DEVELOPMENT, SCRIPT FORMATTING

1. FVS 261Week 4
DEVELOPMENT AND PREPRODUCTION

2. 15 STEPS OF PREPRODUCTION
• LOCK SHOOTING SCRIPT
• FINALIZE BUDGET
• START YOUR BUSINESS LLC NOT APPLICABLE HERE
• HIRE KEY PRODUCTION HEAD (WRITER/DIRECTOR, PRODUCER/A.D., CINEMATOGRAPHER, EDITOR, PRODUCTION DESIGNER)
• BREAKDOWN THE SCRIPT
• STORYBOARDS AND FLOOR PLAN (TO BE DONE BY DIRECTOR AND PRODUCTION DESIGNER)
• SCOUT & SECURE LOCATION(S)
• CASTING (DIRECTOR AND PRODUCER)
• REV UP ART DEPARTMENT (PRODUCTION DESIGN, PROPS, COSTUMES, M/U & HAIR
• PERMITS AND INSURANCE
• CREATING A SHOOTING SCHEDULE
• FINISH CREWING UP (DIRECTOR, PRODUCER/A.D., CINEMATOGRAPHER, EDITOR
• CREATE A SHOT LIST
• TECH SCOUT (GO OVER EQUIPEMENT, SHOOT DEMO SHOTS WITH CAMERA)
• SECURE GEAR

3. 1. LOCK
SHOOTING
SCRIPT
• SIGN UPATWRITERDUET.COM (free account allows for
four scripts)

4. SCREENPLAY
FORMAT

5. 2.BUDGET

6. SAMPLE BUDGET

7. 3. STARTYOUR LLC.
NOT APPLICABLE HERE

8. 4.. HIRE KEY
PRODUCTION
HEADS
WHO ISTHEWRITER/DIRECTOR?
WHO ISTHE A.D./PRODUCER/DISTRIBUTOR?
WHO ISTHE CINEMATOGRAPHER?
WHOWILL BETHE SCRIPT
SUPERVISOR/EDITOR?
WHOWILL HANDLE PRODUCTION DESIGN
(SET, COSTUME, PROPS)?

9. BREAKING DOWNTHE SCRIPT
WHAT DOESTHAT EVEN MEAN?

10. 5. SCRIPT
BREAKDOWN

11. 6. STORYBOARD AND
FLOOR PLAN

12. STORYBOARD
a. shot for shot
b. cam movement
c. action description
d. special cam op instructions
e. special blocking instructions

13. FLOORPLAN
DESIGN
a. X’s/O’ actors and cam
b. furniture, colors prod des.
c. wall height, doorway width
d. electric outlets, fuse box

14. 7. SCOUT AND SECURE
LOCATIONS
• THE LOOK
• THE ACCESS
• THE LOGISTICS
• THE LOCATION SURVEY
• VISUALIZE
• LIGHT
• SETTTING AND ART DESIGN
• SOUND

15. 8. CASTING

16. NOTES ON CASTING:
- BE SPECIFICABOUTWHATYOU WANT
- AT AUDITIONS, HAVE ACTORS DO MORETHAN READ LINES
- HAVEA READEROFF CAMERATHAT IS NOTTHE DIRECTOR
- RECORD ALL AUDITIONS
- HAVEACTORSWORKWITH EACH OTHER, IT ISAS MUCH ABOUT CHEMISTRY
- CASTING IS SAIDTO BE 95% OF MAKINGA MOVIETHAT ‘WORKS’
- BE EXTREMELYCLEARWITH REHEARSAL DATES, SHOOT DATES, PAY/NO PAY

17. 9. REV UP ART DEPARTMENT
a. Production Designer
b. Costume Dept.
c. Prop Dept.

18. PRODUCTION
DESIGNER
(the unsung hero)
GOOGLE: PRODUCTION DESIGN COLORWHEEL

19. 10. PERMITS & INSURANCE
FILMING ON ANY COMMERCIAL SITE REQUIRESTWOTHINGS:
- A SIGNED LOCATION RELEASE, SIGNED BY OWNERAND PRODUCER
- PROOFOF PRODUCTION INSURANCE (MORETO COME NEXTWEEK!)
HAVINGANYBODY’S FACE,VOICE, BODY INYOUR FILM REQUIRES:
- A RELEASE FORM, SIGNED BYTALENT
ON PROFESSIONAL SHOOTS, SOMETHINGCALL E&O INSURANCE NEEDED:
- Protects against accidental product or copy written material showing up in film

20. THE JOB OFTHE ASSISTANT DIRECTOR,WHILE
COMMUNICATINGWITHTHE DIRECTOR, ISTO
FORMULATETHE ENTIRE SHOOTING SCHEDULE.
11. SCHEDULEYOUR SHOOT

21. 12.CREW UP!
- DOYOU NEED A PRODUCTION SOUNDTEAM (A MIXERANDA BOOM MIC OPERATOR)?
- DOYOU NEED A GAFFER? SOMEONEWHOWORKSWITHTHE D.P.TO LIGHTTHE SETS
- DOYOU NEED G & E? GRIPSAND ELECTRICTO HANDLE HEAVY LIFTINGAND POWER
- DOYOU NEEDTO FEEDYOURCAST AND CREW? YES,YOU DO!!
MAKING SUREYOU HAVE EVERYONEYOU NEED FORYOUR SHOOT!

22. 13. CREATE A SHOT LIST
THE DIRECTOR WORKS ONTHIS:
- WORKS FIRST ONTHEIR OWN
- THEN REFINES WITH D.P.
- DISCUSSES PLAN IN DETAIL WITH A.D.

23. 14.TECH SCOUT
PUT SIMPLY, SPENDAT LEAST 48 HRS PRE-SHOOT SECURING
ANDTESTINGALL EQUIPMENT
- DOCAMERATESTS
- FINAL SCOUT OF LOCATIONANDALL LOGISTICS SECURED
- CHARGEALL BATTERIES FORCAMERA
- CHARGEALL PHONES IF NOT USING RADIOS

24. 15. GEAR UP
• LOGISTICSOFTRANSPORTTO AND FRO
OF GEAR
• SAFETY, BATHROOMSAND NEAREST
HOSPITAL
• CALL SHEETS GO OUTTHE NIGHT
BEFORE

25. LINKTO PRODUCTION DOCUMENTS:
1. http://howtofilmschool.com/free-call-sheet/
2. https://www.filmsourcing.com/advanced-shot-
list-template-free-download/
3. https://www.studiobinder.com/

26. NOW LET’S
WATCH
A GREAT
SHORT!
THE CURVE
byTim Egan