each year. Even for
the Rachel Riley when she started the show, she was getting paid £40,000 and this had to be increased for
other crew members.
Audio
Budgeting in audio is one of the cheapest and efficient types of
media that is why it’s becoming one of the top media platforms.
Radio,for example, doesn’t have to worry about screeningcosts
or video-recordingoperators, instead, they put all their focus
into editing,the sound equipment and the actual radio
presenters. Probably oneof the biggest costs towards radio is theartists and other guests comingon the
show. Other talents have to have their names put down on a listwith the pricingnext to it. As a whole, radio
or audio is oneof the cheapest, cost-contribution Medias outthere and itis increasingin popularity becauseof
this.
Digital Publishing
Digital publishingis quickly becomingthe most popular and used way of readingbooks or justfindingout
information.Digital publishingincludes E-books,digital magazines,texts by email etc. Since itus related to
technology, and is a fairly newway of getting informatin,the budget for digital publishingis surprisngly quite
high. However, becausetechnology now is the easiestand quickestway to opening a company campaign and
so on, the pricecomes alongwith that.
Digital Games
Costs in games and the gaming business areexceedingexpectations and have become
one of the largestdigital plratforms lutthere. Unfortuanelty, there is a costto this and
that is how uch money each other companies put into this.EA for example have, over
the years,made millionson all their games.Call of Duty made on it’s launch in 2009
around £200m with a budget of £40-50m. The digital gamingbusinees has a huge risk
factor and the amount of mo ey you put into it to set up the game, create advertisments
etc, could all flop and the game could be horriblein terms of sales.
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REQUIRMENTS OF FINANCE
Financein media is used to help boost the promotion of the product. Itis also there to help restrictor regulate
the cost of the campaign and to make sureyou don’t spend too much, which could lead to many problems,
includingdebt. If financewasn’t taken into consideration,there would be no planningon what equipment to
get, the crew would get angry as their wages would be inaccurateand the company wouldn’t know how to get
specific places if you wanted to filmthere and so on.
In most Medias,if you want to promote your
idea or film,television show,radio station,
music video or even a simpleproduct, there
will alwaysbefilmingand equipment
involved.It makes sense that the lower the
costof the equipment, the less quality of
filmingyou will get in return. However, most
people (if you arestarted off as an individual
business),wouldn’treally take into
consideration aboutthe equipment until
further on down the line,this is becausethey
aren’t making maybe as good of quality
material to promote it. On the other hand, a
huge production company which needs load
of cameras,sound proof speakers etc. then
you will need to investa lot more money into it and they will take the equipment as one of their main
priorities.There is no point in startingyour idea if you can’t actually createthe image of what you arethinking.
The crew is as equally asimportantas the equipment in producinga media idea. Even if it’s a small advertand
it only involves 2 people, they will still need to be paid,havefood for breaks which you will need to pay for
them. As you can see, the smallestdetails matter to everyone and everything in pre-production.Obviously if
it’s a film, there will be all sorts of crewlikebefore the cast,the sound people, the filmmakers,the chefs,
again,for breaks. Producers,directors,scriptwriter,literally anyoneinvolved counts as crew and they will
need to be paid.If you want people to feature or help you out with your production,then you should
understand and be willingto offer wages, however small thetask.
Transportcan always beseen as a much smaller role,however it can still bevery importantin contributing
towards your task. If you simply want to get from one placeto another, you can’texactly ask someone you
know to bringtheir car round and do a couple of journeys.You will need to hire a professional movingcrew
who will takecareof the equipment, food, props,actually gettingthe castand other to that destination as
well. Even the transportmakes such a big difference and has an impact on the pre-production planning
because itgives you more sense of freedom to go to more places to film.Instead of stayingin the same place
to do this,you have the option to take you stuff and most probably create something you wouldn’t of been
ableto do otherwise.
There are hundreds of small roles which can havea huge impacton the
production and you wouldn’t even notice them until they slipped up.One is
the clearancecoordinator.This job is to make sure that nothing you use is
copyrighted, illegal or unlicensed. Specific functions will includegenerating
clearancerequests and other correspondence to the copyrightholder and
drawingup appropriatelicenseagreements. This roledefinitely affects the
production work as you wouldn’t be ableto use anythingwithout permission
form a professional licensed clearancecoordinator.
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Looking for talent is similarto the same way as lookingfor talent on Britain’s GotTalent. You are technically
lookingfor skilled individualswho have the ability to do the task you set them. Whatit means by talent is not
justanyone but a person or people who suit your exact needs. You don’t normally seeor know about these
people who pick out ‘talent’ but they arequite important. They have an impact on the success of the pre-
production planningbecausethe people who they do pick up, have to go through a process of elimination to
get that spot, and these people know exactly what they are doingand who should take that space.
Facility hireis a mix of a coupleof the points before. It’s quite self-explanatory in the sense that it mixes
permission to use things (likeclearancecoordinators),permission to go to specific places (transport) and
permission to use different types of equipment. Facilities could also includehallsor food lounges for the crew
and everyone else to eat in breaks.It could includestoragespaces for modes of transport, huge props and the
equipment again.You need permission to use facilities likethesebut are itcan help a lot in the production
work and can keep everything neat and tidy so when you want to use something, you will haveset rooms or
places in which you have stored you things there through the facility hires.
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LOGISTICS
Before you carry on with any other pre-production planning,you have to consider how you are going to go
about setting up the tasks or justplanningas a whole. This comes under logistics,which basically means
everything involved in the campaign beingorganised through spreadsheets, lists etc.These arenormally done
by a team and they cover most things needed for the campaign includinglocation,clothing,props,actors
involved,cast,crew and what time of day you are goingto shoot. For you to get the best results,you need to
plan ahead so you can meet the deadlinefor your production. The easier and clearer the planningof the
logistics is,the quicker the shootingprocess will be.Many people in the crew don’t know where they have to
be at what time and even the smallestof jobs cannotbe unseen and so has to be thought through in detail.
Unfortunately, this process can take some time but it is normally oneof the main priorities thecrew should
take into consideration.
Location in terms of logisticshas to come first.If people don’t know where they are going to filmin advance,
then it can slowthe filmingprocess down and ultimately put the whole of the task in jeopardy.It would make
sense that you would want to get the best shots from the best places around the world that suite your
requirements. For example, you wouldn’t exactly want to filmin London for a sunny day, you would want to
filmin Brazil where it’s exotic. Costs for location havea big partto play and the people in charge of logistics
need to think about this.
Clothingand props come under the same sortof category. The clothingis quiteself-explanatory in the sense
that you need to be aware of the costfor the costumes being used, if you can rent them or buy them with
legal permission and if you can use the correctclothingfor the shots.Some materials mightbe hard to find,
others could be very easy to use. Props,again,need to be bought, used and have legal permission if you want
to feature them. If there are hundreds of people involved in a movie or production team then the costumes
and clothinghave to be thought of and bought in advancein-caseyou change your mind. The props as well can
be quite costly and some of these can also be quite hard to find so you need to prepare well.
Technical aspects areone of the biggest factors for the logisticsideof things.This partcan be very expensive
as itincludes settingup and buying all the camera equipment, lighting,sound and so on. Due to keeping in line
with the budget, most companies try to sortout and get the technical equipment and the rest atthe beginning
of the pre-production work.
Castand crew callsareanother big partin the success of pre-production planningas itinvolves all thekey
people for the task. Going through the scriptwith the task needs to be constantly checked for any mistakes,
mis-reading,spellingerrors and more importantly if everyone is there on the day,almostlikea register. A
typical thingfor the crew to do is have frequent meetings to talk about issues regardingall thesefactors such
as location and clothing.They would be spitup into teams, each havingtheir own knowledge in each section
for pre-production planning.
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FACILITIES
Facilities in pre-production planning have a key effect on the success as most of it is
organization. For any source of media, you need to get equipment to use. Whether it
is in radio with all the sound speakers and microphones or in film with the camera
equipment and editing. It’s more likely that in film it will be more expensive but in
digital publishing for example, you need to get editing software to use. Normally in
film, the crew rent or hires the supplied equipment from the company they are
working with. The cost of how long you use the equipment for can also become quite
a big fund and so they need to keep track of how long they use it for. On the other
hand, in radio, the team normally buy all the equipment themselves which will be a
one-time payment.
Post production equipment includes editing and all the other software involved with
the action after the filming.
Facility houses and prop houses are places where you store the equipment. For radio
(audio) and digital publishing it is going to be cheaper due to them already being on
the software. Prop houses are places where you store the props involved in the
filming or television shows. These places where you store the equipment have to be
rented for a long period of time, slowly building up to large cost.
Sourcing and the costs of these facilities need to be kept in mind as first of all you
need permission to use these houses and equipment and you need to get the money
from somewhere. In the first Star Wars movie in 1977, the cost was $11m and for the
new movie, the film generated over $1b. This shows that the crew need to take into
consideration of the cost of the equipment and where to store it and make sure they
make profit off of it.
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LOCATIONS
In a pre-productio0n campaign, considering location can be one of the hardest and most
time consuming tasks to do. This includes picking a suitable place or places to shoot your
film, or if you are looking into radio then you need to look for places which you can situate
you studio. Permission will be needed for the location and if you are setting up a studio,
most likely you are going to buy the place. As you can see, money is a big factor in this part
and can determine where you’re going to film.
Film
Location in filmis hard to go about and can take considerable amounts of time to sort out.
When you’re about to look for locations, you have to ask permission to use that area and
this can come at great costs. On top of this, the owner might not want their land to be
recognizable and in doing so, you might have to disguise the place with props and other
materials. Again, this can come at a cost. Since the property is owned by other people,
safety and risk assessments have to be done to ensure no injuries on the location occurred;
this could include stunts on a cliff for example. Television is similar to filmin terms of
location as they are still acted and can still do risky stunts. Permission still needs to be
checked before-hand and risk assessments need to be taken out. Producers need to be
aware of the locations in film because otherwise, they won’t have the correct place for their
desired scene.
Audio
In this category, the cost can be a lot less due to the overall size of the production. However
the cost of the location in ratio to the size is much bigger. In radio for example, you often
have to pay for the studio because you’re not exactly going to borrow to location. The
chances of injuries through safety aren’t as high as filmand television due to the space only
being sued inside. The actual location doesn’t depend on the success of the radio show as
much because you don’t need to see where they are; only listen to what they are saying.
You could do this in a rain y place or in a hot place and the weather wouldn’t affect t the
days on which you could record either.
Digital publishing/gaming
In the digital campaigns, the cost of the location is nothing near to that of film and television
(where you need to film). The only time you would need to film would be if you needed an
advert for your product,. For gaming and using CGI, there are already specific places for
filming those and yes, they will cost but that isn’t most of the budget.
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PERSONNEL
In any type of pre-production planning, you have to consider all the people involved in the
process. This relates to everyone from film production, television, radio and digital gaming.
Everyone has a job and will be listed to go off and do their job. This takes some time as you
have to make sure everyone does their job correctly, even if they are higher up in the ranks.
Keeping all the personnel in check can save time and save money by not pushing back the
deadline. Furthermore, if people do their job to the best of their ability with clear
instructions, the overall success of the production will be strengthened.
The Director:
He has the main responsibility to come up with the overall vision for the production. This
should all be thought through thoroughly before the pre-production stage.
Camera Man:
These people are very important and without people taking good enough shots for
whatever category (can be film, television, and adverts for products or radio), then the
audience won’t even think of looking at the production.
Accountant:
All this person does is keep track of the budget. For bigger productions such as films, there
will be more people involved on this task and if their job isn’t done correctly, then the whole
campaign could have issues with how much to spend and overall delay the task.
Actors/Actresses:
These are quite self-explanatory as they perform in front of the camera and have the hard
task of grabbing the audience’s attention. Even for digital publishing you will need people
you act for adverts etc.
Audio Technician:
Audio Technicians sort out and record the sounds and edit them. Sound on any production
has a huge influence and without it, the effect and the way the campaign has been aimed
won’t be able to be known.
Musician:
The musician’s job is to play or record music which is appropriate for the scene. In radio
they are used for theme songs or mini jingles which can keep the audience focused on that
segment of the radio. For digital publishing or digital games they are used for intro to an
advert.
Narrator:
Narrators are huge in especially radio since they record and are the voices for all the little
intros to songs or adverts about to come on. They help the success of the pre-production
planning because it keeps the show or film alive and different.
Obviously there are other personnel in the production team such as talent which are people
who are the best fit for the team. These are people who are there to take out specific jobs
and to help keep everything in check and make sure the work is done on time.
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MATERIALS
In the pre-production stage, there are two types of the definition of ‘materials’. The first,
are the basic things you need to film the shots. These types of materials are filmequipment,
lighting, sounds equipment and editing software. These are normally found in filmand can
help boost the success of the media product you’re planning to create because of high
quality production. Obviously with this, the cost will increase and that’s why you need to
think about different cost-sufficient ways of dealing with it. When making the actress/actors
wear clothes, the materials need to be made to a professional level and so the materials
that you are going to buy need to be of good quality. This can be found in digital publishing
and gaming because of the character sin adverts etc. Or it can be found in television and
film. Materials can be found in radio also, due to the equipment they use for sound.
Sometimes they will use webcams and digital graphics for the best quality and this helps
attract listeners.
The second type of materials are the raw one that you have make for yourself. Most of the
media products that are involved need to be looked at and all require raw materials for the
content which need to be planned. Some of these will be original and will need to be
produced by you. Test shot if you are going into the film industry will be undertaken as
these are here for any mistakes that occur so you can pick up on them, re-shoot and carry
on. An example for this would be looking into shooting a shot which needed busy tourists in
a city. You might filmin a city location but when you go back to see what you shot, you can
hear a loud aircraft interfere with the sound. From this, you look up online and find
copyright-free sound effects of people talking in a street.
There might also be some existing material of footage form the big cities showing crowds of
people. However with both of these cases, you need to be aware of the copyright claim. As
soon as you have started a piece or taken a piece of footage from someone, it counts as
copyright and you need to undertake different copyright-claim notices to make sure that it’s
legal for you to use these. If you do end up using illegal material, you will be punished with
normally a fine or even worse which could be shutting down the whole production process.
When you develop your ideas, you need to take into consideration of all the copyright
affects, clearing rights, agreeing royalties and paying fees.
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TRADE UNIONS
Trade Unions such as ‘Producers Alliancefor Cinema and Television’ and
‘National Union of Journalists’ arecompanies which focus on the regulations of
the information which is involved in whatever production work that has gone
on. They help protect the efficiency of the members in the production team
and can regulate their pay, activeness and working hours. This helps the
success of the final production team because it helps keep people on track of
the work they have to do and makes surethey do it to a suitable and high
enough standard for it to go out to publishers or different media forms which
the public can see.
They take into consideration the cost of the whole production and the health
and safety issues which could develop over the process. Peoplewho aren’t
insured if they are injured on set for a film or television programmecan fall
into this category and in terms of radio or digital gaming, they help regulate
which parts could be inappropriateto viewers of younger ages.
Whatever task is being carried out, the National Union of Journalists look
closely into the security of the production and whether the team have
borrowed, or even worse, stolen material from an owner either without their
permission or justsimply used their location without insuranceor legal
consent. This again falls into the partthat includes health and safety issues and
awareness of the use of facilities.
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STORYBOARDS IN PRE-PRODUCTION
-Storyboards are documents which allow the producers and the rest of the filmcrew to film
with planned shots and scripts to use. Normally, they consist of multiple boxes, all
containing shots including angles, movement and colour. The shot length, dialogue and
music are all shown on the right-hand side to the boxes.
-These are normally produced through the designers being given information of what the
scene will look like.
-Producers use storyboards so they can have a clear plan on what to do, where to do it and
when to do it. If they didn’t have storyboards, the cast and other crew wouldn’t know what
to do and would take much longer to get the filming done.
-They also use it because it’s the best and easiest way to show and express your ideas. If you
need to explain something but the other person doesn’t understand your vision then this is
where the storyboard comes in handy.
-Storyboards are a vital part in the pre-production process as it can explain what you are
thinking. It will immediately demonstrate the idea and the way you would like the scene to
look.
-They contribute to the success of the media product because it shows the planning you
have gone through to get to the finished piece. It shows that you have structured it well and
taken your time to create a precise and accurate product which reflects your initial
thoughts.
Detail in shots
showing specific
character
movements.
The different
props used are
shown to help the
actors know what
they’re going to
use.
Normally colour
would be used to
identify specific
connotations.
Arrows used
for direction of
action and
where the
characters
need to be
positioned.
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STORYLINE IN PRE-PRODUCTION
Storylines in media link to the storyboard and is the plot of the film. Some storylines are
detailed and others try to keep the audience engaged. For most storyline writers, they have
to produce a detailed synopsis including info of all the characters, scenes, props and the
action. Instead of the description done through pictures, it’s done through writing which can
then be sent off to the editors. You can’t start drawing pictures if you don’t know what they
look like, and what’s going on in the scene. Normally, there isn’t much dialogue in storylines
as that is the script writer’s job and the difference is that storylines involve the symbols and
connotations of the plot.
‘Brennan Huff (Ferrell) is a sporadically employed thirty-nine-year-old loser who lives with his mother, Nancy
(Mary Steenburgen). Dale Doback (Reilly) is a terminally unemployed forty-year-old who lives with his father,
Robert (Richard Jenkins). When Robert and Nancy get married and move in together, Brennan and Dale are
forced to live with each other as step brothers. They immediately don't like each other. Dale warns Brennan
not to touch his drum set or else (Brennan feels tempted to do this). Soon after, Brennan finally plays on
Dale's drum set and leaves the room before he can return. Dale enters the room and notices a chip on one of
his drumsticks and confronts Brennan about it. Brennan denies this and a fight breaks out between the two
after Brennan vows and makes good on his promise to "rub my nutsack on your drumset". The fight ends as
Dale and Brennan strike each other at the same time with a bat and a golf club. The parents declare that the
irresponsible men should find jobs or else they're out of the house. Later on, Brennan's very successful but
mean brother Derek (Adam Scott) comes to visit with his family. As Brennan and Dale hide in Dale's tree
house, Derek comes to mock Brennan and Dale. Angered by Derek, Dale punches Derek in the face. Brennan is
in awe that Dale did something to Derek that he always wanted to do. After this occurred, Derek's long-
suffering wife Alice (Kathryn Hahn) finds it arousing that Dale punched Derek, becoming infatuated with him.
Both men eventually realize that they have a lot in common, and become best friends.’
This is an example of a storyline for the film ‘Step Brothers’. In this text, they explain the
plot and what happens throughout the film. Explaining the key character features whilst the
relationships between them gives a detailed base for the artist to draw the scenes. They
have mentioned the character’s names, the situation they’re in, and then other detailed
information on specific funny scenes.
Producers use storylines to explain, in detail, what goes on
throughout the whole film. They explain the characters and
their behavior, the set and the situation they’re in. They
need to write the storyline before the artist can draw any
sort of storyboard and they’re job is to ‘make the plot
become real’. It’s not just in film. If you are creating an
advert for a product, you will need a storyline for that in the
best detail to make sure the rest of the work done after that
will reflect the plot. They contribute to the success of the
media product by giving the first bit of detail for the rest of
the pre-production team to work on.
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HOW THE PRE-PRODUCTION WORK SUPPORTS THE OVERALL EFFECTIVENESS OF A
PRODUCTION
Using a pre-production planning process, it helps to decrease the amount of time needed to
spend on the actual filming itself. Normally through this process, you have to focus on
specific topics for the product like resources, timing, budget and goals. Poor use of time and
not using the planning to the best of your ability could affect the technical outcome and
slowly the budget will increase, this is why you have to be very cost-sufficient.
There are many things in which you will need to take out to secure success in your media
product, whether it is in film, television or radio. Another key thing you need is clear
objectives so you can execute them easily. There is nothing worse than delaying the time or
deadline for when a certain task needs to be in by.
Finance fortaskshas to be one of the firstthingstheytake intoconsideration.Obviouslyinfilm
there ismuch more pre-productionplanninginvolvedandsince there are more people,crew and
equipmenttotake care of,the overall budgetof the campaign ishuge.A ‘top-downapproachor a
‘bottom-upapproach’are differentsectioninthe wayyouwantto go aboutproducingyourwork.
Overall,the more moneyacompanyhas to spendontheiradvertisingorcampaignas a whole,the
more likelytheyare goingto succeedwiththe response.
Making sure the process
and all the work that
goes into it are up to
standards, visualizing
content can be the
different in a successful
campaign or not. It can’t
look boring and again,
cost will come into this.
Depending on what
genre you’re going to be
going into, you wouldn’t
like to filmon a raining
day in London. Instead you would want to filmsomewhere in Brazil.
Logistics are the basic planning of the whole task. Usually there is a team of specialized
people who direct other crew members and actors to their places of need. This could be
done through lists, noticeboards or meetings. Location, clothing and props need to be
looked at as well and there is a place to keep them. In film, the prop houses and storage
places need to be rented and are more expensive as they are taking care of the equipment,
props and clothing. For others such as radio or digital publishing, the logistics aren’t as big
but they are still vital for the success of the production.
Timing in pre-production planning is key and can determine how well the filming and the
campaign as a whole will come out. You need to sort out timing because if not, people
won’t know when the deadline will be, what work they have to do by what time etc. In most
cases, there will be separate products which have separate deadlines. In other words, the
bigger the task i.e. filming, the longer the time allocated for it should be.
